The influence of music on the physical development of children. Age levels of musical development of children

Features of musical work with preschool children.

Nowadays, vocal education of preschool children is carried out in Municipal budget preschools educational institutions. It is very interesting that children's singing also contributes to research for medicine, psychology, acoustics, pedagogy, etc. This is how the theory and system of musical education of children arises. Problem aesthetic education through the means of art, requires an in-depth study of issues related to musical education and development of preschool children. Despite all the difficulties and vicissitudes in Russia today, children's singing does not lose its relevance. It has withstood competition with the means mass media, where new types of creativity are currently emerging. And although no one denies the meaning educational role art, but no one tracks the impact of pop culture. Does not put a barrier against low-quality artistic production in the field of culture, in the field of aesthetic education. Thus, the concepts of artistic (positive) and anti-artistic (negative) are not included in the standards of artistic and aesthetic education.

It is known that joint choral singing has a huge educational value and has a beneficial effect on the overall development of preschool children. Music classes in preschool institution influence the formation of a harmoniously developed personality of the student.

The following qualities are formed:

Emotionality

Communication skills

Initiative

Responsibility

Organization

Collectivism

Hard work

Creativity

Cognitive processes develop:

Sensation, perception

Attention, memory

Imagination, thinking

Special skills and abilities are developed:

Stage culture

Aesthetic taste

Creative skills

Singing skills

Speech phonemic pronunciation

At the first stages of training, the student uses the “Sing Like Me” copying method, but gradually it is necessary to achieve a conscious attitude towards performing vocal exercises. The initial period of organizing skills. Memory, like all other mental processes, is successfully trained during music lessons. Muscle memory - develops well in special technical exercises, which contributes to the development of mechanical memory. Semantic memory is necessary both in chanting and when mastering singing techniques. Group singing - The best way development of memory in all its forms. Verbally - logical memory manifests itself when working with poetic texts. In the matter of memory education, attention and concentration play an important role, and concentrated attention stimulates memory. Therefore, working for half an hour in a music class with maximum concentration can bring more benefits than several hours of semi-passive, inattentive practice. During singing lessons, concentrated attention actively develops, without which the creative process is impossible. Focused attention is strengthened through systematic exercise. The development of attention is inextricably linked with will. Against the background of concentrated attention, imagination develops, the peculiarity of which is that it combines various impressions into images and pictures, transforming reality. Inspiration, in my opinion, is special condition, expressed in the complete concentration of all mental powers, abilities and feelings on the subject of creativity.

An important aspect in singing process- thinking. While singing, the thought process develops intensively through mastering the logic of literary texts. Therefore, group singing is a combination of thought and feeling, reason and inspiration, consciousness and creative intuition. Singing most directly affects those areas of the psyche that are associated with imaginative and emotional sensitivity. Therefore, musical activities related to vocal work- are a school of perception, imagination and feelings. Speech and singing are two amazing functions of the human vocal apparatus that nature has endowed him with. Music studies are closely interconnected with other integrative areas.

Singing is a psychophysiological process, and therefore children learn to control their voice based on conscious muscle sensations. The effectiveness of sound production directly depends on knowledge of the anatomical structure of the respiratory system, the human vocal apparatus, etc. When singing, it is necessary to take into account the acoustic laws of the sound wave to find the best sound of the singing voice. When getting acquainted with a piece of music, it is necessary to take into account the historical period in which it was written.

The era and style are important for the interpretation of a piece of music. All this taken together leads to the formation of artistic and aesthetic taste. Having traced interpersonal relationships between the students and the musical director, it should be said that such integration should have a beneficial effect only on the qualitative aspects of the students’ personality, but also certainly influence the increase in the overall musicality of the individual as a whole. Identification of children's attitude to musical and aesthetic development occurs through the use of various diagnostic methods. Group music classes are of particular importance because they are collective forms of classes. Thanks to collective work and the personal communication of children receives a versatile expression: the position of the subject of communication is formed, in which one’s “I” is affirmed, the world opens up social relations, the mental life of children is regulated. The collective form of creativity is an important aspect in both the spiritual and moral education preschoolers.

Children's voices have their own peculiarity. Children's voices are “light” in timbre and have a narrow range. Children have a specific vocal apparatus, short and thin vocal cords, small capacity, light. Characteristic high head sound, characteristic lightness of timbre, but no timbre richness.

For children's voices of 3-4 years old, falsetto sound production is typical, with a small sound strength from pp-mf. And there is no significant difference between boys and girls. In such initial stage The skill of collective singing is laid. At the age of 5, the ability to intonate, modal-metrical skills and ensemble singing is developed. At 6-7 years of age, individual timbre characteristics can be identified; initial skills vocal technique. Interest in phonemic sound formation.

Organization of the rehearsal process at music lessons.

Having chosen a piece, the music director must first study it carefully. To do this, you need to outline overall plan execution, analyze difficult places. Selection musical material a very important process.

Here are the basic principles for selecting the repertoire:

Accessibility of perception in execution;

Aimed at the formation of moral qualities of the individual, taking into account age characteristics;

Aimed at developing musical and singing skills;

Diverse in topics, genres, stylistic features, means of musical language;

From simple to complex;

Before starting to learn musical material, the leader conducts a conversation about its content and nature, reports brief information about the composer and author literary text. The forms of familiarization are different. It is better to organize it by listening (audio recording, etc.) performed by a highly qualified choir group. If it is not possible to listen to the recording, then the music director himself must reproduce this work: play or sing the main melodies to the accompaniment. This will help students master the musical texture and provide an opportunity to hear the harmonic surroundings of the melody. This promotes children's musical development and brings activity and awareness into the process. It is very useful to learn pieces a capella, as this makes it possible to develop independence in creativity. It can be noted that highly professional mastery of the instrument orients children in the correct sense of musical form, style, and content. If a piece is difficult to learn, then it is better to divide it into separate phrases that can be practiced several times.

Thus, it can be argued that the work process music director with preschoolers cannot be strictly limited to phases with a clearly defined range of technical or artistic tasks for each of the phases. This will be formal and can only be accepted as a scheme, following which the manager, to the extent of his experience, skills and abilities, will accept certain methods of work.

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Features of musical development of children of senior preschool age (5-7 years old)

Children of older preschool age are distinguished by richer younger preschoolers life and musical experience. They listen to music with interest and react to it emotionally.

When determining general, the mood of a musical work, children of this age are no longer guided by one, but by two or more means musical expressiveness(tempo and timbre, tempo and dynamics, tempo, timbre and dynamics at the same time)

The perception of the musical image becomes more adequate, which is associated with quite high level development of a system of musical abilities, thinking, imagination.

Children learn the concept of “genre” - a key concept of both musical and any other

arts (instrumental and vocal music, march, song, dance, “Russian dance”,

waltz...). The ideas about the form of a musical work (one-, two-, three-part form) are generalized. The easiest way for children to determine it is by practicing musical movement and playing in an orchestra.

Children of senior preschool age have a fairly large and varied experience of musical expressive movement. They hear in music and can convey in movement not only its general mood, but also tempo, dynamics, bright rhythmic pattern, and form.

Plots that are available for children to reproduce in musical sketches become

more complex. They contain not only graphic moments, but also an expressive beginning, a reflection of a certain mood (“Offended”, “A flower is blooming”). Children already master the main types of basic movements: stepping, running, jumping - and can perform them quite coordinatedly, rhythmically and expressively.

However, they lack lightness, springiness, dexterity, the technique of some

basic movements (jumps) and dance moves.

At 6-7 years of age, children have access to more complex dances and fairly developed creative compositions.

In older preschool age, the singing apparatus of the larynx begins to form; vocal cords appear and the voice acquires new, but still modest, capabilities. The intonation of the melody with the voice becomes more and more pure. Majority

Children in the 6th year of life can reproduce with accompaniment the general direction of movement of the melody, and some of them, against this background, purely intone its individual segments.

At the 7th year of life, approximately a third of children clearly intonate the melody as a whole with accompaniment, and only a few children sing it clearly without it. Children begin to sing loudly, flyingly, easily and expressively.

By the age of 5, children master the techniques of playing drums and pitches for children. musical instruments, which gives them the opportunity to clearly express themselves in elementary music playing.

Senior preschool age - age the flourishing of plot-role-playing and director's play.

Older children are already quite independent, inquisitive and creatively active.

On this topic:

Age-related characteristics of a child’s musical development - preschool educational institution “Kindergarten No. 232 “Zhemchuzhinka”

For example, if you do not teach children to distinguish musical sounds height, then by the age of 7 a child will not be able to cope with a task that a younger one can easily complete.

The most significant features of musical development are:

auditory sensation ear for music;
quality and level of emotional responsiveness to music of various types;
simple skills, actions in singing and musical-rhythmic performance.

Note general trends age development.

FIRST YEAR OF LIFE.

Psychologists note that children develop hearing sensitivity early. According to A. A Lyublinskaya, on the 10-12th day of life, a baby develops reactions to sounds. In the second month, the child stops moving and becomes quiet, listening to the voice, to the sound of the violin.

At 4-5 months, there is a tendency to some differentiation of musical sounds: the child begins to react to the source from which sounds are heard, to listen to the intonations of the singing voice. From the first months, a normally developing child responds to the nature of music with the so-called revival complex, rejoicing or calming down.

By the end of the first year of life, the baby, listening to the singing of an adult, adapts to his intonation by humming and babbling. Manifestations of emotional responsiveness to music and the development of auditory sensations allow for musical education from a very early age.

SECOND YEAR OF LIFE:

When perceiving music, children show brightly contrasting emotions: cheerful, lively or calm. Auditory sensations are more differentiated: the child distinguishes between high and low sounds, loud and quiet sound and even timbre coloring (a metallophone or drum is playing). The first, consciously reproduced singing intonations are born; Singing along with the adult, the child repeats after him the endings of the musical phrases of the song.

He masters the simplest movements: clapping, stamping, spinning to the sound of music.

THIRD AND FOUR YEARS OF LIFE.

Children have increased sensitivity and the ability to more accurately distinguish the properties of objects and phenomena, including musical ones. Individual differences in hearing sensitivity are also noted. For example, some kids can accurately reproduce a simple melody.

This period of development is characterized by the desire for independence. There is a transition from situational speech to coherent speech, from visual-effective thinking to visual-figurative thinking, and the muscular-motor system is noticeably strengthened. The child develops a desire to play music and be active.

By the age of 4, children can sing a little song on their own, with a little help from an adult. They master many movements that allow them to dance and play independently to a certain extent.

FIFTH YEAR OF LIFE

They are characterized by the active curiosity of children. This is a period of questions: “why?”, “why?”. The child begins to comprehend the connection between phenomena and events and can make simple generalizations.

He is observant, able to determine: the music is cheerful, joyful, calm; sounds high, low, loud, quiet; in the play there are parts /one fast and the other slow/, on what instrument the melody is played /piano, violin, button accordion/. The child understands the requirements: how to sing a song, how to move in a calm round dance and how to move in a moving dance. .

Mastering the basic types of movement - walking, running, jumping - gives children the opportunity to use them more widely in games and dancing. Some strive, without imitating each other, to fulfill the role in their own way / for example, in story game/. Others show interest in only one type of activity, depending on each individual's inclinations and abilities.

SIXTH YEAR OF LIFE

This is the period of preparation of children for school. Based on the acquired knowledge and impressions about music, children can not only answer the question, but also independently characterize a piece of music, understand its means of expression, and feel various shades of mood.

Methodological manuals developed, tested and published by MBDOU TsRR kindergarten No. 232

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We invite you to take part in an independent assessment of the activities and quality of education of our kindergarten.

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Children 3-4 years old

Children of the fourth year of life are spontaneous and emotional, love music and great joy respond to cheerful and active musical works. At this age, children exhibit individual differences in the rate of psychophysiological development, which is manifested in their mastery of speech, movements, and behavior.

It is important for a teacher to begin using an integrative approach in classes with children of this age, since children of the fourth year of life begin to develop the necessary prerequisites for active creative music playing. If in early childhood children could not sing independently and only sang along with an adult, and their movements were imitative and spontaneous, then in the period from 3 to 4 years old children gradually begin to master independent singing and more consciously perform simple dances and play exercises.

The teacher needs to take into account the following age characteristics of children 3-4 years old for the correct organization of an integrative approach in music classes:

The predominance of involuntariness in perception, attention, memory and behavior (it is necessary to maintain attention with game objects, select music of short duration);

Most often modern children processes of excitation prevail over inhibition (it is important to correctly alternate types and forms of activity, their duration);

Visually effective, visually imaginative thinking (it is necessary to use bright illustrative material, small musical works of a visual nature);

Limited vocabulary, age-related tongue-tiedness, limited life experience(pay attention to the development of diction and expansion of vocabulary in the process of singing, select music that is understandable to children in terms of mood and content);

A pronounced ability to imitate (the teacher must be artistic, emotional, able to accurately and expressively show children how to perform a movement or song, must be able to involve children in joint musical and creative activities);

The above and other age characteristics of children of the fourth year of life must be taken into account both in organizing work on musical development and in selecting musical works for listening, performing and other types of musical activities.

Children 4-5 years old

Children of the fifth year of life have already acquired some experience in various types of musical activities. They already have their own individual preferences: some like to sing more, others like to dance, play instruments. That is why the teacher needs to use an integrative approach more widely in the classroom.

At this age, children are very active, energetic, and emotional. However, attention and memory are still characterized by involuntariness. Showing and support from adults is also extremely important for children.

In the fifth year of life, motor skills and qualities continue to develop. On the one hand, children have flexibility, plasticity, they can easily perform some acrobatic exercises. On the other hand, they have not yet developed coordination of movements, which is manifested in walking, as well as when performing many types of movements.

The predominance of involuntariness in perception, attention, memory and behavior requires the teacher to maintain the interest of children with play techniques and select short-sounding music.

Children 5-6 years old

In older preschool age, children experience the maturation of such an important quality as arbitrariness. mental processes(attention, memory, thinking), which is an important prerequisite for a more in-depth and expanded use of the integrative approach.

A 5-6 year old child is distinguished by greater independence, a desire for self-expression in various types of artistic and creative activities, he has a pronounced need to communicate with peers, which requires the teacher to mandatory introduce musical and communicative games and exercises into the educational process. By this age, children develop dexterity, accuracy, and coordination of movements, which greatly expands their performing capabilities. The teacher must take these features into account when staging, theatricalizing songs, and when teaching children to play musical instruments. children's orchestra.

In children of this age speech is more perfect: active and passive vocabulary expands, sound pronunciation and grammatical structure of speech improve significantly, the voice becomes clear and strong. These features provide an opportunity for further development of singing activity and the use of a more diverse and complex musical repertoire.

However, all of the listed features manifest themselves individually, and in general, children 5-6 years old still require very careful and attentive attitude: they get tired quickly, tired of monotony. These age characteristics must be taken into account when planning and organizing music educational situations.

Children of the sixth year of life:

They begin to control the performance of music by ear in various types of musical activities;

Can participate in music games ah with singing, movement, follow the development of the plot;

Can remember familiar songs based on the intro or melody;

They can combine singing with playing children’s musical instruments, performing different parts in groups;

They begin to master basic vocal and choral skills: they sing in a natural voice, clearly articulating all the words, hold a short phrase while breathing (up to 5-6 seconds), convey the intonations of simple melodies, sing harmoniously, simultaneously starting and ending the performance of the piece;

Perform movements with various attributes (flowers, scarves, toys, ribbons, umbrellas, hoops);

Thus, in older preschool age, the main indicators for all forms of activity are the children’s desire to play music, sing, dance, communicate with music, the joy and pleasure they receive from joint performing activities. That is why integrability should be the main principle of organizing music classes with children of this age.

Children 6-7 years old

The age of 6-7 years is the middle of childhood. Active, energetic children are active in all types of musical activities. artistic activity. The integrative approach is becoming the leading way to organize a music lesson.

During this period, children's psychophysiological capabilities change qualitatively: the voice becomes clear, movements become even more coordinated, the volume of memory and attention increases, and speech improves. Children's voluntary behavior increases, a conscious interest in music is formed, and their musical horizons significantly expand.

New qualities make it possible to implement more complex tasks in the musical development of children. At the same time, children are characterized by emotional instability and psychological fatigue, which must be taken into account when planning and organizing musical educational situations.

The use of an integrative approach in music classes with children of this age makes it possible to achieve following results. Children 6-7 years old:

They can take part in playing music impromptu, adapt to sounding music, find your own way of playing the instrument;

They can independently organize the playing of plays in two-part form, distribute roles and parts of instruments;

Children have developed vocal and choral skills: children sing in a natural voice, clearly articulating all the words, hold a phrase while breathing for 6-8 seconds, clearly intone simple melodies within the “do” of the first - “re” (“mi”) of the second octave, sing coherently and expressively, conveying the meaning of the performed works;

Can use noise and pitch instruments to recite poems and fairy tales, interpret and vary the performance;

They are able to coordinate movements with the meter rhythm and form of a musical work, and perform more complex in coordination (asymmetrical, multidirectional) musical rhythmic movements. The teacher needs to use this ability to include motor movements in the performance of a musical work, when staging songs;

In the preschool period, the relevance of the idea of the holistic development of a child’s personality through music increases, since the tasks of achieving school maturity and mastering the prerequisites become a priority. educational activities, successful socialization of the child, formation of moral and communication skills.

On this topic:

Source nsportal.ru

MUSICAL EDUCATION AND DEVELOPMENT OF CHILDREN AGED 5-6 YEARS OLD.

Characteristics of musicality of children 5-6 years old

The most important indicators of musical development, intensively manifested in older preschool age, include:

Developed musical memory, increased level of memorization, arbitrariness of attention;

Ability to operate musical performances;

Ability to voluntarily control musical activity;

*qualitative differences in children's performance that appear on the basis of a conscious goal;

Increased creative activity in its individual manifestations.

At this age, the child’s individuality, his initiative, attempts at his own interpretation during performance, and emotionally conscious perception are clearly revealed.

Happening further development auditory sensations for the perception, discrimination, memorization and reproduction of musical sounds of various pitches, timbre colors, organized in time and mode.

The melodic ear of six-year-old children is manifested in the accurate reproduction of complex intonation turns of a melody (ascending sixth, minor and major seconds, fifth intonations), distinguishing and reproducing intervals from second to octave. Singing intonation becomes more accurate. Children of this age are capable of distinguishing stable and unstable sounds of a mode, of memorizing and distinguishing tonics, which indicates the perception of mode gravity.

A developed sense of rhythm is characterized by a sensitive grasp of meter, accents, pulsation, rhythmic pattern, musical form, and tempo of the work.

Educational tasks

Children should be given the opportunity to independently perceive music and penetrate into its figurative essence, encourage the organization of musical games, the theatricalization of games and fairy tales. At the same time, it is important to support children’s desire to show modesty and naturalness, and the need for cooperation.

As in previous age groups, paramount importance in working with children of the sixth year of life is given to the education through music of such qualities as kindness, honesty, compassion, and the development of attention.

It is necessary to satisfy children's curiosity when listening to musical works (familiarity with our country, its history, modern events, musical traditions of their own and other peoples). It is important to draw children’s attention to the fact that music is the language of international communication - this will help solve the problems of international education.

Musical activity of preschool children and its tasks

Listening - perception

Continue familiarization with the art of music in all its varieties, develop a sustainable interest in listening to folk and classical music. (A large stock of musical impressions, good memory allow children to name their favorite works.)

Teach children to give detailed characteristics of the emotional and figurative content of works of various genres (“What feelings does music convey?”), to highlight programmatic and visual features in music (“What does music tell?”), to characterize the means of musical expressiveness (“How does music tell?” ) .

Reveal to children the cause-and-effect relationships between musical phenomena: fast melody (short, abrupt sounds), disturbing music (fast tempo, low register). Discuss with children different options for performing interpretation of a musical work.

Musical and educational activities

Try to encourage the child to search for new knowledge about the world of beauty: show the connection between music and fiction, music and cinema, music and theater, music and painting.

Give children stable knowledge about composers (foreign, domestic). Expand your understanding of vocal music - song, romance; instrumental - solo, ensemble, orchestral. Children should know and name dances (polka, waltz; folk dances - round dance, Kamarinskaya, square dance, hopak, etc.), musical genres (play, opera, ballet, song, suite).

Teach children to consciously select the necessary complex characteristics of musical images: cheerful, joyful, playful, frisky, etc., to use musical terms: tempo (slow, agile), nature of melody playback (singing, abrupt, drawn-out), sound dynamics (loud, quiet, gradually increasing, slowing down).

Singing activity

Chanting. Teach children to sing vowels (a, o, u, e, i), and clearly but naturally pronounce consonants (d, t, p, r). Learn to distribute your breathing when singing drawn-out phrases. Expressively convey the poetic meaning of the text in singing intonation.

Learning and performing songs. Encourage children to sing songs with an emotional attitude: sing with love, pride, joy, with regret, etc. Strengthen expressive performance skills.

To develop auditory self-control skills in children. To accustom children to conventional conductor gestures - the beginning and end of a song, hand movement corresponding to the movement of the sounds of the melody.

To teach your child to evaluate the quality of his own singing and the singing of other children.

Song creativity. Teach methods of song improvisation: imitation of various sounds; answers to musical questions, conveying expressive intonations (pleading, plaintive, angry, demanding); singing improvisations to a given text.

Musical and rhythmic activity

Exercises. Strengthen children's ability to convey musical fundamentals through expressive movements: convey characteristic images, rhythmic pattern, tempo and dynamics of the work. Independently begin and end movements in accordance with the musical form.

Dancing, dances, round dances. Diversify the vocabulary of dance movements: round dance step of different nature, step with a stomp, side step with a squat, side canter, variable step.

Teach children to master dance (Russian and other nations), introduce elements of ballet and modern mass dance. Diversify traditional movements: swings with various figurative movements of the arms, half-squats with opening and closing of the arms.

Dance and gaming creativity. Encourage children to strive for independent improvisation in free dancing. Teach the plastic expression of theatrical and play images.

Continue to develop the ability to combine pantomime, dance, and plastic arts.

Learn to reflect changes in the musical image in dance improvisations.

Introduction to playing musical instruments

To develop children's interest in playing music on instruments - both children's and piano.

Teach children the rules of handling instruments (wind instruments). Stimulate various techniques of figurative play - glissando, precise and strong movement of the brush.

Learn to perform songs and chants, creative improvisations (individually and in an ensemble) on instruments, using convenient fingering.

Organization and conduct of music classes

The organization of music and rhythm classes remains the same in structure and type, but becomes noticeably more complex in content. The formation of musical abilities in developmental classes with children of the fifth year of life was based on the material of musical didactic games and exercises. The musical development of children of the sixth year of life makes it possible to significantly complicate the content and methods of organizing developmental activities.

The main goal of classes in the first half of the academic year (September - December) is to become familiar with the means of musical expression through practical music-making.

Of the means of musical expression, children most easily distinguish and assimilate rhythm, which is confirmed by scientists (V. Bekhterev, B. Teplov, K. Tarasova). That is why, when working with preschoolers, it is recommended to use percussion instruments of folk origin - wooden spoons, boxes, tambourine, ruble. They usually perform pulse, accent, weak and strong beats, beginning and ending of phrases, rhythmic formulas, roll calls.

Metric pulsation, or pulse, is presented to children as smooth, measured steps that are heard in music. Children begin to understand metric pulsation from the moment they learn to march to music,

clap your hands and tap your feet to the beat of the music. Depending on the nature of the music, the pulse can be performed on spoons (in Russian song), drum (in march), maracas (in modern dance).

Accent in music is the forceful or semantic emphasis of a separate sound in the musical material. The teacher should explain this to children in a clear way: draw an analogy with the emphasis on individual words in colloquial speech, highlighting a single word in a phrase, select vivid artistic examples.

Depending on the nature of the piece, the accent may be heard on various percussion instruments, but it must be an instrument that differs in timbre from the one on which the pulse is performed. For example, in a dance the pulse is performed by spoons, and the accent is a tambourine, cymbals or a triangle.

Rhythmic pattern (rhythm in in the narrow sense words) is the ratio of the durations of a sequential series of sounds, i.e. the rhythmic basis of the melody. Explaining what a rhythmic pattern of a melody is, we can draw an analogy with the outline of a pattern in painting. Changing the contour line changes the pattern, just as in music changing the rhythm changes the melody. The teacher should pay attention to the fact that in the rhythmic pattern we hear short and long sounds. (It is useful to show the duration on a flannelgraph.)

In the score, the rhythmic pattern can be performed simultaneously with the pulse, accent and other metro-rhythmic means, but always on a different instrument. The rhythmic pattern will sound clearly and cleanly in the orchestra in pieces of a leisurely nature and quiet sound. It should be reproduced within a short period of time.

When introducing strong and weak beats, the teacher draws the children’s attention to the fact that when they move to the march, the steps are different - first a heavy, strong step (strong beat), then a light, weak one ( weak share) . When explaining, the strong beat of a beat can be indicated by clapping your hands, and the weak beat by finger-to-finger.

Particular attention should be paid to the ostinant pattern. An ostinant pattern is the same rhythmic sequence repeated constantly or over a long period of time in a piece of music.

Unlike other elements of rhythmic texture, which are mandatory in the fabric of musical material, the ostinant pattern is created in the process of creative performance. To reproduce an ostensible rhythm, you can use two groups of instruments, which alternately (in the form of a roll call) perform a rhythmic pattern.

Rhythmic roll calls are used in the form of echo, cuckoo call and other figurative and imitative means. In this case, it is better to use instruments of different timbres: a box - a triangle, a tambourine - spoons.

A phrase is a more or less complete melodic structure in content. First, children recognize the contrast between individual parts of a musical work, then between phrases, and finally, they distinguish phrases not only by contrast, but also by similarity.

When introducing preschoolers to rhythm as a means of musical expression, the teacher must take into account individual musical abilities child, select tasks differentiated. It should be taken into account that any element of rhythmic relationships in music, explained to children, but not fixed in instrumental music playing, will not be sufficiently understood and realized by them.

We have described the content of the work of a music teacher in developmental classes. The content of dominant classes becomes more complex. If for children 4-5 years old the dominant type of activity was performing (singing), motor activity, then in older preschool age it was listening. Other types of artistic activity help to activate it, however, they are selected for each lesson not by chance, but from the point of view of pedagogical expediency.

Complex classes remain attractive for older preschoolers. Previously purchased artistic experience helps them create an expressive image (musical, poetic, plastic, visual). Joint actions of the teacher and children, communication with peers create comprehensive classes the necessary conditions for creativity, for the formation of moral and aesthetic feelings.

The leading direction in working with six-year-old children is the education of the moral qualities of the child’s personality through music. At first glance, life and musical emotions are very similar and are equally strongly experienced by the individual.

But in fact, the feelings embodied in music are not always identical to life. They are always “mediated by an artistic ideal, a system of value ideas, and are associated not with random, but with stable socially significant, socio-historical content” (V.

Medushevsky). Experiences of an aesthetic nature enrich the child’s experience, including developing the ability to react emotionally to what is happening around him. This means that he will not remain indifferent to the joys and sorrows of other people, and will show, in appropriate cases, compassion, pity, sympathy, or, conversely, indignation and condemnation.

In the long-term plan (see below) it is proposed musical repertoire, in its artistic significance, capable of solving the problems of moral and aesthetic education. The plan for “emotional adaptation” to A. Khachaturian’s play “Today it is forbidden to walk” is aimed at the formation of emotional assistance (to feel sorry not for oneself in another, but for another as oneself).

The musical development of children of the sixth year of life should be focused on continuity with school. The system of musical education in school, developed by D. Kabalevsky, is based on the principle of thematicism.

The teacher-musician bases his topics on the art of music itself in the uniqueness of its content and form. Putting forward one topic after another, he introduces children to music in a certain sequence. In groups of senior preschool age, it is quite possible to implement the basic principle of children’s development with the help of music and musical activities: to show that music reflects life content and expresses it through musical means.

A long-term plan for step-by-step learning of material in music, rhythm, and dance will help in implementing the thematic principle:

“What feelings does music convey?”, “What does music express?”;

“What does the music tell about?”;

“How (by what means) does music tell?”

Approximate distribution of musical material

AGE FEATURES

MUSICAL DEVELOPMENT CHILD

The child’s abilities develop in the process of active musical activity.

The most significant features of musical development are:

Auditory sensation, musical ear;
Quality and level of emotional responsiveness to music of various types;
The simplest skills, actions in singing and musical-rhythmic performance.

First year of life. From the first months, a normally developing child responds to the nature of music with the so-called revival complex, rejoicing or calming down. By the end of the first year of life, the baby listens to the singing of an adult and adapts to his intonation by humming and babbling.

Second year of life. The child distinguishes between high and low sounds, loud and quiet sounds, and even timbre coloring. The first singing intonations are born; Singing along with the adult, the child repeats after him the endings of the musical phrases of the song. He masters the simplest movements: clapping, stamping, spinning to the sound of music.

Third and fourth year of life. This period of development is characterized by the desire for independence. Speech becomes coherent and the musculoskeletal system is strengthened. The child develops a desire to play music and be active. By the age of 4, children can sing a little song on their own, with a little help from an adult. They master many movements that allow them to dance and play independently.

Fifth year of life. Characterized by the active curiosity of children. This is a period of questions: “why?”, “why?”. The child begins to comprehend the connection between phenomena and events and can make simple generalizations. He is observant, able to determine: the music is cheerful, joyful, calm; sounds high, low, loud, quiet; in the piece there are parts (one fast and the other slow), on what instrument the melody is played (piano, violin, button accordion). The child understands the requirements: how to sing a song, how to move in a calm round dance and how to move in a moving dance.

Mastering the basic types of movement - walking, running, jumping - enables children to use them more widely in games and dancing. Some strive, without imitating each other, to play the role in their own way (for example, in a story game). Others show interest in only one type of activity, depending on each individual's inclinations and abilities.

Sixth and seventh years of life. This is the period of preparation of children for school. Based on the acquired knowledge and impressions about music, children can not only answer the question, but also independently characterize a piece of music and understand its means of expression. Feel the various shades of mood conveyed by music.

The child is capable of a holistic perception of a musical image, which is very important for developing an aesthetic attitude towards the environment. But does this mean that analytical activity can harm holistic perception? Research conducted in the field of sensory abilities and musical perception of children has shown an interesting pattern. The holistic perception of music is not reduced if the task is to listen and isolate. Distinguish between the most striking means of “musical language”. The child can identify these means and, taking them into account, act in accordance with a certain way when listening to music, performing songs and dance movements. This promotes musical and auditory development, mastering the necessary skills to prepare for singing from notes.

In children 6-7 years old, the vocal apparatus is further strengthened, the range expands and equalizes, and greater melodiousness and sonority appear. Songs, dances, and games are performed independently, expressively and to some extent creatively. Individual musical interests and abilities are revealed more clearly.

Thus, musical education fulfills the task of comprehensive and harmonious development of preschool children.

CHARACTERISTICS OF THE COURSE “THEORY AND METHODS OF MUSICAL EDUCATION OF PRESCHOOL CHILDREN”

COURSE SUBJECT

The theory and methodology of musical education of children is one of academic disciplines at the faculties of preschool education of pedagogical institutes that train specialists in the field of preschool pedagogy and psychology. This course is primarily based on aesthetics (one of the areas of study of which is the artistic activity of people), musicology (the science of music, considering it theoretically and historically, as a special form of artistic knowledge), music psychology (studying the development of musicality, musical talent) , musical sociology (exploring specific forms of existence of music in society). It is closely related to general and preschool pedagogy, psychophysiology. All these sciences are the theoretical foundations of music education, which are discussed in the subjects that make up the general course and its electives.

In this chapter we will dwell on the subject of the methodology of musical education of preschool children.

The methodology of music education as a pedagogical science studies the patterns of introducing a child to musical culture, the development of musical abilities in the process of teaching various types of musical activities (perception, performance, creativity, musical educational activity). In this regard, the goal this course is the mastery by students, on the basis of personal musical culture, of professional musical knowledge, skills, and various methods and techniques of musical education and training of children of early and preschool age.

The 3 courses are as follows:

To give students an idea of the possibilities of musical education of a child from birth to entry into school;

Reveal the patterns of development of musical abilities and fundamentals musical culture children in preschool and family settings;

Determine methods and techniques, organizational forms of musical education and training of children in various types of musical activities in kindergarten;

Describe the functions of the teaching staff

kindergarten for organizing musical education of preschoolers.

The methodology of this course, like other private methods studied at the preschool faculty, is designed to answer the question: how and on what material to raise a child in kindergarten in accordance with the set goal of developing his personality?

The content of musical education in kindergarten is reflected in the relevant programs in the form of requirements for the development of musical abilities, the formation of musical knowledge, skills and abilities in children and a recommended list of repertoire for all types of musical activities in various age groups of a preschool institution. Program requirements are the most stable part of the content of music education, but they are also adjusted in connection with new approaches to child education and taking into account the results of research conducted in this area. For example, on the basis of new concepts for organizing the educational process in kindergarten, the educational and disciplinary model of education is being replaced with a personality-oriented one, which should become decisive when drawing up program requirements for the musical development of children." Based on existing programs, the teacher should make wider use of works of folk and classical music, when selecting the repertoire, take into account the specific conditions of the age group of children, the “individuality factor” of pupils (B. M. Teplov), the material and technical base of the institution, one’s own musical and pedagogical abilities, etc. But the main thing is - a teacher, knowing about the ability of music to reveal the best in a person, to glorify the beauty of the world around him, must always remember the importance of forming an aesthetic principle in a child, understanding beauty and developing the spirituality of his personality

One of the main objectives of the methodology is to combine the student’s theoretical knowledge with practical skills and abilities, applying theory to “action”.

Thus, the content of the course includes, on the one hand, the mastery by students of special musical knowledge, skills and abilities in the process of classroom theoretical and practical classes, on the other hand, their testing in kindergarten during laboratory classes and teaching practice in order to ensure full-fledged musical professional training of preschool education specialists.

It is important for the future teacher to understand that the effectiveness of musical training is largely determined by his personal example and culture. When organizing listening to music, learning a song, etc., he must not only ensure the artistic performance of the work (in a “live” performance or recording), vividly talk about its content and character, but also show personal interest, passion, and, to a certain extent, artistry , without which students will not be able to feel the appropriate mood and emotionally empathize with musical images. The teacher’s personal attitude to music, his taste, and performing abilities largely influence the level of musical development of his students. That is why the music director and teacher must constantly improve their musical culture. This is largely facilitated by the study of musical disciplines (elementary music theory and solfeggio, musical literature, choral singing, rhythm, playing musical instruments). But this is not enough. To maintain good professional shape, including musical shape, you need to take care of it systematically, actively engaging in your improvement. Only a teacher with a high level of general and musical culture can become a role model for his students. Only under this condition will children be able to acquire the spirituality that is so necessary for personal development.

Disclosure of the subject of this course requires consideration of the concepts of upbringing, education, training and development in the context of its specifics.

Musical education in kindergarten is an organized pedagogical process aimed at nurturing musical culture, developing children's musical abilities with the goal of developing the child's creative personality.

Music education in kindergarten means the “first steps” in this area, which reveal to children the content of basic information and knowledge about music, types, and methods of musical activity.

Education is considered as the main way and means of musical education of children, ensuring effectiveness in the development of their musicality, musical and aesthetic ideas, musical culture, artistic and creative abilities, with the aim of forming a full-fledged personality of the child.

Musical development is the process of formation and development of musical abilities based on natural inclinations, the formation of the foundations of musical culture, creative activity from the simplest forms to more complex ones.

All these concepts are closely interrelated. Their connection is also expressed in the fact that the effectiveness of the musical development of a preschool child depends on the organization of musical education, including training. Education should be developmental in nature based on an in-depth study of the child, his age and individual characteristics and knowledge of the patterns of musical and aesthetic development of children of early and preschool age.

The importance of music as an art form

How can we explain the enormous power of music’s influence on the spiritual world of man?

First of all, its amazing ability to reflect people’s experiences at different moments in life. The people rejoice - this results in the solemn and joyful sounds of music; a soldier sings on a march - the song gives a special cheerful mood and organizes the step; a mother grieves for her dead son - sad sounds help express grief. Music accompanies a person throughout his life.

“What interesting material! ...After all, on this material one could write an excellent study about the aspirations and expectations of the people,” said V.I. Lenin about the collection of Russian peasant songs.

N.V. Gogol figuratively called folk music “sounding history”, “resonant living chronicles”.

Musical works reflect the pages of history. During the days of the Great Patriotic War, one of the best songs of that time was born - “The Holy War” by A. Alexandrov. It united the Soviet people in their stern, unyielding determination to fight until complete victory. In besieged Leningrad, D. Shostakovich creates the famous Seventh Symphony. It condemns the greatest evil that fascism brings. “I don’t like to say such words to myself, but this was my most inspired work,”2 recalled the composer. The following words belong to him: “In sorrow and in joy, in work and in rest - music is always with a person. It has entered into life so fully and organically that it is taken for granted, like the air one breathes without thinking or noticing... How much poorer the world would become if it were deprived of a beautiful, unique language that helps people understand each other better.”3

This is another feature of music - to unite people in a single experience, to become a means of communication between them. It is perceived as a miracle that a piece of music created

by one person evokes a certain response in the soul of another. The great Russian composer P. I. Tchaikovsky said: “I would like with all the strength of my soul for my music to spread, so that the number of people who love it, who find consolation and support in it, increases.”

Vibrant artwork that expresses peace big thoughts and deep feelings of a person, capable of causing an emotional response, influencing the aesthetic side of the soul, become a source and means of education.

The third feature of music, in the words of D. Shostakovich, is “a beautiful, unique language.” Combining an expressive, bright melody, harmony, and a unique rhythm, the composer expresses his worldview, his attitude towards the environment. All those who perceive them are enriched by such works.

Is music capable of affecting all listeners equally? Of course no. And this is another feature of it. Each person in his own way shows interest and passion for music, gives preference to a particular musical genre, favorite composer, individual work, having a certain listening experience. Just as one learns to read, write, count, and draw, so one must learn to recognize, appreciate music, listen carefully, noting the dynamic development of images, the clash and struggle of contrasting themes and their completion. The listener's perception must follow the entire development of the music. We must learn to comprehend this “beautiful, unique language.” Musical taste gradually develops, the need for constant communication with music arises, artistic experiences become more subtle and varied.

Another feature of music that interests us is that it influences a person from the very first days of his life. Hearing the gentle melody of a lullaby, the child concentrates and becomes quiet. But then a vigorous march is heard, and the expression immediately changes baby face, movements are revived! An early emotional reaction makes it possible to introduce children to music from the first months of life, making it an active assistant in aesthetic education.

§ 2. Music and the comprehensive development of a child’s personality

A harmonious combination of mental and physical development, moral purity and aesthetic attitude to life and art are necessary conditions for the formation of an integral personality. The achievement of this lofty goal is greatly facilitated by the correct organization of musical education of children.

Music is a means of aesthetic education

Aesthetic education is aimed at developing the abilities of preschool children to perceive, feel and understand the beautiful, notice the good and the bad, act creatively independently, thereby becoming involved in various types of artistic activities.

One of the brightest means of aesthetic education is music. In order for it to fulfill this important function, it is necessary to develop the child’s general musicality. What are the main signs of general musicality?

The first sign of musicality is the ability to feel the character and mood of a piece of music, empathize with what is heard, show an emotional attitude, and understand the musical image.

Music excites the little listener, evokes responses, introduces life phenomena, and gives rise to associations. The rhythmic sound of the march makes him happy and uplifted, while the play about a sick doll makes him sad. Hearing a sad song on the radio performed by an adult, the boy said: “My uncle is singing about his grief.” This means that the child felt the mood of the song, conveying the person’s state of mind.

The second sign of musicality is the ability to listen, compare, and evaluate the most striking and understandable musical phenomena. This requires elementary musical-auditory culture, voluntary auditory attention aimed at certain means of expression. For example, children compare the simplest properties of musical sounds (high and low, the timbre sound of a piano and violin, etc.), distinguish the simplest structure of a musical work (song lead and chorus, three parts in a play, etc.), note the expressiveness of contrasting artistic images (the affectionate, drawn-out nature of the chorus and the energetic, moving nature of the chorus). Gradually, a stock of favorite works accumulates, which the children listen to and perform with great desire, and the initial foundations of musical taste are laid.

The third sign of musicality is the manifestation of a creative attitude towards music. Listening to it, the child imagines the artistic image in his own way, conveying it in singing, playing, and dancing. For example, everyone is looking for expressive movements characteristic of cheerfully marching pioneers, heavily walking bears, moving bunnies, etc. Familiar dance movements are used in new combinations and variations.

With the development of general musicality, children develop an emotional attitude towards music, their hearing improves, and their creative imagination is born. Children's experiences acquire a unique aesthetic coloring.

Music is a means of shaping a child’s moral character

Music, directly influencing a child’s feelings, shapes his moral character. The influence of music is sometimes stronger in appearance than persuasion or instructions. By introducing children to works of various emotional and figurative content, we encourage them to empathize.

Round dances, songs, and dances of different peoples arouse interest in their customs and foster international feelings. The genre richness of the music helps to perceive heroic images and lyrical mood, cheerful humor and playful dance melodies. The variety of feelings that arise when perceiving music enriches children’s experiences and their spiritual world.

Solving educational problems is greatly facilitated by collective singing, dancing, and games, when children are overwhelmed by common experiences. Singing requires a united effort from the participants. Someone who sings inaccurately interferes with good sound and performance, and this is perceived by everyone as a failure. Common experiences create fertile ground for individual development. The example of comrades, general inspiration, and the joy of fulfillment activate the timid and indecisive. For someone spoiled by attention and overly self-confident, the successful performance of other children serves as a known inhibitor of negative manifestations. Such a child can be asked to help his comrades, thereby instilling modesty and at the same time developing his individual abilities.

Music lessons influence the general culture of behavior of a preschooler. The alternation of various tasks and activities (singing, listening to music, playing children's instruments, moving to music) requires children's attention, intelligence, speed of reaction, organization, and manifestation of volitional efforts: when performing a song, start and finish it on time; in dancing, games, be able to act, obeying the music, refraining from the impulsive desire to run faster, to overtake someone. All this improves inhibitory processes and develops will.

Thus, musical activity creates the necessary conditions for the formation of the moral qualities of a child’s personality and lays the initial foundations for the general culture of the future person.

Music is a means of activating mental abilities

The perception of music is closely related to mental processes, i.e. it requires attention, observation, and intelligence. Children listen to the sound, compare similar and different sounds, become familiar with their expressive meaning, note the characteristic semantic features of artistic images, and learn to understand the structure of the work. Answering the teacher’s questions, after the work has finished, the child makes the first generalizations and comparisons: he determines the general character of the play, and notices that the literary text of the song is clearly expressed through musical means. These first attempts at aesthetic appreciation require active mental activity and are guided by the teacher.

Like other forms of art, music has educational value. It reflects life phenomena that enrich preschoolers with new ideas. Listening, for example, to the song “This is our Motherland” by E. Tilicheeva, they feel the solemnity, uplift, and jubilation of the people glorifying our Soviet Motherland. When developing a child aesthetically and mentally, it is necessary in every possible way to support even minor creative manifestations that activate perception and presentation, awaken fantasy and imagination.

When an adult sets creative tasks for a child, a search activity arises that requires mental activity. For example, when singing, a child improvises, creates his own version of the melody, and tries to find a correspondence between the literary text and expressive intonations.

In musical-rhythmic activities, children with great pleasure invent and combine dance movements, singing and moving to the music. Dance, folk dance, pantomime and especially musical and playful dramatization encourage children to depict a picture of life, to characterize a character using expressive movements, facial expressions, and words. In this case, a certain sequence is observed: the guys listen to the music, discuss the topic, assign roles, and then act. At each stage, new tasks arise that force you to think, fantasize, and create.

Music is a means of physical development

Music perceived by the auditory receptor affects the general condition of everything human body, causes reactions associated with changes in blood circulation and breathing. V. M. Bekhterev, emphasizing this feature, proved that if you establish the mechanisms of the influence of music on the body, you can cause or weaken excitation. P. N. Anokhin, who studied the influence of major and minor modes on the state of the body, concludes that the skillful use of melodic, rhythmic and other components of music helps a person during work and rest. Scientific data on the physiological characteristics of musical perception provide a materialistic justification for the role of music in raising a child.

Singing develops the vocal apparatus, strengthens the vocal cords, improves speech (speech therapists use singing in the treatment of stuttering), and promotes the development of vocal-auditory coordination. The correct posture of singers regulates and deepens breathing.

Rhythmic classes, based on the relationship between music and movement, improve the child’s posture, coordination, and develop clarity in walking and ease of running. The dynamics and tempo of a musical work require movements to change speed, degree of tension, amplitude, and direction accordingly.

Music lessons contribute to the overall development of a child’s personality. The relationship between all aspects of education develops in the process of various types and forms of musical activity. Emotional responsiveness and a developed ear for music will allow children to respond to good feelings and actions in accessible forms, help to activate mental activity and, constantly improving movements, will develop preschoolers physically.

§ 3. Age characteristics child's musical development

The child’s abilities develop in the process of active musical activity. Correctly organizing and directing it from early childhood, taking into account changes in age levels, is the task of the teacher. Otherwise, developmental delays are sometimes observed. For example, if you do not teach children to distinguish musical sounds by pitch, then by the age of 7 a child will not be able to cope with a task that a younger child can easily complete.

The most significant features of musical development are:

auditory sensation, musical ear;

quality and level of emotional responsiveness to music of various types;

simple skills, actions in singing and musical-rhythmic performance.

Let us note the general trends in age development.

First year of life. Psychologists note that children develop hearing sensitivity early. According to A. A. Lyublinskaya, on the 10-12th day of life, the baby begins to react to sounds. In the second month, the child stops moving and becomes quiet, listening to the voice, to the sound of the violin. At 4-5 months, there is a tendency to some differentiation of musical sounds: the child begins to react to the source from which the sounds are heard, to listen to the intonations of the singing voice. From the first months, a normally developing child responds to the nature of music with the so-called revival complex, rejoicing or calming down. By the end of the first year of life, the baby, listening to the singing of an adult, adapts to his intonation by humming and babbling.

Manifestations of emotional responsiveness to music and the development of auditory sensations make it possible to carry out musical education from a very early age.

Second year of life. When perceiving music, children show brightly contrasting emotions: cheerful animation or a calm mood. Auditory sensations are more differentiated: the child distinguishes between high and low sounds, loud and quiet sounds, and even timbre coloring (a metallophone or drum is playing). The first, consciously reproduced singing intonations are born; Singing along with the adult, the child repeats after him the endings of the musical phrases of the song. He masters the simplest movements: clapping, stamping, spinning to the sound of music.

Third and fourth years of life. Children have increased sensitivity and the ability to more accurately distinguish the properties of objects and phenomena, including musical ones. Individual differences in hearing sensitivity are also noted. For example, some kids can accurately reproduce a simple melody. This period of development is characterized by the desire for independence. There is a transition from situational speech to coherent speech, from visual-effective thinking to visual-figurative thinking, and the muscular-motor system is noticeably strengthened. The child develops a desire to play music and be active. By the age of 4, children can sing a little song on their own, with a little help from an adult. They master many movements that allow them to dance and play independently to a certain extent.

Fifth year of life. It is characterized by the active curiosity of children. This is a period of questions: “why?”, “why?”. The child begins to comprehend the connection between phenomena and events and can make simple generalizations. He is observant, able to determine: the music is cheerful, joyful, calm; sounds high, low, loud, quiet; in the piece there are parts (one fast and the other slow), on what instrument the melody is played (piano, violin, button accordion). The child understands the requirements: how to sing a song, how to move in a calm round dance and how to move in a moving dance.

Mastering the basic types of movement - walking, running, jumping - enables children to use them more widely in games and dancing. Some strive, without imitating each other, to play a role in their own way (for example, in a story game), others show interest in only one type of activity, depending on the individual inclinations and abilities of each.

Sixth and seventh years of life. This is the period of preparation of children for school. Based on the acquired knowledge and impressions about music, children can not only answer the question, but also independently characterize a piece of music, understand its means of expression, and feel the various shades of mood conveyed by the music.

The child is capable of a holistic perception of a musical image, which is very important for developing an aesthetic attitude towards the environment. But does this mean that analytical activity can harm holistic perception? Research conducted in the field of sensory abilities and musical perception of children has shown an interesting pattern. The holistic perception of music is not reduced if the task is to listen attentively, highlight, and distinguish the most striking means of “musical language.” The child can identify these means and, taking them into account, act in accordance with a certain way when listening to music, performing songs and dance movements. This promotes musical and auditory development, mastering the necessary skills to prepare for singing from notes.

Understanding the age-related characteristics of musical development allows the teacher to clarify the sequence of tasks and content of musical education of children at each age stage.

Objectives of music education

The main task of communist education in kindergarten is the comprehensive and harmonious development of the child. Music also performs this task. N.K. Krupskaya characterizes the importance of art in the education of the individual: “We must help the child through art to become more deeply aware of his thoughts and feelings, to think more clearly and feel more deeply...”1. Pedagogy, based on these provisions, defines the concept of musical education and development.

Musical education and development

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

In this case, the child successfully masters various types of musical activities, if his individual characteristics and age capabilities are taken into account.

Music has the potential to influence not only adults, but also very young children.

Moreover, and this has been proven, even the prenatal period is extremely important for the subsequent development of a person: the music that the expectant mother listens to has a positive effect on the well-being of the developing child (maybe it shapes his tastes and preferences). Only by developing children’s emotions, interests, and tastes can they be introduced to musical culture and lay its foundations. Preschool age is important for a person’s subsequent mastery of musical culture. If in the process of children’s musical activity their musical and aesthetic consciousness is developed, this will not pass without leaving a mark on the subsequent development of man, his general spiritual formation.

Music develops a child mentally as well. In addition to various information about music that has cognitive significance, a conversation about it includes a description of the emotional and figurative content. Children's vocabulary is enriched with figurative words and expressions that characterize moods and feelings conveyed in music. Musical activity involves mental operations: comparison, analysis, juxtaposition, memorization, and thus contributes not only to the musical, but also to the general development of the child.

It is very important to create conditions for the formation of the foundations of the musical culture of preschool children. In preschool pedagogy, music is considered as an irreplaceable means of developing children's emotional responsiveness to everything good and beautiful that they encounter in life.

Music for a child is a world of joyful experiences. In order to open the door to this world for him, it is necessary to develop his abilities, and above all his ear for music and emotional responsiveness. Otherwise, music will not fulfill its educational functions.

At a very early age, the baby distinguishes music from the sounds and noises around him. He focuses his attention on the melody he hears, freezes for a while, listens, reacts with a smile, humming, individual movements, and exhibits a “revival complex.” Older children already have increased mental abilities. They comprehend certain connections between phenomena and are able to make the simplest generalizations - to determine, for example, the nature of the music, to name the characteristics of a played piece as cheerful, joyful, calm or sad. They also understand the requirements: how to sing a song of different character, how to move in a calm round dance or in an active dance. Musical interests also develop: there is a preference for one or another type of activity, genre of music.

By the age of six to seven years, initial manifestations are observed artistic taste- the ability to evaluate works and their performance. Singing voices at this age acquire sonority, melodiousness, and mobility. The range is leveled out, vocal intonation becomes more stable. If four-year-old children still need constant support from an adult, then with systematic training, most six-year-old children sing without instrumental accompaniment.

Children's actions in music classes are aimed at completing educational and creative tasks. They learn performing skills and improvise their own simple melodies, and when performing various dances they strive to convey various dance movements and musical and game images in their own way.

The diversified development of a child’s personality is ensured due to the close relationship between aesthetic education and moral, mental, and physical education. A properly developed program and works selected in accordance with the age capabilities of children help to implement ideological and moral influence. But the most important thing is the “school of feelings”, which are formed thanks to the special property of music - to evoke the empathy of listeners.

During music lessons, cognitive and mental activity is also activated. Children learn a lot by listening carefully to a piece. However, they perceive only its most general features, its most vivid images. At the same time, emotional responsiveness does not lose its significance if the child is given the task of listening, distinguishing, comparing, and identifying expressive means. These mental actions enrich and expand the child’s sphere of feelings and experiences and give them meaning.

The harmony of musical and aesthetic education is achieved only when all types of musical activities available to preschool age and all the creative capabilities of a growing person are used. At the same time, complicating pedagogical tasks, one should not abuse the special sensitivity of children. The art of music itself and its features confront the teacher with the need to solve a number of specific problems:

1. Foster a love and interest in music. Only the development of emotional responsiveness and sensitivity makes it possible to widely use the educational influence of music.

2. Enrich children's impressions by introducing them, in a clearly organized system, to a variety of musical works and the means of expression used.

3. Introduce children to various types of musical activities, developing the perception of music and simple performing skills in the field of singing, rhythm, and playing children's instruments. Introduce the basic elements of musical literacy. All this will allow them to act consciously, naturally, and expressively.

4. To develop the general musicality of children (sensory abilities, pitch hearing, sense of rhythm), to form a singing voice and expressiveness of movements. If at this age a child is taught and introduced to active practical activities, then the formation and development of all his abilities occurs.

5. Promote the initial development of musical taste. Based on the impressions received and ideas about music, first a selective and then an evaluative attitude towards the performed works is manifested.

6. Develop a creative attitude to music, primarily in such activities accessible to children as the transfer of images in musical games and round dances, the use of new combinations of familiar dance movements, and the improvisation of chants. This helps to identify independence, initiative, the desire to use the learned repertoire in everyday life, play music on instruments, sing, and dance. Of course, such manifestations are more typical for children of middle and older preschool age.

Music is an art that affects a child already in the first months of his life. Its direct influence on the emotional sphere contributes to the emergence of initial response actions, in which one can see the prerequisites for the further formation of basic musical abilities.

In order for children to develop successfully in this direction, it is necessary to organize work on musical education, taking into account the characteristics of music and the age capabilities of children.

Already in the first year of life, the teacher organizes children’s communication with music, accumulating their experience of listening to the simplest melodies (sung or performed on children’s musical instruments), encourages them to respond to them with voice or movement, and creates the prerequisites for the child’s active musical activity at subsequent stages of development.
All musical abilities are united by a single concept - musicality. “Musicality is a complex of abilities developed on the basis of innate inclinations in musical activity, necessary for its successful implementation” (Radynova O.P. “Musical development of children”).

The core of musicality is three basic abilities that are necessary for the successful implementation of all types of musical activities: emotional responsiveness, ear for music, sense of rhythm.

Emotional responsiveness to music is the center of a child’s musicality, the basis of his musical activity, necessary for feeling and understanding the musical content and its expression in performing and creative activities.

An ear for music is necessary for clear intonation when singing, a sense of rhythm is necessary for movement, dancing and playing musical instruments.

Modern researchers have proven that forming the foundations of musical culture and developing musical abilities should begin as early as possible. The poverty of childhood musical impressions, their absence can hardly be made up for later, as an adult. To form the foundations of culture, an appropriate environment is necessary, which will give him the opportunity to get acquainted with a variety of music, learn to perceive and experience it.

Musical activity of preschoolers is various ways, a means for children to learn the art of music (and through it both the surrounding life and themselves), with the help of which general development is carried out.

In the musical education of children, the following types of musical activities are distinguished: perception, performance, creativity, musical and educational activities. They all have their own varieties. Thus, the perception of music can exist as an independent type of activity, or it can precede and accompany other types. Performance and creativity are carried out in singing, musical-rhythmic movements and playing musical instruments. Musical educational activities include general information about music as an art form, musical genres, composers, musical instruments, etc., as well as special knowledge about performance methods. Each type of musical activity, having its own characteristics, presupposes that children master those methods of activity without which it is not feasible, and has a specific impact on the musical development of preschool children. For this reason, it is important to use all types of musical activities.

Musical and educational activities do not exist in isolation from other types. Knowledge and information about music are not given to children on their own, but in the process of perceiving music, performance, creativity, along the way, to the point. Each type of musical activity requires certain knowledge. To develop performance and creativity, special knowledge about the methods, techniques of performance, and means of expression is needed. By learning to sing, children acquire the knowledge necessary to master singing skills (sound production, breathing, diction, etc.). In musical-rhythmic activities, preschoolers master various movements and methods of their execution, which also requires special knowledge: about the unity of the nature of music and movements, about the expressiveness of the playing image and its dependence on the nature of the music, on the means of musical expressiveness (tempo, dynamics, accents, register , pauses). Children learn the names of dance steps, learn the names of dances and round dances. While learning to play musical instruments, children also gain certain knowledge about the timbres, methods, and techniques of playing different instruments.

Thus, it must be remembered that musical development has a positive effect on the overall development of children. The child’s thinking improves, the emotional sphere is enriched, and the ability to experience and feel music helps to cultivate a love of beauty in general, and sensitivity in life. Mental operations, language, and memory also develop. Therefore, by developing a child musically, we contribute to the formation of a harmoniously developed personality, which is very important. The musical activity of preschoolers is a variety of ways and means for children to learn the art of music (and through it both the life around them and themselves), with the help of which their general development is carried out.

Bibliography:

Vetlugina N.A. Musical education in kindergarten. –M.; Enlightenment, 1981
Methods of music education in kindergarten / ed. Vetlugina N.A. – M, 1982
Metlov N.A. Music for children - M.; Enlightenment, 1985
Nazaykinsky E.V. On the psychology of musical education. – M.: 1972
Tarasov G.S. Pedagogy in the system of music education. – M.; 1986
Teplov B.M. Psychology of musical abilities - M., Leningrad, 1977.
Khalabuzar P., Popov V., Dobrovolskaya N. Methods of musical education - M., 1989.

FEDERAL AGENCY FOR EDUCATION

STATE EDUCATIONAL INSTITUTION

HIGHER PROFESSIONAL EDUCATION

Vladimir State Humanitarian University

Department of Preschool Education

Test

subject: theory and methodology

musical development of children

on the topic: “Specificity and relationship of various types of musical activities of preschool children”

Completed by: student group – DO-41

behind full-time education

Faculty of Pedagogy and Methods of Primary Education

Zavyalova O. Yu.

Teacher: Mikhailova N.V.

Vladimir – 2010

Introduction 3

Chapter 1. Musical activity of preschoolers 5

1.1 The importance of musical education of children 5

1.2. Structure and types of musical activities of preschoolers 8

Chapter 2. Specifics of musical activity of preschool children 12

2. 1. Development of musical perception of preschoolers 12

2.2. Musical performance, musical creativity,

musical and educational activities for preschool children 16

Conclusion 25

References 26

Introduction

In modern pedagogy, attention is focused on the contrast between traditional pedagogy and creativity pedagogy, for which the main thing is the development of the student’s activity, regardless of his age. It is art that is aimed at the emotional and sensory sphere of a person, which is more receptive and responsive than abstract and logical structures.

Among all types of arts, according to many researchers, the most emotional by nature is music (B.V. Asafiev, N.A. Vetlugina, G.A. Ermakova, V.V. Medushevsky, E.V. Nazaikinsky, O. P. Radynova, A. N. Sokhor, B. M. Teplov, G. S. Tarasov, K. V. Tarasov, V. S. Tsukerman and others.), since she has the ability to directly embody the world emotional experiences a person, a diverse range of feelings and moods. B.V. Asafiev characterizes music as “a reflection of the logic of changing emotional states”; B.M. Teplov – “as emotional cognition.” Thus, music is considered as a creative way of mastering a preschool child’s cognition of the emotional and cultural aspect of society, which forms a person’s creative attitude towards the world around them and towards themselves, their assessment of reality, their views, ideals and is one of the most powerful means of developing creative preschooler's personality culture.

The process of forming the creative culture of the personality of preschool children has its own characteristics, which are associated with the age characteristics of preschool age. Creative musical activity, according to O.P. Radynova, are various ways and means of children’s knowledge of musical art (and through it, the surrounding life and themselves), with the help of which the formation of a preschooler’s creative culture is carried out. 1

The purpose of my work is to show the specificity and interrelation of various types of musical activities of preschool children.

To achieve this goal, I identified the following tasks:

Reveal the essence of children's musical activity;

Show the specifics of musical activity of preschool children.

Chapter 1. Musical activity of preschoolers

The importance of musical education of children

Different types of art have specific means of influencing a person. Music has the ability to influence a child at the earliest stages. It has been proven that even the prenatal period is extremely important for the subsequent development of a person: the music that the expectant mother listens to has an impact on the child’s well-being.

Music is one of the richest and most effective means of aesthetic education; it has a great emotional impact, educates a person’s feelings, and shapes tastes.

Modern scientific research indicates that the development of musical abilities, the formation of the foundations of musical culture - i.e. Musical education should begin in preschool age. Music has an intonation nature similar to speech. Similar to the process of mastering speech, which requires a speech environment, in order to fall in love with music, a child must have experience in perceiving musical works of different eras and styles, get used to its intonations, and empathize with the mood. The famous folklorist G.M. Naumenko wrote: “... a child who finds himself in social isolation experiences mental retardation, he acquires the skills and language of the one who raises him and communicates with him. And what sound information he absorbs in early childhood will be the main supporting poetic and musical language in his future conscious speech and musical intonation. It becomes clear why those children who were rocked to sleep with lullabies, brought up on nurseries, entertained with jokes and fairy tales, with whom they played while performing nursery rhymes, according to numerous observations, are the most creative children, with developed musical thinking...” 2

Musical development has an irreplaceable impact on overall development: the emotional sphere is formed, thinking is improved, sensitivity to beauty in art and life is cultivated. “Only by developing a child’s emotions, interests, and tastes can he be introduced to musical culture and lay its foundations. Preschool age is extremely important for further mastery of musical culture. If in the process of musical activity a musical-aesthetic consciousness is formed, this will not pass without a trace for the subsequent development of a person, his general spiritual formation" 3

When engaging in musical education, it is important to remember about the general development of children. Preschoolers have little experience in understanding human feelings that exist in real life. Music that conveys the full range of feelings and their shades can expand these ideas. Besides moral aspect, musical education has great importance for the formation of aesthetic feelings in children: by becoming familiar with the cultural musical heritage, the child learns the standards of beauty and appropriates the valuable cultural experience of generations. Music develops a child mentally as well. In addition to various information about music that has cognitive significance, a conversation about it includes a description of emotional and figurative content, therefore, children’s vocabulary is enriched with figurative words and expressions that characterize the feelings conveyed in music. The ability to imagine and reproduce the pitch of sounds in a melody also involves mental operations: comparison, analysis, juxtaposition, memorization, which also affects not only the musical, but also the general development of the child.

As already mentioned, music develops the emotional sphere. Emotional responsiveness to music is one of the most important musical abilities. It is associated with the development of emotional responsiveness in life, with the cultivation of such personality qualities as kindness and the ability to sympathize with another person.

So, the importance of musical education of children is as follows. Music affects overall development: the emotional sphere is formed, thinking and aesthetic feelings are improved, and the child develops mentally.

Structure and types of musical activities of preschool children

Activity is an active process of mastering social experience and cultural achievements. Throughout his life, a person masters various types of activities, as a result of which his mental qualities and personality traits are formed. Some of them acquire special significance and proceed most successfully. A person’s personal qualities are revealed in selective relationships and inclinations towards certain types of activities. The activity improves perception, memory, thinking, imagination, and sensations. In the process of any activity, the child masters certain actions that lead to a certain external result, and internal, mental actions that form the basis of the content of mental development (perception, thinking, imagination, memory). Likewise, musical activity consists of numerous actions. For example, when mastering a song, a child carefully listens to the introduction to the song, tries to start it on time, catches the given tempo, reflects simple shades when performing it, and finishes the performance at the same time as his peers. As we see, actions can be external, objective: the child sings, moves, conducts, plays an instrument, etc., as well as internal: perceiving music, he is imbued with its emotional mood, compares solo and choral sound, listens to his own singing . If an action is repeated many times, it is gradually learned and becomes a skill. The combination of these skills then allows the child to cope with new, more complex actions. “Musical activity of preschool children is a variety of ways, means for children to learn the art of music (and through it both the life around them and themselves), with the help of which their general development is carried out” 4.

In the musical education of children, the following types of musical activities are distinguished: perception, performance, creativity, musical and educational activities. They all have their own varieties. Thus, the perception of music can exist as an independent type of activity, or it can precede and accompany other types. Performance and creativity are carried out in singing, musical-rhythmic movements and playing musical instruments. Musical educational activities include general information about music as an art form, musical genres, composers, musical instruments, etc., as well as special knowledge about performance methods. Each type of musical activity, having its own characteristics, presupposes that children master those methods of activity without which it is not feasible, and has a specific impact on the musical development of preschool children. This is why it is so important to use all types of musical activities. The structure, types of musical activity and their interaction are clearly reflected in the diagram, which was compiled by O.P. Radynova based on the scheme by N.A. Vetlugina.

PERCEPTION OF MUSIC

Perception of music specially created for listening Perception of music in connection with its performance Musical didactic games

EXECUTION

Singing Musical and rhythmic movements Playing musical instruments

CREATION

Song creativity Musical, gaming and dance creativity Playing musical instruments

MUSICAL AND EDUCATIONAL ACTIVITIES

General knowledge Specific knowledge related to various types of musical activities

As can be seen from the above diagram, all types of activities are interconnected and interact with each other. Each type of activity serves as a means of developing some musical ability. By perceiving music and distinguishing emotional coloring, a modal feeling is formed. Pitch hearing (musical and auditory perceptions) develops with the help of those types of activities in which this ability is manifested, namely in two types of performance - singing and playing musical instruments by ear. The rhythmic feeling finds expression primarily in musical-rhythmic movements, reproduction of a rhythmic pattern in clapping, on musical instruments, and in singing. Emotional responsiveness to music develops in the process of all types of musical activity. At the same time, in the development of musical abilities, various types of activities can replace each other. For example, pitch hearing can be developed in singing or playing musical instruments; sense of rhythm - in musical-rhythmic movements, etc.

Thus, the types of musical activity are: perception of music specially created for listening; perception of music in connection with its performance; musical and didactic games; singing; musical and rhythmic movements; playing musical instruments; song creativity; musical, gaming and dance creativity; a game of perception of music specially created for listening; perception of music in connection with its performance; musical and didactic games; singing; musical and rhythmic movements; playing musical instruments; song creativity; musical, gaming and dance creativity; game on. All types are means of musical education and development of children.

So, the essence of children's musical activity is as follows. Music affects overall development: the emotional sphere is formed, thinking and aesthetic feelings are improved. Children's musical activities consist of musical and didactic games; singing; musical and rhythmic movements; playing musical instruments; song creativity; musical, gaming and dance creativity; a game of perception of music specially created for listening; perception of music in connection with its performance; musical and didactic games; singing; musical and rhythmic movements; playing musical instruments.

Chapter 2. Specifics of musical activity of preschool children

2.1. Development of musical perception of preschoolers

Perception is the reflection in the cerebral cortex of objects and phenomena that affect human analyzers. Perception is not just a mechanical, mirror reflection by the human brain of what is in front of his eyes or what his ear hears. Perception is always an active process, an active activity. It is the first stage of the thinking process, therefore, it precedes and accompanies all types of musical activity.

The perception of music occurs already when the child cannot engage in other types of musical activities, when he is not yet able to perceive other types of art. Perception of music is the leading type of musical activity in all age periods of preschool childhood. Hearing and perceiving music means distinguishing its character, monitoring the development of the image: changes in intonation, moods. The famous musician-psychologist E.V. Nazaikinsky proposes to distinguish between two terms: perception of music and musical perception - depending on whether it took place. He calls musical perception an accomplished perception - felt and meaningful. “Musical perception is a perception aimed at comprehending and understanding the meanings that music has as an art, as special shape reflection of reality as an aesthetic artistic phenomenon" 5. In the opposite case, music is perceived as sound signals, as something audible and acting on the organ of hearing. It is important to form musical perception.

Due to different musical and life experiences, the perception of a child and an adult is not the same. The perception of music by young children is characterized by its involuntary nature and emotionality. Gradually, with the acquisition of some experience, as he masters speech, the child can perceive music more meaningfully, correlate musical sounds with life phenomena, and determine the nature of the work. In children of senior preschool age, with the enrichment of their life experience and experience of listening to music, the perception of music gives rise to more diverse impressions.

The perception of music by an adult differs from that of a child in that music can evoke richer life associations, feelings, as well as the ability to comprehend the music they hear on a different level than children.

At the same time, the quality of music perception is not related only to age. Undeveloped perception is superficial. It can also occur in an adult. The quality of perception largely depends on tastes and interests. If a person grows up in a “non-musical” environment, he often develops a negative attitude towards “serious” music. Such music does not evoke an emotional response if a person has not been accustomed to empathizing with the feelings expressed in it since childhood. N.A. Vetlugina writes: “The development of musical sensitivity is not a consequence of a person’s age-related maturation, but is a consequence of purposeful education” 6.

Thus, perception depends on the level of musical and general development of a person, on purposeful upbringing.

Both emotions and thinking are involved in the perception of works of art. When listening to music, the role of the emotional component is especially great. If a person has developed perception, then he comprehends the meaning of a piece of music even after just one listening. With repeated listening, the perceived musical image deepens, the work opens up with new facets. Therefore, in childhood, when the experience of perceiving music is still small, as a rule, several listenings are required so that the perception of the work becomes more meaningful and felt. Therefore, it is so necessary to develop the musical perception of preschoolers and train it.

The nuances of music develop in children from an early age. At each age stage, the child distinguishes the most vivid means of expression with the help of the capabilities that he has - movement, speech, play, etc. Therefore, the development of musical perception should be carried out through all types of activities. Listening to music can be put in first place here. Before performing a song or dance, the child listens to music. Receiving various musical impressions from childhood, the child gets used to the intonation language of folk classical and modern music, accumulates experience in perceiving music of different styles, and comprehends the “intonation vocabulary” of different eras. The famous violinist S. Stadler once remarked: “To understand a wonderful fairy tale in Japanese, you need to know it at least a little.” As mentioned above, the acquisition of any language begins in early childhood. Musical language is no exception. Observations indicate that young children enjoy listening to ancient music by J. S. Bach, A. Vivaldi, W. A. Mozart, F. Schubert and other composers - calm, cheerful, affectionate, playful, joyful. They react to rhythmic music with involuntary movements. Throughout preschool childhood, the circle of familiar intonations expands, consolidates, preferences are revealed, and the beginnings of musical taste and musical culture as a whole are formed.

The perception of music is carried out not only through listening, but also through musical performance - singing, musical-rhythmic movements, playing musical instruments.

Thus, the development of musical perception of preschool children is as follows. As already mentioned, all types of musical activities interact with each other. A child's musical perception will not develop and improve fully if it is based only on listening to musical works. It is important to use all types of musical performance to develop musical perception.

2.2. Musical performance, musical creativity,

musical and educational activities for preschool children

Musical performance carried out in singing, musical-rhythmic movements, and playing musical instruments. To master various types of performing activities, it is necessary to develop certain skills and abilities in children. Some of them are easy to master, others are difficult. In order for children's performance and creativity to manifest themselves successfully, the child needs to accumulate musical impressions (through the perception of music). If children distinguish the changing nature of music, can correlate musical images with life phenomena, are well versed in the means of musical expression, they use the experience of perceiving music when performing musical works and in creative improvisations. Without developed perception, children's performing activity is reduced to imitation and does not perform a developmental function.

Often, children's performance does not carry value for other people, but it is necessary for the children themselves for further musical development. The requirement of artistry, rather of elementary expressiveness, can hardly be applied to children's performance. Through it, children convey their feelings, thoughts, experiences.

Children's performance requires certain training actions, repetitions, and exercises. Intonation errors in children's singing are overcome with the help of exercises to develop pitch hearing and establish auditory-vocal coordination.

Let's consider the types of musical activities in order.

Singing. Singing is the most popular and accessible view performance. In singing, the entire complex of musical abilities is successfully formed: emotional responsiveness to music, modal sense, musical-auditory perception, sense of rhythm. In addition, children receive various information about music, acquire skills and abilities. Singing fulfills the child’s musical needs; he can perform the so-called familiar and favorite songs at will at any time. Singing is closest and most accessible to children.

The impact of singing on the physical development of children is obvious: it promotes the development and strengthening of the lungs; by developing coordination of voice and hearing, it improves children's speech; affects the general condition of the child’s body; causes reactions associated with changes in blood circulation and breathing. According to doctors, singing is the best form of breathing exercises.

Musical and rhythmic movements. Rhythmics is one of the types of musical activity in which the content of music and its character are conveyed in movements. The basis of rhythm is music, and various physical exercises, dances, and plot-shaped movements are used as a means of deeper perception and understanding of it.

Movements to music have been used in raising children since ancient times (Ancient India, China, Greece). But it was the Swiss teacher and composer Emile Jacques-Dalcroze who first considered rhythm and substantiated it as a method of musical education. Before rhythm, he first of all set the task of developing musical abilities, as well as plasticity and expressiveness of movements. The special value and viability of his system of musical and rhythmic education lies in its humane nature. E. Jacques-Dalcroze was convinced that it was necessary to teach rhythm to all children. He developed in them a deep “feeling”, insight into music, creative imagination, and formed the ability to express themselves in movements.

B.M. Teplov proved the fact that the perception of music is accompanied by motor reactions (vocalizations, small finger movements, etc.). Therefore, movements are successfully used as techniques that activate children’s awareness of the nature of the melody, the quality of sound production (smooth, clear, abrupt), means of musical expressiveness (accents, dynamics, ups and downs of the melody, tempo, rhythmic pattern, etc.). These properties of music can be modeled through hand movements, dance movements, and imagery.

When practicing rhythmics, it is important that the center of the lesson is music. B.M. Teplov writes: “As soon as they (rhythm classes) turn into classes for the education of rhythmic movements in general, as soon as music retreats to the position of accompaniment to movements, the whole meaning, at least the whole musical meaning, of these classes disappears” 7 . To ensure that the children themselves do not focus only on performing movements during the lesson, the lessons must be carefully prepared by the teacher and the elements of dance movements must be learned. It is important that the training is developmental in nature, and not reduced to “coaching”.

Playing children's musical instruments. When working with children, various musical instruments and toys are used. They arouse great interest in the child. The initiator of teaching children to play musical instruments already in the 20s was musical figure and teacher N.A. Metlov. He also came up with the idea of organizing a children's orchestra (first a noise orchestra, then a mixed one). He did a lot of work to create and improve children's musical instruments that have a scale - the metallophone and the xylophone. A repertoire was selected, including folk songs and other works convenient for performance on children's musical instruments, and some rules for their instrumentation were developed. In his publications, N.A. Metlov gives detailed methodological recommendations on the use and tuning of instruments, the sequence of teaching children to play musical instruments, and a description of the techniques of playing each of them.

The use of children's musical instruments and toys enriches musical experiences for schoolchildren and develops their musical abilities. Playing musical instruments that do not have a scale helps develop a sense of rhythm and expands children's timbre perceptions. Melodic musical instruments are all three basic musical abilities: modal sense, musical-auditory perception and sense of rhythm. To play a melody by ear, you need to have musical-auditory ideas about the location of sounds in height and rhythmic ideas. When selecting a melody, it is also necessary to feel the attraction to stable sounds, to distinguish and reproduce the emotional coloring of the music. In addition, playing musical instruments develops will, desire to achieve goals, and imagination.

It is important to attract children's attention to the expressiveness of the timbre of each instrument, to use figurative comparisons and characteristics. Children should feel the expressive capabilities of instruments and learn to use a variety of timbre colors. Thus, musical responsiveness to music develops - the basis of musicality.

When teaching how to play musical instruments, the teacher must take into account the individual capabilities of each child. Some children easily select songs, while others require more detailed preparatory work.

All types of children's musical performance should be present at a music lesson for preschoolers.

CHILDREN'S MUSICAL CREATIVITY. N.A. Vetlugina, in her research, comprehensively analyzed the capabilities of children in performing creative tasks, the origins of children's creativity, the ways of its development, substantiated the idea of the relationship, the interdependence of children's learning and creativity, theoretically and experimentally proving in her works that these processes are not opposed, but are in close contact and mutually enrich each other. It was found that a necessary condition for the emergence of children's creativity is the accumulation of impressions from the perception of art, which is a model for creativity, its source. Another child's condition musical creativity– accumulation of performing experience. In improvisations, the child emotionally and directly applies everything that he has learned during the learning process. In turn, learning is enriched by the creative manifestations of children and acquires a developmental character.

Children's musical creativity, like children's performance, usually does not have artistic value for the people around you. It is important for the child himself. The criteria for its success are not the artistic value of the musical image created by the child, but the presence of emotional content, expressiveness of the image itself and its embodiment, variability, and originality.

In order for a child to compose and sing a melody, he needs to develop basic musical abilities. In addition, creativity requires imagination, imagination, and free orientation in unusual situations.

Children's musical creativity is by its nature a synthetic activity. It can manifest itself in all types of musical activities: singing, rhythm, playing children's musical instruments. It is important to develop song creativity starting from early preschool age, using creative tasks that are feasible for children. The success of children's creative expressions depends on the strength of their singing skills, the ability to express certain feelings and moods in singing, and to sing clearly and expressively. In order to orient preschoolers in song creativity, N.A. Vetlugina offers exercises for accumulating auditory experience and developing musical and auditory concepts. It is important to draw children's attention to the expressiveness of their improvisation even in the simplest exercises. In addition to singing, children's creativity can be manifested in rhythm and playing musical instruments. The creative activity of children in rhythm largely depends on the organization of training in musical and rhythmic movements. Full-fledged creativity of a child in rhythm is possible only if his life experience, in particular musical and aesthetic ideas, is constantly enriched, if there is an opportunity to show independence.

Increased attention should be paid to the selection of musical works that serve as a kind of scenario for children’s independent actions. Program music takes a leading place in creative tasks, since poetic text and figurative words help the child better understand its content.

Children's instrumental creativity usually manifests itself in improvisations, i.e. composing while playing an instrument, direct, momentary expression of impressions. It also arises on the basis of children’s life and musical experience.

One of the conditions for successful instrumental creativity is the possession of basic skills in playing musical instruments, various methods of sound production, which allow you to convey the simplest musical images (clatter of hooves, magical falling snowflakes). It is important that children understand that when creating any image, it is necessary to express the mood and character of the music. Depending on the nature of the image that is to be conveyed, children choose certain means of expression; this helps children to deeply feel and understand the features of the expressive language of music, and encourages independent improvisation.

MUSICAL AND EDUCATIONAL ACTIVITIES

It was said above that in kindergarten, preschoolers not only learn practical musical skills, but also receive the necessary theoretical knowledge about music.

To develop musical abilities, children need certain knowledge. The development of modal feeling (distinguishing the emotional coloring of music - the character of the entire work) presupposes knowledge that the content of music is feelings, moods, their changes, that the image in music of any phenomena of the surrounding world always has a specific emotional coloring that the means of musical expression (major or minor scale, different timbre, dynamics, etc.) create a certain mood, gentle or menacing, cheerful or solemn, that the musical form (the number of parts in a work) is determined by a change in the emotional coloring of the music, a change in character intonation in individual parts, etc.

For the formation of musical-auditory concepts, it is important to know that musical sounds have different pitches, that a melody is made up of sounds that move up, down, or repeat at the same pitch. The development of a sense of rhythm requires knowledge that musical sounds have different lengths - they can be long and short, that they move and their alternation can be measured or more active, that rhythm affects the character of the music, its emotional coloring, and makes various genres more recognizable. The formation of a motivated assessment of musical works, in addition to the accumulation of auditory experience, requires certain knowledge about music, its types, composers, musical instruments, means of musical expression, musical genres, forms, mastery of certain musical terms (register, tempo, phrase, part, etc.)

Musical educational activities do not exist in isolation from other types. Knowledge and information about music are not given to children on their own, but in the process of perceiving music, performance, creativity, along the way, to the point. Each type of musical activity requires certain knowledge. To develop performance and creativity, special knowledge about the methods, techniques of performance, and means of expression is needed. By learning to sing, children acquire the knowledge necessary to master singing skills (sound production, breathing, diction, etc.). In musical-rhythmic activities, preschoolers master various movements and methods of their execution, which also requires special knowledge: about the unity of the nature of music and movements, about the expressiveness of the playing image and its dependence on the nature of the music, on the means of musical expressiveness (tempo, dynamics, accents, register , pauses). Children learn the names of dance steps, learn the names of dances and round dances. While learning to play musical instruments, children also gain certain knowledge about the timbres, methods, and techniques of playing different instruments.

Children show inclinations towards certain types of musical activities. It is important to notice and develop in every child the desire to communicate with music in the type of musical activity in which he shows the greatest interest, in which his abilities are most fully realized. This does not mean that other types of musical activity should not be mastered by him. However, one cannot ignore the position of psychology on the leading types of activities that influence the development of personality. If these leading types of activity appear in preschool childhood, it is necessary to take into account the characteristics of each child and, accordingly, orient the process of musical education towards the development of his abilities, inclinations, and interests. Otherwise, as we have already noted, the learning process comes down to “coaching.” If training is carried out without an individually differentiated approach, it ceases to be developmental.

So, musical performance is carried out in singing, musical-rhythmic movements, and playing musical instruments. The main condition for the emergence of children's musical creativity is the accumulation of impressions from the perception of art, which is a model for creativity, its source. Another condition for children's musical creativity is the accumulation of performing experience. To develop musical abilities, children need certain knowledge.

Thus, the specifics of the musical activity of preschoolers are as follows. A child's musical perception will not develop and improve fully if it is based only on listening to musical works. It is important to use all types of musical performance to develop musical perception. It is carried out in singing, musical and rhythmic movements, and playing musical instruments. The conditions for the emergence of children's musical creativity are the accumulation of impressions from the perception of art and the accumulation of performance experience, and for the development of musical abilities, children need certain knowledge.

Conclusion

The purpose of my work was to show the specificity and interrelation of various types of musical activities of preschool children.

To achieve this goal, I solved the following tasks:

She revealed the essence of children's musical activity: all types of musical activity interact with each other. A child's musical perception will not develop and improve fully if it is based only on listening to musical works. It is important to use all types of musical performance to develop musical perception.

She showed the specifics of musical activity of preschoolers. It is important to use all types of musical performance to develop musical perception. It is carried out in singing, musical and rhythmic movements, and playing musical instruments. The conditions for the emergence of children's musical creativity are the accumulation of impressions from the perception of art and the accumulation of performance experience, and for the development of musical abilities, children need certain knowledge.

Bibliography:

1. Radynova O.P. Musical education of preschool children / O.P. Radynova. – M.: VLADOS, 1994

2. Nazaykinsky E.V. Musical perception as a problem of musicology // Perception of music - M., 1980

3. Petrushin V.I. Musical psychology M., 1997

4. Nazaykinsky E.V. On the psychology of musical perception. – M.: 1972

5. Vetlugina N.A. Musical education in kindergarten - M.: Education, 1981

6. Tarasov G.S. Pedagogy in the system of music education - M., 1986

1 Radynova O.P. Musical education of preschool children / O.P. Radynova. – M.: VLADOS, 1994

2 Nazaykinsky E.V. Musical perception as a problem of musicology // Perception of music - M., 1980

3 Petrushin V.I. Musical psychology M., 1997

4 Petrushin V.I. Musical psychology M., 1997

5 Nazaykinsky E.V. On the psychology of musical perception. – M.: 1972

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