Introducing preschool children to musically creative activities. Project “Development of musical and artistic activities through familiarization with the traditions of the peoples of Russia

Already in “The State,” he insists on educating children “through play.” This idea is developed more fully in “The Law,” noting that, according to their mental makeup, three-year-old, four-year-old and five-year-old children need games and fun. For children of this age, fun comes naturally when they get together. Therefore, he recommended that wet nurses bring children to playgrounds and carefully observe the children's games.

Plato believed that in play a child intuitively reveals his attitude towards certain activities and demonstrates his intentions to become outstanding in any field of activity. “For example, whoever wants to become a good farmer or house builder must already in the games: first, cultivate the land, second, build some kind of children’s buildings.” Having noticed children’s preferences for certain games, the teacher must provide the child with specific knowledge about this type of activity and provide the necessary tools.

But Plato considered the most important thing in the process of guiding children’s games with natural materials to be the introduction “into the soul of a playing child of love for what, having grown up, he should become an expert in and achieve perfection.”

But these ideas, although so attractive at first glance, suffer from inconsistency. They take so little into account the child’s personal inclinations; they impose with such straightforwardness whatever the adults around him want, and even under the pretext of the child’s personal intention to “become something outstanding.”

Y.A. Komensky also drew attention to the fact that all children “willingly build houses and erect walls from clay, sawdust, wood, stones,” love to pour water, pour sand, and sculpt from clay. Justifying the reason for this, the Czech teacher in his work “Mother’s School” noted that children willingly engage in these activities, since they cannot remain idle. And these games with natural materials are very useful because they develop “vigilance of mind”, “mobility in all members”, independence, initiative and activity of children.

Adults should not interfere with these children's games, but rather create appropriate conditions. Let them be those ants who are always busy: rolling, carrying, dragging, folding, bending, breaking, moving something. The role of an adult, according to Y.A. Komensky, is only to observe children’s games, so that everything that happens on the playground occurs intelligently and to be included in the children’s game, suggesting new options for play, new actions, new materials.

John Locke also assigned a large role to children's games in education. His statements about children's games and toys are of practical interest today. In his work “Thoughts on Education,” he urged educators to maintain a joyful mood, activity, independence, identification and development of abilities inherent in nature, which in childhood are most manifested in play. Parents and educators should not prohibit, but organize children’s games and thereby contribute to the formation of valuable moral qualities.

All games and entertainment for children, wrote J. Locke, should be aimed at developing good and useful habits. This the best way play with natural materials is encouraged. They not only give children pleasure, but also contribute to the formation of a positive character as an energetic and hardworking person.

Robert Owen only proclaimed children's play with natural materials as an educational tool, but did not reveal the real ways to use this tool either in theory or in practice.

It only emphasizes the need for a play area that can also serve as a meeting place for children aged five to ten years after school. A canopy can also be made under which, in bad weather, children can find something to do. This idea was also supported by the American educator John Dewey. He believed that play was the best way to develop young children. In his works “School and Society”, “School and Child”, “School of the Future”, he tries to reveal the essence of children's play and comes to the conclusion that the basis of games with natural materials is the “constructive instinct”, which is realized in the process of “giving materials tangible forms."

J. Dewey categorically objected to the idea that children should be carefully protected from real objects and real actions. He believed that playing with a variety of materials: wood, sand, clay, stones, yarn, iron, etc., gives the child an opportunity to use materials in a real way instead of engaging in exercises with the gifts of Friedrich Froebel, which are only remote from reality. symbolic meaning. Such games evoke vividness of feelings and accuracy of observations; they require a clear vision of the results to be achieved, as well as spontaneity and ingenuity in the creation of buildings.

French teacher Pauline Kergomar assessed games with natural materials from a slightly different perspective.

She considered it legitimate to introduce games into the work plan of mother schools, and developed the content and methodology for managing them. Among games, she assigned a special role to games with natural materials: water, pebbles, mosses, sticks. ". It seems to me that if he were taken away from our Parisian boys, they would start a revolution. A child who has sand plays independently, he digs wells, builds gardens, mountains, loads carts.” P. Kergomar emphasized the educational and educational value of games with natural materials. On the one hand, they give the child knowledge about the properties of water, sand, stones, etc., and on the other hand, they stimulate the development of activity, initiative, ingenuity, and emotions.

Throwing a cork, a leaf or a piece of paper into the stream, the child watches his boat with cries of joy or fear. The teacher emphasized the need for the leadership role of the educator. He should provide the child with a variety of natural materials for games, suggest themes, provide shovels, buckets, wheelbarrows, boxes, jars, etc.

The Italian teacher Maria Montessori also did not deny the role of natural material in the development of children.

But she considered the child’s activities with clay, sand, water, and stones not a game, but. Children make vases, dishes, bricks, houses, and decorate them with stones and glass. “How they rejoice when a whole house, the result of their own labors, grows next to the plot on which they, also with their own care, plant their garden.” These activities exercise the child's hand, develop attention, teach children to create useful things and appreciate the objects around them. But the amazing fact is that, solving the problems of sensory development of children. M. Montessori developed all kinds of didactic aids for the development of external senses, and completely ignored the value of natural material in this process. For this, M. Montessori’s method was criticized by E.I. Tikheeva, L.K. Shleger, N.K. Krupskaya and other teachers.

The Belgian teacher Ovid Decroli tried to avoid this in his theory and practice. He drew attention to the fact that the formation of ideas in children, the development of their external senses should be associated with real objects and phenomena of the surrounding world. To implement this provision, O. Dekroli created a system of games that ensure the diversified development of children. He noted that a child almost unconsciously makes comparisons and comparisons in play.

The game forces you to remember, draw conclusions and make judgments, make discoveries, rather than absorb knowledge presented by a teacher or a book. While giving the child greater freedom in games and actions, O. Dekroli still warned that the teacher should always be close to the playing child in order to actively help in all difficulties, answer questions, satisfy interests and needs, and capture requests.

Thus, we see that a whole galaxy of foreign teachers, without even specifically dealing with the problem of play, noted that natural material serves as a means for more rapid and effective development of children.

Russian teachers K. D. Ushinsky, E. N. Vodovozova, A. S. Simanovich, L. K. Shleger and others also clearly noted the positive role of games with natural materials in the education and training of preschool children.

In their works, they dwelt in detail on the importance of creating conditions for children to play with natural materials, both on the kindergarten site and in its premises, as well as developing a variety of content for these games.

Direct study of teachers’ work plans and observation of children’s games at the site in one of the preschool educational institutions in Minsk made it possible to determine the themes of the games used:

• with sand: “Pancakes for a doll.” “Mouse holes”, “Mountain road for cars”, “Let’s transport the sand on a dump truck”, “Let’s prepare a treat” (younger group), “Building a city for little people”, “Our city”, “Garage” (cf. gr.), “Let's build a castle”, “ Fairytale city", "Cosmodrome", "Anthill". “We’ll build what you want”, “Underground tunnels”, “Roads” (art. gr.);
• with water: “Bathing a doll”, “Catching a fish”, “Washing” (younger group), “Cheerful stream”, “Catch up”, “Boats”, “Drowning - not drowning” (middle group), “ What kind of water there is”, “What sinks, what floats” (art. gr.);
• : “Snowballs”, “Snow Woman”, “Hit the Target”, “Snow Pies” (junior group), “Snow Fortress”, “Snow Fight”, “Tower”, “Who will throw further” (middle group .), “Let's make and decorate a snow woman”, “Ice mosaic”, “Drawings in the snow”, figurines of dogs, cats, bear cubs, etc. (art. gr.).

An analysis of the themes and content of games with natural materials showed that the games are of the same type, they lack the dynamics of increasing the complexity of the content, and there is a complete lack of environmental orientation of games with natural materials. Among the methods used in the process of guiding games with natural materials, teachers named: demonstration, repetition, exercise, story, conversation, observation of older children.

Despite the low level of interest among educators in the issue of organizing games with natural materials in preschool institutions, all teachers noted the great pedagogical significance of this type of games. They most often noted that these games contribute to: sensory development of children; developing children’s interest in nature, developing cognitive activity, observation, curiosity, developing skills in constructive work activities, expanding children’s horizons, emotional development children; physical development, development of imagination, fantasy, creativity. However, not a single teacher noted the possibility of using games with natural materials in the process of environmental education of preschool children. Although, by organizing games with water, sand, clay, etc., we can introduce children to the properties of natural materials as a habitat for plants and animals.

When playing, for example, with water, the children notice that water is denser than air, so moving in it requires more effort than in air. After this, it is easy for them to understand the need to cover the entire surface of the body with mucus in fish and fat in penguins, seals, walruses, etc. Children also clearly understand the importance of streamlining the body shape of water-dwelling creatures. Smooth objects that have an elongated shape, cutting dense water with a narrow part, easily move through the water column and its surface. This knowledge is the basis for children to understand the adaptability of animals to their environment.

For example, why do all fast-swimming animals have a streamlined body, covered with scales, smooth skin, and their limbs turned into fins, flippers, or have swimming membranes? Games with water can also be used to familiarize preschoolers with the problems of water pollution. To do this, you can organize the game “Soap Bubbles” and demonstrate that the resulting soap film on the surface of the water interferes with gas exchange. In nature, such water pollution has a detrimental effect on the inhabitants of rivers, lakes, and seas.

Introduction

Tchaikovsky Nutcracker composer music

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

The influence of music in development creative activity There are very many children. Music, like any other art, can influence the comprehensive development of a child, stimulate moral and aesthetic experiences, lead to a transformation of the environment, and active thinking. Along with fiction, theater, and fine arts, it performs an important social function.

Preschool childhood is the time for the most optimal introduction of a child to the world of beauty.

Older preschoolers already know that music is written by composers; based on previously acquired knowledge and impressions, they can not only answer the question, but also independently characterize a piece of music, understand its means of expression, feel the various shades of mood conveyed by the music, and express their attitude towards songs, plays, their characteristic features.

At this age, children develop an interest in musical literacy, the desire to expressively perform a song, dance, and show creativity becomes more vivid. Children motivate their preferences and show increased interest in improvisation and writing. Forming a child’s personality based on the art of music still remains the core of musical education.

The purpose of this work: in order to introduce children to the art of music, select a piece of music and conduct a lesson with children of senior preschool age.

. Choosing a piece of music for conversation

"The Nutcracker" - Op. 71, ballet by Pyotr Ilyich Tchaikovsky in two acts to a libretto by Marius Petipa based on the fairy tale “The Nutcracker and the Mouse King” by Ernest Hoffmann.

The Nutcracker is good friend and an old acquaintance who has come to visit us more than once, and will come many more times... And everyone knows their own hero, each viewer has their own Nutcracker. Someone remembers and loves this hero from the fairy tale of the same name by Ernst Hoffmann, someone, having seen once, forever remembered the wonderful cartoon, and someone with all their hearts adores the ballet “The Nutcracker”, which they first attended as a child with their parents, and now he he comes to watch “The Nutcracker” with his children. This is a fairy tale with magnificent music by the great Russian composer Pyotr Ilyich Tchaikovsky.

One way or another, the Nutcracker has been familiar to every inhabitant of the Earth since childhood; moreover, he is a symbol of New Year's magic and the mysterious adventures that accompany it. And not only because the Nutcracker fairy tale takes place at Christmas - this story itself is full of wonderful transformations and magical actions.

The ballet “The Nutcracker” was first shown in St. Petersburg in December 1892. The performance “The Nutcracker” immediately won the hearts of the audience. From that moment on, it became a good tradition to organize pre-New Year's performances of the Nutcracker ballet. This performance is attended with pleasure by both children and adults - after all fairy tale, told at Christmas time, is liked by everyone without exception. For each of us, since childhood, there is something very close and dear in this word. To deepen the skill of listening to music, we will introduce the children of the preparatory group to the work of Pyotr Ilyich Tchaikovsky from the ballet “The Nutcracker”. The sheet music for the ballet “The Nutcracker” is presented in the Appendix.

1. About the life and work of Pyotr Ilyich Tchaikovsky

P.I. Tchaikovsky (May 7, 1840 - November 6, 1893) - a brilliant Russian composer, the pride of Russian musical culture.

Born in the working-class village of Votkinsk, in the family of the head of the Kama-Votkinsk mining district, Ilya Petrovich. Tchaikovsky spent only eight childhood years in his native Votkinsk, but memories of this time were always alive in the composer’s soul. In the parents' family, they loved music; their mother sang well and played the piano; musical evenings. He owed the most powerful musical impressions to the Votkinsk land. “As for the Russian element in my music in general, this is due to the fact that I grew up in the wilderness, from childhood, very early, I was imbued with the inexplicable beauty of the characteristic features of Russian folk music,” noted Pyotr Ilyich.

Tchaikovsky showed his talent for music early: at the age of five he began playing the piano, and three years later he read notes and wrote down his musical impressions. In 1850-1859, at the request of his parents, Tchaikovsky studied at the School of Law, after which he was assigned to serve in the Ministry of Justice. In 1855-1858 he took piano lessons from the then famous pianist R. Kündinger, who, by the way, had a low opinion of the abilities of the future composer. Only in 1861 did Tchaikovsky begin serious studies in music classes at the St. Petersburg branch of the Russian Musical Society. In the fall of 1862, he became a student at the St. Petersburg Conservatory, which was transformed from music classes, from which he graduated with honors in 1865 in the classes of A.G. Rubinstein and N.I. Zaremba, who highly appreciated the student’s talent. At the same time, the first major works were written for symphony orchestra: Overture “Thunderstorm” and Overture in F major, “Character Dances”, cantata for soloists, choir and orchestra on Schiller’s Ode “To Joy” (thesis work), chamber works. After leaving service in May 1863, he began to earn a living by giving lessons.

Author of more than 80 works, incl. ten operas and three ballets. His concertos and other works for piano, seven symphonies, four suites, program symphonic music, ballets " Swan Lake", "Sleeping Beauty", "The Nutcracker" represent an extremely valuable contribution to world musical culture. In addition to music for adults, he wrote many wonderful musical works for children and youth.

The composer loved to travel, visited different countries and conveyed his impressions in music. He was not only a composer, but also an orchestra conductor, and also taught at the Moscow Conservatory. For the composer’s great contribution to the development of Russian musical art, the Moscow State Conservatory was named after him.

There is a concert hall in Moscow named after him. Once every four years it is held in Moscow international competition named after Pyotr Ilyich Tchaikovsky. All musicians in the world strive to take part in it.

And now we will get acquainted with his work - “The Nutcracker”.

In Tchaikovsky’s ballet “The Nutcracker” there is a surprisingly natural fusion of the expressive and the visual, theatricality and the deepest psychologism. The scene of the growth of the Christmas tree in Act I is accompanied by music of a truly symphonic scale - at first alarming, ghostly, depicting the bustle of mice and strange night visions, it gradually expands, blossoms with a beautiful endlessly unfolding melody. The music subtly embodies everything that happens in the subsequent scene: the shouts of the sentry, and the drumming, and the military, although toy, fanfares, and the squeaking of mice, and the tension of the fight, and miraculous transformation The Nutcracker. The Waltz of Snowflakes perfectly conveys the feeling of cold, the game moonlight and at the same time - the contradictory feelings of the heroine, who finds herself in a mysterious magical world. The divertimento of Act II includes various dances: the dance of chocolate (brilliant Spanish), coffee (refined and languid oriental), tea (brightly characteristic, rich comic effects Chinese), as well as lively, in the folk spirit, Russian trepak; gracefully stylized dance of shepherdesses; comic dance of Mother Zhigon with children crawling out from under her skirt. The pinnacle of the divertissement is the famous Waltz of the Flowers with its variety of melodies, symphonic development, pomp and solemnity. The dance of the Sugar Plum Fairy is amazingly graceful and subtle. The lyrical culmination of the entire ballet is the adagio (in the original production - the Sugar Plum Fairy and the Prince, now - Clara and the Nutcracker).

. Lesson notes with children of senior preschool age

Target:activation and development of the creative imagination of preschoolers in the process of perceiving musical works.

Tasks:

) Introduce children to the music of Pyotr Ilyich Tchaikovsky from the ballet “The Nutcracker”.

) Acquaintance with the ballet genre through acquaintance with the musical culture of P.I. Tchaikovsky.

) Cultivate a love of music.

) Expand your horizons, cultivate musical and aesthetic taste.

Vocabulary work: composer, ballet, listener, performer, waltz, genre.

Musical materialfrom the ballet “The Nutcracker”: fragments of the ballet “March”, “Waltz of the Flowers”, “Dance of the Sugar Plum Fairy”.

Equipment:portrait of P.I. Tchaikovsky; illustrations for ballet; musical instruments (violin, flute, bell); stereo system, DVD player, computer, multimedia projector, screen, artificial flowers for waltz; A4 posters with the names of instruments and musical works (violin, flute, bell, “Waltz of the Flowers”, “Dance of the Sugar Plum Fairy”, “March”); sketchbooks, watercolor paints, painting brushes.

Preparation of the eventincludes the following:

) Development of the foundations of musical and aesthetic consciousness in previous classes.

) Formation of ideas about the figurative basis of musical works.

) Development of ideas about the primary genres of music and their types.

) Children learn the play “March” on noise musical instruments.

Progress of the lesson:

On the central wall there is a large portrait of P.I. Tchaikovsky.

Music teacher:So, today we will go to the magical world of music! Let's get acquainted with the music of the great Russian composer Pyotr Ilyich Tchaikovsky. Guys, who is P.I. Tchaikovsky?

Children's answers.

Music teacher:Right. Let's remember P.I. Tchaikovsky. This is an outstanding Russian composer, known all over the world. He was born in the Urals in the city of Votkinsk on April 25, 1840. His parents loved music very much. Her mother played the piano and sang; there was a mechanical organ in their house. Later, having moved to Moscow, he composed music and was engaged in pedagogical work: he taught future pianists and composers. His music pleases and excites, it is always sincere and truthful.

P.I. Tchaikovsky wrote many wonderful works. These are the operas: “Mazepa”, “Eugene Onegin”, “The Queen of Spades”; Symphonic works; Ballets “Swan Lake”, “Sleeping Beauty”, “The Nutcracker” and much more.

The word “ballet” comes from the Latin “to dance”, when ballet dancers tell their audience about all the events and relationships of the characters with each other through dance.

Children's answers. Is it possible to dance a fairy tale?

Music teacher:How can you dance? Do you know how many wonderful ballets have been staged based on fairy tales: “The Nutcracker”, “The Sleeping Beauty”, “The Little Humpbacked Horse”, you can’t list them all. Through movement, dancers convey a variety of feelings. And the audience is happy and sad with the characters just as if they had heard them speak.

But, before listening to the piece, please tell me, guys, how should you listen to music?

Children's answers: You need to listen carefully, in silence. You can close your eyes and imagine the picture that this work conveys.

Music teacher:You all probably love fairy tales. Especially if the events they talk about take place on New Year's Eve. One of these New Year's tales“The Nutcracker and the Mouse King” was written by the German writer Ernst Hoffmann. And the Russian composer Pyotr Ilyich Tchaikovsky wrote music based on this fairy tale and the result was a wonderful ballet “The Nutcracker”. And it is with excerpts from this ballet that we will get to know you today.

A music teacher tells a fairy tale to a quiet musical background.

This is a fairy tale about the amazing adventures of the girl Marie. The events of this magical ballet take place on New Year's Eve. In ballet, heroes are divided into real and fictional. Masha, her brother, their parents, guests invited to the holiday, the old magician - all these are real characters in the ballet.

The clock in the living room struck nine times. The big owl on the clock perked up and flapped its wings. It seems everything is ready. The holiday can begin. - Come in, children! - The Lord's adviser opened the doors wide. A noisy flock of children burst into the room and... froze on the threshold in surprise and delight.

In the middle of the room, a beautiful Christmas tree shone with lights. Sweet nuts, apples and colorful candies grew on its branches, golden and silver balls glowed, magnificent hussars and snow-white horses were ready to rush into the attack at any moment, and elegant dolls watched them with admiring glances.

Then the march broke out, and the owner of the house began distributing gifts.

Snow flakes are flying outside the windows, but the room where the children are gathered is warm and cozy. Everyone happily marches and dances around the decorated Christmas tree.

Hearing. "March" sounds.

Listen carefully and you will be able to determine when boys are marching around the tree and when girls are dancing. The boys' music is indeed written in the rhythm of a real, albeit childish, march. And the girls' music is more graceful and fast-paced.

Music teacher:So, now we have listened to the march from the ballet “The Nutcracker”. Did you like this piece? What can you imagine listening to this music?

Conversation with children based on what they listened to. When listening again, the illustration is dance movements.

A mysterious guest appears in the hall - this is the watchmaker Drosselmeir, the godfather of Marie and her brother Franz. He holds toys in his hands, and among them is a funny doll that can crack nuts - this is the Nutcracker. New toy I especially like Marie! How happy Marie is! After all, this ball and flowers, and music - everything was for her. And most importantly, next to her was her faithful friend the Nutcracker.

The festive evening ends. The guests are leaving. Marie puts the broken Nutcracker to bed and sadly leaves. But she can’t sleep... She quietly makes her way to the Nutcracker. It seems to Marie that the tree is starting to grow, and the dolls and toys are coming to life.

Music teacher:P. Tchaikovsky wrote about this in his diary: “The Christmas tree begins to grow. The music goes on for 48 bars in an endless crescendo” - a musical term that refers to the intensification of sound. Let's listen to how, with the help of the orchestra, before our eyes, a small home Christmas tree turns into a large, gigantic one.

Listening to an excerpt from the ballet “The Nutcracker”, illustrated by the movements of the growth of a Christmas tree.

And now, when the tree has become big, mice suddenly crawl out of all the cracks. The evil mouse army destroys the gingerbread soldiers, and a real war ensues between them and the dolls commanded by the Nutcracker. The battle lasted a long time, Masha did not know how to help, but at one point she takes off her shoe and throws it at the mouse king. The music stops, the Nutcracker turns into a prince, who thanks Marie and invites her to follow him in fairyland. Downloaded will have to go through the winter magical forest. We are listening to this fragment, it is called “Waltz of Snow Flakes”.

Hearing. "Waltz of Snow Flakes."

Music teacher:Tell me, what kind of music does it sound like?

Children's answers.

Music teacher:(the tale is accompanied by a quiet musical background).

Here we are. Konfetenburg - cheerful, noisy city. The gates of this city are made from macaroons. And nearby is the Candied Fruit Grove, all the trees of which are made from candied fruits. The holiday begins. Coffee, tea, lollipops, shepherdesses and flowers - everyone is dancing. Composer P. Tchaikovsky composed his own music for every resident of Confetenburg. For example, for chocolate - “Spanish dance”, for tea, which appeared in China - “Chinese dance”.

The mistress of the fairy-tale sugar palace also has her own dance. Her name is the Sugar Plum Fairy. The Dance of the Sugar Plum Fairy is distinguished by the unusual sound of the orchestra. When the composer P. Chakovsky was in France, he heard there an unusual musical instrument called a celesta - an instrument that is played by pressing the keys and had a coldish, transparent silvery timbre. Especially for the role of the Sugar Plum Fairy, at the request of P.I. Tchaikovsky, the instrument was brought to Russia. When the celesta sounds in the music of the Sugar Plum Fairy, it seems as if we hear the melodic chiming of bells, the overflow of fountains of sweet drinks, the shine of multi-colored candies and the sparkling of jewelry. She is mysterious and beautiful. Here, listen...

Hearing. "Dance of the Sugar Plum Fairy."

Music teacher:Did you like the piece? What did you imagine?

Children's answers.

There's a knock on the door.

Music teacher:Hey guys, who's knocking on our door?

A flute appears.

Look guys. This musical instrument is called - flute. Listen to how it sounds... We hang the inscription “flute” on the board.

The music teacher plays a couple of notes on the flute and shows it to the children.

There's a knock on the door.

Music teacher:Oh, guys, someone is knocking again...Who could it be??!?...

A violin appears.

Look. This musical instrument is called - violin. We hang the inscription “violin” on the board.

Listen to how different it can sound.

The music teacher demonstrates the violin to the children, and then plays a couple of phrases on it, like “bear” and like “bird.”

The "Waltz of the Flowers" sounds. Children draw Music as they imagine it. Best drawings are posted on the board.

At the end of the lesson, the piece is listened to again.

All drawings are posted on the board. Discussed.

Music teacher:Which composer's work have we met today? Which work did you listen to excerpts from? What did you like most about the lesson?

Children's answers.

Music teacher:So guys. Today we got acquainted with the work of the wonderful composer P.I. Tchaikovsky, now you will take the drawings and leave the hall to the “March”. I hope that you liked his work and that you have gained an interest in the composer’s work and a desire to get to know his music better.

Thanks to all. Goodbye.

conclusions

So, the main objectives of this event have been achieved:

) educational: introducing the child to the world of art through creativity, fantasy and play experiences, the development of personal expression and individuality in the child.

) educational tasks: education of musical and aesthetic taste; teach children to interact with each other, develop communication skills.

) developmental tasks: developing the ability to build associative analogies between images of reality and sound, plastic, artistic images captured in works of art; development of a sense of rhythm and meter.

The above tasks in the classes were solved in a complex and close relationship, due to the fact that the lesson had a plot - a plot, a climax and a denouement.

When planning this lesson, we tried to take into account the characteristics and capabilities of children: to show the culture of listening to music and its figurative description, presentation, guessing of images; ability and desire to improvise dance moves to the music; children's love for play.

The following was carried out with the children preparatory work:

methodological material and manuals were selected, and the “My Tchaikovsky” corner was designed;

didactic material has been selected for viewing with children: the albums “The Childhood of P.I. Tchaikovsky”, thematic album “Through the Pages of the Composer’s Works”;

manufactured game material: didactic games “Works by Tchaikovsky - “The Nutcracker”, “The Seasons”, “Children’s Album” (cut-out pictures). These games will help children consolidate the knowledge gained in organized activities in a fun way.

Music listening and oral analysis musical images allows children to learn to identify and differentiate musical sounds.

Including basic drawing in a lesson makes it memorable, and a change in activity is necessary for children, since children, as a rule, do not yet have the necessary patience.

Classes were held in the music room in the morning with children from the preparatory group. The lesson was attended by 10 children, a teacher and music director. The music room has all the necessary musical and technical support - a musical instrument (clavinova, piano), a music center, a multimedia screen, a computer, a large mirror in which children see themselves and control their musical and rhythmic movements. To conduct classes, the music room is divided into zones:

area for listening - perceiving music and watching videos;

area for musical and motor exercises and games;

drawing area.

This zoning helps children move from one activity to another continuously.

Great importance To solve the problems of aesthetic development of children, the selection of repertoire is assigned. The main criterion for the significance of any work is its content, understandable children. The power of emotional impact performed work largely depends on how we are able to present it, what we say about it, how we direct the children’s attention so that the work reaches their hearts and arouses interest.

In this lesson, music from P.I. Tchaikovsky’s ballet “The Nutcracker” was used. The quality of phonograms and reproductions was high and corresponded to the program objectives and the level of development of the children.

children got acquainted with the life and work of the great Russian composer P.I. Tchaikovsky, with his main works, with the heroes of these works through entertaining material, the use of information, communication and multimedia technologies, as well as through artistic creativity (drawing). In addition, the music teacher performed excellent works by Tchaikovsky on the piano.

The following principles were implemented in the classes:

The principle of comprehensive development. Communication with the art of music is a powerful educational and developmental factor, and in the learning process it is important to select a meaningful, highly artistic repertoire that spiritually elevates and enriches each student. And the more good music he listens to, the more clearly he can draw the line between mediocre performance and a highly artistic work.

The principle from play to consciousness involves modeling a game situation and through play the formation of a conscious attitude towards musical activity, mastering knowledge, skills and abilities. The teacher’s task is to teach the child to consciously analyze musical works, control the sound of the voice, the coherence of playing in the ensemble, and determine its advantages and disadvantages.

The principle of systematicity and consistency is manifested in the gradual complication of the repertoire. A large preliminary work According to the development of perception (listening) of music, children are now able to analyze musical works that are more complex in figurative content.

The following methods and techniques were used:

The explanatory and illustrative method involves explaining and showing musical works in combination with artistic illustrations or graphic images.

The technique of listening to the teacher’s demonstration and analyzing what was heard. The expressive performance of a work by a teacher evokes an emotional response in children. They can describe the music as a whole (bright, fabulous, affectionate);

The technique of inventing a plot and creating a game situation. Using this technique, the performance of any vocal or instrumental work turns into a mini-performance, and the important point here is emotional responsiveness and expressive performance with elements of theatricalization precisely in the early stages of training; - technique of active listening to music.

This lesson is structured so that types of activities (active and passive) replace each other to ensure the efficiency and interest of children during all classes. So, listening to music was replaced by playing and drawing. When preparing and conducting classes music teacher and the teacher worked closely together and interacted with each other, as a result of which the classes turned out to be rich in different types of activities. They acted not only as mentors, but also as direct participants: they sang together with the children, did articulatory gymnastics, played, and communicated with the children in a democratic style. This allowed children to feel equal to adults and to be co-authors of what was happening.

The final result was the knowledge that preschool children showed during the conversation:

ability to express own opinion, analyze, react quickly to what is happening.

acquiring social communication skills with adults.

But the main thing is the emergence of an interest in listening to music and the initiative of children, an independent desire to listen to a piece of music. The children showed a keen interest in what they saw and heard, expressed their opinions, and their emotional reactions were positive. They were given the opportunity to choose - each, in accordance with their personal preferences, independently thought out artistic image music heard and performed.

I believe that in collaboration with the teacher, we were able to achieve our goals. Such activities have a positive effect on the development of musical and artistic abilities preschool children.

Thus, purposeful, systematic activities, the development of this lesson, make it possible to effectively realize the possibilities of musical education in preschool children. The implementation of this project showed the importance of initiative and creative direction of the teacher and children.

Bibliography

Gogoberidze A.G. Theory and methods of musical education of preschool children: Textbook. manual / A.G. Gogoberidze, V.A. Derkunskaya. - M.: Publishing center "Academy", 2005. - 320 p.

Zatsepina M.B. Musical education in kindergarten. Program and methodological recommendations / M.B. Zatsepina. - M.: Mosaika-Sintez, 2006. - 96 p.

Music-making for children and adults / Under. ed. Yu.V. Barakhtina. - Novosibirsk: Okarina Publishing House, 2005. - 86 p.

Poznansky A.N. Pyotr Tchaikovsky: Biography. In 2 vols. / A.N. Poznansky. - St. Petersburg: Vita-Nova, 2009. - 1232 p.

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Hearing

Continue to develop interest and love for music, musical responsiveness to it.

To form a musical culture based on familiarity with classical, folk and modern music; with the structure of a 2- and 3-part musical work, with the construction of a song. Continue to introduce composers.

Foster a culture of behavior when visiting concert halls and theaters (do not make noise, do not disturb other spectators enjoying music or watching performances).

Continue to introduce genres of musical works (march, dance, song).

Develop musical memory through recognizing melodies from individual fragments of a work (introduction, conclusion, musical phrase).

Improve the skill of distinguishing sounds in height within fifths, the sound of musical instruments (keyboards, percussion and strings: piano, violin, cello, balalaika).

Develop singing skills, the ability to sing with a light sound in the range from “D” of the first octave to “C” of the second octave, take a breath before the start of a song, between musical phrases, pronounce words clearly, start and end a song in a timely manner, emotionally convey the character of the melody, sing moderately , loud and quiet.

Promote skill development solo singing with and without musical accompaniment.

Promote the manifestation of independence, creative performance of songs of a different nature.

Develop song and musical taste.

Song creativity

Develop the skill of improvising a melody to a given text, composing melodies of a different nature: a tender lullaby, a perky or cheerful march, a smooth waltz, a cheerful dance song.

Musical and rhythmic movements

Develop a sense of rhythm, the ability to convey through movements the character of music, its emotional and figurative content; the ability to freely navigate in space, perform npocTeniririe changes, independently move from moderate to fast or slow pace, change movements in accordance with musical phrases.

To promote the formation of skills in performing dance movements (alternately throwing legs forward in a jump; side step with a squat, with moving forward, spinning; squatting with putting the leg forward).

Introduce children to Russian round dances, dances, as well as dances of other nations.

Continue to develop song dramatization skills; the ability to depict fabulous animals and birds (horse, goat, fox, bear, hare, crane, raven, etc.) in different game situations.

Development of dance and gaming creativity

Develop dance creativity; to develop the ability to invent movements for dances, dances, to compose a dance composition, showing independence in creativity.

Improve the ability to independently come up with movements that reflect the content of the song.

Encourage them to dramatize the content of songs and round dances.

Playing children's musical instruments

Develop the ability to perform simple melodies on children's musical instruments; familiar songs individually and in small groups, while maintaining overall dynamics and tempo.

Develop creativity, encourage children to take active independent action.

Approximate musical repertoire

Hearing

"March", music. D. Shostakovich; “Lullaby”, “Guy with an accordion”, music. G. Sviridova; "Falling Leaves", music. T. Popatenko, lyrics. E. Avdienko; “March” from the opera “The Love for Three Oranges”, music. S. Prokofiev; "Winter", music. P . Tchaikovsky, lyrics. A. Pleshcheeva; "Autumn

song" (from the cycle "Seasons" P . Tchaikovsky). "Polka", music. D. Lvov-Kompaneyts, lyrics. 3. Petrova; "Mom's Holiday", music. E. Tilicheeva, lyrics. L. Rumarchuk; “My Russia”, music. G. Struve, lyrics. N. Solovyova; “Who came up with the song?”, music. D. Lvov-Kompaneyts, lyrics. L. Dymova; "Children's polka", music. M. Glinka; "Santa Claus", chuz. N. Eliseeva, lyrics. 3. Alexandrova. “Morning Prayer”, “In Church” (from “Children’s Album” by P. Tchaikovsky); "Music", music. G. Struve; "Lark", music. M. Glinka; "Moth", music. S. Maikapara; “Dance of the Birds”, Lullaby”, music. N. Rimsky-Korsakov; Finale of the piano concerto No. 5 (fragments) by L. Beethoven. “Anxious Minute” (from the album “Spillkins” by S. Maykapar); “Repentance”, “Morning”, “Evening” (from the collection “Children’s Music” by S. Prokofiev); “The First Loss” (from “Album for Youth”) by R. Schumann; Piano Sonata Eleventh, 1st movement (fragments), Prelude in A major, Op. 28, No. 7 F. Chopin.

singing

Exercises to develop hearing and voice."Bunny", music. V. Karaseva, lyrics. N. Frenkel; “We sewed boots for the cat for the holiday,” children's song; "Raven", Russian. adv. song, arrangement E. Tilicheeva; "Andrey the Sparrow", Russian. adv. song, arr. Yu. Slonova; “Jingle Bells”, “Accordion”, music. E. Tilicheeva; "Counting", music. I. Arseeva; "Snow-Pearls", music. M. Parkha-ladze, lyrics. M. Plyatskovsky; “Where do finches spend the winter?”, music. E. Zaritskaya, lyrics. L.

Songs."Cranes", music. A. Livshits, lyrics. M. Poznanskaya; “Guests have come to us,” music. An. Alexandrova, lyrics. M. Evensen; “Garden round dance”, music. B. Mozhzhevelova, lyrics. N. Passova; "Blue Sled", music. M. Jordansky, lyrics. M. Klokova; "Geese the goose", music. An. Alexandrova, lyrics. G. Boyko; "Fish", music. M. Kraseva, lyrics. M. Klokova. "Chicken", music. E. Tilicheeva, lyrics. M. Dolinova; "Birch", music. E. Tilicheeva, lyrics. P. Voronko; "Lily of the Valley", music. M. Kraseva, lyrics. N. Frenkel; "Spring Song", music. A. Filippenko, lyrics. G Boyko; “Yap-yap”, music. In Gerchik, lyrics. Y. Razumovsky, “Bird House”, music. Yu. Slonova, lyrics. O. Vysotskaya; "Pea", music. V. Karaseva, lyrics. N. Frenkel; "Geese", music. A. Filippenko, lyrics. T. Volgina.

Song creativity

“Lullaby”, Russian. adv. song; "March", music. M. Kraseva; “Dili-dili! Bom! Bom!”, Ukrainian. adv. song, lyrics E. Makshantseva; “Come up with a song”; nursery rhymes, teasers, counting rhymes and other Russian ones.

musical rhythmic movements

Exercises."Little March", music. T. Lomovoy; "Spring", music. E. Gnessina (“Etude”); "Step and Run", music. N. Nadenenko; “Smooth hands”, music. R. Gliere (“Waltz”, fragment); “Who Jumps Better”, music. T. Lomova: “Learn to dance in Russian!”, music. L. Vishkareva (variations on the Russian folk melody “From under the oak, from under the elm”); "Rosinki", music. S. Maikapara; "Ditch", Russian. adv. melody, arr. R. Rustamova.

Exercises with objects."Waltz", music. A. Dvorak; “Exercises with ribbons”, Ukrainian. adv. melody, arr. R. Rustamova; "Gavotte", music. F. Gossec; “Passing a handkerchief”, music. T. Lomovoy; “Exercises with balls”, music. T. Lomovoy; "Waltz", music. F. Burgmuller.

Sketches.“Silent Dance” (theme from variations), music. W. Mozart; "Polka", German. adv. dance; “Sleep and Dance” (“Playing with a Doll”), music. T. Lomovoy; "Aw!" (“Game in the Forest”, music by T. Lomova).

Dancing and dancing."Friendly couples", music. I. Strauss (“Polka”); "Pair dance", music. An. Alexandrova (“Polka”); “Invitation”, Russian. adv. melody "Len", arr. M. Rauchwerger; "Fun Dance", music. V. Zolotareva; “Mirror”, “Oh, my hop, hop”, Russian. adv. melodies; "Circular Dance", Russian. adv. melody, arr., S. Razorenova; "Russian Dance", Russian. adv. melody (“Whether in the garden or in the vegetable garden”); “Quadrille with spoons”, Russian. adv. melody, arr. E. Tumanyan; Boys' dance "Chebotukha", Russian. adv. melody.

Characteristic dances.“Matryoshka”, music. B. Mokrousova; "Chebotukha", Russian. adv. melody, arrangement V. Zolotareva; "Dance of the Beads", music. T. Lomovoy; “Dance of Parsley”, Croatian, Nar. melody; "Flappers", music. N. Kiesel-Vatter; "Dance of the Snow Maiden and Snowflakes", music. R Gliera; "Dance of the Dwarves", music.

Round dances.“Guests have come to us,” music. An. Alexandrova, lyrics. M, Evensen; “Harvest”, music. A. Filippenko, lyrics. O. Volgina; "New Year's round dance", music. S. Shaidar; "New Year's round dance", music. T. Popatenko; "He comes to us New Year", music V. Gerchik, lyrics. 3. Petrova; "Round Dance of Flowers", music. Yu. Slonova; “How our girlfriends went”, “I walk with the vine”, “And I am in the meadow”, “Chernozem Earthling”, Russian. adv. songs, arr. V. Agaronnikova; “Oh yes birch tree”, music. T. Popatenko, lyrics. Zh. Agadzhanova; “Near the river, near the bridge”; “The young woman went for water”, Russian. adv. songs, arr. V, Agafonnikova.

Music games

Games. “Trap”, music. J. Haydn; “We won’t let you out”, music. T. Lomovoy; “Be clever!”, music. N. Ladukhina; “Game with a tambourine”, music. M. Kraseva; “Look for a toy”, “Be clever”, Russian. adv. melody, arr. V. Agafonnikova; “Pilots at the airfield”, music. M. Rauchwerger; “Find yourself a partner”, Latv. melody, arrangement T. Popatenko; “Game with a bell”, music. S. Rzhavskoy; lot and mice", music. T. Lomovoy; "Rattles", music. T. Vilkoreiskaya; take care of the hoop", music. V. Vitlina; “Find a toy”, Latv. adv. song, arr. Frida.

Games With singing.“Cap”, “Oh, little bunny in the Senechka”, “Raven”, Russian Nar. songs; "Zainka", Russian. adv. song, arr. N. Rimsky-Korsakov; “Like thin ice”, Russian. adv. song, arrangement A. Scar; "Raven", Russian. folk melody, arr. E. Tilicheeva; “Two Grouse”, Russian. adv. melody, arrangement V. Agafonnikova; "Vaska the Cat", music. G. Lobachev, lyrics. N. Frenkel; "Hedgehog", music. A. Averina; “Round dance in the forest”, music. M. Iordansky; “Hedgehog and Mice”, music. M. Kraseva, lyrics. M. Klokova; "Flowers", music. N. Bakhutova, folk words.

Musical and didactic games

Development of pitch hearing.“Musical Lotto”, “Steps”, “Where are my kids?”, “Mom and kids”.

Development of a sense of rhythm.“Identify by rhythm”, “Rhythmic stripes”, “Learn to dance”, “Search”.

Development of timbre hearing.“What do I play?”, “ Musical riddles", "Musical House".

Development of diatonic hearing.“Loudly, quietly binge drinking”, “Ringing bells”.

Development of music perception and musical memory.“Be careful”, “Buragino”, “Music store”, “Seasons”, “Our songs”.

staging And musical performances

“Guests have come to us,” music. An. Alexandrova; “Like ours at the gate”, Russian. adv. melody, arr. V, Agafonnikova; “Where have you been, Ivanushka?”, Russian. adv. melody, arr., M. Jordansky; “My Favorite Doll”, author T. Koreeva; "Polyanka" ( music game-fairy tale), music by T. Vilkoreiskaya.

Development of dance and gaming creativity

“Cat and Goat”, “I will water, I will water onions”, music. E. Tilicheeva; "Waltz of the Cat", music. V. Zolotareva; free dancing to any dance tunes in an audio recording; “Burn, burn clearly!”, Russian. adv. melody, arr. R. Rustamova; “And I’m in the meadow”, Russian. adv. melody, arr. T. Smirnova.

Playing children's musical instruments

“The Blue Sky”, “Brave Pilot”, music. E. Tilicheeva, lyrics. M. Dolinova; "Don-don", Russian. adv. song, arr., R, Rustamova; “Burn, burn clearly!”, Russian. adv. melody; "The Shepherd", Czech. adv. melody, arr. I. Berkovich; "Cockerel", Russian. adv. song, arr. M. Kraseva; "Watch", music. WITH.

Wolfensohn; “There lived a black ram with our grandmother,” Russian. adv. comic song, arr. V. Agafonnikova,

Planned intermediate results of the Program implementation

Intermediate results of mastering the Program are formulated in accordance with Federal State Requirements (FGT) through revealing the dynamics of the formation of integrative qualities of pupils in each age period of mastering the Program in all areas of child development.

By the age of six, with successful completion of the Program, the next level of development of the child’s integrative qualities is achieved.

Integrative quality “Physically developed,

mastered basic cultural and hygienic skills"

Anthropometric parameters (height, weight) are normal. Masters basic movements in accordance with age. Shows interest in participating in outdoor games and physical exercises.

Shows a desire to participate in games with elements of competition, in relay races.

Uses physical education equipment outside of class (in his free time).

Able to independently perform age-appropriate hygiene procedures.

Complies basic rules behavior while eating and washing.

Has a basic understanding of the value of health, the benefits of hardening, and the need to observe hygiene rules VEveryday life. Knows the benefits of morning exercises and exercise.

Has basic understanding of a healthy lifestyle and the dependence of health on proper nutrition.

Begins to demonstrate the ability to take care of his health.

Integrative quality “Curious, active”

Uses various sources of information that contribute to enrichment>. Puppy games (cinema, literature, excursions, etc.).

Shows a steady interest in various types of children's activities: design, visual arts, game.

Shows curiosity, interest in research, experimentation, and project activities.

Integrative quality “Emotionally responsive”

Emotionally sensitive to the experiences of close adults, children, characters in fairy tales and stories, cartoons and feature films, .puppet shows.

Shows emotional attitude To literary work, expresses his attitude towards a specific act of a literary character.

Understands the hidden motives for the behavior of the characters in the work.

Shows sensitivity to the artistic word, feels the rhythm and melody of a poetic text.

Shows aesthetic feelings, emotions, aesthetic taste, aesthetic perception, interest in art.

Integrative quality “Mastered the means of communication and ways of interacting with adults and peers”

Distributes roles before the start of the game and builds his behavior by adhering to the role. Game interaction is accompanied by speech that corresponds both in content and intonation to the role taken.

Speech becomes the main means of communication. The speech that accompanies children's real relationships differs from role-playing speech.

Can compose original and sequentially unfolding stories and tell them to peers and adults.

Uses all parts of speech, actively engages in word creation, uses synonyms and antonyms.

Knows how to share various impressions with the teacher and other children, refers to the source of the information received (TV show, story of a loved one, visiting an exhibition, children's play, etc.).

Shows the ability to maintain a conversation, expresses his point of view, agreement or disagreement with a friend’s answer.

Integrative quality “Able to manage one’s behavior and plan one’s actions based on primary value concepts, observing basic generally accepted norms and rules of behavior”

Demonstrates the ability to work collectively and negotiate with peers about who will do what part of the work.

If, when distributing roles in the game, conflicts arise related to the subordination of role behavior, he resolves controversial issues and resolves conflicts with the help of speech: he convinces, proves, explains.

He understands that he needs to take care of the younger ones, help them, protect them. who is weaker?

Can independently or with a little help from an adult evaluate the actions and actions of peers.

Complies with basic generally accepted norms of behavior in kindergarten and on the street.

In everyday life, adults use “polite” words on their own, without prompting from others.

Integrative quality “Able to solve intellectual and personal tasks (problems) appropriate for age”

Possesses basic self-care skills.

Orients himself in the surrounding space, understands the meaning of spatial relationships (above - below, in front - behind, left - right, between, next to, near, etc.).

Able to establish the sequence of various events: what happened earlier (first), what later (then), determine what day it is today, what it was yesterday, what it will be tomorrow.

Able to design according to his own plans.

Able to use simple schematic images to solve simple problems, build according to a diagram, solve labyrinth problems,

Shows figurative anticipation. Based on the spatial arrangement of objects, it can tell what will happen as a result of their interaction.

Able to reason and give adequate causal explanations if the analyzed relationships do not go beyond the limits of his visual experience.

Can independently come up with a short fairy tale on a given topic.

Able to independently find interesting activities for himself.

Integrative quality “having primary ideas about oneself, family, society, state, world and nature”

Knows and states his first and last name, first and patronymic names of his parents. He knows where his parents work and how important their work is to society.

Knows family holidays. Has constant responsibilities at home.

He can talk about his hometown (town, village), name the street where he lives.

Knows that Russian Federation(Russia) is a huge multinational country; that Moscow is the capital of our Motherland. Has an idea of ​​the flag, coat of arms, and the melody of the anthem.

Has an idea about the Russian army, about the years of war, about Victory Day.

Integrative quality “Having mastered the universal prerequisites educational activities»

Has the skills of organized behavior in kindergarten, at home, on the street. Able to accept a memorization task, remembers an adult’s instructions, and can learn a short poem.

Able to coherently, consistently and expressively retell short tales and stories.

Able to retain a simple condition in memory when performing any action.

Able to act with concentration for 15-25 minutes. Shows responsibility for carrying out work assignments. Shows a desire to please adults with good deeds.

Integrative quality “Mastered the necessary skills and abilities”

The child has developed the skills and abilities necessary to carry out various types of children's activities.

Educational field "Health"

Able to dress and undress quickly, neatly, and keep his closet in order.

Has neatness skills (notices disorder in clothes, eliminates it with a little help from adults).

Basic personal hygiene skills have been developed (brush teeth independently, wash hands before eating; cover mouth and nose with a tissue when coughing and sneezing).

Possesses the simplest skills of behavior while eating, uses a fork and knife.

It has initial presentations about the components (important components) of a healthy lifestyle (proper nutrition, movement, sleep) and factors that destroy health.

Knows the importance of daily morning exercises, hardening the body, maintaining a daily routine.

Educational area « Physical Culture»

Able to walk and run easily, rhythmically, maintaining correct posture, direction and pace.

Can climb a gymnastic wall (height 2.5 m) with changes in tempo.

Can jump on a soft surface (height 20 cm), jump to a designated place from a height of 30 cm, long jump from a place (at least 80 cm), from a run (at least 100 cm), in high jump from a run (at least 40 cm ), jump over a short and long rope

Can throw objects with the right and left hands at a distance of 5-9 m, at a vertical and horizontal target from a distance of 3-4 m, combine a swing with a throw, throw the ball up onto the ground and catch it with one hand, hit the ball on the spot for at least 10 times, while walking (distance 6 m). Owns a ball school.

Performs static and dynamic balance exercises.

Able to form a column of three or four; align, open in a column, line; make turns right, left, around.

Skis at a sliding step for a distance of about 2 km; takes care of skis.

Knows how to ride a scooter.

Participates in exercises with elements of sports games: gorodki, badminton, football, hockey.

Can swim (voluntarily).

Educational field "Socialization"

Agrees with partners on what to play, who will be who in the game; obeys the rules of the game.

Able to develop the content of the game depending on the number of children playing.

In didactic games, he evaluates his capabilities and accepts loss without resentment.

Explains the rules of the game to peers.

After watching the performance, he can evaluate the performance of the actor(s), the means of artistic expression used and the elements of artistic design of the production.

He has several roles in his creative experience, played in performances in kindergarten and home theater. Knows how to design his performance using a variety of materials (attributes, improvised materials, crafts).

Educational field "Labor"

Dresses and undresses independently, dries wet clothes, and takes care of shoes.

Performs the duties of a dining room attendant and sets the table correctly.

Maintains order in the group and in the kindergarten area.

Performs tasks to care for animals and plants in a corner of nature.

Educational field "Security"

Complies with the basic rules of organized behavior in kindergarten.

Observes basic rules of behavior on the street and in transport, basic traffic rules.

Distinguishes and names special types of transport (“ Ambulance", "Fire", "Police"), explains their purpose.

Understands the meaning of traffic lights. Recognizes and names road signs“Pedestrian crossing”, “Children”, “Public transport stop”, “Underground pedestrian crossing”, “Medical aid station”.

Distinguishes between roadways, sidewalks, underground pedestrian crossings, and Zebra crossings.

Knows and follows the basic rules of behavior in nature (ways to safely interact with plants and animals, respect for the environment).

Educational area "Cognition"

Productive (constructive) activity. Able to analyze the structure of a building.

Can plan the stages of creating his own building and find constructive solutions.

Creates buildings according to drawings.

Able to work collectively.

Development of elementary mathematical concepts. Counts (counts) within 10.

Correctly uses cardinal and ordinal numbers (within 10), answers the questions: “How many?”, “Which one?”

Equalizes unequal groups of objects in two ways (removing and adding one).

Compares objects by eye (by length, width, height, thickness); verifies the accuracy of definitions by overlay or application.

Places objects of various sizes (up to 7-10) in ascending and descending order of their length, width, height, thickness.

Expresses in words the location of an object in relation to To yourself, other objects.

Knows some characteristic features of familiar geometric figures (number of angles, sides; equality, inequality of sides).

Calls morning, day, evening, night; has an idea of ​​the changing parts of the day.

Names the current day of the week.

Formation of a holistic picture of the world. Distinguishes and names types of transport, objects that facilitate human work in everyday life

Classifies objects, determines the materials from which they are made.

Knows the name hometown(village), country, its capital.

Names the seasons and notes their features.

Knows about human interaction with nature in different time of the year.

Knows about the importance of the sun, air and water for humans, animals, and plants.

Treats nature with care.

Educational field "Communication"

Can participate in conversation.

Able to evaluate a peer’s answer or statement in a reasoned and friendly manner.

Makes up stories based on a plot picture, a set of pictures; consistently, without significant omissions, retells short literary works.

Determines the place of a sound in a word.

Able to select several adjectives for a noun; replace a word with another word with a similar meaning.

Educational field "Reading fiction"

Knows 2-3 program poems (if necessary, remind the child

first lines), 2-3 counting rhymes, 2-3 riddles. Names the genre of the work.

Dramatizes short fairy tales, reads poems based on roles. Calls a loved one

children's writer, favorite fairy tales and stories.

Educational area « Artistic creativity»

Distinguishes between works of fine art (painting, book graphics, folk decorative art, sculpture).

Highlights expressive means in different types art (form, color, flavor, composition).

Knows the features of visual materials.

Drawing. Creates images of objects (from nature, from an idea); story images.

Uses a variety of compositional solutions, visual materials.

Uses different colors and shades to create expressive images.

Performs patterns based on folk arts and crafts, years.

Modeling. They sculpt objects different shapes using learned techniques and methods.

Creates small story compositions, conveying the proportions, poses and movements of the figures.

Creates images based on folk toys.

Application. Depicts objects and creates simple plot compositions using a variety of cutting techniques and tearing paper.

Educational field "Music"

Distinguishes between genres of musical works (march, dance, song); sound of musical instruments (piano, violin).

Distinguishes between high and low sounds (within fifths).

Can sing without tension, smoothly, with an easy sound; pronounce words clearly, start and finish the song in a timely manner; sing accompanied by a musical instrument.

Can move rhythmically in accordance with the character and dynamics of the music.

Knows how to perform dance movements (alternately throwing the legs forward in a jump, half-squatting with the foot on the heel, stepping on the entire foot in place, moving forward and in a circle).

Independently dramatizes the content of songs and round dances; acts without imitating other children.

Can play melodies on a metallophone one at a time and in a small group of children.

Preparatory:

to school group (from 6 to 7 years old)

Dyumina Natalya Vladimirovna
first category music teacher

Game forms of introducing children
to musical art or creativity

Music, like other forms of art, is a specific form artistic reflection reality. By deeply and diversely influencing the feelings and will of people, music can have a beneficial effect on their social activities and influence the formation of personality.
The musical culture of a person is the process of a person discovering the values ​​of works of art for himself, the level of their perception and mastery.
Music evokes spiritual pleasure and pleasure in people. Without the pleasure and enjoyment that work, science, and art give a person, his life turns out to be impoverished and meaningless. Music can calm and comfort people, relieve mental stress, helps overcome stress, and becomes one of the sources of human health and a preventive means of treating mental illnesses.
The effect of the educational role of music, as well as the direction and nature of its social impact, seem to us to be the most important criteria that determine the social significance of music and its place in the system of spiritual and cultural values.
Childhood is a special world that remains in a person’s soul for the rest of his life if happiness and joy of being oneself reign in it. The world of fantasy and invention in children is associated with play. In everything historical times children different nations played and play, imitating adults, realizing their desires and creative needs.
Game, according to psychologist G.S. Tarasov, is the emotional spontaneity of motives, striving for a goal, evaluating the results of activities, and learning new things. The child’s personality is born in it.
Game is the optimal psychological and pedagogical tool that allows you to influence the development of children. This is confirmed by D.B. Elkonin: “...the game influences the formation of all basic processes, from the most elementary to the most complex.”
A game is a type of activity in conditional situations aimed at recreating and assimilating social experience. Children's play is a type of children's activity consisting in reproducing the actions of adults and the relationships between them, aimed at orientation and understanding of objective and social reality, one of the means of physical, mental and moral education of children.
When studying the “Music” course in accordance with the requirements of the Federal State educational standard In my lessons, I assign a significant role to the method of musical playing. After all, it fruitfully helps to cultivate interest and love for the art of music, moral and aesthetic feelings, and respect for the traditions of the musical culture of different peoples. Musical play in the classroom brings students together, organizes them, and instills an interest in music. She teaches you to think, analyze, and be on the fast track of useful things.
Playing in a music lesson is developmental in nature and is focused on mastering motor and intellectual skills, sensory abilities, developing cooperation skills, and effective interaction based on cognitive interests.
The impact of the game can be considered in three aspects.
The first aspect is physiological, associated with the studies of V. M. Bekhterev, I. M. Dogel, I. M. Sechenov, which revealed positive influence music on various systems person. The relationship between music and rhythmic movements increases overall vitality, regulates the activity of the cardiovascular, respiratory, and musculoskeletal systems, and forms the arbitrariness of mental functions.
The second aspect is psychological. Music affects the emotional and personal sphere of the child, corrects cognitive, mental, and communication disorders.
The third aspect is pedagogical. Through music, a child develops the ability to aesthetically perceive reality and acquire social experience for creative, constructive activities.
In a musical game, it is easier for children to master the means musical expressiveness, the nature of music and speech - rhythm, dynamics, pitch. Music helps to establish contact between children and adults, between peers when playing games. By creating the prerequisites for further pedagogical influences, music directs children's auditory attention to fulfilling the conditions and rules of the game. Desire, impulses, a feeling of joy, revival, high spirits activate the child in play, help create a special atmosphere that will help avoid misunderstanding and disapproval, will not drown out the child’s natural desire to ask questions, will help to feel a sense of joy in the creative process, will teach to understand and respect opinion others, openly express their feelings, are not afraid to show their own individuality, appreciate in themselves creative personality.
Goals and objectives of the musical game:
Music evokes an emotional and motor response; the game helps the child listen to music carefully and consciously. In the game, the student performs various tasks related to the process of recognizing and distinguishing the nature of music, individual means of expression, and activates feelings, imagination, and thinking.

In accordance with this, musical games have the following tasks:

1. Corrective:
development of auditory, visual, tactile perception, facial muscles, respiratory system, articulatory apparatus, voice properties (pitch, timbre, dynamics, rhythm), coordination of movements;
formation of expressive means: intonation, facial expressions, gestures, movements.
2. Wellness:
development of motor skills: general, fine, articulatory;
improving the ability to relieve emotional and physical stress, strengthening the “muscle sense”;
development of speed of motor reaction.
3. Educational:
training in speech and singing skills;
development of musical, creative, communication abilities;
formation of mental skills and actions.
4. Educational:
education of general musical and speech culture;
formation of aesthetic perception of the surrounding world; artistic taste
development of the emotional sphere.
5. Developmental:
development of cognitive activity;
maintaining sustainable interest;
strengthening self-regulation and control;
development of attention, memory, thinking, imagination.

During the game, students should:
1. Reflect on familiar works, express judgments about the main idea, means, forms of its implementation.
2. Distinguish between simple and complex genres of vocal and instrumental music.
3. Participate in collective and performing activities /singing, plastic intonation, improvisation/.
4. Develop skills and abilities in musical self-education.
5. Show creative initiative by participating in the musical and aesthetic life of the class and school. Variety of music games
Among musical games, N.A. Metlov singled out games with singing, which develop hearing, voice, the ability to correctly convey a melody, as well as fairy tale games
N.A. Vetlugina, in the course of scientific research in the field of development of musical-sensory abilities, showed the primary role of musical-didactic games as the basis for the sensory perception of music
E. Raevskaya, S. Rudneva, G. Soboleva, Z. Ushakova changed the idea of ​​the game, their methodological developments games were aimed at the comprehensive development of children's musicality, namely: the development of emotionality, sense of rhythm, sensation musical form, perception, imagination.
E.D. Makshantseva proposed another type of musical games - fun games.
L.N. Komissarova developed a system for using visual aids when organizing and conducting didactic games.
The importance of vocal games when working on the purity of intonation with elements of didacticism was shown by A.D. Voinovich.
Dramatization games, theatrical games, folk games, business games They are also actively used in secondary schools: in music lessons, extracurricular activities, and in correctional work with children.
Musical play gives children the joy of creative transformation and self-expression through a variety of practical activities.
Bringing children joy and pleasure from musical experiences is a task no less important and noble for a teacher than teaching them any specific musical knowledge and skills.
Playing in a music lesson turns from an external form of entertainment into a form that ensures the child’s creative self-expression.
Maximilian Voloshin: “Art is precious only insofar as it is a game. Artists and musicians are just children who have not forgotten how to play. Geniuses are those who failed to grow.”
In my teaching activities, in almost every music lesson, I use game forms of the lesson that contribute to the development musical abilities students, encourages their desire for associative thinking. During play, children receive an impulse of pleasure, imagination, and self-organization. They feel relaxed, comfortable, always in search, in motion, where thinking and creativity are always active. By the way, I always remember A.S. Makarenko, who said more than once: play is one of the significant foundations for the development of a child’s personality. It must be constantly included in pedagogical process in class and in extracurricular activities.
During my time working at school, I came to a deep conviction: the game is the creative laboratory of childhood, that rainbow, that aroma of a child’s life, giving the creative beginning of growing up. How a child expresses himself in play from childhood is how a healthy core of creative activity will be formed in him, moral principles adult life. If a child “splashes out” his state, “experiences” musical images, involuntarily develops cognitive ability, observation, intelligence, curiosity.

In music lessons in grades 5–9, I use the following musical games and creative tasks:
Game "Association"
Option 1: In high school, I use this technique as follows: after listening and analyzing a piece of music, students must, in a chain, without repeating each other, name associative words related to the work and to the words already named. All answer options are recorded by the child in the workbook. Based on the listed concepts, it is proposed to write a mini-essay. For example:
Beethoven's pathetic sonata - tragic - dramatic - excited - stormy - impetuous - captivating - heroic - victory - jubilation...
Option 2: Come up with and write down at least 20 words of associations for a specific term or concept. For example: Musical - music, dialogue, dance, drama, comedy, theater, America, Notre Dame de Paris, etc. In my lessons it serves as a control test on the topic covered.
Game – journey “Back to the Future”
Traveling in a time machine
Getting to know the music and musical instruments of the past.
Game "Carnival"
Option 1: Trying to master the rhythms Latin America. For this game you will need new tools, and you will have to make them yourself. Chokalo - a simple tin can for a carbonated drink is filled with small bulk objects such as rice, sand or small pebbles and the hole is sealed with tape and adhesive tape. Guiro - in America it is made from dried pumpkin. At home, a tin can is filled with dried peas or dried olive pits, and the hole is sealed with tape. To make maracas, use a chocolate egg container, which is filled with dry material and placed on the body of the pen. Now we need any melody in the rhythm of samba, rumba, tango or bossa nova. The game consists of having previously practiced and trying to blend into the sound of a pre-prepared song or composition.
Option 2: Finding yourself on an unexplored planet in an alien universe, invent musical instruments of aliens and hear their music. Give names to these instruments (come up with how they sound and draw them, or make them from scrap materials (for example, from nails suspended on a wire or from glasses, etc.)
Game "Musical Football"
The game is played according to the rules of football. The class is divided into two teams. Question or task - throwing a ball. An incorrect answer or an incorrectly completed task is a goal (defeat). Based on the number of goals, the winner is determined and he is given a mark for his work in the lesson. The game is closely watched by the referee. All questions and creative tasks are related to the topics covered in music lessons.
Route game “Hurry up for the road”
Movement along a special map through individual stations (Cities) in order to answer all questions and complete pre-prepared music tasks, collect all the letters (in each city, one letter is awarded for the correct answer) and reveal the next secret of music. The game is played with the aim of reinforcing the material covered and introducing a new musical term or concept, which is entered into the travel map (music dictionary)
Role-playing game “The court is coming to stand up”
The game can be played on a pre-selected topic (for example, “Is classical music necessary?” Classical music and modern rock”, etc.) In the game, selected positions are defended and researched within the framework of the court rules.
Game "Improvisation"
This game form uses plastic, vocal, and literary improvisations. The class is divided into 3 groups. Group 1 composes with the proposed literary characters short essay- a miniature, group 2 voices them vocally or portrays them using musical instruments, group 3 conveys the image of each character in plastic improvisation. An aesthetic attitude towards musical and sound reality is being formed: musical sound– musical image-way its incarnation.
Game "MUSIC ON THE WATER"

One of the options for rhythmic games is a game that prepares children to memorize simple melodies. It also requires some preparation. You need to take several (5-7) glasses, preferably identical and with not too thick walls. Fill them with water and hit the glass with a metal rod and check what sound they make. Each glass should “sound” differently. Even if it is not too melodic and harmonious, the main thing is that the sounds are clearly distinguishable by ear. To begin with, try to repeat the given rhythm as accurately as possible, while the melody is not yet the main thing for you. You can take any examples of rhythmic patterns. So, we have learned to catch and remember the rhythm. Now let's try to start solving a more complex problem: games that develop ear for music and memory.
The task of the players in this case is to remember not just the timbres, but also the pitch of each of the glasses. It is better if, before the start of the game, they are lined up in a row as the height increases, so that the low ones are to the left of the performer, and the high ones are to the right.
Game "GUESS"

To play this game you will need a real musical instrument. Of course, it's better if it's a real piano. That is, players need an instrument on which anyone playing can reproduce the simplest sound. Now you need to choose a leader, someone who knows at least a little how the keys are located on the keyboard (you don’t need to know their names). This leader must be able to remember the pitch of the sound and exactly the key that will produce this sound. All other participants in the game turn away, and the presenter presses one of the keys. Then he selects one of the guys and invites him to guess which key he pressed.
Moreover, if a real piano is used, it means that since its keyboard is long, it is necessary to allocate a small section of keys (within an octave) to make it easier for a novice player to guess. Using the “poke” method, the guesser must settle on one option. The rest of the game participants can express their agreement or disagreement. If the presenter recognizes the correctness of the choice, then the game passes to this participant.
Creative task “Brainstorming” I often use this technique in music lessons. The task is given: to compose a meaningful sentence that includes 3 given words. For example:
a) music, literature, composer (The composer composes music based on a literary work);
b) Glinka, romance, Italy (While traveling in Italy, Glinka wrote the romance “Venetian Night”);
c) suite, Bach, dance (J.S. Bach wrote many suites consisting of ancient dances).
Creative task “Sinquain” Children are given a word for which they need to choose two adjectives, three verbs, four connected words and at the end one generalizing word. Words should not be repeated, and words with the same root cannot be used. For example:
a) Mozart – sunny, festive – composes, creates, inspires – we love his music – classic;
b) orchestra - symphony, chamber - plays, tours, performs - four groups of musical instruments - collective;
c) baroque - elegant, pretentious - captivates, inspires, fascinates - mother-of-pearl irregular shape- style.
Great importance is given to general lessons at the end of each quarter. These lessons can also include solving crossword puzzles - as a form of game form and creative assignment.
Presentations. Starting this year, I've been using presentations as a creative activity. This may be a forward task to new topic or, on the contrary, homework as a generalization of the musical impressions of high school students. I guide the children, create a plan with them according to which they make presentations. Presentations can be used as part of the game “Day of the Understudy”
You can write a lot and talk about musical games. The main thing is that without them it is impossible to captivate children in the world of art, into the world of beauty during a music lesson.

The most important indicator of musicality is emotional responsiveness to music. The simplest sensory abilities in this area are the basis for the development of more complex basic ones: pitch hearing and a sense of rhythm. This complex of abilities is manifested in the perception of music in auditory representations, performance and creativity.

The question of the relationship between the object-music and the subject-child is complex and controversial. Music always acts in the unity of its content and form. The change in sound causes a new experience in the listener; it is created as a result of the perception of musical images expressed by unique combinations of means of expression. Some of them are more pronounced and dominant. But they, always being in harmonious and varied combinations, act precisely in their complex.

If it were possible to accurately translate the content of a musical work into the language of words, to explain in words the meaning of each sound, perhaps the need for music as such would disappear. The specificity of music lies in the fact that its language is the language of musical images that do not convey precise concepts, causes and consequences of the occurrence of any phenomenon. Music conveys and evokes such feelings and experiences that sometimes do not find their full, detailed verbal expression.

The main content of a musical work, its main idea unfolding over time, can be understood and explained. But since this content is revealed by specific musical means (melody, harmony, rhythm, mode, tempo, etc.), then to understand it it is necessary to have an idea of ​​the expressive meaning of all these means. Thus, understanding a musical work presupposes awareness of its main idea, character, mood, conveyed by specific means of musical expressiveness.

Development aesthetic perception music requires a certain system and consistency. In relation to preschool children, the perception of music is possible by selecting appropriate works. They are taught the simplest skills that lay the first foundations of a listening culture: the ability to listen to a piece to the end, follow its development, remember and recognize it, distinguish its main idea and character, and the most striking means of musical expression.

Singing occupies a special place in children's performance. Singing belongs to that type of musical art that can be called the most widespread and accessible. Its educational impact is very great due to the unity of music and words in the song and due to the very nature of the natural singing sound, which evokes strong emotions. Singing is the main type of musical art, which is consistently taught in nurseries, kindergartens, schools and various amateur and professional groups for adults. At any stage of education, children are taught correct sound formation, clear pronunciation, clean, harmonious singing (tuning) and unity of sound, equal in time, strength, character (ensemble); form singing breathing. Mastering these skills is the path to expressive performances, to the formation of hearing and voice. The development of melodic hearing occurs especially intensively in the context of learning to sing. Musical development is activated if the desired interaction between hearing and singing voice is established. Hearing controls the quality of singing, and vocalization requires exercise in auditory attention. Singing occupies one of the leading places in a child’s activity, ensuring his versatile musical development.

The main idea of ​​the method of playing musical instruments is proximity to children's life. Playing instruments should arise in a child’s everyday life and accompany his free play. The sound of instruments is associated with life phenomena, so the game takes on a creative, improvisational character. Under these conditions, the development of musicality occurs intensively and fruitfully. Children get used to the instruments, they try to choose a melody on their own, and find ways to play.

A musical instrument should not be seen as entertainment through trinkets that children manipulate, but as a means of developing their ability to express themselves, the most essential aspects of their personality.

Children's musical creativity is formed not only in singing. Musical and rhythmic movements are fertile ground for the formation and development of children's creativity. A song, a musical game, a dance requires its execution. All types of musical performance have common feature- performance must always express the musical and aesthetic content conveyed in the works, be it a song or a dance, a round dance or a dramatization. Both activities - music and movement - unfold in time.

The process of children's musical and rhythmic creativity can be schematically presented in the following form: music - experience - creation of a musical and playful image.

A characteristic feature of the musical-game image is its synthetic nature. Children use the complex artistic means from the field of music, literature, drama, choreography. Gets their attention literary plot, characteristic features of the characters. But the very first practical tests of the implementation of the plan show that children perfectly feel the expressive, organizing power of music. Violation of the close relationship between music and movement causes dissatisfaction in them.

Creativity underlies the entire life of a modern person. Art, in particular music, contains great opportunities for creative development the younger generation.

Musical education of children begins with gaining experience, components which are listening to music and composing it. Creative ability is called the ability of self-expression; This is an innate ability that can be developed later. Creativity encourages children to enjoy freedom and discovery, adventure and original expression. Musical activities can be creative if you actively participate in them: dramatize songs, interpret them, compose rhythms and songs. An activity is creative if it produces something that did not exist before for the child and for the group of children or if it establishes new relationships in familiar material.

Children's creativity is understood as an independent artistic activity. P. P. Blonsky believes that aesthetic education involves either the formation of creativity, or the development of perception and artistic taste. He writes that aesthetic education is, first of all, the development aesthetic creativity; “...every child is potentially a creator of all sorts of values, including aesthetic ones: by building houses, he shows his architectural creativity, sculpting and drawing - a sculptor and painter; finally, he is strongly drawn to round dancing, songs, dances and dramatization...”

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