A wonderful profession. Musical education in kindergarten

What is happiness? People have been searching for the answer to this question for thousands of years. According to some, it is the health of loved ones. Success and luck - others think. And for someone, happiness means being in the profession, when every day you experience a great sense of joy and satisfaction from your work, from the results you achieve.

Based on the last definition, we can safely say that Inna Vladimirovna Zhilina - happy man. Every morning she flies as if on wings to preschool educational institution No. 30 to meet again with the guys and colleagues who have become for her for three years of work in kindergarten second family. But there was a time when I doubted my choice: “Can I? Do I have enough abilities and skills to master this activity? And only faith in one's own strengths and the support of others helped to overcome all fears and insecurities and master, as it turned out later, a favorite thing.

(mospagebreak title=Brought in a fresh breeze)

Brought in a fresh stream

Inna Vladimirovna - music director and part-time acting senior educator of MDOU No. 30.

With her arrival in our team, - says the head of T.A. Zagritsenko - life preschool became even more intense and interesting. Zhilina constantly organizes all kinds of holidays, performances, puppet theaters for children. She is always full fresh ideas, creative idea. Thanks to the efforts of the teacher, work with the parents of pupils has significantly intensified, and the number of events with their participation has increased.

So, recently, Tatyana Alexandrovna notes, a general parent meeting was held in the kindergarten on the topic “Protection of the rights and dignity of the child” in order to improve the legal literacy of adults. Before that, mothers and fathers participated in the autumn exhibition of handicrafts made together with children. In addition, information stands have been set up for them in each group and in the hall, designed to increase attention to the issues of life and upbringing of the child. Also, the head educator conducts a questionnaire with parents on topical issues interaction between preschool and family.

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Assistant and mentor

But that is not all. Mainly, Inna Vladimirovna organizes and plans the methodological work of teachers in kindergarten. She pays special attention to the process of developing professional skills, mastering best practices, and finding the best forms of working with children. The senior educator gives interesting recommendations to his colleagues, helps them on the path to improving their teaching skills through active participation in various seminars, district methodical associations, competitions.

A vivid confirmation of this, - says the head, - is the successful performance of our teachers in the municipal competition "Teacher of the Year". For the second year in a row they are among the laureates, and I.V. Zhilina, who was directly involved in the preparations for this event. Inna Vladimirovna herself developed scripts, came up with musical accompaniment, composed words for songs, staged dance numbers.

Also this year, our kindergarten won the Rescue Service-01 competition dedicated to the 20th anniversary of the Russian Emergencies Ministry. We presented the book "Tili-bom" made from salt dough.

Apparently, your colleague has creative abilities, I suggested.

WITH early childhood participated in amateur performances, - Inna Vladimirovna herself joined the conversation. - While still at school, she graduated from the music department on the basis of the rural House of Culture. Then, a few years later, I even worked there as artistic director. She worked mainly with children and youth. She led a circle of arts and crafts, organized discos, was the permanent host of all the holidays in the village.

That is probably why my current specialty is so close and understandable to me.

(mospagebreak title=Personalized)

Every child has their own approach.

What tasks do you, as a music director, consider the main ones in your work with preschoolers?

The first is, of course, the education in children of love and interest in music. The second task that I set myself is to expand the impressions of children when they get acquainted with a variety of musical works and means of expression. Also, in music lessons, the children form the simplest performing skills in the field of singing, rhythm, playing children's instruments, develop hearing, artistic abilities, aesthetic taste, memory, imagination.

But most importantly, I think that communication with music should bring joy and pleasure to children, fill their lives with bright light.

What program are you teaching?

As a basis, I took the "Program of Education and Training in Kindergarten" edited by M.A. Vasilyeva. As an addition, I use the partial program "Ladushki" by I. Kaplunova, which contains notes on music lessons.

In addition, every academic year, together with the group educators and the head teacher, we develop our general educational program, designed specifically for our kindergarten. It includes the main areas of work, goals and objectives, educational activities.

In the current academic year, for example, among the priority areas of activity of preschool educational institution No. 30 is the strengthening of the physical and emotional health of pupils and the formation of the foundations environmental education preschoolers.

In the process of learning, I always take into account physiological features child, the method of working on breathing, tempo, diction. We select song and dance repertoire in accordance with age group. In the nursery, kids sing along with adults, listen, clap, stomp. In the older groups, we teach children to sing in chorus, dance in circles, dance in pairs, boys correctly invite girls to dance.

The grid of music lessons in kindergarten is compiled by me in strict accordance with the sanitary and epidemic requirements for the device, content and organization of the working hours of preschool educational institutions.

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Not only a teacher, but also a mother

Not far off is Mother's Day. How is your kindergarten preparing to celebrate this wonderful holiday? - I'm interested in Inna Vladimirovna.

On November 1, a month dedicated to Mother's Day started at the preschool educational institution. Every day is an event. Of the past, the most memorable puppet show"Friendly family", watching cartoons about mom, designing group wall newspapers with children's drawings and holiday wishes.

These days, preparations for the traditional concert are in full swing, which will bring together the beloved mothers and grandmothers of our pupils. The guys will give them unforgettable vocal and dance numbers, show theatrical performance, verses will tell.

Mother's Day is your holiday too, isn't it?

Yes, like every other woman who has children. And I have three of them. And that's it - can you imagine? - boys. The eldest is called Vladimir. He is currently serving in the army in the Rostov region. The average son Andrey goes to school, he is 13 years old. And the youngest Dima turned four on November 7. I tell everyone so: I made myself a present for my own birthday - November 8th.

What are you like at home? - I ask my interlocutor.

Economic, - smiling, answers Inna Vladimirovna. - Any work in the hands is arguable. But of all household chores, I like to cook most of all, especially baking cakes.

How do you manage to be so charming and cheerful?

Love works wonders... Love for family, work, the world around.

Photo by A. Tolstykh.

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Municipal budgetary preschool educational institution kindergarten №472

prepared by music director Olennikova Larisa Sergeevna Chelyabinsk 2015

Singing is the most accessible performing type of musical activity for children preschool age. They love to sing. They sing willingly, with pleasure, which contributes to the development of their active perception of music, the ability to sincerely, deeply express their feelings and experiences.

Meeting with the song, communication with it are colored for children with bright joy, cause positive emotions. The child develops an interested attitude to music, emotional responsiveness to it. Singing develops children's musical abilities, ear for music, memory and sense of rhythm, and broadens their general musical horizons. Teaching children in the process of singing to joint actions, uniting them general mood The teacher educates the children in friendly relations, a sense of collectivism.

The musical director of a preschool institution has a responsible task - to teach children to love a song, to give the simplest singing skills. To this end, it is advisable to carefully consider the entire vocal repertoire that will be used in working with preschoolers, both for listening and for learning. It is necessary to expand the repertoire primarily at the expense of folk songs, since folk song has artistic and educational value, never ceases to amaze and amaze with its deep content and perfect form.

Singing folk songs introduces children to national traditions people, with its song past. Their systematic implementation contributes to aesthetic education, develops artistic taste in children, awakens a sense of love for the Motherland, native nature. The folk song enriches the speech of children, improves diction and articulation, and has a positive effect on the expressiveness of speech. The simplicity of melody construction, vivid imagery, humor create a desire to sing even in the most shy and inactive children. Folk songs evoke positive emotions in a child. Sometimes, at the mere mention of the name of the song, the children's faces are lit up with smiles, and they sing it with pleasure. In working on the length of sound, what could be better than a Russian folk song, because a wide melodiousness is characteristic of all genres of Russian song. It is necessary to expand the repertoire and at the expense of modern Soviet songs, the availability of music and text of which contribute to the rapid assimilation of the melody, develop musicality. Introducing children to modern song is of great importance for their mental and moral development.

Practice shows that some musical directors of kindergartens formally approach the work on the song. They learn songs in order to use them at a festive matinee. The theme of the songs, the effectiveness of their sound are mainly taken into account. At the same time, program tasks for this type of musical activity of children are not solved consistently. Ultimately, children do not acquire sustainable singing skills, so necessary for future success in school. Often such teachers do not think, and are not able to determine the program content of the song, analyze its difficulties, outline methods for overcoming them so that work on each song has a positive effect on singing skills children. The possibilities of the vocal apparatus of preschoolers are quite limited and usually do not go beyond a certain range of intonations, their singing skills are elementary, and in children with disabilities, as a rule, they are not formed at all.

(like the voice) "intone" voice than a 3-4 year old baby, but if only there was a desire and patience. With my methodology, I set a goal - to help the music directors understand the content of the work on the song, to teach them to see the near and subsequent perspective, taking into account the sequence and gradual complication of tasks in learning each song in the younger and middle groups of kindergarten. The main part of the methodology contains educational song material (exercises for the development of voice and musical ear, songs of the first and second degree of difficulty) for children 3-4 and 4-5 years old.

Age features of hearing and voice of children 3-4 years old. In children of this age, the vocal apparatus is not yet formed, the vocal muscle is not developed, the ligaments are thin, short. The larynx of a child is more than two and a half times smaller than the larynx of an adult. The sound formed in the larynx is very weak, it is amplified mainly by the head resonator (pharynx, mouth, nose), since the chest resonator (tracheal and bronchial cavity) almost undeveloped. Therefore, the voice of a child of 3-4 years old is very weak, breathing is weak, superficial.

The vocal cords do not close completely, only their edges vibrate during sound production - hence the lightness and insufficient sonority of the sound. Requires very careful careful attitude to a child's voice. First of all, I think over the selection of song material. Songs should be distinguished by the availability of text and melody: simple words, clear in meaning, close images, events and phenomena; simple rhythmic pattern of the melody without big jumps; available singing range (mi - si); short musical phrases that are comfortable for the baby to breathe.

I am working on the formation of a stable skill of natural, unstressed sounding, I do not allow forcing the sound, both during singing and in colloquial speech. In my work, I create a favorable atmosphere for hearing. It is necessary to exclude the conversation and singing of adults on forced sounds. I systematically conduct individual and collective consultations for educators and parents, explaining to them the harmfulness of loud talking and screaming in singing, noisy sound atmosphere for the development of the child's hearing and voice. I explain how dangerous it is to let a preschooler sing outside in cold, wet weather.

In my work with children 3-4 years old, I set the following tasks in the field of singing:

1. learn to sing in a natural voice, without tension, drawlingly;
2. pronounce words clearly, understanding their meaning, correctly pronounce vowels and consonants at the end and middle of words;
3. correctly transmit the melody in the mi-si range; sing with the help of a musical director, with and without musical accompaniment;
4. to form collective singing: to learn how to start and end a song at the same time; do not lag behind and not get ahead of each other, sing together, harmoniously.

The age characteristics of the hearing and voice of children 4-5 years old are already different. In the fifth year of life, children already have some musical experience. Their voice has grown stronger, their range has increased (re - si), breathing became more organized, although still rather shallow.

In children of this age, expanded lexicon, they pronounce individual sounds of a word better and more accurately, they can work more actively with their mouths while singing, i.e., articulation improves. Children are distinguished by greater auditory activity, auditory attention, they are able to freely distinguish in height sounds located at a distance of an octave, sixth and even fifths: they hear the movement of the melody up, down, they can highlight the intro to the song, sing after the intro along with an adult; begin to sing in concert with and without musical accompaniment (with my voice support).

Working with children 4-5 years old, I set the following tasks for singing:

1. continue to teach children to sing in a natural voice, without tension, drawlingly;
2. correctly convey the melody within re - si;
3. distinguish sounds by pitch;
4. pronounce words clearly
5. take a breath between short musical phrases;
6. start and end a song together; hear the intro;
7. be able to sing with and without instrumental accompaniment (with the help of music director);
8. sing expressively, conveying the character of the song (marching, dance and lullaby).

An important task in teaching children to sing is to reveal vital content songs to each child, to teach him to rejoice, to receive aesthetic pleasure from his singing, and also to please others with his performance. In order for the effect of the songs to become effective, and the children to fall in love with them, I spend the first meeting with the song vividly and emotionally, Special attention for the content of the song, for the funds musical expressiveness and expressiveness of its literary text.

I understand very well that the quality of the song I perform plays big role in the process of familiarizing children with a piece of music, it brings up aesthetic taste. But the child will only feel the charm of the song when he has developed an ear for music and instilled the skills of pure intonation, when he realizes that his voice merges with other children, when he has a desire to sing not only in the classroom, but also in Everyday life.

Among all the singing skills, I pay special attention to sound production: to sing in a natural, high, light sound, without tension and shouting. Shouting while singing distorts the natural timbre of the voice, negatively affects intonation, and has a disastrous effect on the child's vocal cords. The voice loses the necessary lightness and acquires an unpleasant throaty sound. Attention should be paid to the correct formation of vowels, on which the sound quality depends, since in children the timbre of the voice is very uneven. This is especially evident in the singing of various vowels: some children do not sing, but shout with an open sound; others, on the contrary, clamp the jaw. Therefore, when teaching children to sing, I teach them to open their mouths well, I try to instill the skill of smooth sound production, all the time I show with my voice how to sing this or that phrase, this or that sound.

There is a direct relationship between the vocal and speech abilities of children. If the child speaks in a sonorous voice, then he also has a high sound in singing. It is important that the child can hear and feel his voice, then he will gradually begin to sing with a natural sound. That is why, from the first lessons in the younger group, special attention must be paid to this. For example, a song "In the garden hare" available to children 3 years old at the beginning of the year. To arouse in children an active desire to sing it, I use various methodological techniques, I introduce playful, spectacular moments, thanks to which you can use this song for a long time, repeating it in many classes. Final words "Skok, skok, ran into the woods" must be pronounced with a high intonation. Children, imitating my voice, involuntarily raise their intonation, which will help them find a higher, more natural sound in singing this song.

A vivid, figurative, emotional acquaintance with a song contributes to its expressive performance by children, develops them musically and vocally, contributes to the ease and strength of assimilation of song material, helps the child to form an idea about the song, and increases interest in learning. Working on a song "In the garden hare" , the voice of children is strengthened by the sounds of la, salt of the first octave, which helps learning another song "Cockerel" , the melody of which begins with the same sounds. To improve the quality of singing, the development of an ear for music is of great importance. Many preschoolers do not have the correct sound reproduction at all. Therefore it is necessary to use special exercises already from an early age.

Since babies have involuntary attention, the entire learning process must be organized in such a way that it affects the feelings and interests of children. I use game techniques and accessible material, children show emotional responsiveness. This requirement is met musical exercises, which make it possible in a playful way to train and consolidate knowledge on the development of musical ear. For example, mastering the pitch when learning a Russian folk song "Cockerel" help the following tasks. I'm asking: “Children, do you want to see a cockerel today, and which one is small or big?” If the children answer: "Little" , I suggest yelling like a little cockerel. Children have a great desire to see the cockerel, so everyone tries to scream thinly, in high voices. I show a little cockerel. Then a big cockerel appears. To make sure the children have realized the pitch of the sounds, you can play the musical introduction to the song in a higher register and ask them which cockerel sings - small or large. To activate timid, shy children, I ask them to play the role of a small or large cockerel themselves. This task gives me the opportunity to hear each child, to note his performing data. At the same time, in all cases, I positively evaluate the singing of children.

In the middle group, to determine the pitch of sounds, I introduce a metallophone so that children can play these sounds on their own. In the process of musical and auditory perception of children, visual clarity plays important role. For this purpose, in the younger group, a musical and didactic game is held in the lesson. "Where are my kids?"

With systematic work, children develop hearing and a sense of harmony so much that it is enough just to play the first sound fa at the beginning of the game, as they begin to imitate big birds without musical accompaniment, and the upper sound - up to (2 octaves)- the singing of small birds - try to find it on their own and sing it.

In the middle group, children have a certain stock of various musical impressions, and the tasks become more difficult accordingly. Children reproduce not only high and low sounds, they get acquainted with a less contrasting (average) sound. Of course, I offer tasks only in a playful way. For example, nesting dolls come to visit the kids: big Zina, medium Tanya and little Masha. Attention is fixed on the sound of three sounds - mi, salt sharp, si or fa, la; then I sing Zina's name in mi or fa and put the matryoshka doll on the bottom rung of the ladder. Children sing the same. On the appropriate step, Tanya and Masha find a place for the matryoshka. Varying this exercise, I show with the position of the hand different height sound, and children without musical accompaniment sing the sound that I show them. Further, the exercise becomes more complicated: on the piano, I take the same sounds in different sequences and sing the names of nesting dolls. Children show the height with their hands and sing, naming the nesting dolls. Thus, this exercise helps in fixing the height of sounds, and work on vowels while singing the names of nesting dolls contributes to the length, melodiousness of the sound, forms singing articulation.

Working on purity of intonation great attention I pay attention to singing, that is, I include singing exercises, which are excellent auxiliary material in teaching children to sing and contribute to the development of musical ear and voice. In order for these exercises to be useful, to have the greatest impact, it is necessary to achieve expressive, emotional performance from children with a natural, light sound. To this end, I try to diversify methodological techniques, varying the ways of their application. I use these exercises in the classroom not only for singing, but also help to overcome singing difficulties. Songs help the development of breathing, the ability to sing long, melodiously "Lullaby" , Karaseva. If you work systematically on vocal exercises, you can achieve that for many children the range will expand and the sound of the voice will become even throughout its entire length, many children will learn to sing clearly.

In addition to vocal exercises, in working on the purity of intonation, I use a technique - singing without instrumental accompaniment, first with the support of my voice, then without support. First, I play the difficult parts of the melody, then I sing without musical accompaniment (you can attract a well-singing child). Of great importance for the development of voice and musical ear is the repeated repetition of previously learned songs with children, especially Russian folk songs. At the same time, I achieve from the guys an accurate vocal intonation in singing, the ability to hear themselves and their comrades. For the development of the correct reproduction of musical sound, singing breathing is of great importance, its violation reduces the accuracy of intonation. Singing breathing is developed only in the process of singing itself. Children must be taught younger age sing a musical phrase in one breath. This strengthens the respiratory apparatus, children smoothly, steadily perform various vowels in all parts of the voice range, that is, a single timbre is developed, which is important for choral singing.

Singing breathing requires the development of silent inhalation skills, it must be calm, without raising the shoulders. I make sure that singing breathing is regulated by phrasing in accordance with the meaning coming from the content of the song, since high positional sounding is possible only with active breathing. Achieving clear and precise diction, I teach children to clearly pronounce consonants and sing vowels clearly, which requires constant exercises from the articulatory apparatus, because most children speak insufficiently clearly, actively, clamping the lower jaw. Children need to understand that poor, sluggish diction negatively affects the quality of singing, sound formation and purity of intonation, and, conversely, a clearly spoken word contributes to expressive performance songs, helps to master the most important quality singing - cantilena. For this purpose, I use Russian folk songs, jokes. Singing each sound with a clear, clear pronunciation of consonants is of great benefit to babies, has a beneficial effect on the process of sound formation.

The most difficult stage is the work on the expressiveness of the performance. I teach children to clearly pronounce each word while singing, to make semantic stresses, to convey the nature of the song. To do this, I use a conductor's gesture in my work: I show dynamics, accents with my hand, which also helps in working on the pitch. In the process of learning each song, moral and aesthetic tasks are solved. The more emotional the story about the content of the song, the more it affects the feelings of children. In the process of explanation, it is desirable to pick up proverbs, sayings that help to better understand the content. Character piece of music perceived by children in unity with the word. Therefore, figurative transmission poetic text is one of critical components expressive singing. In my music lessons, singing makes up almost 30% of the volume of all tasks and occupies the second or third part of the lesson in the following sequence:

b) learning a new song;

c) consolidation, repetition of a previously passed song.

The song can and should be played not only in music classes, but also in visual arts classes, speech development and familiarization with others, physical education classes, morning exercises, on a walk (in summer). How good it is when children dance in round dances during play hours, play games with singing.

By the end of the year, the children of each (junior and middle) groups learn 15-20 songs, including songs for games. Therefore, I conduct consultations with educators, seminars on learning song repertoire, games with singing. I plan the singing activity of children for the next 2-3 months. In the plan, I specify educational and educational tasks, determine the amount of knowledge and skills, outline the repertoire, taking into account holidays. I make a calendar plan for two classes in advance. IN calendar plan I indicate the repertoire, the program content for each song and the main methodological techniques. I plan to work on the song taking into account the stage of its learning. The song creativity of preschool children helps to fulfill the tasks of musical education, contributes to the development of sound, rhythmic, modal perception, increased activity, and initiative.

An integral part of my work is teaching children to improvise. Children successfully improvise if they are sufficiently developed musically, sing clearly and expressively, and can sing without musical accompaniment. I begin the formation of songwriting with junior group. The first is learning to imitate. I'm asking: "How does the trumpet sound?" I show a bright flute. The child answers: "Tu-tu-tu" (on one sound mi or fa of the first octave). How else can you play the trumpet?

Sometimes in the answers of the children I note the movement of the melody up or down. I often suggest playing an imaginary drum, imitating sticks, and humming: tra-ta-ta-tam. I encourage: “Next time will be better. For girls busy in the play corner, I suggest: “Shake the doll and sing her a lullaby” . I remind you that you must sing affectionately, gently, lingeringly, otherwise the doll will not fall asleep. I start singing on my own "la" , then I listen to the girls. I ask: "What is your doll's name?" Children sing names. For example, "Marina" , "Ka-tu-sha" , "Ok-sa-na" . I make sure that the melodic intonation in their answers is not repeated. Then I suggest to the children middle group songs that ask questions. It had to be answered by finding your musical intonation. I give such tasks to children of the middle group at the end of the year.

In the senior group, I continue to work on the development of modal perception. For greater activity of children, I often use the technique "singing along the chain" , i.e. I sing the first phrase myself, and then the guys sing one at a time, each with their own version. children preparatory group I give you this task. I start to sing a familiar song and offer to finish it, I make sure that it is in the same key. Sometimes I do the same task in the form of a musical riddle, I suggest one of the children start singing any previously learned song, and I myself finish it in the same or in a completely different key. I ask the guys if I sang right. This technique develops musical ear in children.

I teach children of the preparatory group to improvise in certain genre (waltz, march, polka). So, for example, children met at music lessons with "Little Waltz" N. Levy. Then listened "Waltz" D. Kabalevsky, "Waltz" P. Tchaikovsky from « children's album» and learned that the waltz is a smooth, calm under which you can easily whirl. I invite the guys to compose their own waltz and sing in a syllable "la" . Not immediately and not everyone gets a waltz. Some children convey the three-beat rhythm well, but the melodies of their waltz are poor and monotonous. Others, carried away by the development of the melody, lose the rhythm of the waltz. Watching the children, I was convinced that the boys compose marches and polkas with great pleasure. They are fascinated by a clear rhythm, fast pace. And girls like to compose calm, smooth waltzes. Individual work with children in music classes for the development of songwriting, listening to music at leisure evenings led to the fact that by the end of the year children's improvisations became more perfect and more interesting. This is noted by the children themselves.

Then I teach children improvisation on the proposed text and their own poems. I complicate the task - I propose to compose songs for a given text, joyful or sad (in major or minor) based on content. For example, she introduced the children to the poem "Autumn" A. Shibitskaya:

Birds fly away.
It is a pity to part with them.

I ask the children what character the song should be. Sad, sad. I play for children in E minor or F minor (keys suitable for singing) tonic triads, as if I'm setting up the guys, I'm introducing them into a minor key.

She took cheerful poems, such as "Spring" A. Shibitskaya:

Spring day is calling!

Meet the starling is flying!

Playing chords in E major or F major, I tuned the children to major scale. My children like these tasks - to compose songs of a contrasting nature, and they sing their own versions with pleasure:

Once she offered the children a difficult task: to compose ladders to the verses of A. Barto:

Our Tanya is crying loudly.
Dropped a ball into the river.
Hush, Tanechka, don't cry
The ball will not sink in the river,

I was very pleased when I heard that the child sang the first part of the song in minor, and the ending - in major.

I tried to encourage children to compose songs on their own text, using the skills and abilities in mother tongue. There was a great desire of preschoolers to act as not only a composer, but also a poet. Creativity brought them joy, they improvised with great desire. Creative tasks require mental effort, attention, activity from children, develop memory, speech, intelligence. They contribute to the enrichment of musical impressions. The possibilities of the vocal apparatus of preschoolers are quite limited and usually do not go beyond a certain range of intonations, their singing skills are elementary, and in children with disabilities, as a rule, they are not formed at all.

The head sound associated with sonority is natural for a child by nature and corresponds to the anatomical and physiological characteristics of the vocal apparatus of children. Children cannot and should not sing loudly, nor should they be required to. In a comfortable tessitura corresponding to the voice, the child sings much cleaner intonation and at the same time naturally, freely and beautifully. Ear for music (like the voice) can be developed, trained and improved. And the sooner you start music lessons, the better. It is more difficult for a child of older preschool age without a musical ear to learn correctly "intone" voice than a 3-4 year old baby, but if only there was a desire and patience.

Bibliography:

1. Emelyanov V.V. Phonopedic method of voice development. Toolkit. - M: Ed. Center Academy, 2010 - 320 p.
2. Stulova G.P. Development children's voice in the process of learning to sing / G.P. Stulova. - M: Prometheus, Moscow State Pedagogical University. V.I Lenin. -1992- 132s.
3. Tarasova K.V. Ontogeny of musical abilities. / VC. Tarasov. - M: Pedagogy, 1988. -155s. d

Take care of the music director!

A.I. Burenina, head of the department
preschool and primary school education LOIRO

Somehow imperceptibly for all, the 21st century has come. And this fact makes us think about many problems - personal and public, private and global.
The music director of a kindergarten is a special profession. And it appeared relatively recently - in the post-war years (1948). Prior to this, the educators themselves were engaged in musical education. Sometimes they were helped by musicians who came to the kindergarten when it was necessary to prepare and hold a holiday. And since such a position appeared, which was called something differently: “ music worker», « music teacher”, “Music director” - an idea has formed in society that a music teacher is needed mainly so that children have a holiday. That is, that this profession is something between an accompanist and an entertainer.
Probably, it seems to many from the outside that this work is easy, “festive”, not requiring special talents. Well, just think, what is so difficult here: to entertain children and spend a holiday! Therefore, the attitude towards the profession of a music director has developed quite definite: the work is “not dusty”, takes part-time work, etc.
Probably, it was this attitude that led to such a blatant injustice, when the work of a music director who has a double education (musical - by the way, expensive and laborious - and pedagogical), is paid accordingly one level lower than the work of an educator or teacher, when it is necessary to prove that the music director is a teacher who works with children, teaches them music and is therefore entitled to a seniority pension.
Alas! It is still very difficult to achieve justice.
But this is not enough!
Despite the meager wages (the salary of the music director, as well as the teacher of the preschool educational institution, is below the subsistence level), work in recent years has become more and more difficult. In addition to the usual duties (conducting music lessons with children, preparing them for the holidays, advising parents on musical education, etc.), another requirement appeared: diagnostics musical development children.
By what methods? For what? To prove the effectiveness of their work? Is it possible without special diagnostics (tables with formal numbers, circles different colors etc.) the teacher cannot analyze his work, tell about the problems and achievements of his pupils?
Just like that, the search continues various forms planning, which would reflect all the work of the music director. The question arises: for whom and for what is the plan needed? For children, a teacher or for inspectors? And if for the teacher, then we will give him the opportunity to determine how, in what form and to what extent he will plan his work.
So, to summarize: Lately The music director's salary is getting lower and the demands are getting higher. Although the problem is not only in wages, but also in relation to the administration and managers in this category of specialists.
And what is the result? More and more kindergartens are left without a music director. After graduation music schools and institutes, few young professionals come to kindergarten. Teachers over 40 years of age are mainly trained in advanced training courses. Another 5-10 years - and there will be almost no musical directors left.
What to do? Perhaps, it is possible to rectify the situation somehow, to retain unique specialists - musical directors of kindergartens (by the way, only in our country this profession has such a wide creative focus)?
And in this regard, we appeal to you, dear methodologists, heads and chief specialists of all levels!
Look at our music directors!
It is they who do not have the right to get sick, because without them there will be no holiday for children.
They should all be able to do this: play a musical instrument, sing, dance, draw, sew, compose poetry, write scripts, etc.
It is they who should always smile, cheer up children and their parents.
It is they who must constantly learn, buy new methodical literature, audio cassettes, video films, etc.
It is they who should always be beautiful, fashionably and tastefully dressed, as musical directors are the “face” of the institution.
It is they who should be psychologists and diplomats who can negotiate with all the specialists in the kindergarten, the administration, and parents regarding the organization of the holiday.
It is they who carry everything from home: paints, paper, fabrics, clothes and all kinds of attributes for classes and holidays with children.
It is they who write new scripts on weekends and in the evenings.
It's them ... but it's impossible to list everything.
And if we want them not to leave their jobs, so that they come to us after graduating from music schools and institutes, so that they can work in peace, realizing their creativity, their calling to the profession, we need to take care of them and create conditions.
Which? Here are a few of those requirements:
respect and appreciate the work of the music director, do not force him to replace teachers or other kindergarten employees (of course, taking into account the wishes of the music director himself);
create a good, high spirits and prevent stressful situations at work (because Bad mood the music director can also affect the mood of the children);
do not require copying the experience of other teachers, if it does not correspond to the capabilities, inclinations of the music director;
provide material support in the acquisition of sheet music, manuals, musical instruments, costumes, attributes and other materials necessary for work (since the music director cannot pay everything from his meager salary);
And last, but perhaps most important, is the creation of a creative, friendly atmosphere that stimulates the work of a teacher-musician.
Take care of the music director!
Maybe it is he who will teach children beauty and thereby save the world!

There is a unique profession in kindergarten - music director. The uniqueness of the profession lies in the fact that he must be able to absolutely everything: play musical instruments, write scripts, sing, dance, draw, write poetry, etc. And besides this, he must cheer up the children and their parents, he must constantly study, be a psychologist and a diplomat who knows how to negotiate with all the specialists in the kindergarten.

And in our kindergarten "Zolotinka", in the village of Solovyovsk, there is such a superspecialist - ​Kreyderova Nina Vladimirovna.

She showed herself as a creative, purposeful person, always in a state of search, immediately became a close friend for all children in kindergarten without exception, she gladly gives them her knowledge and skills. Nina Vladimirovna tries tactfully to instill hope and confidence in the soul of a child. own forces to help girls and boys succeed in their future careers.

Under the strict guidance of the music director, children learn to dance in the Shalunishki circle, and then they show their achievements with pleasure at concerts for the residents of Solovyovsk. Also Nina Vladimirovna develops Creative skills pupils by means of theatrical art in the classes of the circle "In the world of theater", where children get acquainted with various types theaters, show artistic abilities. Also, children learn to play metallophones, Russian folk musical instruments, develop singing skills, social activity and stage presence.

Nina Vladimirovna is not only an entertainer, screenwriter, director, but also the soul of all holidays. This universal master which reveals and develops the individual abilities and talents inherent in each child.

All holiday scenarios prepared by our music director are interesting, original and unique. Traditional "New Year's ball", "Seeing off winter", "Defender of the Fatherland Day" and other matinees, thematic entertainments turn into cheerful, bright, sparkling events for children and their parents.

Nina Vladimirovna for short term won the sincere love of children, the respect of colleagues and parents, she rightfully receives the biggest award in the world - a child's smile and children's laughter.

On May 2, at the initiative of Nina Vladimirovna, reporting concert pupils of the kindergarten "Zolotinka" in the club for parents and residents of Solovyovsk, where the children showed their talents in the ability to sing and dance. Review of the parents' concert: “Today is the most wonderful day! I would like to sincerely thank the entire staff of the kindergarten for the reporting concert. An educator is not just a job, but a vocation, he makes a huge contribution to the development and formation of the horizons of each child. You are proof that there are people in the world who love their work, who give a piece of their heart to our kids. Today, thanks to your work, we saw the talents of our children. During this year, we have repeatedly observed your professionalism and reverent attitude towards the guys, how much patience and work is invested in each performance. Thank you!".

Olga Myshanskaya
Musical education in kindergarten

Musical education is the purposeful formation of a child's personality through the influence of musical art - the formation of interests, abilities, needs, aesthetic attitude to music.

The main task musical education: show children's ability to listen carefully, respectfully music, various works. Facilitate the initial manifestation musical taste based on the impressions received.

Develop creative activity types accessible to children musical activity.

Develop also musicianship and music making what is included here (sense of rhythm, intonation, hearing, musical memory) Choosing musical material have the ability of children listen to different music, develops a singing range and instills a taste, also develops emotionality, empathy.

What can we say about music lessons. The main and first form of organization - music lessons, which can be divided into different parameters:

A typical lesson includes all types musical activities:

The structure of a typical lesson:

1. Entrance to the hall.

2. Musically-rhythmic movements in the form of exercises. (marching, running, jumping, jumping, etc.)

3. Listening music.

4. Singing including: singing, with speech vocalization, learning songs.

5. Musically-rhythmic movements in the form of games, dances, round dances.

6. Playing on d.m. and.

7. Creative tasks (they can be in any activity).

Dominant occupation of any kind musical activity. For example, a lesson is built with the aim of developing a child lagging behind musical ability, that is, those activities that can develop it dominate. This type of training is used in frontal, individual and subgroup classes.

For example, dominant occupation by singing has the following structure:

Entrance to the hall under the marching song.

Listening to vocal music, songs.

Singing is an extended section.

Game, round dance with singing.

D. m. and. - singing.

Listen to vocal music is easier. The text tells us what the song is about, what the composer wanted to tell us. We recommend doing an audition for children in one day. Nothing should distract the child from communication with music.

Forms musical activities in kindergarten

1) Music lessons

2) Holidays and entertainment

3) Concerts

4) Musically- theatrical performances

5) Customized music lessons

Musical classes are held 2 times a week, where we learn to catch a sense of rhythm in various exercises, listen with interest and attention music and first of all we determine its character, then we expand the singing range, learn songs, for the same we again move, dance and play. Leisure activities are held once a week, which deepen musical performance children.

Holidays are also:

They contribute comprehensive development children, and also influence the formation of the personality of the child, sums up the pedagogical work.

In everyday life musical education is carried out by the educator. Each group has musical corner . There is a certain set musical instruments.

Target musical education:

generating interest in music, needs, abilities and good attitude towards music.

Tasks musical education:

Enrich musical impression of music introduce them to various musical works.

Music creates an atmosphere and awakens the feelings of people.

What's happened music? We are listening music, create it. It evokes in us associations with certain moments of our lives. Music is an art form, in which the means of embodying artistic images are organized in a certain way musical sounds . Basic elements and expressive means music - fret, rhythm, meter, tempo, timbre, melody, harmony, polyphony, instrumentation. By means of execution music subdivided into vocal (singing, instrumental and vocal-instrumental). Music often combined with choreography, theatrical art, cinema. Distinguish monophonic music(monody) and polyphonic (homophony, polyphony). Music subdivided: for genera and types - theatrical (opera, etc., symphonic, chamber, etc.; for genres - song, chorale, dance, march, symphony, suite, sonata, etc. Music fixed in musical notation and realized in the process of performance musical instruments.