Rudneva fish rhythmic musical movement. Rudneva, Stefanida Dmitrievna: biography

SDK Shaburnovo

Adapted dance club program

"Rhythm"

For the 2015-2016 academic year

Program Compiler:circle leaderE.A. Kidyaeva

The program lasts 1 year.

The program is designed for children 5-16 years old

EXPLANATORY NOTE

At the end of the 19th - beginning of the 20th century, a modern direction of choreography - modern dance - emerged in Germany and America. The origins of the origin appeared in the art of Isadora Duncan, the teacher of E. Jacques-Dalcroze. This desire to create a new choreography that meets the needs of twentieth-century man has received great support. Fundamental Principles this direction: rejection of canons as opposed to classical dance, embodiment of new themes and plots with original dance and plastic means. This direction in choreographic art has become very attractive for children's choreographic groups, because classical dance is quite difficult to learn and is not accessible to all students, and the principles of mastering modern dance help any child achieve self-expression through movement. Every year more and more Russian choreographers and teachers-choreographers are turning to modern dance. And even in all the main academic theaters countries in recent years, productions based on modern choreography and plastics.

The artistic and aesthetic orientation of this program can be seen in the fact that students’ study of modern dance takes place inextricably with the study of the history of modern dance. choreographic art, acquaintance with the productions of contemporary choreographers and world musical culture. Through these activities, children develop Creative skills based on aesthetic consciousness: aesthetic emotions, feelings, interest, taste, needs, ideas about the beauty of movements, sound, form, color.

Goal: to develop in preschoolers and adolescents a taste and value system in perception modern culture, familiarization of pupils with different styles performance of modern dance.

Program objectives:

1. In development: revealing the creative individuality of students; development of physical endurance and strength, fortitude; nurturing the ability to convey the style and manner of performing various movements, and create vivid stage images.

2. In education: developing the ability to recognize “beautiful” and “ugly” in the general flow of modern industry; instilling everyday and stage culture.

1. Verbal (explanation, remark)

2. Visualization (personal demonstration by the teacher)

3. Practical (performing movements)

Forms of classes:

Traditional activity;

Practical lesson (learning new concert numbers);

Performance, competition, festival;

Spectator practice (watching videos, attending concerts);

Ways to organize students’ activities in class:

Group (classes in formed groups);

Basic methods and technologies.

Intelligibility in musical material, dance styles and directions, the presence of aesthetic taste in a teacher allows him to work on developing a system of values ​​among students, which is the main goal and objectives of this course.

To implement this program, as practice shows in working with teenagers, it is necessary to take into account some features:

Age characteristics of pupils;

Personal interests and priorities of students;

The potential of the group as a whole and of each student separately;

The quality of preparation before the start of studying the subject;

Changes taking place in the world.

The teacher uses the following technologies in his activities:

Health-saving technology helps to educate a comprehensively developed personality who takes good care of their health and follows the principles healthy image life;

Information and communication technology that allows students to obtain new information and knowledge through watching videos and multimedia, accompanied by explanations from the teacher. This method is also useful when viewing concerts and performances in which they themselves took part, to comprehend and evaluate their own results;

Activity technology, through which students learn new material through personal demonstration by the teacher and his explanations, followed by repetition;

Gaming technology helps the development of creative thinking, develops imagination and imagination, improves communication and interaction in a team;

The technology of differentiated learning helps in teaching everyone at the level of their capabilities and abilities, developing creative abilities, creative personality traits, and educating a person of high culture.

Thematic lesson plan for club formation

(may include individual lessons)

Dance club work plan

Predicted result:

1. In training: learned to move smoother, wider and more spatially, became stronger and more flexible, coordinated, learned the relationship between movement execution and breathing, learned free improvisational movement, got rid of stiffness and tightness.
2. In development: learned to concentrate on the process, on practical application information, students mastered improvisational freedom and the ability to make creative decisions.
3. In education: acquired the skills of self-expression through movement, students enjoy dancing, their passion for the process of improvisation is visible, they understand and are able to distinguish different styles and trends in modern dance, in modern musical culture.

Conditions of Implementation

For the successful implementation of this program, the following material and technical base is required:

• easily ventilated and well-lit room. The hall should have stationary mirrors, well-established heating, double-glazed windows;
• It is advisable to carry out musical accompaniment of classes under a music center for flash and CD media; a music library should be formed;
• the equipment in the hall requires a table, several chairs, gymnastic benches, a shelf for audio equipment;
• for a more complete perception by students of the material being studied, a multimedia projector is needed;
• for a teacher to respond more quickly to all new developments in the field of modern choreography and music, the Internet is needed;
• On one of the walls, preferably at the entrance to the hall, it is necessary to place an information stand. In addition, the hall should have an evacuation plan in case of fire, safety instructions, a personal fire protection kit, and a first aid kit with a set of materials for bruises or other injuries. But the first aid kit and protective equipment must be stored strictly in a locked cabinet or safe.

Bibliography

1. "Education Act"
2. Federal State Educational Standard of the second generation
3. “The concept of spiritual and moral development and education of a citizen of Russia”

3. “Approximate educational program and socialization of students”

1. Bazarova N., Mei V. ABC of classical dance.- Ed. 2nd. - L., 1983, p.5-11
2. Vaganova A. Fundamentals of classical dance.- Ed. 5th. - L., 1980, p.95-147
3. Vasilyeva T. The secret of dance. - St. Petersburg, 1977, p.7-15
4. Volodina O. Self-instruction manual for club dances. - Rostov-on-Don, 2005, p.4-154
5. Vetlugina N. Musical development of a child. - M., 1976, p.3-16
6. Verbitskaya A. Fundamentals of stage movement. - M., 1983, p.5-13
7. Gusev G. Methods of teaching folk dance. - M., 2003, p. 9-166
8. Zvezdochkin V. Classical dance. - “Phoenix” 2003, p.6-24
9. Kvetnaya O. Historical and everyday dance. - M., 1997, p.45-67
10. Klimov A. Fundamentals of Russian folk choreography. - M., 1981, p.9-159
11. Polyatkov S. Fundamentals of modern dance. - Rostov-on-Don, 2005., p. 5-65
12. Purtova T.V., Belikova A.N., Kvetnaya O.V. Teach children to dance. - M., 2003.
13. Rudneva S., Fish E. Rhythmics. Musical movement. - M., 1972, p. 2-98
14. Striganov V., Uralskaya V. Modern ballroom dance. - M., 1978, p. 15-76
15. Tarasov N. Classical dance. - M., 1971; 1981, p. 20-90
16. Tkachenko T. Folk dances. - M., 1975, p. 6-35
17. Ustinova T. Preserve the beauty of Russian dance. - M., 1959, p. 4-10

18.Moritz V.E., Tarasov N.I., Chekrygin A.I. Methods of classical training. - M-L: Art, 1940. - (Choreographic School of the State Academic Drama Theater of the USSR).

19. Lugovskaya A. Rhythmic exercises, games and dances./General. Ed. Dormidontova T..-M.: Soviet composer,1991.

Internet sources

1. http://ballett.ru/cont/first.
2. http//:www.missfit.ru

List of members of the club formation

"Rhythm"

Analytical report of the creative teamChoreographic group "Rhythmika"

for the 2015 - 2016 creative season.

Teaching staff:

1 Human

Supervisor:Kidyaeva Elena Alexandrovna

(telephone) 89163471707

Teachers:

Kidyaeva Elena Alexandrovna

Academic work:

Classes for children are held according to several educational programs: “Stars” for children 5-6 years old - the relevance of this program lies in the fact that the child’s systematic motor activity preschool age has a beneficial effect on the development of the child’s body as a whole.

"Zodiac" for children of primary school age from 7 to 16 years. Distinctive feature of this program is the use of an ensemble of elements in classes rhythmic gymnastics, acrobatics and elements of health-saving technologies (the program has a pronounced health-improving focus).

Number of personnel for September - _19 people

group No. 1 - 3 people

group No. 2 - 12 people

group No. 3 - 4 people

Number of personnel for December - _21 people

group No. 1 _3 people

group No. 2 14 people

group No. 3 4 _persons

Number of personnel for April -16 people

group No. 1 3 people

group No. 2 9 people

group No. 3 4 people

Number of teaching hours per week by group:

group No. 1 2 hours

group No. 2 _2 _hours

group No. 3 _2 _hours

Set goals and objectives :

Compliance of the achieved goals and objectives set by the manager:

_85% completed

Planned and implemented solo creative projects: There were no solo projects during the season.

Repertoire update:

Group 1: Just Wiggle, Leon, Zumba.

Group 2: Sponges in a bow, Katyusha, Samovar, Chunga-changa, Brazilian dance, barbie.

Group 3: I am fire, you are water. Oru-ru-ru. Blue scarf.Limbo, One direction, Dens-dens, just dens.

Dynamics of growth in the performing skills of participants:

Competitive activity:

We did not take part in competitions this season.

Summary results of participation in competitions and festivals:

For the dance season 2015-2016. The team (team members) won:__0__ cups, _0____ medals, __0__ diplomas.

Festivals:"Golden Sunflower"

Concert activities: Concerts with the participation of creative groups were held at the Shaburnovo SDK.

Summer work planning: During the summer, the work of the team will be suspended

1. Stefanida Rudneva. Memories of a happy person. - M.: Glavarkhiv, 2007. - 856 p.: ill. ISBN 978-5-7728-0152-9, ISBN 978-5-8330-0249-0
2. Rudneva S. D., Fish E. M. Rhythmics. Musical movement. M.: Education, 1972.
3. Rudneva S., Fish E. Musical movement. Toolkit for teachers of musical and motor education working with children of preschool and primary school age. 2nd ed., revised. and additional / Ed. V. Tsarkova. St. Petersburg: Publishing Center “Humanitarian Academy”, 2000. - 320 p. ISBN 5-93762-003-8
4. Sirotkina Irina. Free movement and plastic dance in Russia. - M.: New Literary Review, 2011. - 320 p. - ISBN 978-5-86793-924-3.
5. Musical games, dancing and exercises in kindergarten. 1st ed. - Uchpedgiz, 1958.
6. Preschool musical education children. L.: Muzgiz, 1962.
7. Kayava E., Kondrashova L., Rudneva S. Musical games and dances in kindergarten. 2nd ed. - State educational and pedagogical publishing house of the Ministry of Education of the RSFSR, Leningrad branch, 1963.
8. Generalova L. Movement and music. M.: Muzyka publication, 1966.
9. Ilyina G. A., Rudneva S. D. On the question of the mechanism of musical experience, “Questions of Psychology”, 1971.
10. Iova E., Ioffe A., Golovchiner O. Morning exercises to the music. M.: Education, 1977.
11. Yashunskaya G. Musical education of deaf preschoolers. M.: Education, 1977.
12. Mikhailovskaya N. Music and children. Concerns of our time. M.: Soviet Composer publication, 1977. pp. 50-51.
13. Pasynkova A. V., Rudneva S. D. The role of motor components in the perception of music, in: Abstracts of the fifth scientific conference on the development of the singing voice, musical ear, perception and musical and creative abilities of children and youth, M., 1977.
14. Pasynkova A.V., Rudneva S.D. Experience in developing aesthetic activity using the method of musical movement, “Psychological Journal”, 1982.
15. Musical and motor exercises in kindergarten / Comp. E. Raevskaya, S. Rudneva, G. Soboleva, Z. Ushakova, V. Tsarkova. 3rd ed. M.: Education, 1991.
16. Experience in developing aesthetic activity using the method of musical movement. Author(s): Rudneva S. D. Pasynkova A. V. Reader on body-oriented psychotherapy and psychotechnics / Compiled by V. Yu. Baskakov. Moscow: NPO "Psychotekhnika", 1993. pp. 132-140.
17. Ailamazyan A. About the fate of the musical movement / Ballet. 1997. No. 4. P. 20-23.
18. Andrey Azarievich Kats. S. D. Rudneva // Moscow performance (dedicated to the 100th anniversary of Isadora Duncan’s first performance in Moscow) / Comp. Sirotkina I. E. - M.: Committee for Culture of Moscow, etc., 2005. P. 73-74.

Links

• S.D. Rudneva and E.M. Fish
• Center for Musical and Plastic Development "Geptakhor" named after. S. D. Rudneva

Aida Aylamazyan - catdidate psychological sciences, director and artistic director Center for Musical and Plastic Development "Geptphor" named after. S.D.Rudneva

What is the fate of the plastic and choreographic studios that emerged in our country at the beginning of the twentieth century? In this article, we will talk about the Heptakhor studio - not so much even about it itself, but about its work, how this work continued after the closure of the studio and in what forms it continues now.
In 1905–1907 in St. Petersburg, at the Bestuzhev courses, seven girls met - Natalya Pedkova, Stefanida Rudneva, Yulia Tikhomirova, Camilla Trever, Ilsa Trever, Katerina Tsinzerling and Natalya Enman (hence the name of their association - “Heptakhor”, which translated from Greek means “dance of the seven”). These were extremely serious girls, engaged in science (archaeology, ancient history and philology, Egyptology, chemistry), in love with art and music, richly gifted, bright in spirit. Inspired by the philosophy of F. Nietzsche, the music of R. Wagner, the lectures of their idol F.F. Zelinsky and the dances of Isadora Duncan (in “Heptachor” her name was pronounced correctly - Isadora), they begin systematic “movement” work in search of an answer to the question: how are music and human movement connected? At first we moved in the dark (as if by accident), this was one of the impulses that allowed us to hear ourselves, our bodies, which helped us to hear music, to hear with our bodies, then the understanding came - to remove the mirror in front of those moving, to remove vision, even to close our eyes. It turned out that during the work, vision changes, the ability to move in space almost blindly appears, and lateral vision develops. Later, in the 1920s, experiments were conducted with both vision and perception, learning to control the convergence of the eyes and looking for ways to develop spatial perception (volumetric perception) and motion perception. However, the main thing was not the development of vision as such; motor practice gradually led to such radical changes that, in essence, a new vision of man, his inner world, his life in this inner world; the perception of movement became especially deep, through which, as it turned out, one could feel internal state a person, his state of mind, the emotions he experiences. The perception of art changed, becoming holistic, very sensitive to the effect that a work of art has (the feeling that possessed the artist is captured). Now any work of art, be it a painting or a sculpture, is perceived as a living, breathing organism, since the heart responds with trembling, you feel their attraction, repulsion, their degree, the warmth once given to them... The action can be strong - after all, the whole body feels. But another new vision comes, perhaps more important than the perception of art - this is a new vision and experience of the elements of nature. It’s as if the wall between man and the world is collapsing. And then - what fullness of existence and the possibility of fulfillment come to a person, what happiness, what joy and purity! That is why Stefanida Dmitrievna Rudneva’s book is so boldly and unexpectedly titled: “Memoirs of a Happy Man.” Despite the hungry 1920s, the tragic 1930s and 40s, despite life “in the corners”, without a home of our own, despite lack of recognition, persecution - Rudneva’s whole life amazes with integrity, incredible devotion to her work, idea, spiritual clarity , health and stamina. A person of a systematic mind, she collected, summarized and described a huge amount of material - the work done by the Heptakhor studio to create a method of musical movement. Stefanida Dmitrievna lived to be almost a hundred years old, and even in her nineties she was still engaged in not only theoretical, but also practical work.

Through the so-called “training” - exercises created by “Heptachor” - you feel the strength awakening in you, some kind of original freshness and childish sinlessness, vastness. It’s amazing, and now almost unbelievable: this is, of course, positive work that helps a person get ready, get back on his feet, it brings the desire and strength to live. It is precisely this sense of purpose, and together with inspiration, that the photographs of “Heptachor” radiate.
Probably, Isadora Duncan once made a similar impression on young girls, future “heptachors”. She was real, as were her delight and enthusiasm: she ran because she wanted to run, she jumped because she wanted to jump, she stood when she wanted to stand; she danced because the fire and bliss awakened by the music spread throughout her body - and then everyday life left her hands and feet, they became tools, heralds, vessels into which new life was poured, they now testified to divine beauty. Isadora opened the floodgates, woke me up, called: break off your bonds, break out of captivity, you are free, discover nature, sacred nature within yourself! And with her dancing she herself tried to show how a person can be holy, how holy his body can be.
None of the "heptachoros" ever studied with Isadora or her students. They probably dreamed about it, but – thank God – it didn’t happen. However, it can be assumed that if they had ended up in one of her schools, they would have left it themselves, not having found there what they were obsessively looking for - a method of work, a method of educating the movement.
This search carried the “heptachoroks” into a variety of areas: from the study of sculpture, the laws of its construction, expressiveness, to acquaintance with various systems of gymnastics. He did not ignore the system of Emile Jacques-Dalcroze: after all, the task that he set for himself seemed to be similar - a systematic method, a path, was proposed. The answer was found: the connection between music and movement is rhythm, subordinate movement to rhythm. Let us remember how the apostle of the Jacques-Dalcroze system in Russia, Prince S.M. Volkonsky proclaimed with pathos new era in the development of plastic arts: an end to amateurism, intuition and lack of technology in the field of plastic arts, the connection between movement and music must be justified. He wrote about the expressive possibilities of plastic art:

Movement in ballet is attached to music, it is not born from it... Plastic formulas not invented separately from music will give this freedom and this expressiveness the opportunity to show all that they are capable of; It is not the pattern of body movements that the choreographer comes up with with his eyes closed and the plastic result of which is composed in his head, but the pattern that we hear in music, the dynamic root of which is in sound movement, in rhythm. Like any material, body movement, in order to become art, must be subject to a law, but we will find this law not in feeling and not in the visual requirements of plasticity, but in sound, in the regularity with which it is located in the infinite variety of speed, slowness, strength , weakness, lightness and heaviness. The human body must be subordinated to music... (Volkonsky, 1912, p. 53).

The Heptachor did not accept the Jacques-Dalcroze system, but the collision with it made its own intuition clearer. The musical movement is aimed at a holistic perception of the entire musical flow, strives to respond to the force that music sends, and not to formally dismember and structure the music.

A person does not interpret anything, that is, he does not translate any content from one language to another (from musical to plastic), he does not explain music to us, he lives by this music, it is real for him. To be able to experience music in this way, to perceive it as reality - this means to respond to music, to respond with your being, with your heart.

To consciously orient your movement only towards formal rhythm is to erect a wall between yourself and the music. Do not beat out the rhythm with your body, otherwise you will close off the opportunity for yourself to sing music with your body, to perceive its internal movement. Critics, some with surprise, some with a sense of superiority, wrote that Isadora’s dance was unrhythmic. We find it from S.M. Volkonsky about Isadora:

Her arms are more rhythmic than her legs, but in general she is not very rhythmic, and this is especially clear at quiet tempos: her gait is at odds with the music, she often steps between notes, she takes extra (according to the music) steps, starts new figure in the middle of a phrase, etc... (Ibid., p. 203).

The point, of course, is not that Isadora could not reproduce a rhythmic pattern; her dance was subordinated to something else: an endless, ever-born, continuous movement embodied in music.
Indeed, many of those who were looking for new ways in choreography perceived and saw, first of all, Duncan’s special plasticity, the seemingly viscous, flowing type of its movements, the bewitching smoothness: either a person is sleeping or swimming in water. With their tenacious professional eye, behind the magic of this flowing dance, they examined the work of the muscles - how such smoothness of movement is achieved, they seemed to have figured out the technique - mastering the relaxation of the body; This is how the new art of choreography with search arose new technology and a new repertoire of expressive movements - modern dance. But, imitating plastic techniques, what is visible, the innovators did not seem to hear the music and did not perceive the main thing: how such a dance is born, what is its source. Or maybe they accepted it, but didn’t want to accept it, couldn’t go in that direction?
And what about Duncan herself? All their lives, Isadora and her brother and sister Raymond and Elizabeth (they, perhaps more consistently) sought to create a school. Isadora was not only an artist, and she certainly felt that she had to do something more, to fulfill a mission, to bring a message, to breathe new life into people. The fervor of her conviction was almost prophetic. Hence her constant, in fact, central, and rather incomprehensible to those around her, idea of ​​​​teaching children movement, hence her naked life in front of people and her tragic fate - retribution and martyrdom at the same time.
The difficult history of its schools is well known. One of them was created in Moscow, in 1921. After Isadora left Russia, the work of the Moscow school was led by her adopted daughter and student Irma Duncan.
The school that arose in Moscow, later the studio, existed until 1949, mainly touring. The studio’s experience is little known, although direct students of Isadora and Irma Duncan are still alive in Russia.
Elizabeth Duncan taught constantly in Isadora's European schools; Raymond Duncan set up his own studio and worked on creating gymnastics, studying the principles of movement. Several of the most capable students from Isadora's first school became her adopted daughters. In the future, they will create their own schools where they will teach Duncan dance. Currently, Isadora Duncan centers exist in America, England, France, Germany, and are now taught by students of the adopted daughters of Isadora Duncan and students of Elizabeth Duncan. Raymond Duncan also has a small following, living a secluded life in California.
One of the common cliches associated with the Duncan dance, and later with the so-called free dance, is the idea of ​​​​improvising movement. But the fact is that improvisation can be different and can be understood in different ways. Improvisation is possible as variations on a theme, improvisation as an expression of mood, as self-expression, etc. Isadora was tuned to a completely different wave, and to understand the meaning and nature of her improvisation, you need to look where she was looking. Let us remember what Isadora herself says about the process of creating dances: she waited, sometimes painfully long, until, under the influence of music, dance awakened in her, movement awakened - the very thing that accompanied the creation of this music. All movements of such a dance must be permeated with a feeling, an experience of music. What happens at this moment, how does the body become alive, speaking, warm, enthusiastic? Isadora began to feel this way:

...I tried to find and finally found the origin of all movement... From this discovery a theory was born on which I based my school. Classical ballet school claimed that such a source is located in the center of the back at the base of the spinal column. Around this axis, the ballet teacher says, the arms, legs and torso should move freely, creating the impression of a moving puppet. This method creates artificial mechanical movement, unworthy of genuine dance. I, on the contrary, was looking for a source of dance movement that would penetrate all the pores of the body. After many months, having learned to concentrate all my strength in this single center, I discovered that when I listened to music, its vibrations rushed in a stream towards this the only source dance, which is, as it were, inside me. By listening to these vibrations, I could translate them into dance (Duncan, 1989, pp. 70–71).

This means that the essence is that the body does not move abstractly in dance, but perceives the vibrations of the music, the charge inherent in it, and acts as a conductor of musical flows.

Many people have stumbled over the idea of ​​dance improvisation. It turned out (and Duncan herself notes this) that teaching children to improvise to music is quite easy. The children move enthusiastically, grasping some of the rather crude characteristics of the musical fabric. At the same time, there is no depth of experience of music, its spiritual comprehension, since instead of perceiving the music as a whole, parts are snatched out, in particular - the body, which seems to move so much, remains unawakened.

On the other hand, the principle of improvisation is also proclaimed by other representatives of modern choreography and free dance. The idea of ​​freedom is very complex; it is important what we understand by freedom.

Isadora, as we see, was looking for the secret spring of her dances in order to find methodological techniques learning a new art. Attention to the center of movement located in the solar plexus, to the ability to perceive music, to a special attunement of the mind and body before improvisation, dance - all these are outlines, the beginning of a new approach ( Duncan, 1989).

There was an acquaintance with the teachings of Francois Delsarte, where many laws of emotional expressiveness of the body were revealed: moving the center of gravity, etc. Delsarte’s ideas were intertwined with the search for ways to create movement: how one movement generates another, is born from another, and is not performed independently, through stops, pauses in body

But how to teach this, what should be the result of such training? And here, in pedagogy, it seems that the principle of the connection between music and movement was ignored or not understood. Training was reduced, on the one hand, to performing the actual motor exercises to music quite superficially associated with them, to learning movements (a traditional, common move in dance pedagogy) and repetition (also through the stage of learning movements without music) of Isadora’s own dances. On the other hand, children were encouraged to improvise to the music. As a result, children (and adults) learned to repeat Isadora’s dances (although there is also a question: what does it mean to repeat and in what sense can Duncan’s dance be repeated), but they turned out to be incompetent in own creativity– unable to create their own dances. Duncan dreamed of raising a creative person, but the path to creativity was not easy.

In the end, Isadora was Isadora: contradictory, tragic, great at heart, she was a daughter of her time and completely out of that time. She danced as best she could, lived in dance, talked with people through dance, performed sacred acts, then prayed, then cast spells. And attempts to reproduce its “choreography” today are futile precisely because there is very little actual choreography there, and all of it has long been assimilated by ballet...

Not knowing at first the work in the Duncan schools, but having perceived the spirit of Isadora’s own dances, the Heptachor group almost immediately understood and highlighted what would make its methodological and then aesthetic search so unique and bold: if you want to teach a person to live in music, to truly create a dance, then the path of learning movements, imitating movements is not suitable. Usually, when learning choreography, students practice individual dance movements, dance steps; even if they are performed to music, the latter serves only as a background, organizing the rhythm and tempo of the movement. “Of course, so,” any teacher will say, “but how could it be otherwise?” The idea of ​​another path was to make the perception and experience of music, the development through the movement of this perception, the center of classes. The movement begins to play a different role: it is not performed like gymnastics, does not create a so-called plastic image, but helps to better hear, concentrate and deeply experience the music. Such interaction with music was meant when S. Rudneva spoke about a single musical-motor process. It is important to understand here: in the case of a single musical-motor process, the perception of music does not precede movement (as one can imagine: listened to music, perceived its idea and then came up with an appropriate plastic image and some suitable movement), movement must become its living perception.

If it is possible to awaken such a direct motor reaction to music - not mediated by any considerations, reasoning, fear and analysis - then the movement begins to acquire new qualities and discover what is usually an internal invisible process: the human body acquires a special tone and mobility (comes to life, breathes). ), begins to look for music, feel for movement, literally feel the music; the latter, as it were, flows into the body and flows inside it through invisible vessels. The process of entering music is actually complex and difficult, but it is in such work that the impulses, charge, and motivations inherent in the work are revealed.

Such motor living and, thereby, experiencing music, such a reaction can be awakened and nurtured, and the first steps in this direction were taken by “Heptachor”. First of all, training began to be developed that allows one to work on the ability to perceive music, to respond (as we sometimes say) and at the same time in a special way - on the human body - to develop its motor and sensory capabilities. This is a single process, this is the whole essence of the approach.

Let's tell you more about the training. The so-called exercises are specially selected musical excerpts or small entire works with their found motor form, which students are asked to perform. So what - repetition of movements again? Let's try to explain why this is not so (although you can work with the simulator incorrectly, that is, strive to copy movements without understanding its true tasks).

Firstly, these movements are never learned separately from the music, they are not performed in parts, fragmentarily, there is no counting, counting of movements or beats. Yes, it is impossible to truly perform them without music, they cannot really be performed if you have not heard, have not perceived in this music what everything was intended for. Let's give an example: light shocks in music encourage a run, at first barely outlined, restrained, only a flame flares up inside, and then the run intensifies, a growing jubilation bursts out and, finally, explodes with a jump - one, then another, the pace of movement accelerates, an overwhelming feeling is now flowing freely, vigorously in a wide, energetic, passionate run, and... a still growing sound, just two chords repeated many times, but this is a brake at full speed, as if running meets an obstacle, as if the wheels of a locomotive are stuck in the sand... arms, legs are resting... and – stop with the last sound of the music. After a one-time demonstration, students are asked to do all this, that is, in essence, to independently find this “motor form”. This can be achieved if you “hear” the music, then your legs will start running, change the speed and length of the step themselves and accurately enter the jump, find the take-off and method of landing, etc.

Now about the movement itself: after all, we are not running theatrically and not “classically” jumping, even standing... Such a movement can be called natural. But what does it mean? Maybe you just need to walk as you usually walk, run and jump as you run, etc. It's worth trying to do it naturally (even though we're ordinary life We move, as a rule, rather unnaturally and, of course, without fully identifying the possibilities of movement). Natural movement - what does it mean? “Natural” is usually understood as “innate” to a person, given to him from birth. But if he is not taught to walk and stand up (that is, if special activity is not awakened), he will not get up and begin to walk. In this sense, a person is a generally unnatural being, but, on the other hand, in walking and standing, it is precisely the essence of a person that is expressed, this is his healthy, natural state. This means that natural movement is a movement that expresses the human essence; man is destined for it; without it, the full and, ultimately, perfect development of man is impossible.

Natural movement reveals itself in that it is grasped by a person immediately, as if guessed, there is no need to unlearn it, and its execution immediately brings a feeling of liberation and clarification, joy. Our jumps, swings, throws, all these “pull” or “push”, “lift”, “lower”, “spread”, “whip”, “rest”, “crumple”, “pump”, etc. - these are movements. Often, even the first time you show and perform it, you get the feeling that you have done it before.

Natural movement never has a frontal sweep, it is always multidimensional, three-dimensional, turned in all directions at once (and not in one direction - towards the viewer) and, by the way, is multi-valued, symbolic.

Natural movement is built as a process of development of movement, and not as a sequence of completed movements, actions: born from the first push, imbalance, it involves the rest of the body in movement according to the law of action (not stopped anywhere) of gravitational force, the conjugation of all parts of the body (see Appendix 8). For example, a slight shift of the center of gravity forward will cause the body to deviate forward, the legs seem to lag behind, remain behind, they are the last to be involved in the fall and take a step, but the movement of the center of gravity does not stop, the fall of the body continues, and you take the next step. This is a walk in which human body acts in unity, and does not work in parts; the legs do not initiate, but only pick up and continue the movement, which in turn causes the continuation of the falling movement of the body. Each movement encourages the next without interruption, the transition itself is elusive.

Practice built on the principles of natural movement leads to natural development of the body. Healthy development is not determined by the presence of pumped up muscles and untwisted joints in all directions, but presupposes a body permeated with the mind, which knows what its harm and benefit are, a body that is a friend and not an enemy.

Of course, the understanding of the work of “Heptachor” and the foundations of the method of musical movement he developed, presented in this article, reflects our today’s vision, our today’s search. “Heptakhor” himself did not literally understand his work, and he was solving a different problem: the matter preceded theory, reflection. Later, attempts were made to describe the method (mainly descriptions of exercises), and programs for working with children were developed. Already in 1926, a collective article was written in which the principles of organizing musical movement, the main types of movements and methods of their implementation were highlighted (see Heptakhor, 1926). But it must be said right away that it is difficult for the uninitiated to understand what we are talking about, even for those involved in practice it is not easy to understand. For example, springiness of movements - what kind of quality is this?

Joint work by S.D. Rudneva, musicologists and psychologists in the 1960–70s was partially reflected in publications devoted to benchmarking musical and found motor form of musical works ( Ilyina, Rudneva, 1971) and the process of transforming motor impulses into aesthetically expressive movement ( Rudneva, Pasynkova, 1982).

Officially, the Heptakhor studio was opened in Petrograd in 1924. During the ten years of its existence, it managed to do a lot: it carried out a serious and, now we understand, unique methodological work, exercises were created for classes with adults and children, work was underway on the movement itself - the team members searched for and developed special motor techniques, developed a musical-motor “reaction”, there was vigorous concert activity and, of course, one of central places occupied pedagogical work. You can't list everything. The bright, full life of the commune, decorated with wonderful holidays and “rituals,” attracted people, radiated energy and joy.

In 1934, the state studio "Geptakhor" was closed.

Stefanida Dmitrievna Rudneva said that only thanks to the support of Academician I.A. Orbeli, who was well acquainted with the work of the studio, none of the team was arrested or repressed. S. Rudneva, who moved to Moscow, preserved everything created by the team. Later, two talented students began working in Moscow - participants in the studio since the early 20s - Emma Mikhailovna Fish and Lidia Stepanovna Generalova.

Although the area in which the method developed - music education mainly in preschool institutions - was predetermined by external circumstances, it also had its own internal logic. The child's psyche, not yet familiar with the stamp and still functioning holistically (words, behavior, feelings - everything is merged), is the most fertile, open and promising for such work. Observation of children's creativity and movement at the same time was and is a source of discovery of various types of movement, characteristic techniques for their implementation, etc. But, on the other hand, it is more difficult to achieve concentration and long-term interest in work in children.

Created by " children's material" was published; he is still popular among music workers, you find it in almost every published book on rhythmics, therapeutic rhythmics, creative dances for children ( Raevskaya, Rudneva, Soboleva, Ushakova, 1969;Rudneva, Fish, 1972). Unfortunately, the described exercises are not used for their intended purpose; at best, only the superficial content of musical games is taken.

The foundations of children's pedagogy in the musical movement were laid by L. Generalova. The serious, concentrated state of children in her lessons was achieved not by the usual methods of maintaining discipline, but by involving children in a musical work: it was necessary to hear the beginning of the music, accurately hear the end, a change in sound, etc. A special style of communication with children was found, many techniques for working with music and children were identified, allowing one to achieve an emotional reaction to music. Of course, the central figure of the lesson remained the teacher: without his full inclusion in the music “here and now” the method would not work - this is a very serious requirement. Another condition is the ability to perceive the child’s condition, to see it from the inside.

At the end of the 1950s, the situation in the country changed and the musical movement came out of hiding. Emma Fish organized a musical movement studio, which was mainly engaged in stage practice. The existence of the studio (1957–1970) was accompanied by constant criticism: they were indignant bare feet and dirty heels, they were branded for petty-bourgeois aesthetics. Constant struggle for the studio, continuous attacks, organizational troubles - E. Fish had to pay too high a price for the opportunity to work openly. The performances and dances she created are very expressive, unique, and clearly reflect her human and plastic personality.

The non-stage direction of work was continued by S. Rudneva’s student Olga Kondratievna Popova. Having extensive experience working with children (primary schoolchildren and preschoolers), she became a recognized “lesson master.” Her results were surprising: observing the lesson from the outside, it was completely impossible to understand how this is done, how the teacher manages to incite children to observe reverent order, how such a deep interaction of the child with music is achieved, such freedom of movement, relaxedness... Olga Kondratievna walks in the indicated “Heptachor” ” direction further, trying to awaken in students an internal reaction to music, creating conditions for this in the lesson, literally collecting the necessary state bit by bit, setting up the psychophysical apparatus. Working in depth on the training, she reveals its psychotechnical, inner side, – that’s why the logic of the lesson, its absolutely unconventional technique and direction are so invisible and unclear.

Now the students of Olga Kondratyevna Popova and Emma Mikhailovna Fish are working with the “musical movement”. They must find a path to follow next. The experiment, begun almost ninety years ago, continues...

We don't want to give the impression that everything comes naturally: listen to the music and react with movement. The fact of the matter is that if you do not specifically organize this process and gradually, step by step, do not develop it, no improvisation will appear and no free movement will arise. Such work should last for years, slowly growing a “new” human body. It has its own stages: from awakening a person’s feelings through consistent liberation from everything that interferes, fetters, and distracts from the perception of music - to an enlightened and in this sense free experience, that is, an open, blissful experience of music.

Speaking about the method of work, we deliberately paid attention to those aspects that are not “technological”, but constitute the essence of the approach; From these moments, a specific methodology and technique further grow. This is an informal attitude towards music: not a single movement outside of music, music is not the background of the movement, but its content. How do such classes differ from traditional choreography training? Because they are not about practicing movements, as is customary in choreography, but, first of all, about working on the human condition, on his ability to experience music. This is the source of such unexpected “entertainment” dance art(“art for the feet”) there are quite deep consequences of classes, their influence on a person’s personality.

Literature

Volkonsky S. Artistic responses. St. Petersburg: Apollo, 1912.
Duncan A. My life // Isadora Duncan: Sat. / Comp., Ed. S.P. Snezhko. Kyiv: Mistetstvo, 1989. pp. 27–215.
Heptakhor // Rhythm and culture of dance: Sat. L.: Academia, 1926. pp. 60–65.
Ilyina G., Rudneva S. On the question of the mechanism of musical experience // Questions of psychology. 1971. No. 5. P. 66–74.
Rudneva S., Pasynkova A. Experience in developing aesthetic activity using the method of musical movement // Psychological Journal. 1982. No. 3. pp. 84–92.
Rudneva O., Fish E. Rhythm: musical movement. M.: Education, 1972.
Raevskaya E., Rudneva S., Soboleva G., Ushakova Z. Musical-motor exercises in kindergarten. 2nd ed. M.: Education, 1969.

Musical movement is a method of musical education, personal development and teaching free dance. It is equally suitable for both children and adults (the method is adapted for different age groups) and is designed mainly for healthy people, although there are successful attempts to apply its elements in working with problem children, for example, those suffering from autism. Classes are held in groups, always accompanied by live music (instrumental or vocal). Specially selected fragments of classical works are used as musical material. folk songs(the music may be different, but historically the method was developed precisely on such musical material).

The student is required to move only with the music: start the movement with its beginning and end exactly with the end. The movement should reflect the nature of the musical fragment - contrast, fluidity, impetuosity, etc. - in other words, the student should find in the music the movement that can be discerned there. As practice shows, almost no beginner can do this; To teach the ability to “move in music”, the creators of the method developed a special training: musical fragments were selected in which the motor nature of the music is especially evident, and a plastic form was found that accurately reflects all the features of a given piece of music.

Correct execution of the exercise does not consist in copying a motor form, but in recreating it, for which the student must hear, feel and appropriate - “take inside” - a piece of music with all its features. Only then will the plastic gesture of the student coincide with the musical intonation of the work and be molded into an aesthetically perfect and emotionally convincing musical-motor form. The task of emotionally listening to music and translating it into the movements of one’s own body serves as an impetus for the development of musicality and personal growth.

The training exercises are divided by level of difficulty into three groups - from those in which the connection between music and movement lies on the surface, to those where it is not obvious. Rising from one level to another, the student at the same time masters the content of increasingly complex musical fragments and masters more complex movements. An important part of the method is independent work students - their own plastic interpretation of the proposed musical works. The plasticity created by Heptachor emphasizes the central characteristics of music - breathability, fluidity, springiness. The method, originally created as part of musical education, is also used in dance practices, especially for teaching motor improvisation and free or plastic dance.

From the history of the musical movement

The music movement will soon be one hundred years old. The inspirer of this tradition was Isadora Duncan, and the creators were Stefanida Rudneva and her friends from the Bestuzhev courses. Having seen in the first decade of the twentieth century. Duncan's tour performances in Russia, they decided, without literally imitating her, to do something close in spirit: to perform music plastically. The accompaniment at their “white meetings” - based on the color of their chitons - was always live game playing musical instruments or singing. In 1918, the historian of antiquity F. F. Zelinsky, their professor at the Bestuzhev courses, gave the group the name Heptakhor, or “dance of the seven” - based on the number of participants. At this time, Rudneva and her like-minded people were already teaching lessons in gymnasiums and schools using their own method, which they called “musical movement.” Soon they officially registered the Heptakhor Studio and two-year courses with it in the early 1920s. gave many concerts in Petrograd. The studio closed under the onslaught of the Stalin era, but Rudneva and like-minded people - L. S. Generalova, O. K. Popova, E. M. Fish and others - managed to preserve the musical movement, teaching it (sometimes under the name rhythmics) in schools, children's gardens and cultural centers. Now musical movement is taught and practiced in a number of centers for musical and plastic development and plastic dance studios in Moscow and St. Petersburg.

Method of musical movement and development of musicality

There is an opinion that “musicality is given from birth” and is a rather rare quality (some [ Who?] claim that it is inherent in only one child out of 10) and does not depend on what a person receives music education. However, if musicality is understood not as analytical, pitch hearing, but as intonation hearing - that is, the ability to hear the expression of a musical work, as well as motivational components - love for music, the ability to respond to it emotionally, the desire to listen and practice it, then it is impossible to deny that it can be developed. The method of musical movement helps to develop musicality through plastic gesture: to learn to understand the expressiveness of music and thereby penetrate into its deep essence, which itself goes back to movement.

Musical movement is a way of sensory and bodily perception of music, its plastic analysis. The student masters the language of music directly through practice, without studying the structure of a piece of music or the technique of playing an instrument. He learns to speak a musical language in the same way a child learns to speak his native language: not by memorizing grammar, but in a natural way, through communication and play. This method gives, in the words of T. Adorno, a “good listener”: one who understands music directly, and not only cerebrally, but with the intelligent body. As a result of such training, the ability to express plastically the most complex parameters of a musical work is formed: not only meter (to which dancers are often limited), but also melody (voice, melodiousness), harmony (color of movement), rhythm, major-minor (light, joyful - dark , sad), accent (organ point, sound strength, polyphony).

Video

• Lesson 1. Teacher V.G. Tsarkova (September 27, 1996)
• Lesson 2. Teacher V.G. Tsarkova (October 25, 1996)
• Musical-motor composition “Spring sketches”

Literature

1. Stefanida Rudneva. Memories of a happy person. - M.: Glavarkhiv, 2007. - 856 p.: ill. ISBN 978-5-7728-0152-9 , ISBN 978-5-8330-0249-0
2. Rudneva S. D., Fish E. M. Rhythm. Musical movement. M.: Education, 1972.
3. Rudneva S., Fish E. Musical movement. Methodological manual for teachers of musical and motor education working with children of preschool and primary school age. 2nd ed., revised. and additional / Ed. V. Tsarkova. St. Petersburg: Publishing Center “Humanitarian Academy”, 2000. - 320 p. ISBN 5-93762-003-8
4. Musical and motor exercises in kindergarten / Comp. E. Raevskaya, S. Rudneva, G. Soboleva, Z. Ushakova, V. Tsarkova. 3rd ed. M.: Education, 1991.
5. Musical games, dancing and exercises in kindergarten. 1st ed. - Uchpedgiz, 1958.
6. Preschool musical education of children. L.: Muzgiz, 1962.
7. Kayava E., Kondrashova L., Rudneva S. Musical games and dances in kindergarten. 2nd ed. - State educational and pedagogical publishing house of the Ministry of Education of the RSFSR, Leningrad branch, 1963.
8. Generalova L. Movement and music. M.: Muzyka publication, 1966.
9. Ilyina G. A., Rudneva S. D. On the question of the mechanism of musical experience, “Questions of Psychology”, 1971.
10. Iova E., Ioffe A., Golovchiner O. Morning exercises to music. M.: Education, 1977.
11. Yashunskaya G. Musical education of deaf preschoolers. M.: Education, 1977.
12. Mikhailovskaya N. Music and children. Concerns of our time. M.: Soviet Composer publication, 1977. pp. 50-51.
13. The role of motor components in the perception of music, in: Abstracts of the fifth scientific conference on the development of the singing voice, musical ear, perception and musical creative abilities of children and youth, M., 1977.
14. Pasynkova A. V., Rudneva S. D. Experience in developing aesthetic activity using the method of musical movement, “Psychological Journal”, 1982.
15. Experience in developing aesthetic activity using the method of musical movement. Author(s): Rudneva S. D. Pasynkova A. V. Reader on body-oriented psychotherapy and psychotechnics / Compiled by V. Yu. Baskakov. Moscow: NPO "Psychotekhnika", 1993. pp. 132-140.

• Aylamazyan Aida. About the fate of the musical movement // Ballet. 1997. No. 4. P. 20-23.
• Dance practices: semiotics, psychology, culture / Ed. ed. A. M. Aylamazyan. M.: Smysl, 2012.
• Heptachor // Encyclopedia “Theater”. T. 1. Ballet. M.: Kordis & Media, 2003.
• Sirotkina Irina. Free movement and plastic dance in Russia. M.: New Literary Review, 2011.
• Sirotkina Irina. The sixth sense of the avant-garde: dance, movement, kinesthesia in the life of poets and artists. St. Petersburg: European University Publishing House, 2014.

P83 78 (07) This manual, written by S. Rudneva and E. Fish with the participation of teaching methodologists T. Bukharova, P. Goldberg, N. Efimenko, O. Popova, is addressed to teachers and leaders E. E. Veselovskaya, Tsilderman, clubs, in schools, boarding schools, orphanages, as well as in leading music schools, movement classes. related to music (rhythm, musical-rhythmic exercises, musical movement). Methods of teaching musical movement and necessary educational material over the course of a number of years, they were developed, tested in Iraq by the authors of this manual and proved to be an effective means of musical education of children. "(The term “musical movement” was used by K. S. Stanislavsky during his work in musical theater, referring to the need for organic movement with music, to the leading role of music in the education of musically expressive movement and gesture.) We hope that our work - systematized practical material, equipped with detailed methodological explanations. - will help teachers to more correctly set the tasks of aesthetic and education of younger schoolchildren by means of musical movement. In the process of working on the manual, we were given friendly assistance with their advice and critical comments by G. A. Ilyina, L. V. Rulakovsky, E. M. Margolis, N. M. Mikhailovsi>aya, N. M. Sheremetyeva, for which we bring them deep and sincere gratitude. We also express great gratitude to the teachers and school administration.M 48 and 83 Moscow for the assistance provided to us in the preparation and conduct of photographic and filming. Authors of the manual 6-5 B3.M 8-1972-.M 28 S. R U D N E V A, Z. F I W Muzykalnov movement MOSCOW " PR 1972 ABOUT INVESTMENT" RHYTHMIN HECKOnbHO WORDS ABOUT NNIGA Musical education in working with children of preschool and school age has long been identified as an independent subject. However, not only in the specific methodology of this work, but also in determining its most general tasks and goals, a unified point of view has not yet been developed. For many people, the goal of musical education is the education of cultured or at least musically literate listeners, from among whom the most gifted can be selected for professional training. With this attitude, the content of the work is the acquisition of skills and knowledge that children will need in the future when listening to music and playing music. Carrying out such work requires, of course, at first, all sorts of techniques that can interest children and introduce them to music. At the same time, choral singing is taught, hearing is carefully developed, and information about music, composers, and performers is given. Neither love of music, nor emotional sensitivity, nor musical taste can be taken into account in the credit requirements of the most detailed music education program. But any knowledge about music, performing and auditory skills can easily be taken into account, i.e., everything that what is required for preparation for music school. Thus, the musical education of preschoolers and schoolchildren often turns into the first stage on the path of a professional musician. This attitude is opposed by another: musical education is the process of developing musicality not only as the ability to understand, but also to deeply experience and feel the music, as if it were created by the listener himself. Only then will music remain in the child’s emotional memory for a long time, affecting his attitude and behavior. Only with such a deep perception of art, in in this case music reveals its artistic and ethical value, fulfills its true tasks, well formulated by L. S. Vygotsky in his excellent work “Psychology of Art”: “Art is ... an organization!” behavior for the future, setting forward." 6 Only the desire for such a development of musicality allows us to look at musical education as a deeply important and necessary process for our children. In this process, it is necessary not only to give them useful musical skills and knowledge; first of all, it is necessary to develop precisely everything that cannot be included in the program and examination requirements, but develops slowly and with difficulty. With such a goal setting, movement to music turns out to be one of the most effective methods in the development of musicality - a method based on a natural motor reaction to music, your own This method has difficulties associated with the fact that musical directors of kindergartens and schools are usually associated with various movement systems: everyday dance, folk dance oh, ball etnogo; rhythmic, plastic, artistic gymnastics of various types. And the second manual, judging by the descriptions of games and exercises, decided to take the most natural, but most difficult path - they tried to determine the nature of the movements, based on the music itself (of course, teachers in the physical and mental development of children). What we have before us is a summary of many years of work, the result of numerous experiences of an entire team of teachers, seems especially valuable. nom. Of course, practice will have the final say on the usefulness of each individual exercise and the correctness of methodological techniques. However, I consider it necessary to note the innovation of the proposed manual, multiplied by “.I) Careful thoughtfulness and practical experience, already now, prior to general familiarization with the manual. L. Kulapovspiy INTRODUCTION The task of the musical movement is to educate children’s ability to listen, perceive, evaluate music, develop their love for music and the need for music, prepare them for future sensitive listeners and music lovers who draw inspiration, joy, and support from it , to awaken the artists in them. Musical movement classes should develop children's musicality. Musicality is characterized by the ability to 11tJрtJ live the content of the musical process in its integrity - to feel the musical image. The ability to create a musical-motor image develops through appropriate, purposeful organization of both the perception of music and the children’s movements themselves. Music evokes a motor reaction in any person. Often this reaction remains hidden, expressed only in changes in muscle tone. It is necessary to create the necessary conditions for the natural identification of these motor reactions in the movements of the whole body. All this fosters creative activity and imagination in children. In musical movement classes, the figurative content and nature of the exercises entirely follows from the content and form of the music. Children develop “the ability to listen to music as a logical and consistent action >> 1 B special exercises, games, and dances, they themselves become involved in the action and holistically perceive the emotional content of the music. Creative activity manifests itself in different ways: and then, when children, listening to music, independently express their emotional perception with the movements that the music requires; and in those cases when children perform an exercise with given movements, they give them expressiveness and expressiveness that corresponds to their own perception of music. In the process of this work, children should be introduced to music containing various characteristic images - from cheerful, carefree, lyrical, gentle to energetic, strong-willed 2 Comparison to specific musical images (energetic, active, strong-willed and calm, lyrical, contemplative) helps children experience stronger and deeper experiences and express them more clearly, enriches and organizes the emotional world of children. A child’s success is determined not by the number of exercises, games, and dances completed, but by the children’s ability to experience them with passion. You should always pay attention to the expression on the faces of moving children, since it is in their faces that you can most clearly see what music and movement give to children. 1 Words by K. S. Stanislav soon See: G. K r i s t i. Work at the Stanislavsky Theater. M., “Iskusstvo”, 1952, p. 262. 2 The predominance in the repertoire of dance, the so-called motor, with an unexpressive melody and shallow content can cultivate the ability to nervously respond with movement to its metro-rhythmic character, but not � evvy:x. artistic experiences. . in opera, children's musical skills will be given to them by WORKING METHOD The exercises, games and dances included in the manual are educational, didactic material : all of them simultaneously help to educate children’s musical perception, improve their movements and develop their ability to creatively embody a musical-motor image. In addition, each of them has its own special task (one helps in mastering a specific motor skill; the other directs children’s attention to reflecting a particular feature of music, etc.). The material is systematized and published in four sections. The first section includes exercises with the help of which children master three movement techniques - spring, swing and smooth, which later give them the opportunity to impart to the movement the character and expressiveness characteristic of various musical motor images 1 The exercises of the second section help to master walking, running and other types of movement as means of expressing the simplest musical-motor images. The exercises of the third section reveal the expressiveness of musical-spatial compositions: they teach how to collectively perform them as meaningfully, clearly and musically as each individual movement should be performed; develop a sense of space in children. The main task of the exercises, games and dances of the fourth section is to develop and deepen the creative abilities of children, to be able to create musical and motor images independently, using the skills acquired in the exercises of others sections. In addition to the so-called musical-motor material of these four sections, the manual contains preparatory exercises. Their task is to give children the necessary motor skills. All attention should be directed to the development of a spiritual sense 2, a conscious attitude towards one’s movements. Therefore, the preparatory exercises are performed without any effort. Before using the manual material, you need to read the methodological part, which outlines the basic settings and methods of work, and also become familiar with its general content and structure. The driver must carefully work through the preparatory exercises and material of the first and second sections; master the basic principles and guidelines for working on musical movement, which will help him understand the structure of the manual and teach him how to use it correctly. 1 For details on the objectives of these exercises, see the explanations for the material in each section. 2 The muscle sense is usually called those kinesthetic (motor) sensations that deliver signals about the degree of muscle contraction and the position of the body members (for example, how much the arm is bent at the shoulder joint, etc. . d.). th t1 First introduction to musical movement First graders usually come to their first musical movement lesson full of interest and anticipation. Many of them had already encountered music more than once - all of them, of course, willingly jumped, skipped, and ran, as is typical of all children. But not all of them learned to combine music with movement, which could give them both a new sensation of music and a new quality of movement. The leader must immediately capture the children’s attention, both involuntary (caused by interest in the activities) and voluntary (purposeful). At the very first lesson, the leader is obliged to achieve attention to every word and a serious attitude to the basic rules of work and behavior: do not make noise, do not talk while music is playing, do not be distracted, move silently - “do not disturb the music” (you should go to classes in light, loose and neat clothes, in slippers with soft soles). If at the first lesson we allow too much attention and violation of the rules of behavior, then the serious attitude with which the children came will disappear and it will be difficult to restore it: games and exercises will turn into chaotic running around, children will become excited, and classes will lose all meaning. From the very beginning of work, children must acquire the first necessary musical-motor skills: they get used to listening carefully to music while moving - starting or ending a movement, replacing one movement with another. All these<<команды>> gives music; Without attention to it, musical movement is impossible and uninteresting. Attention to music is further aggravated by the fact that there is no preliminary listening and discussion of the music of a new exercise (game, dance). Having explained to the children the content of the exercise and its structure, the teacher warns the children to prepare for the movement when the music starts, and then leaves them to complete the task as they understand it, as the music tells them. - At the same time, the teacher asks for the development of musical-motor memory in children:<<Что мы делали в прошлый раз под эту музыку?» ­ или предоставляет им самим начинать упражнение, услышав знакомую музыку. Так у детей воспитывается непрерыВное и заинтересованное вни­ мание к музыке, с которой связаны их действия, игры; первоначально про­ извольное, оно постепенно превращается в послепроизвольное - дети при­ выкают следить за:музыкальным рассказом так же, как они слушают сти­ хи, сказку. 12, С первых занятий у детей должны активизиров аться связи между му­ зыкой и движением. Необходимо возбудить у ребят желание двигаться, когда звучит музыка, сделать для них связь музыки с движен� ем привыч­ ной, естественной. Дети должны получать радость от движении и музыки; движения усиливают их эмоциональный отклик на музыку. Для этого надо включать в первые уроки простые интересные упраж­ нения, не предоставляющие особых затруднений для их восприятия и вы­ полнения. Вначале многие дети не обращают внимания на музыку, ее характер, не умеют подчиняться ее темпу и ритму. Поэтому не следует сразу предъявлять слишком больших требований к четкости, выразительности их движений. Повторяя упражнение, можно помочь детям вопросами, например: « Это музыка веселая или грустная?>>, “Slow or fast? >>, invite them to move in accordance with the nature of the music. These first musical and motor impressions and skills of children serve as the key to the success of all further work. Development of creative activity in children From the first lessons, children should be given the opportunity to independently respond to music with movement. If you do not immediately awaken love and the desire for independent creative movement.." To do so, then it is very difficult to do this later. Usually music evokes a vivid motor reaction in children, but most of them do not know how or do not dare to reveal it in movements. Disinhibited, they begin to move naturally and directly (run, jump, sway, move their arms, etc.) Such movements only reflect general character music, but they enhance its emotional impact. Gradually, the creative skills that children acquire through mastering exercises develop and enrich their motor response: children begin to respond to music with movements that more accurately and in detail convey their individual perception. At first, most guys are embarrassed to move to music on their own. The teacher should lead them to this gradually and imperceptibly. For example, if in a familiar game 1, where they are accustomed to walking in accordance with the sounds of a march, the teacher unexpectedly replaces the march with music of a different nature, tempo, rhythm, which cannot be walked to (inconvenient), the children, obeying the music, will involuntarily begin to look for another movement ( running, jumping). Later, children master games and exercises with elements of improvisation2. 1 Ira 51 “Attention! MuaYRA!&. Ex. 73, 86, 89, etc. 13 When improvising, children move freely, as the music tells them. The leader only makes sure that the children listen to the music all the time, so that their movements convey its character - primarily in the sense of emotional coloring and dynamic tension, so that everyone immediately gets involved in the movement from the beginning of the music and stops when it ends. There is no preliminary listening to the music; children find the necessary movements under its direct influence. When explaining the task, the leader should not tell the children the type of movement (you must say<<будете двигатьсЯ> >, and not “begaty”, “skakat b”, etc.). When repeating music, part of the group performs the same movement, the other, more active, finds new options that also correspond to the general nature of perception; Children should not be prevented from improvising freely. At this stage of work, it is not recommended to celebrate those who are more successful, otherwise all children will begin to adopt their movements. The leader must always ensure that children do not invent movements that are not related to music. Before children, especially girls, immediately divide into pairs and begin to combine common elements of paired (children's and folk) dances (mainly polkas), somehow connecting them with the structure of music, boys get carried away with inventing complex movements that are technically inaccessible to them. All this, of course, has nothing to do with the development of musical and motor creativity in children; Such improvisations are unacceptable. The teacher must tactfully direct the children's attention to the perception of the true nature of the music. _ The connection between music and movement Children should immediately feel that movements and music in every exercise, game, dance are organically connected by content and form. 1 For this, the perception of music and the motor reaction to it must occur simultaneously. Only under this condition does a holistic musical-motor image arise. The methods of introducing children to new material are varied2 But regardless of whether the teacher in this case uses an explanation or a demonstration, the children immediately begin to move, simultaneously delving into the music and mastering the movement. The expression of music through action enhances the emotional-motor reaction of children and gives it a specific meaning. · 1 From this it follows that it is impossible to arbitrarily replace the music indicated in the musical-movement material with another work, but the content (image) of the exercise, game, dance and movement will change accordingly. 2 For more details on this, see crp. 19-21. Children need to be educated to perceive the integrity of each musical work. The natural way for this is the development of the perception of melody as the main carrier of the content of music, 1, of course, in unity with all other means of musical expressiveness. They learn to sing it to themselves while moving while listening. In melo games, diya is the basis of the musical image. In exercises and dances, she helps them to follow the developments of the music, to feel the logical conclusion of the musical thought (in the effort to master musical-motor material, children to learn the melody, memorize it) 2. At the beginning material is coming, built on simple one-part musical works. In such exercises, a simple musical image is conveyed by one simple action (movement). This action begins and ends in accordance with the development and conclusion to the tonic of the musical thought. It should become natural for children to accurately end a movement along with the end of a musical thought - both after walking or running, and in exercises performed on the spot; continue moving until the last sounds of melodious music fade away; clearly stop it if the music ends with a loud loud chord. Many children listen attentively to music and perceive its logical conclusion, but still cannot stop in time: they are hampered by poor coordination of movements, which needs to be systematically worked on to improve. Exercises in which the ending of music is emphasized with interesting game moment, help children in the first stages of learning to more closely monitor the development of the melody and feel its direction towards the tonic. The gradual sophistication of musical-motor material develops the ability to perceive music with more detailed content in a more complex form (two or three parts, division of the melody into sentences, phrases, etc.) as a musical story. Exercises in which this content is conveyed through connected and meaningful actions reveal the integrity and logic of the entire musical work. When children in general have become familiar with a certain exercise, individual 1 This is how S. Rachmaninov defines the role of melody:<<Мелодия- это музьша, глав­ ная основа всей музыки, поскольку совершенная мелодия подразумевает и вызы в а е т к жизни свое гармоническое о ормление... » См.: С. Р а х м а н и н о в. О усском на­ родном музыкальном творчестве. «Советская музыка>>, 1945, .N2 4, p. 53. 2 The feeling of determining the tonic contributes to the development of modal feelings according to B. M. Telov “The modal feeling is an emotional experience without certain The difference between the sound AMI >> and without it the perception of a complete musical image is impossible. See: B. M. T e plo v. Psychology of musical abilities. M., Izd-vo APN RSFSR, 1947, p. 176. r ft sh, e yo 15 dagog gradually deepens their perception of the sound sounding at the same time: m: uzmi and clarifies the expressiveness of movements. At all stages, children need to develop the ability to listen to music and comprehend its language. While working with children on a musical motor image, you should repeatedly let them listen to music, stop their attention on musical moments that they do not perceive clearly enough and do not convey in movement. The teacher awakens the children's imagination, tells them the details of the image (actions, movements) arising from the characteristics of the music. Musical story comes to life, and children create a vivid musical and motor image. Listening: m: music "And should not break away from the image on which the children are working. Sometimes it is useful to simply listen intently to the music with the children, and then ask whether it matches their movements and actions. All this helps to cultivate love for oneself music, the desire and ability to listen to it. And it’s good when children ask to play again, they rejoice:<> This makes their movements more expressive and spiritually creative. It is necessary to develop in children sensitivity to the elements of “musical expressiveness.” This is achieved by working on musical works in which one or another element (dynamics, rhythm, register coloring, etc.) is the leading element - it determines the character and main emotional content of music and movement. But at the same time, it is impossible to artificially isolate the elements of musical expressiveness, violating the perception of a holistic musical image. Thus, the development of the sense of musical rhythm and rhythmicity of movement is not separated and not isolated from the education of a holistic perception of music. It is impossible clarify the rhythmicity of children’s movements in isolation from the music, for example, by loud counting or continuous clapping - both of these prevent children from listening and perceiving music, replace the feeling of musical rhythm with arithmetic counting, and develop the habit of mechanically coordinating their movements with the music 1 Should not also in the work of developing a sense of meter rhythm when introducing elements musical literacy (the concept of a beat, its strong and weak beats, durations, counting, etc.). This only confuses children, distracts their active attention from the music itself, from its integral logical content, and sometimes even interferes with the direct perception and expression of the rhythmic nature of the music. To cultivate a clear rhythmicity of movement, exercises that children perform together are also of great importance - either holding hands, or embodying a collective image. 2 Children are captured by the general rhythm, and their movements are clearly consistent with the music. some kind of musical engine 1 Another thing is when, in the process of working on a particular image, the leader draws the children’s attention to the rhythm of the music and, to clarify its perception, invites them to accent the rhythmic pattern with clapping. This approach is completely legitimate. 2 Ex. 41, 74, 87 (1 grade) - t6 Usually children themselves find the correct pace and rhythm of their movements; in more complex cases, the teacher helps them with explanation or demonstration. In musical-movement material, the tempo, length, and rhythm of movements are determined by the entire character of the music, and not just by its temporal organization. For example, not every polka corresponds to a movement in the rhythm of a side step: children respond to one by running, and to the other by skipping, although the count is 2/4 in both cases 1 Three melodies very similar in rhythmic pattern, depending on the processing, give rise to: one -running on eighth notes, another - jumping on quarter notes, the third - moving on half notes2. But if in a musical work or some part of it the rhythmic pattern is the leading figurative and expressive means, then it must necessarily be reflected in the movement. Therefore, it is necessary to focus children’s attention on it, to teach them to feel its expressiveness. This is easiest to do using the examples of dance folk music, in which the conclusion of the musical idea is often emphasized by a characteristic rhythmic figure (two eighths and a quarter), which the guys usually reflect with three perky footsteps and claps. 3 Then the guys get acquainted with music in which there is a constant rhythmic the drawing plays a leading role throughout the whole part. 4 At first, not all children feel the rhythmic drawing, and therefore do not convey it. The teacher can help them comprehend it (by rhythmically prompting, singing along, and sometimes by showing). It is necessary for children to be able to determine the rhythm of their movements. If their individual solution corresponds to the nature of the musical-motor image, then one should not ensure that all children convey the rhythmic pattern in exactly the same way (see. , for example, playing with pebbles, picking berries, etc.). It is necessary to develop sensitivity to the deep-microcoloring of music. It is necessary to cultivate a stable connection between an increase or decrease in the strength of the sound of music and a change in the degree of muscle tension (the louder, stronger the music, the stronger, more energetic the movements). The bright dynamic contrast has a strong effect on children and is directly reflected in their motor response. The leader must ensure that f is always performed strongly, with full load, and that the movements do not drown out the music. But the motor reaction itself to loud or quiet sounds does not always indicate the experience of the expressive meaning of musical f and p. From the first lessons, dynamic coptrast should be heard and conveyed by children as a change in the character of the music, as a change in its emotional coloring 6 For example, exercise 2 KL. KL.), 62 (11 KL.). 83, 84, 91, etc. 85, 87, 93. 30 and 35. 17 Improving movements So that children can easily and We are forced to respond to music with movement, we need to cultivate in them the necessary qualities of movement, give them a number of motor skills.Movements in exercises, games, dances are simple and natural: these are the basic movements of the human body (walking, running, jumping, jumping, flexion - extension , turns in various joints); the simplest elements of dances and Russian dance; imitative and figurative movements (images of human activity, habits of animals, features of objects, etc.). Movements with which children naturally express their feelings are widely used. The form and expressiveness of all these movements in each exercise, game, dance depends on a given musical-motor image; with its change, the nature of the movement also changes. 1 Children must learn to understand the languages ​​of movement. Musical movement is always a means for: embodying a musical-motor image. It is unacceptable to learn movements without music, while counting. A holistic emotional musical image is embodied in movements that cover the entire body. Children are inhibited from responding to music with movement. Mental inhibition is relieved, as mentioned above, by working on musical-motor tasks that captivate children. But, in addition, under the influence of various reasons, they develop physical inhibition - many different tensions2, incorrect habits formed as a result of sitting for a long time in the classroom (“unruly muscles >>). To teach children to control their movements, it is necessary to develop their muscular sense - the ability to distinguish between tense and non-tensed states of muscles, to develop a sense of their posture and direction of movement.�;�. The leader must constantly monitor the basic starting position of the children in every exercise, game, dance, carefully work out all its details, and achieve natural and conscious completion of the task. Children must be able to prepare for movement. 3 The motor principles on which the basic stance is built must be observed in movement. While performing the exercise, children immediately lose the freedom that they have already acquired in the starting position. For example, leaning forward or to the sides, they transfer the weight of the body to the heels and retract their knees, their legs become motionless, expressing 1 Learning movements without music, counting, especially learning standardized forms of movements, divorced from the specific musical-motor image , in musical movement is not allowed. 2 3 A press is an involuntary and often barely noticeable tension in muscles not actively involved in the movement that stops the natural flow of the movement (for example, raising the shoulders and tightening the muscles of the upper back and neck). z Si. op and s a nie up:r. 1. 18 The integrity of the image and the integrity of the movement are violated. When running with a ribbon, children often tense their arm at the elbow and raise their shoulder, which makes the whole movement unnatural and awkward. Such mistakes must be corrected by systematically developing in children the ability to sense their own movement. When maintaining the correct stance while performing exercises in place, the movement of the body’s center of gravity is clearly revealed. Moving the body forward before walking, running, jumping and other movements is a skill that is also associated with correct posture and which must be persistently taught in children from the very beginning. This preliminary movement moves the body's center of gravity forward, which is a natural stimulus for the initiation of movement. This technique gives walking, running, and jumping aspiration, dynamism and emotional expressiveness. In order to convey the endless variety of musical content, all its nuances, you need to be able to change the nature of the muscular work itself - its tempo, rhythm, intensity. The same movement, depending on the music, is performed in different ways: by tensing the muscles quickly, suddenly or slowly, gradually; maintaining a tense state of muscles or relaxing them, leaving some joints motionless while others are actively working, etc. etc., i.e. you need to be able to use various movement techniques (see methodological explanations to the first section). Children are often hampered by poor coordination of movements. Sometimes rhythm and coordination of movements are disturbed in those children who do not yet know how to directly surrender to music and movement - a game, dance, exercise - and try to complete a task according to its external signs, and not according to its content: they try to mechanically copy the movements of the teacher or comrades, formally coordinate them with the music, etc. Such children should not be rushed and reproached for mistakes; they should be advised not to look at their comrades and the teacher, but to move on their own, listening to music. Lack of coordination and irregular movements sometimes depend on excessive excitement and nervousness of children. In such cases, it is necessary to select musical material more calm in nature. It should be noted that children suffering from extreme excitability and imbalance (especially boys) are very fond of exercises with lyrical, thoughtful or simply soothing images. Particular attention should be paid to children who have difficulty coordinating movements correctly and move rhythmically, insufficient general activity, muscle flaccidity. Such children need to be given special exercises, taught to make movements with full amplitude, clearly, quickly and strain their muscles to the limit. First of all, muscle flaccidity is overcome by exposure to sharp dynamic contrasts in music. It’s not difficult notice how 1 See the description in exercise 35 (1st grade). exciting content increases the activity of children, makes their movements especially energetic.Some children at the same time: spend excessively large muscle efforts, as a result of which they cease to control their movement and begin to move irregularly. When repeating the exercise, you should explain to the children that such efforts do not correspond to the nature of the music, and ask them to make the movements calmer. Often, some muscle groups are underdeveloped in children, which interferes with the clarity and expressiveness of their movements. For example, boys often have poorly developed small foot muscles, and therefore they perform springy movements (springing, running, bouncing, jumping, etc.) with difficulty and awkwardly. They should be helped with appropriate exercises2 Practical instructions from RaOot on exercises, games, dances Introducing children to music and movement in their unity, the leader for each exercise, game, dance determines how he will explain this musical-motor task to the children. The choice of technique depends both on the pedagogical orientation of the material itself and on the goals that the teacher sets for himself. Before exercises, games, dances, in which children must independently find movements expressing musical images, the leader either limits himself summary content, or conducts a small conversation that guides the children’s imagination, revitalizing their emotional memory, but in no case should he encourage their movements. If the material is based on basic movements, on imitative movements or dance elements already mastered by children, the leader names these movements and provides the children with the necessary expressiveness according to the nature of the music. If it is necessary for children to immediately understand and feel the exact form of the exercise in the first section, the leader expressively and clearly shows it to the children; then they perform it themselves, coloring it with their understanding of music. Wanting to let the children have fun with simple, joyful music, the leader can simply perform a dance in pairs with one of the students, and then invite all the children to dance. · "Exercise 68, 72 (1 grade). Exercises 20, 21 and 22 (1 grade). a 20 When working with children on new material, verbal explanations, steps and patterns of movements are equally important. Verbal explanations should be brief, precise, figurative and specific. It is unacceptable to confuse terms or distort the meanings of words. For example, when talking about a gallop, you need to say “gallop:>>”, and not<<бегать галопом»; нельзя называть колонну шеренгой и т. п. Развивая у детей <<мышечное чувство>>, we need to teach them to clearly distinguish between the meanings of the words “dropped” and<<бро­ сатЬ» (рукю>): the first means passive, and the second means active action, etc. Children should get used to terms and conditional expressions; their incorrect or careless use interferes with the formation of a connection between word and movement. We must speak especially carefully and thoughtfully about music. It is impossible to simplistically and formally define its features, for example, to characterize music as loud or quiet, fast or slow, without mentioning its emotional coloring: loud music can be cheerful, energetic, and menacing, quiet music can be calm, thoughtful , sad, tender, etc. It is always necessary to talk about the content of musical-motor material and the features of movement figuratively, activating the imagination of children. It is good to accompany words with individual movements and expressive gestures. For example, so that children can easily and naturally run with ribbons, the leader shows the correct position of the hand and explains that<шента будет.так же легко виться по воздуху, как звучит музыка> > if the shoulders are lowered and the arm at the elbow is not straightened 1 Demonstration plays a huge role in working on the movement. It is necessary when mastering technical skills and preparatory exercises. Demonstration of musical-motor exercises and dances in general (or individual movements) is necessary in the entire process of working on them. Children should see the artistic embodiment of a musical performance image - this awakens their imagination. It is recommended sometimes to show the movement to the whole group, performed by one or two successful students. Schoolchildren more easily grasp and understand the movement, its connection with music, when it is performed by a peer. Which technique teaches you to see and evaluate good performance. In some cases, especially at the beginning of work, the leader can perform the exercise together with the children in order to involve the children in movement and strengthen their emotional-motor response to music. For example, while walking with a brisk step the mood of the children immediately rises, their movement becomes more active, more expressive when the leader walks inside the circle of children, emphasizing the energetic, cheerful nature of the march. In all cases, when showing, the leader must move with full emotional expressiveness, in complete unity with the music, correct but also accurately performing the movement. Showing children the movement schematically, 1 Exercise 37 (1st grade)... 21 formally, half-heartedly is impossible.:.._ this not only does not help children to better feel and understand movement and music, but also harms them: children stop perceiving music, their movements become empty, incompletely valuable. Of course, not all children are equally active and emotional during all lessons, but we must ensure that there are no indifferent and indifferent people in the group. What is important here is the example of a leader who must always participate in games, dances, and exercises with the children. To do this, he needs to develop the habit of singing a melody to himself while moving (his and his children’s) and knowing it by heart. It often happens that an exercise, a game, a dance is initially performed by children lively, emotionally, and then, as they work, interest in them weakens. This happens if the children are not yet capable of clear and detailed execution: they are not interested in working on movements that are not completely backward and technically unsuccessful. In this case, it is better to stop working on this task temporarily and return to it later when the group is better prepared. In other cases, the teacher must maintain children's interest, gradually introducing entertaining elements into the task, awakening the imagination, and arousing creative imagination. So, for example, an exercise in which movements, previously performed simply in a circle, suddenly turns into a beautiful collective action, a game that reveals the emotional content of the music in a new way, seems completely new and interesting. When working on the material, you should not rush children, ahead of their perception capabilities. Head - pianist - school Conducting classes in musical movement requires serious and thorough preparation from the leader. Mastering the material of the manual, intending to introduce children to it, the leader sets himself the task of turning a short, dry description scheme into a living, emotionally meaningful musical action. The characteristics of the content of exercises, games, dances included in the description will help him with this. It is not enough to simply read the description, listen to the music, it is not enough to analyze and understand the external relationship of movements with music - each exercise, game, dance must be performed yourself, feel and convey the organic unity of music and movement, react emotionally to it . Otherwise, the leader will not be able to find those special words, those prompting movements, that top, which in each case will show the children the way to discover the content of a musical exercise, game, dance. Without such elaboration, the leader will not be able to show the children the exercise, the dance as a whole, as an artistically convincing measure of the embodiment of a musical image in movement. Full contact is necessary between the pianist and the leader. and mutual understanding22 pie. If it is difficult for a conductor to understand the musical material, the relationship between movements and music, he should turn to an accompanist for help. The pianist is obliged to listen to the instructions of the leader, and the leader must be attentive to the pianist’s comments. The success of working with children largely depends on how correctly, expressively and artistically the piano player performs music, and how well he manages to convey its content to the children. Clear phrasing, careful interpretation of the shades indicated in the notes, bright (not harsh) marvelous contrasts help children hear the music and reflect it in their movements. Some teachers and pianists, wanting to help children, allow the distortion of music by arbitrary delays, slowdowns before the end, exaggerated dynamic contrasts, pauses, etc. This is a big mistake, since children easily get used to such a hint and, relying on it, stop closely following the music. Rough changes in tempo, cuts, and additional chords after the end of the music are also acceptable; A piece of music must be performed as written by the composer. Musical movement classes at school are part of its general education. There must be complete mutual understanding between the music director, the teachers and the administration. Particularly close, continuous contact is necessary with teachers of grades 1 and 11 and the singing teacher, without whose help it is impossible to legally organize and conduct classes. Often teachers do not clearly understand the educational meaning, tasks and methods of working on musical movement. It is desirable that the music director invites them to classes, in personal conversations or at a pedagogical council, tells teachers about the role that musical performance can and should play in the education of our schoolchildren. MATERIAL FOR 1ST CLASS PREPARATORY EXERCISES Explanations for the preparatory exercises Preparatory exercises do not serve the purpose of conveying a musical-motor image to children. They are learned and performed without music, to a count or in an individual rhythm, and should develop in children skills that will help them avoid possible mistakes when performing movements in musical-motor tasks. Preparatory exercises: 1) teach children to take the correct starting positions; 2) promote awareness of the functioning of the motor system; 3) strengthen individual muscle groups and increase joint mobility; . 4) develop skills in building and rebuilding a children's team. Having completed the auxiliary exercise and acquired the skill, children immediately use it in a musical-motor task; We must strive to ensure that after some time the children learn to consciously, without being reminded, use preparatory exercises on their own in preparation for the start of music and movement (for example, checking their starting position, the correctness of the intervals, the structure). Description of exercises Learning starting positions The quality of children's movements in musical-motor exercises, games, and dances largely depends on the starting position. The correct starting position externally and internally organizes children, mobilizes their attention, activates them, as if setting them up for the upcoming movement. From the first lessons, it is necessary to teach children to take the main starting position - the main stance, as well as other starting positions, repeat and check the correctness of their implementation at each lesson, immediately before the corresponding musical-motor task. 1. Basic standing position (main stance) Description: Heels together, toes apart (about 45°); your legs are straight, JIO is not overly tense, your knees are not retracted. The shoulders are drawn back, the arms are loosely along the body. The neck is slightly pulled back, so the head is raised (formed in a column of height 27 behind the larger ones, the children look slightly higher than the head of the comrade standing in front). The heaviness of the body is on the forefoot. The main stance helps the child to get involved in the movement when the music starts - to be ready to move. Such readiness is achieved if only those muscle groups are worked, the tension of which is necessary to maintain the body in the described position; the rest are free. Failure to comply with this rule leads to clamps that prevent the child from performing movements correctly and freely. It is necessary to learn the basic stance gradually, teaching you to perform it consciously and clearly. Exercises 10 and 20b, 13, 14, 7, 8, 1 2 help with this. It is necessary to tell the children to try to be taller - this figurative instruction forces them to straighten their spine somewhat, tighten their abdominal muscles, while maintaining their natural posture, and not straining their muscles unnecessarily. Throughout the first year of training, the tenacity of the stance must be checked several times per lesson, and the specified preparatory exercises must be constantly repeated. 2. Sitting position with crossed legs "Learning this position develops dexterity, increases the mobility of the body and lower limbs, and strengthens the muscles of the body. Description. Having placed their legs on the cross and raised their arms forward, children bend their knees and sit on the floor. Knees are spread as wide as possible, bringing them closer to the floor; the body is straight. Hands are placed on the knees. Children should take this position and stand up without leaning on your hands. 28 This is not possible right away, especially if the guys cross their legs and place their feet at a distance from one another. In this position, it is useful to perform an exercise for the neck (for example, 13). 3 - 4. Hand position Skill accepting the initial position of the arms ensures the correct execution of all movements of the shoulder girdle found in this collection. shoulder level and parallel to one another; arms up - raised vertically and parallel to one another. Intermediate positions are called sideways-up and forward-down. In all these positions, there should be no excessive tension in the shoulders and arms: the shoulders are lowered, the elbows are not straightened (not retracted) to the limit. The spine and palps should form a continuation of the line of the entire arm, not straightening excessively, but also not hanging down or clenching passively into fists. When learning these initial hand positions, you should use preparatory exercises 6, 8, 9, 16, 17. Position of the hand on the waist = §large fingers point back and almost converge on the back.. J! Speeches are pulled back. Hands should be strong. -and-eiiergically wrap your waist around your waist with a belt. You should not put the main task of the position - drying the body on the hips: this is straight and the position with fists akimbo is used in movements, dance music. For its description, see section 11, exercise 43. It is necessary to ensure that when performing both positions of the runes on the belt, the body is straight and the head is raised, so that the runes in children do not become sluggish and good posture is not disturbed. with knitted ones 5. Initial position of the leg Description. a) The initial position on spread legs is taken from the main stance by jumping; Also, when jumping, children return to the main stance. The distance between the feet can be different (depending on the tasks of the subsequent exercise), but not less than the width of the shoulders. The position of the feet is the same, kan in the main stance (45°). It is necessary to ensure that children, p3: with their feet together, do not turn their toes inward. b) On one leg - the other leg is raised forward, with the knee bent; the lower leg hangs freely, the foot is formed, that is, the leg is slightly straightened in the instep, the toe is slightly retracted outward. The supporting leg does not strain too much. At first, children have difficulty maintaining balance; You should place them sideways against the wall (or the back of a chair) so that they can hold onto it with their fingers (but do not lean on the support). If you work with your right leg, then stand with your left shoulder towards the support. It is useful for children, having assumed a position on one leg, to repeat exercise 20. Exercises 2 1 and 22 help to perform this position correctly. Development of “muscular feeling” In order to convey the rhythmic and dynamic variety of musical images in their movements , children should be able to not only tense their muscles, but also regulate, change the degree of their tension, and sometimes completely remove it (i.e., relax some muscle groups). You must also be able to feel where the muscles are excessively tense and clamps have formed, and be able to remove them. Some of the exercises help children feel the possible range of movement in the joints, realize the heaviness of the body and limbs; teaches you to consciously transfer the weight of your body forward (or backward) before starting walking, running and other movements. 6. Relaxation of the muscles of the shoulder girdle Description. a) Drop your hands. Children raise their arms to the side and lean forward slightly; at the suggestion of the leader, they relieve tension in their shoulders and let their arms fall down; hanging, the arms sway slightly passively until they stop. The exercise is repeated. 30 Hand driver makes sure that children drop their hands completely passively and that they do not actively swing their hands after they fall. You can give the children an image of dropping their hands like strings. b) Shake your brushes. Starting position - arms bent at the elbows, hands hanging passively. With a quick, continuous movement of the forearms, shake your hands like rags. c) Shake water off your fingers. Starting position - arms bent at the elbows, palms down, hands hanging down. Move the forearm several times in a row to release the passive hands down Before options b) and c), it is useful to invite children to tightly clench their hands into fists so that they can more clearly feel the difference in the tense and relaxed state of the muscles. R e n g i n g the m u c l u c l corpus Description. a)<< Ронять корпус >> Children, raising their arms to the sides, release tension from the muscles of the back, neck and shoulders and allow the body, head and arms to passively fall forward - the knees bend slightly. Then they slowly straighten, sequentially unbending in the hip, lumbar and shoulder girdle, and take the main stance. The exercise is repeated two to three times. b)<< Д е ревя нны е и тряпочные ку;клы l) . Дети учатся чувствоват ь и осо­ знавать напря ж е нное и н енапряженное состоя ни е мышц всего тела: и зо бражая деревянных кукол, они напрягают мышцы ног, корпуса, слегка от­ веденных в стороны рук и делают резкие повороты всего тела вп р а в о и вле­ во, сохраняя н еrr од в ижн о сть в шее, руках, плечах. Ступни крепко и неп одв и жно стоят на полу. Затем дети подражают тряпочным куклам ­ они сн и мают· и злишнее напряжение в пл ечах и корпусе; руки у них висят. ­ 31 пассивно. В этом положении они быстрым, норотким толчком поворачивают т ело то вправо, то влев о; при этом руки взлетают и обвиваются вокруг Iюрпуса, голова поворачивается, ноги также поворачиваются, хотя ступни остаются на месте. Движения исполняются по неснольну раз подряд то в одной, то в дру­ гой форме. 8. Подн и м ать и о п ус ка ть пле ч и О п и с а н и е. Дети нак можно выше поднимают плечи, затем дают им свободно опуститься в нормальное положение (сбрасывают плечи вниз) . Упражнение следует давать непосредственно перед разучиванием уп­ ражнений 3, 31 и 33 и других движений рук, так RaR оно помогает почув­ ствовать правильное (ненапряженное) положение плеч. 9. «Твердые и м я г к и е >> hands Description. Starting position - raising the runi to the sides or forward. At the suggestion of the leader, the guys straighten all the joints of the runes to the limit and strain all the muscles from the shoulder to the ends of the fingers; then, without lowering their arms, they release the tension, allowing the shoulders to drop, and the hips and fingers to bend slightly passively. The runes seem to lie on a soft pillow. . 1 0. ·� Hard and soft "legs Description. Children straighten (pull in) their knees to the limit, strain all the muscles of their legs; then I partially release the tension." knees and perform exercise 20b. Exercises 9-10 are a technique for learning exercises 3, 3 1, 33 and 37 and other arm movements and exercise 1. 1 1. “Mill” (with a rim circular rune design) Description: Children describe large circles with their hands, starting forward and upward. The movement is flapping; after a quick, energetic push, the arms and shoulders are freed from all tension, they fly freely, describe the circle and passively fall. The movement is performed continuously, several times in a row, at a fairly fast pace (arms fly,<<как не свою>) . The handler makes sure that children do not develop tension in their shoulders, which immediately disrupts the correct circular movement and causes angularity. Before this exercise, repeat exercise 6. The mill directly helps to master and improve swing movements, develops muscle sense, increases the range of motion in the shoulder girdle, and expands the chest; children feel the possible scope of their movement. 1 2. “Pendulum” (transfer of body weight from the heel to the heel and back; from one foot to the other) feet O p i s a n i e v a r i a n t o v. a) Transferring the weight of the body from heels to toes and back. Starting position - arms are lowered down and pressed to the body. Slowly transfer the weight of the body forward, onto the front of the foot and onto the toes; heels do not separate from the floor; the whole body tilts slightly 2- 1 2 7 1 . 33 forward, while the body does not bend either at the lower back or at the hip joint. Movement (flexion) occurs only at the ankle joint. Then the weight of the body is also transferred to the heels. Socks do not come off the floor. After several swings of the “pendulum”, the children stop moving and stand with support on the front of the foot. Then you should perform exercise 20b. b) Transferring the weight of the body from foot to foot, from side to side. Description. Starting position - on legs apart, arms facing the body. Children slowly sway from foot to foot. following the same rules. V)<<М аятниК> > with a lunge. Description. The exercise begins as option a), but tilting the whole body. forward continues11 until an involuntary lunge forward; the knee of the leg bends; the other leg remains behind, resting on the balls of your feet. As you lunge, you must maintain a good straight posture. Exercise a) develops the ability to perform the basic stance (M 1), correctly begin walking, running and other movements, and clearly take one or another position (pose). Option c) can be given at the end of the year, sometimes the children have mastered options a) and b) well. These exercises require a lot of precision and concentration when performing. It’s good if the leader asks the children during the exercise where the weight of their body is now - on the toes or on the heels, on the forefoot, etc. Not everyone immediately understands how to make the body remain straight - it should be explained that hands pressed R to the body should help you feel subtle involuntary flexions in the lower back. . . D evelopment of individual groups of muscles and joints This subsection contains simple gymnastic exercises that help correct various physical deficiencies of children. They train muscles, activate their work, develop speed, clarity, and range of movements; help to understand the direction and form of movements. 13. Tilts, straightening and head rotations Description. Starting position - runi on the belt (M 4) or sitting with crossed legs (M 2). a) Slowly lower your head forward, touching your chin to your chest; raising your head, tilt it back manually - return it to its original position. Repeat three or four times. i!4 b) Turn your head to the right and left until your chin is positioned above your shoulder (as if trying to look back over your shoulder). When turning your head, keep it vertical, without throwing it back. After both exercises, returning to the starting position, you should lightly shake your head from right to left several times without tension, releasing the muscles from excessive tension, relaxing them. It is necessary to ensure that when moving the head, the shoulders and body remain free and motionless (this is helped by a sitting position with crossed legs). 1 4. “Parovvzii” (circular movement of the shoulders) U wri ting. Starting position - arms bent at the elbows. The fingers are folded into a fist. Continuous, leisurely circular movement of the shoulders up, back, down, forward. Elbows do not move away from the body. The amplitude of movement in all directions should be: maximum, when moving the shoulders back, the tension increases, elbows collapse. They shrink, their head tilts back. The exercise is performed several times in a row without stopping. The leader makes sure that children always begin to move their shoulders up and back (and not forward), that is, expanding, not narrowing, the chest. 15. “Stretch the elastic band” (extending the arms to the sides with tension) Description. Starting position - arms raised forward. The movement is imitative: children seem to hold the ends of a tight elastic band in their hands and slowly stretch it, spreading their arms to the sides. Then, just as slowly, move your hands to the starting position. Both movements are performed with tension, as if overcoming the resistance of an elastic band. Elbows are half bent, shoulders are lowered. The exercise prepares you for performing smooth movements (for example, exercise 33, 1st class). 1 6. Exercises for the hands Description. Starting position - arms bent at the elbows, palms down, fingers straightened (without excessive tension) a) Bending the hands down and up. b) Abduction of the hands to the right and left. c) 1\handling with brushes (outward and inward). All exercises are performed slowly, several times in a row, with maximum amplitude. When performing movements, the forearms should remain motionless, the shoulders should not rise. 35 1 7. “The cat releases its claws” (gradual straightening and bending of the fingers and hands) Description. Starting position - arms bent at the elbows, palms down, hands clenched into fists and bent upward. Gradually, with effort, straighten all the fingers up and spread them to the sides as far as possible (the cat releases its claws). Then, without stopping, bend the hand down, while clenching your fingers into a fist (the cat hid its nails), and finally return the hands to their original position. The movement is repeated several times non-stop and smoothly, but with great tension and maximum amplitude. Then the same movements are performed in the opposite direction from the position - the hands are bent down. Option. Later, the exercise should include the movement of the entire arm - either bending it at the elbows and bringing the hand to the shoulders, or straightening the entire arm (the cat rakes with its paws). We must ensure that children thumbs hands also work together with the others. 1 8. Climbing over clasped hands Description. Starting position - arms are lowered in front of you, the fingers of both hands are intertwined, the body is slightly tilted. Children move forward through their clasped hands, first one, then the other leg (that is, they step over their hands). Hands remain behind your back. Then, without opening your hands, reverse movement return to their original position. 1 9. Raising the leg bent at the knee Opa) Quickly, with a sharp movement, lift the leg with the knee bent and sleigh. Starting position - hands on the belt. after holding, lower it to its original position. The thigh of the raised leg and the body, as well as the lower leg and thigh form right angles; the foot is formed (exercise 5). The purpose of the exercise is to activate the work of the large muscles of the legs and develop muscle sense. Between raising and lowering the leg, a stop is made, during which the leader checks the accuracy of the position of the legs in the air. Sluggish movement should not be allowed. The exercise serves as preparation for exercises 35 and 40b (high stride and jumps). b) Perform the same up and down movement slowly. c) Invite the children to first raise the leg bent at the knee as high as possible, pressing the thigh to the chest with both hands; then try to lift your leg just as high without using your hands. and 36 Option c) helps to feel the possible range of motion in the hip joint. Do the exercises three to four times with each leg. 20. Half squat Description. a) Half squat tense. Starting position - hands on your belt, toes spread apart more than normal. Slowly squat, keeping your body straight, with tension spreading your knees to the sides (along the line of your feet). The heaviness of the body is located on the entire foot (small toes seem to hold tightly to the floor); heels do not separate from the floor. Then, just as slowly, return to the starting position, without allowing your knees to turn forward and without removing the weight of the body from the weighted side of your feet (do not lean on your big toes). Repeat three to four times. Figurative comparisons help to perform the movement correctly (for example, stretching a tight elastic band with your knees; the expression “go down in a column” helps children keep their body straight). The leader must gradually achieve complete accuracy in performing the exercise, as well as increasing the amplitude of the squat, without which it will not give the desired results. The exercise strengthens the leg muscles, directly prepares for exercise 32. b) Half squat spring. Description. Main stand. Children, maintaining good posture, sway up and down, easily, quickly and continuously bending and unbending their knees. The heels are not lifted off the floor. The movement is free, with a small amplitude. ,The heaviness of the body is always on the front part of the st;rp:JJ�Y._ After several swings, the leader invites the children to become taller - straighten their legs and body. The exercise helps relieve your knees from excessive tension; immediately before performing the exercise and is used as preparation for splint movements (running, jumping, hopping, etc.). 21. Exercises for the legs Exercises improve mobility ankle joint , we strengthen children's cervical sense, the ability to maintain balance, and strengthen their lower legs. Description. Starting position - on one leg, the other raised forward with a bent knee, arms and waist. a) Bend and straighten your leg while lifting. The toe is always slightly pointed outwards. b) Abduct and move the foot outward and inward. The outward movement is made with greater effort than the inward movement (since in children the muscles that abduct the foot are less developed than those that adduct the foot). -- !17 c) Circular movement of the foot; start by flexing the ankle joint - up to the top; then move the foot outwards, downwards and inwards. The emphasis is placed on moving the foot outward. All exercises are performed three to four times with each leg, with maximum amplitude. ·during these exercises, only the ankle joint works, the leg is held in place and the fingers remain motionless. At first, if children find it difficult to stand on one leg, you can hold your fingers against the wall or the back of a chair (but do not lean on the support). 22. Standing up on half toes Description. Starting position - hand on the belt. Children slowly stand on their toes, continuing to keep their heels together; After the first step, they stand and fall on the entire foot, without transferring the weight of the body to the heels. Performed three or four times in a row. 23. Positioning the foot on the toe Description. Starting position - the nose and legs are separated slightly wider than normal. RuRi on the belt. Heaviness of the body on the left (right) leg. a) The right (left) leg slowly extends to the side to the position of touching the floor with the toes of all five toes. At first, the leg slides lightly along the floor of the entire jelly, then the heel is separated from the floor, and the leg is increasingly straightened as it rises. The supporting leg does not bend, and the body does not turn towards the working leg. The weight of the body is always aimed at the supporting leg. After holding in this position, the leg returns to its previous position: the instep gradually shortens, the heel lowers, and the foot slides along the floor. b) In the same way and with the same requirements, placing the leg forward is performed. When moving the leg forward, the toe always maintains the direction of the original position. Performed two to four times with each leg. Exercise helps develop in children the ability to perform a movement accurately and clearly (in terms of its shape and direction), helps to correct incorrectly positioned feet (Rolefoot), and teaches how to accurately place foot to foot after a movement. When doing this exercise, you should not rush the children, but you need to gradually achieve clarity of movements. The most common mistakes: 1) · the leg extends too far - in this case the supporting leg bends and the weight of the body partially transfers to the working leg (children lean on it); so that they understand what is required of them, they should be asked to slightly lift the working yaoga from the floor and, without changing the position, lower it to the ends of the benches; 2) children do not move their leg exactly to the side or forward. We need to invite them to raise their arms to the sides or forward - their legs should be directly under their arms. .:The exercise is learned at the end of the year and in 1st grade. 38 Building and rebuilding a group Mastering the simplest drill skills from the first lessons helps to organize the group externally and internally and ensure normal work. In the future, children acquire the ability to quickly and easily perform the five changes that they will need in musical exercises, games, and dances. 24. Basic formation of a group in a lesson Description. The basic formation of children (for exercises performed on the spot) depends on the size and proportions of the room, on the number of children and on various other reasons Therefore, the choice of one or another structure belongs entirely to the leader; it should be convenient both for the children and for himself (the ability to see the whole group all the time). In normal big hall It can be recommended to arrange children in three subgroups: two columns along the long walls and a line along the short wall (letter P), facing the leader. It is advisable for boys and girls to stand next to each other in subgroups: this simplifies changing into pairs or separating girls and boys (to do this, one or the other just needs to take a step or two towards the middle of the hall). This formation is also convenient because changing exercises on the spot by walking or running does not require changing formation - the group simply turns behind the leader and can start moving in a circle. It is convenient to build columns according to height, starting with the tallest ones; The smallest ones form the line. When rebuilding into a common circle, this helps to avoid the uncomfortable juxtaposition of the tallest and smallest child. . Those standing first in both columns are leading the group, one moving to the right, the other moving to the left in a circle. In columns, children stand at a distance of a raised (stretched forward) hand (without touching it to the child standing in front), in a line - at a distance of hands raised to the side. By standing in their usual places for the lesson, the children get ready for work and get organized. , more attentively, more actively. From the first lesson, it is necessary to develop the ability to quickly, silently and without jostling, find your places in the main formation, develop working skills: when forming, immediately check the intervals, stand exactly behind each other’s backs (in a column) or quickly align the common line ( in a line), - take the correct starting position (see game 5 1). In a small room, sometimes you have to resort to staggered or multi-line formations; However, this system is the least convenient, since in a musical movement lesson the exercises on the spot and with progression are often alternated. 39 25. Forming into a column Description: A column is a row of children standing behind each other’s necks, at equal intervals (normally - at a distance of arms raised forward, without touching the back of the person standing in front child). At first, children acquire the skill of quickly, without noise or jostling, lining up behind the leader, according to their height (big ones are in front). Later, they should (in games, dances) also be able to form into small columns that are not tall enough and without a leader. A column of pairs is a column formed by pairs standing at the back of their heads (pair after pair). Changing from a column one at a time to a column of pairs and back is easiest if boys and girls stand one after another in the column; the girl comes out of the column and stands next to the boy standing in front of her (or vice versa), then she returns to her place. When lining up in a column, children should be taught to always check the correctness of the intervals - first with their hands, then by eye, and also to immediately take the correct stance. The ability to form a column is reinforced through games and exercises 5 1, 57, 60, etc. 26. Formation in a line Description: A line is a row of children standing shoulder to shoulder, facing the same direction. First, the children are taught to form a small line of columns or chains - turning right or left. Later, it is necessary to cultivate in them the ability to adapt to their comrades, first in a certain order, then freely. The changeover from a column into a line should be combined with the reverse changeover into a column. While standing in a line, you need to check its correctness along the line of your toes. 27. Formation in a chain Description: A chain is a column of children holding hands. First, it is better to form a chain from a line: holding hands, the children turn to the right (left) and stand at the back of the head behind the leader. Later they line up in a column and then simply shake hands with each other. It is necessary to ensure that when changing from a line to a chain, not only the head and body, but also the legs turn (that is, you need to stand clearly at the back of each other’s heads). At the beginning of the year, children should not be lined up in long chains - they easily lose freedom of movement and rhythm of movement. 40 28. Forming in a circle The ability to form in a circle develops in children a sense of spatial form and is one of the first skills that externally organize a children's team. Description. The simplest way constructing a circle - from a small line. Children join hands, and the last ones in the line walk towards each other; everyone straightens the circle, stretching it to the position of arms raised to the side. Later the same is performed without holding hands. A general circle can be formed from the proposed basic structure (Ex. 24). Both columns turn to face the middle of the hall, forming two ranks; all three ranks join hands, as if rearranging themselves into a deep semi-circle. Then the leaders walk towards each other and close the circle. Sometimes children can build a circle from a long chain, following the leader, who for this purpose begins to walk along the line of the circle, gradually chasing the last one in the chain. At the same time, children learn to quickly and orderly form a circle from a free location in the hall. At the same time, they should not strive to stand up in height - the task is to ensure that each child quickly finds a place for himself, completing a common task. To build a small circle, 5-10 people gather in a tight group, and then disperse in a circle, first holding hands with their comrades standing next to them, then without using their hands. When building a large general circle, after moving scattered around the hall, each child should look at which wall he is closest to and go there, gradually leveling the circle together with all the children. 29. Free placement on the playground Performing free tasks one placement on the playground develops in children the ability to navigate in space, develops the eye, intelligence, and initiative of each child and the entire group.Description. a) Children should be able to more or less evenly occupy all the space offered to them ( the whole hall, half of it, etc.); stand at the greatest possible distance from each other and from the walls (no closer than your arms raised to the sides or forward). b) When dividing a group into several subgroups (circles, columns, etc. . etc.) we need to teach children to place these subgroups in space - in a circle, at equal distances from each other, in corners, etc. (depending on the task).Children first learn to sit in subgroups in the hall through exercises with fixed places ( for example, ex. 55). Then the determination of the place of the subgroup is given to the leader (for example, exercise 57); Even later, the entire subgroup finds him. 41 SECTION 1 MASTERING MOVEMENT TECHNIQUES Explanations for the exercises “The exercises in this section help children master three movement techniques - Spring, swing and smooth. 1. Mastering external movements. In musical movement classes, cheerful, active music (dance, dance) predominates; votoral most often gives rise to jumping, dancing, etc. movements. All these movements are spring-like, they clearly alternate two phases: weak (down) and strong (up). For example, if the tension in the leg muscles is relieved or reduced, then the volitions, under the influence of the weight of the body, involuntarily bend (as if they break), and then, with a quick active tension in the muscles, the legs straighten and throw the body up; then, without stopping, the tension is released again, the legs bend before a new active movement straightens the will and throws the vorpus up, etc. It is the alternation of these two phases that makes the springy movements similar to the brightly metrical music, which is characterized by a clearly emphasized part. e editing of the strong and weak beats of the taut. Just as the strong and weak beats in a bar represent an indivisible unity, so the downward and upward movements are not separated by stops: the downward movement is a preparation (so to speak, a run-up) for the active upward movement. The expressive emphasis of spring movements is always upward: they would overcome the force of gravity. Depending on the magnitude of the vertical oscillation, on the greater or lesser strength of the active push, or on the rhythm in which a weak and a strong phase alternates (the same phase and varying durations of one or the other), the spring movements acquire a different character: from barely noticeable to gentle bending and straightening free to jump and girth up hips, from uniform swaying on the feet to sharp leaps. When working on the rod movement, children should feel the difference between the weak and strong phases of the movement and not replace the passive (under the influence of body weight) lowering with active bending of the knees. At the same time, one should cultivate the ability to actively, energetically give back. When performing the “Spring” exercise, children gradually gradually weaken the upward push and “sit on their feet.” 1 It is necessary to ensure that both phases of the movement - down and up - are equal in amplitude: after bending, the legs should straighten clearly. movement is most easily mastered in the movements of the legs, so the weight of the body naturally presses on them. Later it is used in the movements of runes and vorpus. The main exercise for educating children in the ability to use the technique of OJ.I spring movement is exercise 30. 1 Working term, used in choreography (see: A. V a r a i o v a.. OspoVJ vdassichskogo dance. M., “Iskusstvo”, 1934, p. 40). , 43 2. Mastering swing movements. Working on music with a wide, brightly accented melody, built at large intervals, requires the ability to use the technique of swinging movement. The swing movement, like the spring movement, has two phases: weak and strong. For example, a quick, short muscle tension seems to push freely hanging arms, and they effortlessly fly up in a given direction. When the energy of the active push runs out, the arms fall under the influence of their gravity; a new push again gives rise to takeoff, etc. The stronger the active push, the more sweeping, wider the movement of the arms and the more it captures and entrains the whole body. That is why energetic swinging movements of the arms when running, walking, jumping increase the force of movement, unite the whole body in a single impulse - make the movement holistic. The swinging movements of the arms are accompanied by a slight spring movement in the knees. A common mistake when studying swing movements is the lack of complete relaxation in the muscles when the arms fall down and when they take off after a push, i.e., the swinging of the passive arms is replaced by moving them from one position to another. Exercises 1st grade 6, 8, 9, 11 help children feel the difference between the weak and strong phases of the swing movement. The technique of the swing movement for the shoulder girdle is mastered, and then gradually improved and complicated in exercise 3 1. 3. About the war of smooth movements. Melodic, melodious music requires smooth movements. By the nature of muscular work, they are opposite to both spring and flywheel ones - they do not have a weak phase; the muscle group contracts slowly, the tension gradually increases, and sometimes spreads to other muscle groups. Smooth movements are more difficult for children to master than spring and swing movements: at first they are unusual in performing movements at a slow pace; They do not know how to gradually increase or decrease muscle tension. This skill comes by drawing children’s attention to the nature of the music, inviting them to perform movements as evenly and melodiously as the melody flows. In front of children, clamps occur. For example, when moving their arms from one position to another, they slightly raise their shoulders and straighten their arms at the elbows to the limit; this deprives the movement of smoothness and melodiousness. And here we must resort to the help of preparatory exercises 1 6 -8, 1 1. Exercises 32, 3 3 of this section help you gradually get used to the technique of smooth movement. Section 1 contains one or two exercises each in a spring, swing and smooth movement. On them you can gain the most basic and necessary skills in performing movements in three techniques. These exercises are examples of spring, swing and swimming movements in pure form. But just as in music the means of its expressiveness - type, rhythm, dynamics, etc. - do not exist separately, but organically merge, creating character and revealing the total content of a musical work, so in movement the characteristic expressiveness each movement depends on how and in what ratio the techniques are used in it. You need to work on the exercises of section 1 throughout the year, gradually improving and refining your execution. In parallel with the material of section 1, it is necessary to give exercises, games, dances of sections I, I and IV, in which you have to use one or another technique of movement. For example, when children have somewhat mastered the 1st grade exercise<< Пою­ щие руки» , руководитель предлагает им упражнение 66 << ГЛ"адить кошку» ; параллельна с << Пружин ками» и << Взлетайте, ленты! » (30 и 3 1) дается уп­ ражнение 55 << Кружки и стайкю>etc. If the lesson includes material with jumping, bouncing, spring walking, it should be repeated (either at the beginning of the lesson, or immediately before these exercises).<<Пружинкю>and explain to the children that their jumps will be easier and higher, the more springy their movements are. This is how the ability to naturally use techniques develops, working to change the nature of the movement. Description of exercises 30. “P, uzhinki” (springs on the floor at the priseAan and e and standing on the floor fell s) lluayn: russvan narodnan melodin “Nosenli devni flax”, arranged by T. Lomovoii . The exercise uses the natural motor reaction of children to a cheerful dance music; Children create the simplest musical-motor image of Russian dance, back to them - sometimes teasing quietly, sometimes dancing at full speed. strength. Exercise develops spring-like movement of the legs both in the knee joint and in the foot; strengthens and consolidates the emotional-motor reaction to changes in the strength of the sound of music. Description. Initial position>Kenya - with fists akimbo. T acts 1 -4, r. The children dance a little. Spring half-squats and knee straightenings, two per beat. The heels do not separate from the floor. Corpu with prima. Me>Kdu moving>Kenya down and up there are no stops. Emphasis moving>Kenya up. Bars 5-8, j. Dancing with all their might, the children either springily rise on their toes, then lower themselves onto their entire foot - twice per beat. As in the first movement of Kenya, no stops are made in phases. When the woman moves up, the heels remain together; the legs straighten, but the knees do not retract; when moving down, they bend slightly. The leader makes sure that the children maintain good posture (do not bend over); after squatting, they immediately returned to the starting position (not sitting on their knees); when squatting, and especially when lowering from the toes onto the entire foot, they did not transfer the weight of the body to the heels (they did not knock their heels). You can tell the children a figurative comparison (for example, to swing as if on a rod mattress). At the beginning of the year, the exercise is repeated in every lesson; when it is well mastered, it is useful to repeat it before working on jumps, gallops and other spring movements. Before<< Пружинкамю> Be sure to repeat preparatory exercises 20, 10, 12 and check the correctness of the stance. 3 1. “Take off, ribbons! "(Macho movements of hands) Music: polsnan narodnan melodin, processed by L. Vishnareva. Free swinging movements and ribbons flying in the hands of children create a light, carefree image in tune with the music. This exercise allows you to master the correct technique of swinging movements. About the description. i-th option: r. Starting position - arms raised to the sides, a tape in each hand. Children lightly swing their arms, crossing them in front of the chest on odd beats, and to the sides on even beats. Each movement begins with the hands falling down. It is immediately followed by a quick tension - 46 muscles, which seems to push the arms, forcing them to fly up again 2nd step: and then the arms fall again, etc. 2nd option. Starting position - arms down. Just as easily, children swing both hands forward on odd beats, backward on even beats, and slightly to the sides. 3rd option. For each act, swing your arms alternately: one forward, the other back. 4th option (for class II). The changed interpretation of music creates a more developed musical-motor image: it compares the light, calm swinging of relaxed arms (without ribbons) back and forth (bars 1-8, r) with more energetic, temperamental swings forward and up, entraining the is the body (bars 9-12, /). The exercise prepares you to perform more complex and powerful swing movements (swings). Preparatory exercises 6 -9. 32. “Tight elastic band” (smooth popping) Jvyn: F. Miller. "8t jud 11 The stringy, monotonously intense nature of the music creates a feeling of continuously repeating long-term physical effort. The image of an imaginary tight elastic band stretched between his knees, which he either slowly, with effort, stretches, or resists, helps the child to feel this. its rapid contraction. The exercise develops smooth movement, strengthens the leg muscles, and instills the correct skills in performing all squats. 47 Description. Starting position - toes spread slightly wider than usual, heels together. The weight of the body is evenly distributed over the entire foot. Hands on the belt. For odd beats, children stretch the elastic band - slowly, smoothly, with tension, bend their legs to a semi-squat position, spreading their knees and as wide as possible to the sides. Heels do not come off the floor; the body remains strictly vertical. During squats your knees should point in the same direction as your toes. On even-numbered beats, the elastic band contracts. Just as slowly, with tension, the legs straighten. There are no stops between the downward and upward movements. The weight of the body should be evenly distributed over the entire foot: it is necessary that children do not lean on their big toes, but press on their small toes. Preparatory exercise 20 a. 3 3 . “Singing hands” (smooth movement of hands) Muayna: O. “launovcnuii. ,. The charman sings” (breakaway). Children are encouraged to convey the gentle, dreamy melody of the music in the same melodious, flowing and movements that they would perform with the sound of their voice. Description: Starting position - arms raised to the sides and palms facing forward. 48 Steps 1 - 4. Hands are slowly moved forward. The movement comes from the shoulder, without tension in the elbows. The hands lag slightly behind the movement of the entire hand. Bars 5-8. Children do the same: slowly spread their arms to the sides, returning to their starting position. The brushes lag slightly behind the movement. Bars 9 - 12. Repeat movements of bars 1-4. Bars 1 3 - 16. Repeat movements of bars 5-8; simultaneously with the end of the music, the hands smoothly fall down. There are no stops between forward and backward movements. At the beginning, the exercise can be performed with ribbons in your hands; they help control movement: with correct, smooth movement, the ribbons will hang calmly, with tension in the shoulders and elbows, the smoothness will be disrupted and they will begin to oscillate. As the emotional impact of music intensifies, the musical motor image deepens: in the children’s movement, the aspiration characteristic of the 1st and 3rd phrases of the melody appears - they seem to be reaching out with their hands following the sounds of the music. The movement of the arms involuntarily causes the body to tilt slightly forward; In the 2nd and 4th phrases the original position is assumed. Preparatory exercises 6 -9, 12 a. - - Practic e with Pr u zhwn ki-e 90 Russian folk melody<<П О СЕ ЯЛИ ДЕВКИ ЛЕН>> Not fast o, n "" р-- � - . in About T. LOMOVA's adaptation of the dance character actor r � g;- - J - - - --- � 1 1 "J - Fun K u r r a g e 31 » Ba.temaime, .teu mьt! » POLISH FOLK MELODY Arranged by L. VISHRAREVA � �� "" i 1 . . U...._./ 50 ..,., . 1 1 "F...,/ - g · . 1 ...__, .. "" 1 " -· · . 1 11 . - - -� » tJ �· .... ...___ tl 1 �-- . � 1 � 1 .. - 1 . ...<<ЭТ ЮД >> F. V e r e s l e n t i n g j).. tJ .... ----- ,...., � -- "11 �ft �(!: --.. _11 - MILLER �f!: ---- �ft ..... - tJ: �� � [!:. � / -, 51 � � "-.1 �:(t: .. ... l .. ....... �:ft ""iii. ---- . �: -� N u r e s 99 “Singing pynu”<�ШАР МАНЩИК ПОЕТ>> " (excerpt) P. CHAIROWSRIY 1t. Quite slowly, smoothly � r � y / ........_ > .- - 1 "-! . .:&- . ... ...,. ... .,.. ... , .,. .. ... � � tJ �. nlf: 11 "" l u 1. � > l 1:;":"-:-- - t t) ьJ J 1 � -...... IJ J_ _J 1 - 1 1 g - 1 � g -rz :_ - l..-71· ": 1 1 ....... 1 ....-J .1 1 J ...-... P A 3D E n 11 MOVEMENTS AND ELEMENTS OF TAHUA AND DANCES MASTERING THE BASIC Explanations for the exercises While working on improving walking, running, jumping, jumping (the so-called basic movements), mastering the elements of dancing and Russian dance, children embody in them the simplest musical viga body images. Each exercise in this section is based on the definition of lazy music, the nature of which determines the characteristics of the movement. For example, character brisk step corresponds to the content of the pioneer marches of F Radkin, Nadevevko, Jordansky; in: Vitlin's march 1 requires a different form of step, consonant with his more decisive, strong-willed character. Mastering the round dance step is associated with a calm Russian melody, while the singing step is associated with a playful, dancing one. Often, thanks to a specific image of the exercise, the character of the music is made more understandable to children. 2 In other cases, objects in the hands of children (ribbons, flags, etc.) will help to feel the image. For example, walking with a cheerful step with a regional flag in your hand, to the dynamic, bright pioneer march makes you step wider, more purposefully. And a bright scarf helps them dance more cheerfully and freely. Children should not be given objects into their hands simply for their amusement or to decorate their movements. In the process of improving or learning various types of movements, the leader develops technical skills in children. The first is the ability to start moving with the start of music: children must learn to prepare for the start of walking, running, jumping, etc. by lightly moving the body in the right direction (see exercise 1). To gradually develop this skill, before starting the exercise, you should check the children’s stance, their readiness to move, and repeat the “Pendulum” exercise. The second is the ability to give the movement the necessary dynamic expressiveness: the more the child moves his body forward when running, jumping and other movements and the more actively he works with his hands, the more directed, holistic, and exciting his movement becomes. Therefore, the leader must systematically develop the ability to use swing arm movements. The third - the ability to end a movement exactly with the end of a musical work (or part of it) - is technically connected with the second: children must reduce (slow down) the direction of their movement when approaching and concluding a musical thought. To master the indicated basic technical skills, to develop in children dynamism, rhythm, and direction of movements, the easiest way is to work on walking and running. Walking and running are not only the most natural way of movement, but also the most expressive movements: character, do1 2 Ex. 35. Ex. 34, 36, 38, etc. 55 The emotional and physical state of every person is clearly reflected in the way he walks and runs. On the other hand, walking in a good manner, with correct posture, light, directed running combined with cheerful, cheerful, dynamic music immediately lifts the mood and activates the children. Meanwhile, 1st grade schoolchildren often dress and run incorrectly and poorly: when walking, they shuffle their feet and knock their heels; the body is bent, settling on the legs; their feet work poorly, their hips are tied, so their step is sluggish and reduced; hands do not actively work. When running, they have no aspiration, their legs push off sluggishly from the floor; They run unrhythmically, heavily, awkwardly. Therefore, it is necessary to improve walking and running from the first lesson systematically and continuously (see exercises 34, 37, 1st grade). A number of descriptions of exercises indicate the structure and spatial pattern, which more fully reveals to children the character of the music. In other cases, the leader, independently deciding this issue, must ensure that the proposed structure and design do not make it difficult to work on music and movement. For example, children will not be able to convey in their run the aspiration, the flight of Weber's music, 1 moving in a small circle - for this movement they need a large, free space. When the children's movement is somewhat mastered, it is recommended to improve it on a more complex spatial composition that reflects the structure of the music in more detail. And then: be sure to continue on it: work in exercises, games and dances from sections 1 1 1 and IV. Studying types of movements in unity with a musical image insures children from perceiving movements only from their external form. They gradually begin to feel that movements become more expressive the more accurately their form corresponds to the character and characteristics of the musical-motor image. Description of the Walking exercise 34. “The pioneers are coming” (brisk step) Muayna: M. Fradnin. "Ruo nepcнuii march." E. Narlov. ,.Marsh ontn brnt ". N. 6o2oslovsniiJ. "Marsh" ..Marsh". L. Shulgin The movement of a vigorous step expresses the activity, cheerfulness, and purposefulness of the Piover march. The embodiment of this musical image, the work on it evokes in children an upbeat, cheerful, gay body 1 56 Vpr. 37, the mood brings them together into a team. The sled improves, and a number of gait aspects are corrected. Description of the vehicle. A brisk step is an ordinary everyday step, a more striving and decisive one. This is facilitated by the movement of the arms, which with strong swings (one forward, the other back) seem to drag the body forward. Thanks to the direction of the movement, the weight of the body immediately falls on the front part of the foot, which makes the gait easier; the stride naturally lengthens. The cheerful nature of the music and step helps children raise their heads a little higher, directing their gaze: d walking higher in front of their friend (and not resting their heads on the back of his head); children straighten up, improving their posture. Description of the exercise. A column of children walks along the rampart with a brisk step, staying close to the walls, cutting off corners (that is, without making sharp turns in the corners); before starting to move, they either line up in a column according to height - tall in front, check the intervals; or walking begins in the main formation in the lesson. In the first lessons, the leader, showing an example of a cheerful, active step, walks along the pillar towards it. With the end of the music, the pillar stops. The leader explains the simplest requirements for performing the movement: tap your heels , maintain good posture; helps with figurative instructions (for example, to walk as if you were going up a mountain; to walk like piovers). You can invite children to walk by raising their right (left) hand forward and upward, as if pointing where they are walk, or give them a flag in their outstretched hand upwards (follow the flag)... Until the children understand the content of the cheerful march and have learned to convey its character through movement, it is necessary to repeat the preparatory exercises with them at each lesson before the walking exercise 12; check your stance; remind yourself how to prepare yourself to start walking (shift the weight of your body forward); swing your arms alternately, one forward, the other back (3 1). From the very beginning, in the process of working on the movement of a cheerful step, children simultaneously develop the following skills: walking in a column at regular intervals (at a distance of arms outstretched forward, without touching the child walking in front); walking along walls; walking in a circle (or oval) without narrowing it; the ability to clearly begin a movement with the beginning of the music (or after a musical introduction) and end it with the end of the march, placing one foot to the other. When children have mastered the movement of a vigorous step to Fradkin's march, they should continue to work on improving the vigorous step with other music 1 and in other musical-motor tasks 2 1 See marches by E. Parlov, L. Shulman, 2 Ex. 5 1, 53, etc. b, c, g. N. Bogoslovsky - musical examples 35. “Soldiers are preparing for the parade” (high and quiet step) Mueyn a: V. Vitlin. March 1 1 Soviet Armin". The courageous, decisive music of this march at the same time has a connotation of festivity - in children it is naturally associated with the idea of ​​​​warriors Soviet army , about the parade on Red Square. The exercise evokes strong-willed, courageous emotions in children in a form accessible to them. It deepens and develops children's natural motor response to sharp, dynamic contrasts in: music; promotes the development of skills and qualities of movement necessary in all work. The exercise is based on alternating high and quiet steps. Music and high-stepping movements teach you to move with great energy, to work strongly and clearly with your muscles; The large muscles of the legs are especially activated. A quiet step develops softness and noiselessness of gait, the ability to immediately transfer the weight of the body to the front of the foot when walking. All these skills and abilities are then naturally transferred to other movements (to a vigorous, calm, round dance step, jumping). Description of movement. With a high step, the free leg, sharply bent at the knee, rises forward; the thigh takes a horizontal position, and the lower leg forms a right angle with the thigh. The body is straight, the head is raised; hands with hands clenched into fists help the movement with energetic swings - one forward, the other back (when the right leg rises, the left hand is carried forward, and vice versa). The leg lowers to the floor with a stomp; the step is small, but persistent and decisive. With a quiet step, muscle tone immediately decreases. The legs step softly and silently over the entire foot; the body leans forward slightly. The arm span decreases, the fists unclench. 58 Description of the exercise. Beats 1 - 2. Children: march in place, preparing to start moving forward in time. Beats 3- 10. A column of children walks with high steps along the walls of the hall, stops clearly, putting their feet together. Beats 1 1- 14. "" The soldiers are resting” - they walk calmly, leisurely; on the 1st 4th beat they line up in pairs, preparing to march. Bars 15-20. Now a column of couples is walking at a high pace. In accordance with the dynamic increase in:: music, “the soldiers are marching more and more energetically”; at the end there is a clear stop. 36. “Let’s go for a drink” (calm walk b a) lluayn: T. Lomova. "Etude". Calm, serene, somewhat monotonous: music creates a bright, balanced mood in children, which is reflected in their walk - calm, unhurried. Description of the vehicle. Children walk leisurely, in small steps, placing their foot gently on the entire foot, maintaining good, unforced posture. A calm step differs from a vigorous step in the absence of aspiration and energetic movement of the arms. Description of the exercise. The formation of the group and spatial tasks are chosen by the leader at his own discretion: you can walk alone or in pairs; chain; in a circle, holding hands; scattered; go under the gate. A calm step can be used to rest children after running, jumping, or to finish a lesson and leave the hall. (See also game 51.) Running 37. “Wirling pent” (pe r ki y be g) lluayn: N. Weber. “Temam ia variations”, op. 105. Flight, light character of the music and the image consonant with it fluttering ribbons help children give their running a light, relaxed, carefree character; they try to run as ribbons fly in the wind in their hands. The exercise develops the ability to perform an individual task. Description of the movements I. Children run easily, looking at the curly ribbon. While running, the hand with the ribbon is raised to the side and up, the legs actively and elastically push off from the floor, landing softly and silently. Description of the controls g in e v i z. The group is divided in half and lined up in two columns near the long walls of the hall, facing the same direction. The children have a ribbon in their right (left) hand. The first in the column - the leaders - are located in the adjacent corners of the hall (Fig. 1) 59 Fig. t T a t : Acts 1 - 8. The leader of the first column runs in a circle along the short wall, then past the second column and, along the d b Having arrived at the end of his reel, when the music ends, he stands up last in it. Tactics 1 -8 (for towing.) . The leader of the second column does the same. Takty 9-24. All the children in the column run in a big circle behind the second child, who has now become the leader; from the beginning they run along the path of the first leader, then go around another column, running between it and the wall, after which they return to their places. Bars 9-24 (repeat). The second one runs the same way. column behind their second leader. Then the second leaders begin the exercise. Etc. The leader makes sure that the children The shoulders did not tense and the arms and elbows did not straighten. Note: If the group is large, the leaders can be two children at once. Preparatory exercises 8, 9, 12. Jumps 3 8. “On the jumps of the gunchiki” (spring hopping) Mueyn: English narodnan dog “Polly”. In humorous musical movements, they easily jump along, as at spring parties (as if they were led) and suddenly (in accordance with the TV and music) they unexpectedly end the movement with decisive stomping steps. The exercise creates a funny, derogatory 60 image: children have fun, Children improve their spring movement, they acquire skills that subsequently ensure ease and clarity of many movements (running, jumping, skipping, etc.) . Description of movement. Spring jumping on two legs requires continuous active work of the feet: during the rebound, the legs in the rise quickly and straighten to the limit and remain so during the flight, the heels are held in place; the landing is soft - first the toes touch the floor, then the entire foot; the weight of the body does not transfer to the heels. Sloth's knees are slightly springy. All the while maintaining a good, straight posture. The upward movement under the underline is vertical. Description of the exercise. The initial arrangement is two zerengs standing along long walls facing each other. The distance between the ranks is 6-8 steps. Measures 1-6. Children in the same line jump up easily; arms slightly out to the sides. Bars 7 -8. Children in both ranks take three anergic stomping steps in place, raising their knees high, and place their feet together. Measures 9 - 1 4. The children in the second rank jump up. Bars 1 5 - 16. Repeat movements of bars 7 - 8. Children waiting their turn make a slight springing movement with their knees so as not to tune out the music. The leader explains to the children that spring bouncing is similar to the familiar movement of springs, but stronger, with both legs lifted off the floor. Preparatory exercises 19, 20b, 22. "3 9-40. “What does the music sound like?” (light and energetic in leaps) Muvyna: English folk melody. French folk music, about S. Vidor. Moving in leaps and listening to two pieces of music with different emotions. motor nature, children create two images: one simply embodies a good mood, the other - more cheerful, perky, active feelings. Although jumping from foot to foot is one of the natural (basic) and the most favorite children's movements, not all children use them in everyday life. They often jump heavily, awkwardly, unrhythmically; weakness of the legs (feet) interferes; sometimes the rhythm makes it difficult this movement. This especially applies to boys. If there are a majority of them in the group, it is recommended to start working on jumps to a French song, since