Development of intonation expressiveness of speech of preschoolers exercises. Development of intonation expressiveness of speech

Methodological approaches in development workintonation expressiveness of speech in children of senior preschool age

The program requirements for the sound culture of speech, which includes intonational expressiveness of speech, can be presented as follows: when mastering the sound means of language, the child relies on speech hearing (the ability to hear, recognize the phonological means of language). First of all, he assimilates linear sound units, which have independent extension and follow one after another. Simultaneously with them, prosodic means appear: verbal stress, intonation.

Important means of sound expressiveness of speech are tone, timbre, pauses, and different types of stress. It is necessary to teach children to use intonation correctly, to build an intonation pattern of a statement, conveying not only its semantic meaning, but also its emotional features. In parallel with this, the ability to correctly use tempo and volume of pronunciation, depending on the situation, and clearly pronounce sounds, words, phrases, and sentences is being developed.

By instilling in children attention to the intonation side of speech, an adult develops an ear for speech, a sense of timbre and rhythm, a sense of the power of sound, which subsequently influences the development of an ear for music. Work on intonation and sound expressiveness of speech is necessary so that children learn to express their attitude to a statement with their voice, raising or lowering their voice in accordance with the context, logically and emotionally emphasizing the spoken text. To do this, you should more often give children tasks in which they would practice expressing interrogative, exclamatory, and explanatory intonation. It is these skills that a child needs to construct a coherent statement of different types of narration, description, and reasoning, since each of them requires different intonation patterns.

By developing the sound side of speech, the teacher teaches the child to take into account the correspondence of the statement to the goals and conditions of communication, depending on the subject, topic of the statement and the listeners. The volume of speech should be appropriate, the speed should be appropriate to the environment and the purpose of the statement. An important indicator of good, correct speech is fluency of presentation.

Exercises carried out with children develop a sense of rhyme and rhythm, form clear diction, and develop the ability to convey different intonation characteristics of a word, phrase, sentence. The formation of these complex speech skills requires repetition of exercises and systematicity.

When mastering the sound means of language, the child relies on speech hearing (the ability to hear and recognize the phonological means of language).

It is necessary to teach children to use intonation correctly, to build an intonation pattern of a statement, conveying not only its semantic meaning, but also its emotional features. In parallel with this, the ability to correctly use tempo and volume of pronunciation, depending on the situation, and clearly pronounce sounds, words, phrases, sentences (diction) is being developed.

Currently, there are various approaches to the development of intonational expressiveness of speech in children of senior preschool age, as well as proprietary methods for developing the intonational aspect of children’s speech in general and special pedagogy.

Issues of teaching the means of expressiveness of oral speech, the formation of intonation components of speech are described in the works of Osmanova G. A. and Pozdnyakova L. A., Shevtsova E. E. and Zabrodina L. V., Artemova V. A., Artemova E. E., Lopatina L.V., Ushakova O.S. and Strunina E.M., Kondratenko I.Yu. and etc.

In the manual O.S. Ushakova and E.M. Strunina“Methods for the development of speech in preschool children” presents all the main aspects of speech work. The methodology proposed in the manual is based on scientific theories and views of psychologist and linguist F.A. Sokhin. The scientist believed that the direction of research in the field of psychology of children’s speech and in methodology “depends on understanding the main psychological mechanism of speech development, language acquisition: a child’s speech develops on the basis of imitation of the speech of adults, its borrowing and reproduction.” Clearly “inimitable” elements also play a significant role here –generalization of linguistic and speech phenomena and their awareness, which can be formed as an unconscious generalization, as a “sense of language.” With spontaneous speech development, only a few children reach a sufficiently high level, so special training is needed aimed at mastering the child’s language.

The manual offers methods for developing the sound culture of speech, notes, speech games and exercises that can be carried out with the whole group, separate subgroups of children and individually with each child. INpreparatory groupTo develop the vocal apparatus, children pronounce tongue twisters with different voice strengths, at different tempos, silently. Here the ability to change intonation is developed: children pronounce a given phrase with a questioning or exclamatory intonation (affectionately, angrily, plaintively, joyfully, sadly). A special role is given to the development of the intonation side of speech, its elements such as melody, rhythm, timbre, voice strength, and tempo of speech. The child’s ability to consciously and correctly use, depending on the situation, all the characteristics of speech develops both in special exercises and in the process of any statement. When working on diction and developing the vocal apparatus, tongue twisters, tongue twisters, and nursery rhymes are widely used. Particular attention is paid to developing children's creativity when they complete a rhythmic phrase started by an adult. Realizing the rhythm and rhyme of a given line, children think about the sound of the word and begin to better understand poetic speech. Such exercises not only develop the intonational expressiveness of a child’s speech, but also prepare him to perceive poetic speech.

In the methodological manualG. A. Osmanova and L. A. Pozdnyakova“Games and exercises for the development of general speech skills in children” presents recommendations for the formation of basic skills of intonation expressiveness of speech in children. Games and tasks are proposed that allow organizing pedagogical work in the following areas:

• development of speech hearing (perception of changes in strength, pitch of voice, timbre and tempo of speech);
• development of perception and reproduction of rhythmic structures, speech rhythm;
• development of phonation (speech) breathing;
• coordination of breathing, voice production and articulation;
• development of facial expressions and expressiveness of movements;
• developing the ability to understand and convey various emotions in speech using intonation means;
• development of voice strength, expansion of the pitch range of the voice;
• development of perception and reproduction of stress;
• formation of perception and reproduction of the melody of narrative, interrogative and exclamatory statements;
• improving the tempo-rhythmic organization of utterances;
• development of the ability to voluntarily use the entire complex of means of intonation expressiveness in accordance with various communicative tasks in the process of verbal communication.

The material in the manual is arranged by type of work and correlated with lexical topics used to develop the speech of preschoolers in classes in the preparatory group of a kindergarten. When organizing classes, it is taken into account that the effectiveness of work on developing the intonation expressiveness of preschoolers’ speech is ensured, first of all, by its complexity. Throughout training, games and activities vary and gradually become more complex, in accordance with the increasing pronunciation capabilities of children and the characteristics of speech ontogenesis.

In games, to develop the perception and understanding of emotions and intonation of the tone of a statement, special symbols are used - pictograms , symbolizing the most vivid emotional states: joy, sadness, anger, fear, surprise. During games, preschoolers “experience” various emotional states, verbalize their experiences, and the range of understood emotions expands.

The manual pays great attention to strengthening general speech skills and children’s ability to voluntarily use means of intonation expressiveness in coherent speech. The book offers exercises based on intonation and semantic analysis of small texts, stories based on a series of pictures, fairy tales, as well as the necessary visual material (subject and plot pictures). The last task in each lexical topic is devoted to consolidating children’s general speech skills on the materialoriginal and Russian fairy tales. Such work contributes not only to the formation of intonational expressiveness of speech, but also to the expansion of children’s ideas about the world around them, the development of imagination, imaginative thinking, and the disclosure of the creative potential of preschoolers.

Authors of the textbook “Technologies for the formation of intonation aspects of speech”HER. Shevtsova and L.V. ZabrodinaThey offer practical exercises and assignments, speech material to develop the skills of intonation and melodic expressiveness of speech.

1. Breathing exercises:

Exercises to develop the skills of correct inhalation and exhalation;

Exercises to develop the skills of full exhalation;

Exercises for developing skills of fixed exhalation with sound and syllable;

Breathing exercises combined with voice and movements;

Exercises to lengthen the duration of speech exhalation (synchronizing speech with movement when pronouncing each syllable - “counter conducting”).

Objectives of breathing exercises: master the technique of lower costal diaphragmatic breathing with activation of the abdominal muscles; consciously regulate its rhythm, as well as the correct ratio of inhalation and exhalation, distribution of exhalation into certain speech segments, coordination of the processes of breathing and voice production. Regular breathing exercises help to develop correct speech breathing with an extended, gradual exhalation, which allows you to pronounce speech segments of varying lengths.

2. Articulation-facial gymnastics(exercises for the muscles of the lower jaw, lips, tongue, muscles of the pharynx and soft palate, facial muscles) helps create a neuromuscular background for the development of precise and coordinated movements necessary for the sound of a full voice, clear and precise diction; relieve tension in articulatory and facial muscles; develop the necessary muscle movements for free use and control of parts of the articulatory apparatus.

Exercises aimed at training the strength and pitch of the voice;

Intonation exercises.

4. Rhythmic exercisescontribute to the development of the tempo and rhythm of speech breathing, the development of articulatory motor skills, the strengthening of facial muscles, the development of tempo-rhythmic and melodic-intonation characteristics of speech, the development of the ability to combine movements and speech, coordinate them, subordinate them to a single rhythm, and have a beneficial effect on the formation of diction skills.

5. Formation of the skill of soft vocal delivery and rhythm of speech. A soft type of voice formation (voice attack) - breathing and activation of the vocal folds occurs simultaneously, which ensures intonation accuracy and a calm, smooth, without jolts or aspiration, onset of sound. It is proposed to pronounce phrases and sentences where the vowel at the beginning of the sentence must be pronounced aspirated, accompanied by conducting (per syllable).

6. Formation of tempo-rhythmic organization of speech(reading proverbs, sayings, pure sayings; coordinating speech with the smooth movement of the leading hand).

The proposed system of methodological techniques I.Yu. Kondratenko contains material of interest to teachers interested in improving the work on the formation of intonational expressiveness of speech based on the integration of lexical means, the intonational aspect of speech and paralinguistic components in the process of gaming activity.

The developed operating algorithm includes the following stages:

Study and clarification of emotional states accessible to age;

Development of paralinguistic means of communication;

Formation of the intonation side of speech;

Formation of emotional vocabulary;

Development of expressive coherent statements and verbal communication.

The content of the work on the formation of the intonation side of speech is aimed at developing the reproduction of the rhythm of speech, the perception of the expressiveness of speech, and the ability to use means of expressiveness in expressive speech. Special rhythmic exercises prepare and develop the perception of intonation expressiveness. The formation of the perception of speech expressiveness begins with an understanding of general ideas about intonation expressiveness (children are asked to listen to a fairy tale or story). At this stage, games are also played in which children are asked to listen to the same phrase, but pronounced with different emotional tones. At the same time, various situations preceding the heard phrase are described.

At the stage of developing the ability to use means of expression in expressive speech, a set of special techniques is used (practicing intonation using the material of emotional interjections using the material of poetry). Further work on the formation of the intonation side of speech is carried out on the material of several sentences, short stories, stories, poems, fairy tales. When performing all exercises, means of paralinguistic expression of emotions are used: facial expressions, gestures, pantomime. Children perform tasks that require the utterance of a particular phrase with a specific target verbal action. In subsequent work, dialogues, dramatization games, poems, stories, and fairy tales are used, role-played.

The tasks of studying and clarifying emotional states include: studying and clarifying the emotional states of joy, sadness, anger, fear, surprise in conversations with children. The development of paralinguistic means of communication is carried out in the process of solving the following tasks: teach to distinguish emotions from schematic images; formthe ability to convey a given emotional state using facial, pantomimic means and graphic techniques; develop the ability to understand your feelings and the feelings of other people through gaming and musical techniques.

When considering approaches to the development of intonation expressiveness of speech in children of senior preschool age, the methodological manuals of correctional pedagogy specialists deserve close attention, since in mass groups of preschool educational institutions there are increasingly pupils with various speech disorders. In this context, the technique is of interestLopatina L.V., Pozdnyakova L.A.“Speech therapy work on the development of intonational expressiveness of speech of preschool children,” which is based on modern linguistic ideas about intonation, as well as the features of the intonational structure of sentences in the speech of children with speech disorders. The proposed material is compiled taking into account the age characteristics of preschoolers on expressive material that increases interest and stimulates the child’s interest in active and cognitive, creative and playful activities.

Work on the development of prosodic components of speech includes verbal and nonverbal training.

• Nonverbal trainings.

1. Work on the formation of fine motor skills.

2. Work on rhythm.

3. Work on developing facial expressions.

• Verbal trainings.

1. Rhythmic minutes.

2. Slow verses.

3. Selection of rhyme.

4. Working on a pause rich in speech content.

6. Work on intonation.

Work on the formation of intonation expressiveness of speech is carried out in stages.

Stage 1 – formation of ideas about intonation expressiveness in impressive speech:

- the formation of general ideas about the expressiveness of speech;

- familiarity with narrative intonation, means of expression and methods of notation;

- familiarity with interrogative intonation, means of expression and means of designation;

- familiarity with exclamatory intonation, means of expression and means of designation;

- differentiation of intonation structures of sentences in impressive speech.

Stage 2 – formation of intonation expressiveness in expressive speech:

- work on the intonational expressiveness of a narrative sentence (work on the rhythm of the word; development of an intonation structure that expresses completeness in a narrative sentence);

- work on the intonation expressiveness of an interrogative sentence (practicing the intonation of an interrogative sentence without a question word; practicing the intonation of an interrogative sentence with a question word);

Work on the intonational expressiveness of an exclamatory sentence (practicing exclamatory intonation using the material of interjections; practicing an intonation structure expressing appeal, demand, exclamation; consolidating exclamatory intonation).

It is known that until about 10 years of age, the “right-hemisphere” type of thinking predominates in children. Therefore, the most important information for their development and socialization should be conveyed through vivid images. R The development of speech sound culture is based not only on the normal functioning of the universal physiological foundations of speech production, but also on emotional experience. Speech is not a separate, isolated function. Its correctness and expressiveness depend on many factors. And by improving one thing, we improve the functioning of the entire organism as a whole.

Construction integrative learning processallows you to harmonize the work of the two hemispheres of the brain. With this approach, there is a merging of logical and figurative thinking; rational and emotional. The assimilation of the material occurs the deeper and more fully, the more emotional the child is, the more joyful his experiences. For the development of the expressive side of speech, conditions are necessary in which every child could express his emotions, feelings, desires and views, not only in ordinary conversation, but also publicly, without being embarrassed by the presence of outside listeners. And there are many possibilities hereart pedagogy and art therapy.

Art pedagogy (artistic pedagogy) is a synthesis of two areas of scientific knowledge (art and pedagogy), ensuring the development of the theory and practice of the pedagogical process of artistic development of preschool children and the formation of the foundations of artistic culture through art and artistic and creative activities (musical, visual, artistic speech, theatrical -game) (E.A. Medvedeva, I.Yu. Levchenko, 2001).

In the practice of preschool educational institutions, concepts familiar to everyone are:game, toy, doll, fairy tale, visual arts, sand, music– are increasingly used in unusual phrases with the word “therapy”. This variety of approaches belongs to the art therapy method. primary goal art therapy consists in harmonizing the development of personality through the development of the ability of self-expression and self-knowledge. Creativity is naturally woven into a child’s life, being an integral part of his development. The child does not think about the end result; he enjoys the creative process itself. If a child learns to be aware of what he sees, hears, feels, if he tries to determine the nature of what he feels, then his increased sensitivity greatly helps the teacher in such areas asdevelopment of sound culture of speech.

Of all the areas of art pedagogy, theater has the greatest potential for a multifaceted impact on a child. In preschool institutionstheatrical activityoccupies a special place, its value lies in the fact that it creates a space of freedom, creative self-expression, the creation of one’s image in the most accessible ways for a child: movement, facial expressions, gesture, intonation (Makhaneva M.A., 2007).

Expressivenessarises when a child wants to convey in speech not only his knowledge, but also his relationships and emotional state. Therefore, a special role belongs to the creation of a positive emotional background. The solution to this problem is possible by including the child in theatrical activities, which contributes to the development of the flexibility of the child's voice. It helps relieve tension and tight muscles in children, helps them learn to control their body (pantomime), facial expressions. With proper organization of theatrical activities, a natural speech environment is created, which contributes to the overall development of language and intonation expressiveness of speech.

Theatrical activities are included in the natural course of the pedagogical process in preschool educational institutions and are carried out within the framework of work in the educational area “Reading fiction”, as well as in the afternoon during individual and subgroup work with children in a theater club. The methodological recommendations for the development of intonational expressiveness of speech within the framework of theatrical activities highlight two areas of work: 1) culture and technique of speech; 2) theatrical play.

In the process of working on the expressiveness of characters’ remarks and their own statements, the child’s vocabulary is imperceptibly activated, the sound side of speech and its expressiveness are improved. A new role, especially the dialogue of characters, confronts the child with the need to express himself clearly, distinctly, and intelligibly. Aesthetic experiences during theatrical activities help the child to experience admiration for those manifestations of life that he had not previously noticed, and to convey them using various means of expressiveness, including intonation.

Fairytale therapy techniques help to diversify classes and make the process of learning the program more effective and interesting for the child.The possibilities of fairy tale therapy are unique in pedagogical work, since no other type of activity can provide such a comprehensive impact on the child’s speech sphere.

Fairy tale contains a lot of dialogues, rhymes, different rhythmic patterns, is easy to remember, and therefore can be easily reproduced by children, which allows them to work hard on intonation.

The use of fairy tale therapy in teaching preschool children develops:

• activity - from the need for emotional release to self-expression in speech action;
• independence - from orientation in the means of expression, problematic situations of fairy tales, to the search for adequate ways of self-expression in speech and movement;
• creativity - from imitation of an adult in action and expressive words to the joint compilation of verbal descriptions;
• emotionality - from the perception of fairy tale images to the adequate embodiment of one’s own experience in action, rhythm and word;
• arbitrariness - from experiencing the emotional states of fairy-tale characters, understanding figurative expressions to evaluating one’s own oral messages and emotional actions;
• coherent speech - from the continuation of adult phrases to discussions about musical compositions, pantomimic sketches, fairy-tale images.

There are three stages of working with preschoolers using fairy tale therapy.

Stage I - cognitively effective orientation aimed at understanding the plot of a fairy tale, perception of musical compositions, expressive intonation and performance of a fairy-tale image (the leading method is verbal directorial play).

Stage II - verbal commentary on emotional and affective situations. Children learn to control their behavioral reactions with the help of verbal descriptions of timbre, dynamics, expressive movements and rhythmic patterns (the leading method is verbal commentary).

Stage III - expression of a substitute need that helps bring emotional behavior and expressive words into balance (the leading method is joint improvisation, in which the teacher offers to act out individual episodes of a fairy tale, with the children themselves becoming the main characters). Children try to introduce new elements into the fairy tale, while maintaining the storyline.

Currently, recommendations on the use of small folklore forms in the process of developing the intonational expressiveness of preschoolers’ speech are presented quite fully, while there are practically no methodological developments on the use of fairy tales as a means of developing intonation. Therefore, the existing methodological recommendations of specialists in fairy tale therapy seem obvious in the practice of using fairy tales in the development of intonation components of children’s speech.

Thus, we studied and analyzed methods for forming intonational expressiveness of speech in children of senior preschool age, developed by different authors.

Bibliography

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2. Artemova E.E. Formation of prosody in preschool children with speech disorders / Monograph - M., Moscow State University for Humanities named after. M.A. Sholokhova, 2008. – 123 p.
3. Art pedagogy and art therapy in special education: Proc. for students avg. and higher ped. textbook institutions / E. A. Medvedeva, I. Yu. Levchenko, L. N. Komissarova, T. A. Dobrovolskaya. – M.: Publishing Center “Academy”, 2001. – 248 p.
4. Arkhipova, E. F. Erased dysarthria in children: textbook. manual for university students / E. F. Arkhipova. – M.: AST: Astrel; Vladimir: VKT, 2008. – 319, p.: ill. - (Graduate School).
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6. Identification and overcoming of speech disorders in preschool age: method. allowance/comp. I.Yu. Kondratenko. – M.: Iris-press. 2005. – 224 p.
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8. Gnedova O.L., Maydanyuk L.E. Theatricalization of fairy tales in a correctional kindergarten. – St. Petersburg: Childhood – Press, 2007.
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10. Zinkevich - Evstigneeva T. D. Forms and methods of working with fairy tales. - St. Petersburg, Rech, 2008. - 240 p.
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In preschool children with dysarthria persistent violations of certain components of the prosodic side of speech are detected.

Thus, respiratory failure manifests itself mainly in the wrong type of breathing (usually thoracic and clavicular), short speech exhalation - up to 5 seconds. The speech is more or less blurry in nature. A nasal tone of speech may be noted.

Speech is monotonous, unexpressive, the timbre is often low, the voice is quiet, the pace of speech is slow or accelerated.

Intonation capabilities are characterized by a number of features: unclear perception and reproduction of melodic patterns of phrases, logical stress, rhythmic and slogorhythmic structures, erroneous use of verbal stress, limited voice capabilities, as well as some changes in the tempo-rhythmic organization of speech.

Weak emotional coloring of speech, its inexpressiveness, poverty of vocabulary, inability to use the power of the voice when composing the text of poems or fairy tales are a consequence of insufficient teaching practice.

The units of oral speech that a child must learn to reproduce are phoneme, syllable, word, speech tact(part of a phrase highlighted by rhythmic and intonation means) and phonetic phrase(a statement complete in meaning, united by intonation).

When mastering speech, an important role is played by the emotional sphere, which perceives the expressiveness of language units. The emotional state of the speaker, expression, and purpose of the utterance are perceived and assessed through intonation. Mastery of intonation occurs simultaneously with mastery of speech, so the perception of intonation usually precedes the perception of meaning. Incorrect intonation can lead to disruption of communication and inadequate understanding of the statement. The elements of intonation are rate of speech, her intensity, melody, pitch, voice timbre.

Intonation training gives physical and muscular skills, helps to learn to perceive certain prosodemes as signs that have a logical or grammatical meaning.

Sounds, syllables and whole words can be pronounced with special muscular tension of the organs of articulation, with an increase in sound intensity. The ability to control your voice is developed in the process of performing exercises of an imitative nature. Taking into account the relationship between vocal, tempo-rhythmic, articulatory and prosodic disorders in various forms of dysarthria, we can identify the main directions of work on the formation of intonational expressiveness of children’s speech, using special techniques, didactic and game material.

In the process of speech therapy, work on the formation of intonation expressiveness is carried out in several stages.

Stage I - the formation of ideas about intonational expressiveness in impressive speech.

Stage II - the formation of intonation expressiveness in expressive speech.

First stage of work

Objectives: to introduce children to the variety of intonations of human speech, which is achieved by changing the pitch, strength, timbre, and modulation of the voice; show that intonation gives emotional coloring to speech and helps express feelings; introduce children to different types of intonation and means of indicating them; teach to distinguish various intonation structures in impressive speech.

The implementation of these tasks is carried out in five directions.

The first direction is the formation of general ideas about the intonational expressiveness of speech.

The speech therapist reads the same story twice: the first time - without intonation of the text, the second - expressively, with intonation. Find out which reading you liked best and why. The speech therapist explains to the children that the voice can be changed when reading; the voice can convey a question, joy, surprise, threat, request, order and other feelings.

The second direction is familiarization with narrative intonation, means of expression and methods of notation.

The speech therapist pronounces a sentence with a narrative intonation and invites the children to determine what this sentence expresses (a question or a message). The sound means of expressing narrative intonation (calm pronunciation) are clarified. Maintaining the same pitch of voice throughout the entire narrative sentence is accompanied by a horizontal movement of the hand and is indicated graphically by a horizontal arrow. Children then come up with sentences that can be said calmly without changing their voice.

After becoming familiar with the sign “period at the end of a sentence,” children learn: “About a dot you can say: this is a dot - a single dot.” Then they select narrative sentences from the text and pick up cards with a dot.

The third direction is familiarization with interrogative intonation, means of its expression and means of designation.

The speech therapist draws children's attention to the fact that different emotional states can be conveyed by changing the voice. For example, by changing your voice you can ask something. At the same time, at the end of the interrogative sentence, the voice rises. This rise in voice is accompanied by a corresponding movement of the hand and is indicated graphically. Children become familiar with the “?” and memorize the poem:

It's a crooked question mark
He asks all the questions:
"Who? Whom? Where? How?"

Then they are asked to highlight interrogative sentences from the text by holding up a card with a question mark. When presenting texts and poems, the number of interrogative sentences is indicated by chips.

The fourth direction is familiarization with exclamatory intonation, means of its expression and methods of designation.

Children are shown sequentially several pictures that correspond to the interjections “Ah!”, “Wow!”, “Oh!”, “Hurray!” and so on. A conversation is held based on the content of each picture:

The girl is in pain. How did the girl scream? (Oh!).

The girl broke her favorite cup. How did she exclaim? (Oh!).

Boys play war. What are they shouting? (Hooray).

After this, the pictures are shown sequentially again and the task is given: name the word corresponding to this picture. The speech therapist pays attention to how we say these words (loudly, exclaiming). Introduces the fact that you can pronounce an entire sentence with an exclamation, while the voice rises sharply or first rises and then decreases slightly. A change in voice when playing an exclamatory structure is accompanied by a corresponding movement of the hand and is indicated graphically.

To indicate an exclamation, the corresponding “!” sign is given. and memorize the poem:

Oddball - exclamation point.
He is never silent
Shouts deafeningly:
"Hooray! Down with! Guard! Robbery!"

Afterwards, it is proposed to highlight exclamatory sentences from the text by picking up cards with the “!” or laying out chips.

The fifth direction is differentiation of different types of intonation.

The speech therapist repeats with the children what types of intonations they know, what grammatical signs indicate calm pronunciation, questions, exclamations, and offers to repeat poems about signs. Then the task is given to determine the intonation of sentences in the text, for each intonation type of sentence, holding up a card with the corresponding sign.

For example, the text “The Magpie and the Mouse.”

Little mouse, are you afraid of cod?
- I'm not afraid of a tiny bit!
- What about a loud whistle?
- I’m not the least bit afraid!
- And the terrible roar?
- I’m not at all afraid!
-What are you afraid of?
- Yes, a quiet rustle.

Then graphic dictations are carried out: when perceiving sentences, texts, poems of various intonation patterns, children write down the corresponding signs.

Second stage of work

Objectives: formation of intonation structures in expressive speech.

I have selected a system of exercises for conscious perception and use of prosodic elements in the early stages of learning.

These exercises help develop strength, range, and expressiveness of the voice. We begin working on the voice by pronouncing vowel and consonant sounds as we exhale. You can include musical accompaniment in the exercises.

Vocal strength is developed by pronouncing vowels louder or softer in accordance with the intensification or weakening of the sound of the musical accompaniment. Changing the tonality of music contributes to the development of the pitch characteristics of the voice.

It is useful to carry out melodic recitation: reading poems with interrogative, exclamatory, incentive intonation to the appropriate music.

All exercises are performed in compliance with the correct breathing technique and using safe sounds.

y – silent articulation – ay, aui

u – whispered pronunciation – ay, aui

u – quiet pronunciation – ay, aui

u - loud pronunciation - ay, aui, etc.

7. Pronouncing interjections quieter - louder: “ay-AY-ay”, “oh-OH-oh”, “hey-EY-ey”.

8. Pronouncing sounds softer or louder depending on the distance of the object. Exercise “Imitation”: we imitate the growl of a dog “R”, the whistle of a steamship “U”, the howl of the wind “B”, the buzzing of a bee “W”, the squeak of a mosquito “Z”, the pump “C”, etc.

9. Singing the vowel sounds A – E – I – O – U and the syllables MA – ME – MI – MO – MU along the scale with changes in voice strength and tonality.

10. Exercise “Echo”: the speech therapist pronounces the sound “A” sometimes loudly, sometimes quietly, sometimes for a long time, sometimes briefly, sometimes strengthening and then weakening the sound. Children should also repeat this.

11. Exercise “Three waves”: after inhaling, as you exhale, pronounce the sound “E” quietly, louder, louder with hand movements imitating a swimming gesture.

12. Exercise “From quiet to loud”: children imitate how a hedgehog puffs in the forest, which comes closer and closer to them (puff, puff, puff).

13. Exercise “From loud to quiet”: children imagine how an owl flies further and further away from them (Woo-hoo-hoo).

Exercise "Crows":

Here under the green Christmas tree
Crows are jumping and cawing.
Kar-kar-kar! (loud).
They screamed all day long
The boys were not allowed to sleep.
Kar-kar-kar! (quiet).
The boys were not allowed to sleep
Only towards night they fell silent (very quietly).

All exercises are performed in compliance with correct breathing technique.

4. Pronouncing a monosyllabic word (bom, house) with a raised voice. Exercise "Floors".

5. Singing the five main tones of the scale up and down on the syllable “A” in the keys of D major, E major, F major 3 times: quietly (far), a little louder (closer) and loud (very close). Exercise “Bird hubbub”.

6. Pronouncing vowel sounds on a hard attack (“butterflies take off”) and on a soft attack (“flight of butterflies”).

7. Singing syllables and sentences with increasing pitch to musical accompaniment:

Ay-ay-ay, get up early in the morning.
Oh-oh-oh, we’ll sing a song with you.
Hey-hey-hey, we sing like a nightingale.
Oh-oh-oh, it’s good for us to sing with you.

8. Role-playing fairy tales (“Three Bears”, “Masha and the Bear”, etc.).

In all types of this work, it is necessary to teach the child to hear changes in strength, timbre, pitch, and to capture the nuances of the emotional coloring of the voice. Not only the auditory sensations themselves are activated, but also visual, muscle, resonator and tactile sensations.

Thus, in exercises that require vocalization of the sonors “M” and “N” with the mouth closed, children learn to feel and control the sensations of vibration of the tissues of the nose, holding the wings of the nose with their hands. Such exercises help develop voice timbre.

It is advisable to supplement the system of speech therapy work, including exercises with fast and slow movements, marching, movements to music, outdoor and speech games, which have a significant impact on the emotional expressiveness of children with dysarthria, on normalizing the tempo of speech, cultivating the rhythm of speech, developing the height and strength of the voice , i.e. basic means of speech intonation.

Consultation for educators.

Subject: “Development of intonation expressiveness of speech in preschool children.”

Even in ancient times, before the advent of speech as a means of communication, people tried to convey information using screams, sounds of varying heights and strengths, gestures and facial expressions. Even a child who can barely stand on his feet can “tell” a lot: did he sleep well? happy about anything? upset about something? And the baby’s remarkable ability to guess the mother’s voice among other voices, to understand whether she is angry or happy with him!
Nature has rewarded us with an excellent opportunity to convey our feelings and mood through intonation. "Although the art of writing is very varied grammatically, it is completely helpless when it comes to intonation. Thus, for example, there are fifty ways to say “yes” and five hundred ways to say “no,” while you can write this word only once ( B. Shaw).
From practice, we know that many preschoolers imitate adults well, accurately convey their intonation, and catch various shades of speech by ear. Well-developed speech hearing allows children to distinguish between increases and decreases in voice volume in the speech of adults, to notice acceleration and deceleration of the rate of speech, and to perceive different shades of speech. It also gives children the opportunity to use various means of expressiveness more widely: raising and lowering the tone of voice, highlighting individual words or a group of words in phrases, pausing correctly, expressing an emotional and volitional attitude to what is being said. All this helps preschoolers more accurately convey their thoughts, read poems, nursery rhymes, and counting rhymes.

Intonation - This is a complex set of phonetic means expressing a semantic attitude to what is being expressed and emotional shades of speech. Intonation is a means of the speaker’s emotional-volitional attitude to the content of speech addressed to listeners. Intonation expressiveness of speech includes the following components:

• melody - movement of the voice in height, that is, its sliding from the main tone up and down; due to the presence of vowel sounds in speech, it gives it melodiousness, tenderness, and flexibility;
• pace - speed of speech utterance: acceleration or deceleration of speech depending on the content of the utterance (it is one of the components of speech intonation, as opposed to the general rate of speech);
• pause - temporary stop in speech. Logical pauses give completeness to individual thoughts; psychological - used as a means of emotional influence on listeners;
• voice power - changing the volume of speech depending on the content of the utterance;
• l ogical stress- highlighting individual words with voice;
• phrasal stress- highlighting a group of words by voice;
• rhythm - uniform alternation of stressed and unstressed syllables, varying in duration and strength of pronunciation;
• timbre - emotional and expressive coloring of speech; it can be used to express joy, annoyance, sadness, etc.

Thus, intonation expressiveness of speechis ensured by the ability to change the voice (raise and lower its tone, increase and decrease the volume), speed up and slow down the pace of speech, use pauses, highlight a single word or group of words with the voice, give the voice an emotionally expressive coloring. With the help of intonation, the speaker expresses his attitude to the thought being expressed, conveys his feelings, experiences, and brings his statement to complete completion.
The correct use of intonation means of expressiveness depends on the formation of speech hearing, the development of auditory attention, speech breathing, and the ability to correctly use the vocal and articulatory apparatus.
The child must be able to correctly use intonation means of expression in order to convey various feelings and experiences in his own speech.

Children master intonation expressiveness of speech mainly by the age of five. As a rule, this happens in the process of communicating with adults. It is advisable to carry out work on developing speech expressiveness sequentially in two stages:

• first develop skills in perceiving intonation,
• then - the skills of using it in your own speech.

Try reading the same text to children, but in different ways: the first time - monotonously, inexpressively, and the second time - with intonational expressiveness. Do you think children will notice the difference? Yes, of course, and it will be easy to lead them to the conclusion that it lies in the expressiveness of speech.
Therefore, when organizing a special speech environment, we must create for each child every opportunity to hear and assimilate intonationally correct speech and always remember that when listening, children reproduce in speech not only words, phrases and sentences, but also intonation in all its components, including including melody.

Monotonous- with a slight rise and fall of voice;

Rising form- with a raised voice towards the end of a sentence;

Descending form- with a lower voice towards the end of the sentence;

Full form , including promotion and demotion.

Example:
- Yesterday I went to the market and bought apples and pears there. These are fruits. Why didn't you answer me? Well, okay, listen further. I also bought cucumbers and tomatoes. Are these vegetables? Yes, sure! How did you know that I didn’t ask you the first time, but the second time I did?
If this technique is used when working with younger children, then you can explain to them that our voice can change - “go up and down a hill,” and when working with older children, you can introduce the terms “voice rises,” “voice goes down.”
To develop the perception of melody, an effective conducting technique is in which raising and lowering the voice is accompanied by smooth movements of the hand up or down. This technique is best used when repeating a phrase, tongue twister, or poem that has been spoken twice. First, “draw” a melody in the air together with the children, and then the child will conduct it independently.
It is useful to use exercises aimed at developing voice change: for example, repeating the onomatopoeia of an adult animal and its baby, games like “Question and answer”, where the analysis of two samples of statements with different melody is compared.
Listen to the quatrain: “The hedgehog has needles, the siskin has a beak and wings, we’ll give the hedgehog milk, the siskin has tasty crumbs.” Now I’ll read it again, you finish the words. Fine.
- Who has needles? - At the hedgehog. -Who has a beak and wings? - At the siskin's. -Who will we give milk to? - Hedgehog. – Who should we give tasty crumbs to? - I'm peeing.
You can split into two teams, one team asks questions and the other answers.
The same purpose can be served by poems containing interrogative and narrative sentences such as “Chicken - Ryabushechka”, “Kitsonka - Murysonka”, “Waders”.
-Who's wandering by the river? - These are our waders. -What do they want? - Feed your guys. -Where are the guys? - On the sand. - How many are there? - Son and daughter. The little feathers on his neck were all wet because, without asking, he stuck his beak straight into the dirt.
Each part of a poem, story or fairy tale is distinguished by its theme, content, mood, and accordingly we choose the means of expression. Thus, a sad, depressed mood usually manifests itself in muted, low tones and is pronounced in a lowered voice; on the contrary, a cheerful, cheerful state of mind is pronounced in a higher tone, i.e., in a raised voice. Excitement, sadness, joy - all this is reflected in the voice.
In states of excitement and depression, the voice changes, deviating from its usual sound. This deviation is called emotional coloring - timbre. The stronger the excitement, the greater the deviation of the voice from its normal sound. How to determine the desired coloring when transmitting unfamiliar text?
It is necessary to carefully read the content of the work, understand the author’s intention, the idea of ​​the work. The intonation expressiveness of the performance and the emotional impact on children depend on how the content of the work is understood.

The formation of timbre perception skills in children should begin with familiarization with two contrasting voice colors - joyful and sad. This will subsequently become the basis for the introduction of emotional manifestations less contrasting in timbre: anger, surprise, fear, etc.
At the same time, pictograms and photographs depicting emotionally expressed faces can be used as visual material; as speech material - texts and phrases. It is good to use “problematic speech stories” related to the plots of literary works. Such “stories” should have a plot that preschoolers can understand, but not contain emotional vocabulary that could serve as a hint. When introducing children to the situation, you can give the following instructions: “Now I will tell you one story. And you choose the card (pictogram) that best suits the story.”Let us give examples of “problematic speech stories.”
“Slava loves animals very much. He has long wanted to visit the zoo. But mom and dad work a lot, they don’t have time. So Slava’s grandmother came. Slava and grandma went to the zoo.”(Joy).

"Winnie the Pooh was sitting at home and eating his favorite honey. But out of nowhere, a bee appeared and began to buzz loudly. The bee sat on Winnie the Pooh's head, on his nose, on the pot of honey. Now he could not eat in peace. Winnie the Pooh rushed after her with a newspaper. He hit her with a flourish, the pot swayed, fell to the floor and broke. And the bee flew away....."(Irritation, anger).

After the child uses cards to determine the emotional coloring of the story, the task can be complicated: ask him to describe in words the emotional state of the main characters.

Pace - This is the acceleration or deceleration of the speed of spoken sentences. ForTo do this, it is necessary to introduce children to the concepts of “fast”, “slow”, “moderate”. First, children are introduced to contrasting types of tempo: “slow” and “fast,” and then an example of a moderate tempo is offered. The speech material can be nursery rhymes, sayings, tongue twisters, which we often use in our practice. You can, for example, invite the child to perform a series of jumps, claps, and hand waves at the pace at which the teacher pronounces the text. If an adult speeds up his speech, then children also speed up their movements. For example, the game “Carousel” and the song “Drummer” are well known to all of us.

Logical stress- this is highlighting the most important words in meaning, so you need to attract children’s attention to the meaning of each phrase and organize the analysis and evaluation of the text. For example, I will say a phrase and organize its analysis: " Bullfinches They peck the rowan."
- Which word did I highlight as the most important? Yes, I told you that it is bullfinches, and not other birds, that peck rowan trees.
- Listen to me say now: “Bullfinches peck rowan." What did I clarify about bullfinches? How did I pronounce an important word? Yes, and you can also say, quietly and drawn out, like this: "Bullfinches peck rowan."

Listen again: "The bullfinches are pecking r i b i n u ". Now what did I clarify about bullfinches? How did I highlight an important word? You are right, but I deliberately pronounced the important word quietly and drawn out so as not to frighten the bullfinches.
As can be seen from the example, in case of difficulties, children can be given help in the form of leading questions and reminded of the means of expressing logical stress in oral speech.

Rhythm – This is an alternation of stressed syllables, which can be specified in the form of claps, hits on a drum, a tambourine, a series of syllables, or short poems. Children should first be asked to clap the rhythm of the syllable series.
Ta-ta-ta-ta; ta-ta-ta-ta; Ta-ta-ta-ta-ta-ta.

Want to test how expressive you are?

• Then sit in front of the mirror and try to change the meaning of the phrase several times: “Give me the ball,” “Here is my doll.”
• With how many intonations can you say the words “hello”, “take it”, “listen” that are so familiar to everyone?
• Well, read a fairy tale, changing your voice depending on the character, say, speaking either as Little Red Riding Hood or as the wolf. Can you?
• You will be able to convincingly express fear, compassion, complaint, request while reading K.I. Chukovsky’s poem “Doctor Aibolit.”

Test yourself before you tell your children.

Games and exercises to develop speech expressiveness.

1. Goal: to teach children to convey various feelings (joy, indifference, grief) through intonation.
The speech therapist calls the sentence: “It’s raining.” Children should repeat it with different intonations - so that it is clear that they are happy, happy; that they are unhappy, it upsets them, etc.

The same task is performed with other sentences (The sun is shining. It is snowing. Mushroom rain. The snowdrop has bloomed. The snake is crawling).

2. Goal: to teach children to come up with sentences and pronounce them with different emotional tones, conveying joy, sadness, and more with their voices.

The speech therapist invites the children to say something about spring or winter, so that it is clear that it makes them happy, that they saw something beautiful and interesting. (Spring has come! The grass is turning green!). But in the spring something can upset you. You need to come up with a sentence and say it in such a way that it is clear that you are upset, dissatisfied (The rain is inopportune. The cold wind is blowing.)

3. An exercise on using and distinguishing intonations can be a control exercise.

First, children must pronounce the sentence in such a way that it is clear that they are surprised (3-4 statements); responses are evaluated.

Next, it is suggested to say some sentence, either joyfully or interrogatively, or to express sympathy, or simply to report something. “Everyone, listen carefully to the intonation. You will find out what is expressed in the sentence,” says the teacher.

Children determine the nature of intonation; if necessary, a speech therapist helps.

One of the effective techniques is for children to read poems, nursery rhymes, and counting rhymes to their faces:

White hare,

Where did you run?

Into the green forest!

What was he doing there?

Bast tore!

Kitty - Murysonka,

Where were you?

At the mill.

Kitty - Murysonka,

What were you doing there?

I ground flour.

4. “Animals and their young” - development and differentiation of loud and quiet voices. An example is the game "Cow and Calf".

5. “The Crow and the Magpies” - training high and low voices, slower and faster tempo of speech (carr-carr, tr-tr).

6. “Echo” - development of voice strength, tempo, speech breathing. Some children pronounce sounds loudly and for a long time: uuu - the whistle of a locomotive, aaa - the cry of a child; syllables ga-ga - ga, ko - ko - ko; words ayy, names of people, names of animals. Other children repeat the same in a fading voice, at the same pace, but for less time.

7. “Whose house?” - practicing interrogative intonation, diction, voice. One child knocks (knock-knock) and asks: “Who lives in the house? “They answer him with the voices of a fox and a bear, and he must find out whose house it is. In turn, they ask him: “Who are you?”

8. “Train” - practicing rhythm in speech and movements: knock-knock-knock, tu-tu-tu, oo-oo-oo. The green carriages run, run, run, And the round wheels keep going, and going, and going.

9. “Guess who came” - developing the ability to control the voice, intonation, maintain the tempo and rhythm of speech. The child enters, imitating the movements of one of the animals, birds, accompanying this with speech and onomatopoeia, for example: “I walked for a long time, I’m tired, I want honey” (the bear - in a “thick” voice).

11. "Kitten" (and other cubs). The kitten is looking for its mother, but does not know how to call her: the puppy advises to bark, the calf advises to moo, but the kitten has no idea. Finally he finds his mother.

Such games go well with reinforcing the given sounds in speech. So, while practicing the sound [g,], you can offer the game “Foal”, which keeps saying i-go-go! while looking for its mother. The number of characters in such games is not limited.

For more effective development of the phonetic side of speech in children, a close relationship between learning in the classroom and the perception of sound pronunciation in everyday life is necessary. Such a relationship (in content and methods of work) is that at all stages of training, in classes and exercises, in everyday life, the same program tasks are solved. In all types of activities for teaching sound pronunciation, children's attention is constantly fixed on the sound side of speech.

I would like to note once again that the role of expressiveness of speech is extremely important. First of all, it ensures the design of phrases as integral semantic units, and at the same time, ensures the transmission of information about the communicative type of utterance, about the emotional state of the speaker.

Education of rhythm and intonation is not only a problem of improving the expressiveness of speech itself, but, as classics of pedagogy and psychology have repeatedly noted, rich rhythmic speech contributes to the general mental development of the child and facilitates learning. K.D. Ushinsky noted the importance of rhythm for teaching written speech.

Thus, the issue of developing expressive speech is related to the general learning process. The richer and more expressive the child’s speech, the deeper, broader and more diverse his attitude to the content of speech: expressive speech complements and enriches the content of the preschooler’s speech.

Introduction

The formation of intonation expressiveness of speech is one of the leading directions of correctional work to eliminate the manifestations of erased dysarthria. The widespread prevalence and lack of spontaneous compensation of these disorders necessitated the development of a special method for developing the intonation expressiveness of children’s speech.

When determining the sequence and content of speech therapy work, data on the development of intonational expressiveness of speech in ontogenesis were taken into account. The formation of an intonation system is a complex process. Its peculiarity is manifested primarily in the fact that the baby first perceives the intonation of those around him, and then implements it in his own expressive speech. According to modern ontolinguistics data, by the senior preschool age, in children with normal speech development, the intonation system as a whole is formed, in particular, the use
intonation structures of the Russian language are approaching the standard ones
adult models. A certain sequence of appearance of various communicative types of utterances in the expressive speech of children is revealed. First, the intonation design of narrative statements is formed, then interrogative and then exclamatory statements. In this regard, work on the formation of intonational expressiveness of speech towards mastering intonational expressiveness in expressive speech; from distinguishing and mastering narrative to interrogative (general and special questions) and exclamatory intonation.

The development of perception and recognition of statements of the main communicative types occurs in the process of familiarizing children with narrative, interrogative, exclamatory intonation and ways of indicating them.

Currently, the area of ​​speech expressiveness in the study of erased dysarthria remains underdeveloped.

Relevance Our work is that with all the variety of diagnostic methods aimed at studying the intonation side of speech, there is no sufficiently developed diagnostic method for studying the intonation side of speech in children with erased dysarthria.

Target research:

– identification and correction of features of the intonation aspect of speech in children with erased dysarthria.

Hypothesis research:

– we believe that diagnostic material aimed at studying melody, voice strength, voice pitch, timbre will help us create a program for correcting the intonation aspect of speech in older preschoolers with erased dysarthria.

An object research:

– prosodic side of speech.

Subject The study revealed the features of the intonation side of speech in older preschool children with erased dysarthria.

Tasks research:

– study theoretical material on the research topic;

– select a contingent of children;

– create a program for correcting the intonation aspect of speech in older preschoolers with erased dysarthria;

To solve the problems, the following were used methods:

– theoretical analysis of literature on the research problem;

– collection and analysis of anamnestic data, study of medical and pedagogical documentation;

– comprehensive speech therapy examination (observation, diagnostic tasks);

– conversations;

– pedagogical experiment;

– presentation method;

– processing and summarizing the results obtained.

Methodological basis The research compiled the modern scientific ideas of domestic psychologists and speech therapists about the basic patterns of speech formation both in conditions of normal and abnormal development. The idea of ​​unity and complex interaction of organic and social factors in ontogenetic development was leading both at the research stage and in the interpretation of the results. In our work, we relied on the theoretical and methodological works of specialists in the field of speech disorders and speech disorders (E.F. Arkhipova, R.E. Levina, I.A. Povarova, T.B. Filicheva, G.V. Chirkina, M. E. Khvattsev, L.V. Bondarko, A.M. Gvozdev, L.R. Zinder, N.D. Svetozarova, L.V. Shcherba, N.H. Shvachkin).

Research base: MDOU kindergarten No. 2 “Solnyshko”, Bolokhovo, Kireyevsky district, Tula region. The study involved 3 people of senior preschool age with a speech therapy diagnosis of erased dysarthria.

1. Theoretical justification of the concept of intonation

1.1 Domestic and foreign theories of the concept of “intonation side of speech”

Intonation is the main component of prosody. Intonation includes several acoustic components: tone of voice, its timbre, intensity, or strength of voice sound, melody, pauses, verbal logical stress, rate of speech. These acoustic characteristics of intonation depend on the frequency and amplitude of vibration of the vocal cords, on the degree of muscular tension of the speech organs, on the different speed of change of articulations, and on emotional tone.

The history of the development of special studies of intonation in linguistics can be divided into two periods. The first - from the end of the 19th to the beginning of the 20th century - is characterized by the search for an object of study and methods for its analysis. In the second period, from the 40s of the 20th century to the present day, there was an expansion of intonation research associated with the development of both linguistic theory and the technique of instrumental phonetics. In addition to studying intonation as a set of suprasegmental units, researchers analyze its individual components. The works of L.V. are of greatest importance for the theory of intonation. Bondarko, E.A. Bryzgunova, V.V. Vinogradova, A.M. Gvozdeva, L.R. Zindera, L.V. Zlatoustova, T.M. Nikolaeva, N.D. Svetozarova, I.T. Torsueva, L.K. Tseplitis, N.V. Cheremisina, L.V. Shcherby.

As a phonetic phenomenon, intonation is considered in various aspects: articulatory, acoustic, perceptual, linguistic.

The study of intonation in the articulatory aspect involves identifying the work of the speech organs.

The study of intonation in the acoustic aspect considers speech as the oscillatory movements of an air stream affecting the human hearing system, which manifests the objective characteristics of intonation: frequency of the fundamental tone, spectrum, intensity and duration (Altman Ya.P., Gershuni G.V., Chistovich L. A., Ventsov A.V.).

Intology usually correlates the main components of intonation with the listed acoustic parameters: stress, melody, tempo, timbre and pauses, highlighting melody and stress as the most important and most unique components of Russian intonation (Cheremisina N.V., Zinder L.R.).

The study of intonation in the perceptual aspect involves the study of those correspondences to the objective characteristics of intonation, thanks to which a person perceives this or that meaning conveyed by intonation. Sound sensations that correlate with the objective characteristics of intonation are height, duration, volume, timbre (Vakhtina N.Yu.).

In the linguistic aspect, intonation is understood as a complex unity of melodic, dynamic and temporal characteristics of speech. Each of these parameters has its own specific units - carriers of meaning: tonemes, chronemes, accentemes (Nikolaeva T.M.).

According to the observations of Zinder L.R. all components of intonation, except the pause, are necessarily present in the utterance, because no element of it can be pronounced without some kind of pitch, strength, and so on. Intonation constitutes a supersegmental level, the second line of speech sound, which has a complex structure and performs diverse functions.

The independence of intonation from the specific lexical and grammatical composition of the utterance allows us to talk about its relative autonomy. The works of L.V. are of great importance for the theory of intonation. Bondarko, E.A. Bryzgunova, L.P. Blokhina, L.R. Zindera, L.V. Zlatousova, T.M. Nikolaeva, N.D. Svetozarova, N.S. Trubetskoy, L.D. Shcherba, who developed the concept of supersegmental organization of speech as a system. The prosodic organization of speech is understood as a set of sound means that form sequences of segmental units (phonemes) and serve to combine them into meaningful linguistic units: words, syntagms, statements. The use of such obligatory sound features as duration, intensity and frequency of the fundamental tone as prosodic characteristics of speech is one of the universal properties of human speech (N.D. Svetozarova).

N.I. Zhinkin, considering the prosodic organization of language, notes that “the natural form of language realization is sound. Sound as a function of time varies according to the following parameters: duration, fundamental strength and height.” The researcher calls the control of these parameters during speech prosody. And the realized set of these parameters is intonation.

E.A. Bryzgunova, analyzing the relationship between the components of intonation, argues that logical stress is formed in speech by a combination of these components, since at logical centers the voice changes in pitch, strength, tempo, and timbre.

The question of the nature of the units involved in the intonational design of an utterance was examined in detail by L.V. Shcherba, who noted that the connection between the semantic and sound aspects of speech is carried out within the simplest syntactic whole - syntagma, a single semantic whole in the process of speech - thought.

I.G. Torsueva, using a semantic approach to identify rhea units, identifies statements. The main characteristics of an utterance are its communicative orientation, targeting, the possibility of semantic division, emotional richness, and the presence of subtext. Unlike a sentence that has meaning, a statement, in addition to meaning, has a specific holistic meaning, it has authorship and an expressive side.

The intonation of each phrase is the result of the interaction of many factors, the most important being: the communicative attitude of the speaker, his reflection of the communication situation, the universal physiological foundations of speech production.

The most emotional phrases are such as “exclamation”, “command”, “implication”, phrases like “general and special question” have a lower degree of emotionality, and a weak degree of emotional intensity is characteristic of simple statements and phrases.

L.V. Bondarko identifies several factors that determine the behavior of all components of intonation: “... the place of the main stress in the syntagm is important: it is in this place that the most significant change in melody occurs - a decrease or increase. The direction of change itself is determined by the type of intonation (narration, question, unfinished intonation, exclamation). Changes in tempo and volume are also related to the place of the main stress: if it is close to the end of the syntagma, then the tempo slows down more significantly, and the volume is weakened less than in the case when the syntagmatic stress is close to the beginning of the syntagma.

In phonology, there are various classifications, representing different approaches and different principles for determining intonational meanings. The units of intonation are intonation structures (in other terminology intonemes, tone phonemes). E.A. Bryzgunova identifies intonation structures of the Russian language based on oppositions of utterances with the same syntactic structure and lexical composition of word forms. According to the author’s definition, a type of relationship between fundamental tone, timbre, intensity, and duration, capable of expressing semantic differences that are incompatible in the same context between statements with the same syntactic structure and lexical composition, or statements with different syntactic structure, but the same sound composition of word forms, is intonation structure. The author identified seven types of intonation structures (IC) in the Russian language, the structure and distinctive features of which were established through auditory and instrumental analysis.

Each IC has a center - a syllable, on which changes in the components of intonation begin, significant for the expression of such differences as question-message-expression of will. In relation to the center, the precentric and postcentric parts are distinguished. For all types of IC, it is important to distinguish the direction of the fundamental tone on the center vowel and the ratio of the levels of precenter, center and postcenter.

IK-1. The intonation center is on the stressed vowel of the last word, and in front of it is the precentral part. On it, the movement of the tone is even, and on the vowel of the center the tone decreases until the end of the IC, in the post-central part it remains in the achieved position. This kind of IC is typical for a completed narrative.

IK-2. The intonation center is on the stressed vowel of the first word, the movement of the tone is smooth or downward, and the word stress itself is strengthened. This is how questions with a question word and incentive sentences with the meaning of comparison are formatted.

IK-3. The intonation center is on the same word as IK-1, but in this case the tone rises sharply, which is typical for the formulation of a general question.

IK-4. In the precentral part the tone is quite high; on the vowel of the center it decreases and then rises, and the high level remains until the end of the IC. This design is characteristic of repeated questioning, motivation, and unfinished narration.

IK-5. Unlike other ICs, this one has two centers, on the first the tone rises, and on the vowel of the second center it decreases. This design is typical for exclamatory intonation.

IK-6. The intonation center is characterized by a rise in tone that persists until the end of the structure, and this design also gives the utterance an emotional overtones.

IK-7. On the center vowel, the tone rises sharply; this vowel ends with a stop of the vocal folds, which gives the utterance a negative emotional meaning.

The use of basic intonation types in Russian spontaneous speech also has its own characteristics. In spontaneous conversational speech, intonation structures with more contrasting tone movements, with high and sharp rises, significant decelerations and especially accelerations of tempo, predominate.

Studying the intonation of conversational speech allows us to draw the following conclusions. Spontaneous speech does not have its own intonation resources. However, a distinctive feature of spontaneous speech is that a number of general language intonation patterns undergo transformation, which manifests itself in the interruption of the intonation pattern, its restructuring, and the combination of different intonation patterns to convey the same meaning. In spontaneous speech, there is a maximum interaction of verbal and intonation means, the synthesis of which is aimed at solving a communicative problem, at expressing emotional meanings.

In the case of insufficient development of the intonation side of speech, persons with speech pathology may experience difficulties in organizing communicative activities, a decrease in the need and effectiveness of speech interaction, limitation of communicative potential, “failures” in the social-perceptual, interactional and communicative communication systems, leading to violations in the sphere of interpersonal relationships.

1.2 Development of the intonation aspect of speech in ontogenesis

When studying speech formation, the main emphasis is on questions concerning the sequence of a child’s mastery of the system of his native language, and the mechanisms underlying the formation of language specificity. The formation of an intonation system is one of the aspects of mastering the sound side of the language.

The interest of a wide range of specialists in research into the formation of intonational expressiveness of speech is explained, on the one hand, by the need to revise the time frame for the formation of intonation in ontogenesis, and on the other hand, by the significance of intonation in the process of formation of the language system in children.

The development of speech at an early age is divided into two periods: the preparatory period (up to 1.5 years) - before the formation of independent speech and the period of formation of independent speech (1.5–2 years). In the literature, the most common is the identification in the preverbal (pre-speech) period of several successively replacing each other stages: screaming or crying; bumming; babble; stage of the first words.

Researchers of the pre-speech and early speech stages of child development, Vinarskaya E.N. and Tonkova-Yampolskaya R.V., argue that intonation patterns are present in children’s vocalizations already at these stages, and the assimilation of the intonation system occurs at the age of about a year.

During the newborn period, the child experiences inarticulate, unconditional reflex cries, expressing his elementary emotional states associated with hunger, pain and any irritating factors.

Towards the end of the first, at the beginning of the second month of life, the child develops auditory concentration on the sound of an adult’s voice. It is noted that whispering causes more sustained and prolonged concentration than louder speech and non-speech signals. From the second month, visual concentration on the adult’s face begins. By the third month, this indicative reaction takes on the character of a search for the speaker’s face. From this moment, visual and auditory concentration begin to interact, thus, at this stage, the sensory side of speech, its perception and understanding are prepared.

Voice reactions as part of the “revitalization complex” appear later, in the third month of life. First, the child makes short, abrupt sounds (hooking); then he makes drawn-out, melodious, quiet sounds that are not associated with anxiety or displeasure (humming), reproducing mainly the intonation side of adult speech. Such reactions of the child are considered as active, effective forms of orientation, characterizing the child’s attempts to model certain aspects of an adult’s speech utterances: first intonation, then rhythmic, and later sound.

Humming occurs with the appearance of short signals, usually generated during exhalation. The sounds that initially characterize humming most often resemble vowels or their combinations with a small number of sounds resembling consonants [g], |x]. The timing of the onset of the walking stage is the second month of life. From this moment, sound production, both in the method of its pronunciation and in duration, intensity, and intonation contour, approaches normal vocalization. At 4–5 months of age, the generation of extended vowel-like vocalizations is typical. They are often characterized by melody, reminiscent of a song. The preverbal period is a kind of preparatory period for speech activity itself. The child practices the articulation of individual sounds, syllables and syllable combinations, coordination of auditory and speech motor images occurs, the intonation structures of the native language are practiced, and the prerequisites are formed for the development of phonemic hearing, without which it is impossible to pronounce the word itself.

N. X. Shvachkin established that the child is already able to assimilate the sound side of speech in a certain sequence: intonation - at 4-6 months, rhythm - at 6-12 months and the sound composition of the word - after a year.

In the first half of the year, the child moves on to babbling - the next step in mastering the physical side of oral speech, which is characterized by more stable localization and articulatory stability of sounds, combining them into syllables, syllables into segments through their intonation and rhythmic design.

Babbling is characterized by the appearance in the repertoire of systematically repeating rhythmic combinations of consonant-like (C) and vowel-like (G). The sounds of babbling are very close to those of speech. The timing of the onset and transformation of babbling varies significantly among different children. Simple babbling usually occurs at 6–7 months of age (5–11 months). Complex babbling - from the end of the first year of life (from 10–14 months). The fundamental difference between this stage of development is not so much the repetition of sound combinations, but their acquisition of a syllabic structure similar to the speech of adults - the so-called canonical babble. The stage of the first words that replaces it is usually attributed to the beginning of the second year of life, often introducing an additional milestone - the stage.

The child begins to hear timbre changes in melody in the emotional speech of adults when he has already operationally mastered the reproduction of babbling sound complexes, i.e. by the end of the first year of life. The heyday of modulated babbling monologues dates back to one and a half years.

A.A. Leontyev noted word-like sound complexes of the trochaic type in the late babbling of children. These complexes do not yet carry any meaning. But their rhythmic structure seems to predict the rhythmic structure of children's first words.

Children's first words are open syllables consisting of repeated consonants and vowels. In babble and pseudowords, the same rhythmic repetition of identical syllables is revealed, which is later replaced by an alternation of dissimilar syllables.

Experimental studies have shown that adults' addresses are divided into semantic parts, with their key words highlighted in each of them. By imitating adults in the process of emotional communication with them, the child acquires sound complexes that correspond to the syntagmas of adults, but are not identical to them, since the linguistic content of the syntagma is not yet accessible to a child of this age.

Researchers who have studied the formation of intonation in children point out that, of all the components of the sound side of the language, the child first learns intonation, and then the segmental composition of the language, i.e. masters the sounds of the native language (Koltsova M.M., Artemov V.A.), and active language acquisition (Tonkova-Yampolskaya R.V., Kovshikov V.A., Lepskaya N.I.). Investigating children's perception of adult speech, M.M. Koltsova identifies a period in the life of children of 10–11 months, when the intonation of an adult is the most important factor influencing the child’s reaction.

Active mastery of the intonation system of the language is considered in the works of R.V. Tonkova-Yampolskaya. Analyzing the sound activity of children from birth to 5 years, she argues that the formation of intonation begins with a cry and by the beginning of the 2nd year of life the child assimilates the intonation system of the language as a whole, and at later stages of development there is a process of its improvement and differentiation. The author considers it possible to say that from the second month of life in the pre-speech stage, intonations comparable to intonations in adults are differentiated in the child’s vocalizations, forming in the following sequence: from the second to the seventh month of life, intonation appears comparable to the narrative intonation in adults; from the ninth month of life - “persistent” intonation, comparable to imperative in adults, from two years - question intonation, similar to interrogative in adults.

The results of N.I.’s study of intonation are interesting. Lepskoy. She claims that intonation appears at the age of 1 year 4 months - 1 year 6 months and remains the basis of children's communication for six months. The age limits for the occurrence of certain types of intonations are indicated.

According to the observations of L.T. Zhurba, E.M. Mastyukova, at the age of 2–3 months, the differentiation of the child’s emotions is manifested by the intonational expressiveness of vocal reactions and the initial elements of adequate reactions to the intonation of the voice addressed to the child.

I.V. Verestyuk examines the formation of the intonation system of the Russian language in children aged 2 to 5 years. The author studies the appearance of intonation structures (according to the classification of E.A. Bryzgunova) at various age stages, indicating the origin of “adult” contours from specially designated intermediate “children’s” contours, which, in turn, are formed by “narrowing” the variety of expressive intonations.

By school age, with timely speech development, children correctly pronounce stressed and unstressed syllables in a word, but are not yet able to identify them according to an adult’s instructions. The intuitive ability to pronounce stressed and unstressed syllables is the basis for developing the ability to place logical stress in a sentence, which, in turn, presupposes correct intonation. Mastery of intonation occurs simultaneously with mastery of speech, so the perception of intonation usually precedes the perception of meaning.

Analysis of the data shows that to date, the periodization of the main stages of speech development has been carried out in sufficient detail. As for intonation, most works focus on the time of appearance of one or another of its forms, but not enough attention is paid to the accuracy of their execution, although it is obvious that both the child and the adult make mistakes. The degree of assimilation of a particular intonation model, the “negative language material” that L.V. spoke about. Shcherba, the nature of errors that occur at different ages cannot but arouse interest. Even children of primary and secondary school age often experience incorrect use of intonation structures and their individual elements. Obviously, between their appearance in early childhood and their firm consolidation in adulthood, there is a period when the development and use of these constructions can increase for one reason or another or temporarily weaken.

Research by N.Yu. Vakhtina indicate that the meaning of the statements of children under three years of age is often incomprehensible to adults, which is due to the peculiarities of the syntax and segmental composition of their speech, and this forces adults to listen sensitively to intonation to assess emotional richness. By the age of 3–4 years, due to the development of the child’s speech, adults begin to understand the meaning of his statements taken out of context.

Research conducted by the author made it possible to identify parameters of similarity and difference in the statements of children 2–4 years old and adults: the statements of children differ from the statements of adults in the width of the frequency range. At the age of 2 years 6 months - 3 years 6 months, the frequency range expands due to the high frequency region. And only at the age of 3 years 6 months - 4 years, the range increases significantly and approaches the range used in adult speech.

At the age of about 4 years, a type of melodic formulation of an utterance is formed, similar to that in adults. At the age of 2 years 6 months – 3 years 6 months, words with special emphasis appear in children’s utterances.

The melodic pattern of interrogative statements at the age of 3–4 years also approaches “adult” models; the coincidence of the intonation center with the place of the melodic maximum is noted; in most cases, an ascending tone is observed in the area of ​​the intonation center.

The results of the study of the temporal component of intonation showed that when comparing the rates of speech of children and adults, a slower rate is noted in the speech of children, and in emotionally neutral statements it corresponds to a slow rate in the speech of adults, and in emotionally charged ones it is significantly slower than in the speech of adults. The slow tempo in children's speech is associated with an increased relative duration of main-stressed and unstressed vowels and consonants. In the speech of children 2–4 years old, there are no regularities found in the speech of adults: the rate of utterance does not depend on the number of phonemes and syllables of the utterance. The tendency for the pace of utterance to be determined by its communicative type is observed at the age of about 4 years.

A.I. Maksakov studied the capabilities of children in regulating the rate of speech and found that they more easily speed up the rate of speech than slow it down. Researchers have noted certain age-related dynamics in indicators of speech disfluency in children with a normal rate of speech development:

– at the age of 1 year 6 months – 2 years 6 months, repetitions of isolated sounds, parts of words, pauses between words are observed mainly;

– at the age of 2 years 6 months – 3 years 6 months, the number of indicators of speech impediment increases significantly; in addition to repetitions of parts of a word and pauses, respiratory iterations and repetitions of a whole word are recorded;

– at the age of 3 years 6 months – 5 years, the number of indicators of speech disfluency is halved, which begin to be expressed mainly by repetitions of the whole word, pauses, revisions.

Thus, although researchers have different opinions about the timing and order of formation of the main components of intonation, an analysis of the literature on the issue allowed us to conclude that by the senior preschool age the intonation system in the speech of children without pathology is generally formed, and the use of intonation structures of the Russian language is approaching to reference models in adults. The development of sound ability in preschool age is carried out only in the process of speech communication, which implies the need to take into account the fundamentally important importance of intonation in the formation of perception and reproduction of its means in the implementation of the communicative function of speech.

1.3 Features of the intonation aspect of speech in older preschool children with erased dysarthria

Erased dysarthria is characterized by disturbances in sound pronunciation and prosodic aspects of speech, which are caused by the presence of neurological microsymptoms. The disturbances in this disorder may be based on mild residual disturbances in the innervation of the articulatory, vocal, and respiratory apparatus, which are revealed only with in-depth neurological examination. In speech symptoms, in addition to disturbances in sound pronunciation and phonemic hearing, prosodic disturbances are observed: speech is monotonous, inexpressive, the timbre is often low, the voice is quiet, the rate of speech is slow or accelerated.

Lopatina notes that the phonetic side of speech is a close interaction of its main components: sound pronunciation and prosody. Various phonetic means of formalizing an utterance (tempo, rhythm, stress, intonation) closely interact, determining both the semantic content and the speaker’s attitude to the content. In children with erased dysarthria, prosody disturbances affect the intelligibility, intelligibility, and emotional pattern of speech.

In Mastyukova’s works devoted to the study of the speech of children with dysarthria, they note a violation of the tempo of their speech, as well as the difficulty of using dynamic, rhythmic and melodic stress. In the study by L.I. Belyakova, I.Z. Romanchuk, devoted to the study of the peculiarities of the intonation side of speech of students in schools for children with severe speech impairments, notes that at the age of 11–12 years they have persistent prosody disorders. The most difficult tests are for transforming sentences into interrogative ones, for expressive reading of sentences in different ones into interrogative ones, for expressive reading of sentences of different constructions. These data suggest that there is no spontaneous improvement in prosody with age.

Many researchers of the structure of the defect in erased dysarthria point to stable disturbances in the intonation expressiveness of speech, the processes of perception and reproduction of intonation structures of a sentence. In this case, the most secure is the imitation of interrogative and narrative intonation.

The perception and independent reproduction of intonation structure, which in this case involves auditory differentiation of narrative and interrogative intonation, causes significant difficulties in children. In this case, the process of auditory differentiation of intonation structures turns out to be more disturbed than the process of their independent implementation. Common to children is a violation of the prosodic aspect of speech, which is a diagnostic criterion for differentiating erased dysarthria and dyslalia.

The intonation-expressive coloring of the speech of children with erased dysarthria is sharply reduced. The voice suffers: it is either quiet or excessively loud; Modulations in pitch and voice strength are not possible (the child cannot imitationly pronounce sounds in a high and low voice, imitating the voice of animals). The timbre of speech is disrupted and sometimes a nasal tone appears. The pace of speech is often accelerated. In some children, against the background of the chest register, falsetto appears, aspirated inhalation, with raising of the shoulders; Upper thoracic (upper clavicular) breathing is mainly observed; speech exhalation is weakened. In some children, speech exhalation is shortened and they speak while inhaling - in this case, speech becomes choked. Children's speech is inexpressive, diction is unclear. When telling a story, the child’s poetic speech is monotonous, gradually becomes less intelligible, and the voice fades away. There are disturbances in the formation of the intonation structure of a sentence, while the process of auditory differentiation of intonation structures is more disturbed than the process of independent implementation.

A specially conducted study of various prosodic components shows that the perception and auditory differentiation of intonation structures are primarily impaired. Many children with erased dysarthria have difficulty perceiving the rhythm of isolated beats and accented beats. Playing rhythms is also difficult. Tasks for the perception and reproduction of intonations are inaccessible to most children with erased dysarthria; active assistance from an adult is required. Children who make mistakes when perceiving and reproducing intonations do not notice their mistakes. Tasks on changing intonations (joy, sadness) based on the same phrase fail. In some cases, tasks for examining logical stress are not available. Children with erased dysarthria cannot pronounce a certain word in a sentence with emphasis.

When listening to a phrase with exaggerated logical stress, children often do not identify the accented word. When examining voice modulations in pitch and strength, some difficulties are also noted. It is not possible to intonate melodies (based on vowels) from bottom to top and top to bottom. In some cases, it is not possible to change the strength of the voice. In general, the vocal range in children with erased dysarthria is narrowed (within 3–4 tones). The cause of voice impairment with erased dysarthria lies in the pathology of the efferent and afferent links of intonation control. Due to pareticity and some limitation of voluntary movements of the vocal folds of the diaphragm muscles, disorders occur that relate to the efferent link. Afferent pathology manifests itself in insufficiency of kinesthetic analysis, in disruption of proprioceptive impulses from the vocal and respiratory organs.

In many studies, the prosodic aspect of the speech of children with erased dysarthria is assessed as emotionally inexpressive, monotonous. Speech intelligibility decreases noticeably with increasing speech load. The voice of children is assessed by the following characteristics: weak, unmelodic, dull, hoarse, monotonous, compressed, dull, tense, intermittent, nasal, weakly modulated. These symptoms can be presented with erased dysarthria in different combinations and varying degrees of severity. A rather rare symptom of erased dysarthria is nasalization (in its pure form), that is, not associated with the adenoids. Research by E.E. Artemova revealed a relationship between the degree of formation of the prosodic design of a speech utterance and the degree of formation of auditory self-control operations. Artemova used an adapted technique from J. Paan to identify children’s ability to identify errors in their own speech. This technique allowed the author to determine the nature of prosody disorders in preschoolers: sensory, motor, mixed.

The motor nature of the prosody disorder is observed in preschool children with speech disorders in cases of a low degree of prosody formation with a sufficient level of auditory self-control. The sensory nature of prosody disorders is observed in children in whom prosody disorders are combined with immaturity of auditory self-control. The mixed (sensorimotor) nature of prosody disturbances is expressed in prosodic disturbances occurring against the background of emerging auditory self-control (or at the stage of automation).

Artemova identified 4 degrees of development of the prosodic aspect of speech in preschool children (with erased dysarthria, ONR, FN, FN).

1 degree (low)– gross violations of prosodic components. Disadvantages of timbre, strength and pitch of the voice are clearly expressed and noticeable to the child himself and those around him. The communication process is disrupted. Children are unable to perform tasks that involve arbitrary changes in rhythmic and pitch characteristics. Violations of the intonation of statements are stable in all types of speech activity.

2nd degree (insufficient) – voice changes are minor. Changes in prosody concern individual or all of its components. Difficulties are observed when performing special tasks to reproduce various rhythmic and intonation structures. However, spontaneous speech, especially in an emotionally significant situation, can be quite expressive.

3rd degree (medium) – inconsistent or unstable deviation from the norm in one or more prosodic characteristics. Spontaneous speech is quite intonated, but when performing special tasks, inaccuracies or individual errors are possible in conveying the rhythmic and melodic pattern.

4 degree (high) – formation of prosodic characteristics. Children have a normal timbre, the range of their voices in strength and pitch corresponds to age standards. The tempo-rhythmic aspect of speech has been formed. Preschoolers are fully proficient in all ways of conveying various types of intonation. In spontaneous speech they use all means of intonation expressiveness and do not experience difficulties when performing special tasks.

Research confirms the heterogeneity and variability of prosody disorders in preschool children with erased dysarthria, general speech underdevelopment and phonetic-phonemic disorders. At the same time, a correlation between the prosodic aspect of speech and the severity of the speech defect was discovered.

2. Ascertaining experiment

2.1 Characteristics of the diagnostic program

Experimental work on the development of elements of the intonation aspect of speech was carried out on the basis of the MDOU kindergarten No. 2 “Solnyshko” in the city of Bolokhovo, Kireyevsky district, Tula region, with children of senior preschool age. To conduct experimental work, a group of 3 people of senior preschool age with a speech therapy report of erased dysarthria was selected.

The purpose of the ascertaining experiment was to identify the features of the intonation side of speech in children with erased dysarthria.

The goal was specified by the following tasks:

– to select methods for diagnosing the level of development of the intonation aspect of speech in older preschoolers with erased dysarthria;

– select a criterion basis for analyzing and assessing the characteristics of the intonation side of speech in children 5–6 years old with erased dysarthria;

– create the necessary conditions for the examination;

– carry out a study of the level of formation of the intonation side of speech in speech therapy classes;

– conduct a qualitative and quantitative analysis of the experimental results.

The following methods were used by E.F. Arkhipova: “Methodology for the perception of intonation”, “Methodology for reproducing intonation”, “Methodology for the perception of logical stress”, “Methodology for reproducing logical stress”, “Inspection of voice modulations by pitch”, “Inspection of voice modulations by strength”, “Identification of nasal voice timbre” , “Method of perception of timbre”, “Method of reproducing voice timbre”.

Based on an analysis of modern achievements in scientific, methodological and speech therapy literature on this problem, a criterial base and evaluation indicators aimed at identifying the level of formation of intonation elements have been determined:

1. intonation structures in impressive speech;

2. logical stress;

Intonation perception tests are used to find out whether children understand that human speech has a variety of intonations. This variety is achieved by changing the pitch, strength, timbre, and modulation of the voice. Intonation gives speech an emotional coloring and helps express feelings.

Purpose of the survey: to identify children’s ability to distinguish various intonation structures in imperative speech.

Research material There were sentences pronounced with narrative, interrogative and exclamatory intonation, and a graphic representation of sentences.

Procedure: the child is invited to listen to sentences that are pronounced with different intonations (narrative, interrogative or exclamatory). Before completing the task, a conversation was held in which, based on the material of one series of sentences, it was clarified whether they were pronounced the same or differently.

1. Determining the presence of a declarative sentence. Introduction to the signal card.

Instructions:“Listen carefully, if you hear me telling you about something and speaking in a calm, even voice, pick up a card with a dot:

Speech material:

1. It's cold outside.

2.Oh, what a beautiful picture!

3. The bear is sleeping in a den.

4. The squirrel is gnawing nuts.

5.Have you eaten the soup?

2. Determining the presence of an interrogative sentence. Introduction to the signal card.

Instructions:"Listen carefully. If you hear me asking about something, asking a question, raise a card with a question mark

Speech material:

1. It's snowing outside!

2.Do you like to play snowballs?

3.Olya goes to the park.

4.Where is the boy going?

5.Do your teeth hurt?

3. Determining the presence of an exclamatory sentence. Introduction to the signal card.

Instructions:“Listen carefully, if you hear me say joyfully and loudly, raise the card with an exclamation point:

Speech material:

1. Oh, how hot it is!

2. The boys are playing in the yard.

3. Who came to us?

4. Look, the plane is flying!

5. We are going to the circus.

4. Differentiation of types of intonation in a sentence.

Tasks are offered where speech material is presented in narrative, interrogative and exclamatory sentences. The listed intonation types are given in random order.

Procedure: The child was asked to compare the meaning of two identical sentences pronounced with different intonations. The sentences had to be distinguished from each other by highlighting the given intonation and the corresponding cards had to be raised.

Instructions:“Listen carefully to the sentences and pick up the cards that match.”

Speech material:

1. It's cold outside. - It's cold outside?

2. Is winter coming? - Winter came!

3. Tomorrow will be a holiday! - Tomorrow will be a holiday.

4. Mom came home. - Mom came home?

5. Did the boy draw a house? – The boy drew a house.

5. Differentiation of types of intonation in a poetic text.

Who knows how to wake up by the clock in the morning?

I know how to wake up on my own in the morning by the clock.

Who knows how to straighten a bed sheet smoothly?

I can straighten the sheets on the crib smoothly.

Who is not afraid of colds, who knows how to wash with soap?

I usually wash my face early in the morning from the tap.

I now know how to wash both my face and neck.

6. Instructions: “Listen and say as I said: happy, sad or surprised.”

a) The sun is shining, (sad) The sun is shining? (surprised) The sun is shining! (funny)

b) Lightning is flashing in the sky,” (cheerfully) Lightning is flashing in the sky, (sad) Lightning is flashing in the sky? (surprised)

c) Will it rain? (surprised) It will rain! (cheerful) It will rain, (sad)

Did you dig a hole? Digged.

Did you fall into a hole? Fell.

Are you sitting in a hole? Sitting.

Are you waiting for the stairs? I am waiting.

A pit of cheese? Cheese.

Like a head? Intact.

So alive? Alive.

Well, I went home.

8. Instructions: “I will tell you phrases. When you think the sentence is finished, clap your hands."

a) Children ride. Children are sledding. Children are sledding). Children sledding... (downhill).

b) The plane is flying. The plane is flying high. The plane is flying... (high). The plane is flying high... (in the sky).

Evaluation criteria:

3 points – the task is completed correctly

Method No. 2. “Method of reproducing intonation”

Purpose The examination is to identify the child’s ability to differentiate various intonation structures in expressive speech.

Material for examination: sample sentences of various intonation types, poetic texts, plot pictures with emotional content.

1. Reproduction of reflected phrases with different intonations.

Instructions:“Listen and repeat with the same intonation as a speech therapist.”

- The sun is shining. The sun is shining? The sun is shining!

- Lightning flashes. Lightning flashes? Lightning flashes!

It is snowing! It is snowing? It is snowing.

I'll go visit! I'll go visit. Shall I go visit?

- Mum has come home. Mum has come home! Mum has come home?

2. Reproduction of reflected poetic lines in accordance with the intonations of the speech therapist.

Instructions:“Listen carefully and repeat each sentence separately after the speech therapist.”

Where are you going, bear?

Come to the city to see the Christmas tree!

What do you need it for?

It's time to celebrate the New Year.

Where will you put it?

I’ll take it to the forest, to my home.

3. Reproduction of phrases with opposite types of intonation is reflected by the speech therapist.

Instruction No. 1.“The speech therapist will ask a question, and you will answer with the same phrase, but with a different intonation.”

Speech therapist Child

Did it snow at night? It snowed at night.

Is it good to be in the forest in winter? It's good in the forest in winter.

Does the bear sleep in winter? In winter the bear sleeps.

Instruction No. 2.“Now the speech therapist will pronounce the phrase, and you ask, ask questions.”

Speech therapist Child

It will be rain today. It will be rain today?
The light is on. Is the light on?

It's cold outside. It's cold outside?

4. Independent reproduction of intonations reflecting the emotional state based on the material of individual phrases.

Instructions:“Say the same phrase to the speech therapist with different intonations: surprised, happy, sad.”

5. Independent reproduction of the melody of narrative, interrogative, exclamatory sentences. At the same time, the speech therapist does not demonstrate an example of intonation design of sentences.

Procedure: The child is offered a story picture with semantic and emotional content. The speech therapist orally describes the content. The child must pronounce a sentence colored intonationally in accordance with this situation.

Instructions: Look at the pictures.

How can you say that the sun is shining?

How to ask if the children will go for a walk?

How can you tell when children are excited to go for a walk?

How to ask the name of a new child in a kindergarten group?

Evaluation criteria:

3 points – correct completion of the task with the transmission of various intonations, but only after several trials, after repeated demonstration of the sample.

2 points – the task is completed with errors, but the errors are corrected independently as work progresses.

1 point – active assistance from an adult is required to complete the task.

0 points – the task is not completed, repeated instructions are ineffective.

Method No. 3. “Methodology for the perception of logical stress.”

An examination of the perception of logical stress is necessary in order to find out whether children understand the identification of the main meaning of the word in the phrase; Do they know how to highlight any part of a statement, depending on what needs to be emphasized?

In a preliminary conversation, the meaning of the term “logical stress” is explained to the child in an accessible form. The term itself is not called, but they explain that in order for our speech to be understandable to others, we need to be able to speak expressively. To do this, in a sentence, highlight those words that are considered especially important. They are pronounced louder and a little longer than the others. Before the task, it is necessary to give an example of an exaggerated execution of logical stress, i.e. highlighting a specific word in a phrase with your voice.

Material for research: sentences, plot pictures, subject pictures, poetic texts.

Procedure: The child is asked to listen carefully to identical sentences, compare the different shades of their sound and answer the question whether these sentences are pronounced the same way. Then the child is asked to listen to each sentence, look at the corresponding plot picture and name the word that the speech therapist highlighted with his voice.

Instructions:“Listen carefully to the proposal. Tell me which word the speech therapist highlighted in the sentence.”

-Emelya caught a pike. - Mom sewed a new one dress.

Emelya caught pike.- Mother sewed new dress.

Emelya caught pike. - Mom sewed new dress.

2. The ability to highlight the word highlighted by the speech therapist in a question sentence and show the corresponding picture instead of an answer.

Procedure: The child is asked to look at object pictures and listen to an interrogative sentence. The speech therapist pronounces a sentence, using his voice to highlight the word that carries the semantic load. The child is asked to show the corresponding object picture instead of answering.

Instructions:“Look carefully at the pictures. The speech therapist will ask you questions, highlighting the “important” word with his voice, and instead of answering, show the desired picture.”

-Grandmother knitting a sweater? - Mom put it on hat!

Grandma knits jacket! - Mother did you put on your hat?

-Procedure: The child is asked to listen to the lines of poetry and repeat the word that carries a semantic load.

-Instructions:“Listen carefully. The speech therapist will read the poem and highlight the “important” word in each line. Tell me which word the speech therapist highlighted.”

The owner abandoned the bunny. I crawled under the bed.

The bunny stayed out in the rain. To scare my brother. I couldn't get off the bench , Collected all the dust on myself, got wet to the last thread . I really scared my mother.

Criteria for evaluation:

2 points – the task is completed with errors, but the errors are corrected independently as work progresses.

1 point – active assistance from an adult is required to complete the task.

0 points – the task is not completed, repeated instructions are ineffective.

Method No. 4. "Method of reproducing logical stress."

The purpose of the examination is to determine the child’s ability to identify with his voice the main words in a phrase, i.e. produce logical stress.

1. Reproduction of a phrase with logical stress according to the model.

Procedure: the child is asked to listen to the sentence and then reproduce it in the same way with the same logical emphasis.

Material for research: sentences spoken by a speech therapist; suggestions for reflected reproduction; story pictures.

Instructions:“The speech therapist will say a sentence and highlight the “main” word in it with his voice. Listen carefully, repeat the sentence and also highlight the “main” word in it.”

Masha goes to school.

U If new ball.

On the street today Cold.

Mother came From the job.

Tomorrow Let's go to grandma's.

2. Comparison of two sentences that differ only in logical stress.

Procedure: the child is asked to listen and compare two sentences that differ in logical stress.

Instructions:“The speech therapist will say two sentences. Listen carefully to how they sound, the same or different? Repeat exactly the same."

U Kati book. At Katya's book.

Woodpecker knocks on wood. Woodpecker knocks on wood.

On table beautiful vase. On the table beautiful vase.

On swamp a lot of mosquitoes. There's a lot in the swamp mosquitoes

3. Reproduction of logical stress when answering questions based on plot pictures.

Procedure: Scenario pictures are offered, based on which the speech therapist and the child make a proposal. Then the speech therapist asks the child several questions one by one, to which he must answer with a jointly composed sentence, intonation highlighting the word that is important in meaning.

Instructions:“Answer the question with the sentence we just made up. Be careful, highlight the “important” word with your voice.”

Grandma is knitting a sock. a) Who knits a sock?

b) What is grandma doing?

c) What does grandma knit?

a) Who eats the apple?

b) What is the boy doing?

c) What does the boy eat?

4. Reproduction of phrases with narrative and interrogative intonation with movement of logical stress depending on the number of words in the sentence.

Instruction No. 1:“Listen to the phrase. How many words does it have? Select the first one with your voice first; second; third word. Does the meaning of the phrase change?

Narrative sentences:

Dog gnawing bone . Mother came From the job .

Instruction No. 2:“Listen to the phrase. Say it as many times as there are words in it. Each time, emphasize only one – new – word.”

Interrogative sentences:

You in the morning called ? You you're afraid dogs ?

5. Independent choice of a word pronounced with logical stress, depending on the intended meaning.

Instructions:“Repeat the phrase after the speech therapist: “Dad came home from work.” Now you need to say this phrase in different ways. The first time - so that it was clear that dad had come, not uncle. The second time - to make it clear that dad came and did not come by car. The third time, you need to emphasize with your voice that dad came from work, and not from the store.”

1st. Dad came home from work.

2nd. Dad came From the job.

3rd. Dad came with work.

6. Isolating a syllable from a chain of syllables according to a pattern,
demonstrated by the speech therapist.

Instructions:“Repeat after the speech therapist, emphasizing in your voice the same syllable as the speech therapist.”

pa-dad ta- ta-ta ma- Mother

pa- pa-pa ta- that-ta ma- ma-ma

dad- pa ta-ta - ma Mother -ma

Criteria for evaluation:

4 points – the task is completed correctly.

3 points – correct completion of the task with the transfer of logical stress, but only after several trials, after repeated demonstration of the sample.

2 points – the task is completed with errors, but the errors are corrected independently as work progresses.

1 point – active assistance from an adult is required to complete the task.

0 points – the task is not completed, repeated instructions are ineffective.

The purpose of the examination is to identify the child’s ability to determine and intonate the gradual movement of a melody from bottom to top, top to bottom. Examination of voice modulations in pitch is necessary in order to find out how much a child with erased dysarthria can control his voice, change it in pitch, and how wide the range of his voice is.

Material for research: sounds, onomatopoeia, object pictures depicting animals and their young.

1. Study of the perception of isolated sounds and onomatopoeia pronounced with different pitches of voice.

Procedure: The child is asked to listen to sounds or onomatopoeia with different pitches and match them with a picture depicting animals and their babies or objects of different sizes. They first explain that an animal, for example a dog, has a “thick” voice, i.e. low, and in a puppy – “thin”, i.e. high.

Instructions:“Listen and show (tell) who voices like that?”

AB – dog AB – puppy

MU – cow MU – calf

MEOW - cat MEOW - kitten

U - big steamship U - small boat

O - bear O - little bear

2. Reproduction of isolated sounds and onomatopoeia with lowering and raising the pitch of the voice.

Instructions:“Show me how a big steamship, airplane, etc. hums. and small, like the voices of animals and their young.”

MU – cow MU – calf

AB – dog AB – puppy

MEOW - cat MEOW - kitten

3. Reproduction of a progressive rise and fall of the voice on vowel sounds, based on a graphic image or hand movements: up - increase in pitch, down - decrease in pitch.

Instruction No. 1:“Try not with your feet, but with your voice to go up the steps, and then with your voice to go down. As the voice ascends the steps, it will rise in pitch and become thinner. When the voice goes down the steps, it will become lower. First with the sound A, then O, U.”

A

Instruction No. 2:“Show me how to rock a baby or a doll.”

“Show me how the clock knocks.”

TICK TICK TICK TICK

tick tick tick

"Show me how the bell rings

DING DING DING

Note: assistance is actively used in the form of hand movements of the speech therapist, which indicate whether the voice is going up or down.

Criteria for evaluation:

4 points – the task is performed with sufficient modulations in height;

3 points – the task is performed with insufficient voice modulations in pitch;

2 points – the task is performed without voice modulation in pitch, but during the associated task the pitch of the voice changes;

1 point – the task is completed without voice modulations
height, but during the associated task, the pitch of the voice remains unchanged;

About points - the task is not completed.

The purpose of the examination is to determine the child’s ability to change the volume of his voice. An examination of voice modulations by strength is necessary to determine how a child with erased dysarthria can change his voice by strength (loudness).

Material for research: sounds; onomatopoeia; subject and subject pictures that depict vehicles located close and far.

1. Perception of individual sounds and onomatopoeia pronounced with different voice strengths.

Procedure: The child is asked to listen to various isolated sounds and show a picture depicting a distant object in a quiet voice or a picture depicting a close object in a loud voice of the speech therapist.

Instruction No. 1:"Listen carefully. The ship is sailing, it is buzzing - “UUUUU”. If the ship is close, it hums loudly, if it is far away, it is quiet. You will hear a loud beep, pick up the picture where the ship is close, it’s quiet where the ship is far away.”

Loud. Quiet.

U - the plane is close. U - the plane is far away.

A - a fire truck is nearby. A - the fire truck is far away.

O – the train is close O – the train is far away.

And the ambulance is close. And the ambulance is far away.

Instruction No. 2:“Listen to the voices of different animals, insects, birds. Guess by their voice whether they are far from us or close. Let us remind you that if you are far away, then you hear a quiet voice, if you are close, then you hear a loud voice.”

Loud quiet

Beetle – ZHZHZHZHZHZHZH

Mosquito – 3333333 zzzzzzz

Grasshopper – tsktsk tsktstst

Cuckoo - KOO-KOO ku-ku

Frog - KVA-KVA kva-kva

Owl - UH-UH uh-uh

Donkey - Eeyore - Eeyore

Note: onomatopoeias are given differently.

2. Reproduction of individual sounds and onomatopoeia pronounced with different voice strengths.

Instruction No. 1.“Show me how a ship, plane, car, etc. hum, if they are far away, and how they hum, if they are close?”

Close Far

Airplane (U) – ...? ...?

Steamboat(s) –...? ...?

Train (O) – ...? ...?

Machine (I) – ...? ...?

Instruction No. 2:“Show how different animals, insects, birds make their voices. If they are far away? (quiet) If they are close (loud)?

Close Far

Beetle (LJJ) –...? ...?

Mosquito (ZZZ) – ...? ...?

Grasshopper (CCT) – ...? ...?

Cuckoo (KOO-KOO) – ...? ...?

Frog (KVA) – ...? ...?

Owl (UH) – ...? ...?

Cow (MU) – ...? ...?

3. Reproduction of the gradual increase and decrease in voice strength when pronouncing individual sounds and onomatopoeia.

Instruction No. 1.“Show the horn of an approaching plane, train, car, etc.”

Whisper quietly normal loud very loud

volume

Instruction No. 2: “Show the horn of a departing plane, train, car, etc.”

Train – O O O O O

Car – A A A A A

Airplane – U U U U U

Beetle – F F F F ZHZHZHZH

Mosquito - ZZ ZZ ZZZZZ

Cuckoo – KOOKUKUKUKUKUKUKU

Cow – MU MU MU MU MU

Owl – UH UH UH UH UH

Dog – AB AB AB AB AB

Instruction No. 4: “Show how the siren howls - first quietly, and then louder and louder, i.e. on one exhale, and then subsides.”

U U U U U U U U U

Whisper quietly as usual, louder, louder as usual, whisper quietly as usual

than usual than usual

Criteria for evaluation:

4 points – the task is completed correctly.

3 points – correct completion of the task with conveying the strength of the voice, but only after several tests, after repeated demonstration of the sample.

2 points – the task is completed with errors, but the errors are corrected independently as work progresses.

1 point – active assistance from an adult is required to complete the task.

0 points – the task is not completed, repeated instructions are ineffective.

Method No. 7. Timbre perception technique.

Material for research: pictures – mask symbols depicting people’s feelings and emotions; words-interjections; offers; pictures depicting people of different ages.

Procedure: The speech therapist pronounces single interjections with a change in voice timbre, expressing various emotional states with his voice. Then the speech therapist invites the child to look at pictures depicting various people - mask symbols depicting feelings, and choose the appropriate one (the person’s face should express the corresponding feeling).

Instructions:“Look carefully at the pictures. The faces of these little men express different feelings:

I 2 3 4 5

sadness, surprise, joy, anger, fear. The speech therapist will say small words (exclamations), and you think about the tone of voice the speech therapist used to pronounce the word, and show the appropriate person.”

1.Ah! - joy and admiration.

2.Oh! - fright, fear.

3.Wow! - discontent.

4.Oh! - astonishment.

5. Eh, – sadness, regret

Procedure: The child is asked to listen to the same sentence, determine by ear the tone of voice in which it was pronounced, and show a picture of a person whose face expresses the corresponding feeling.

Instructions:“The speech therapist will now pronounce a sentence, and you think about the tone in which it was pronounced, and show the appropriate person.”

1.A thunderstorm is coming! (dissatisfied)

2.A thunderstorm is coming! (joyfully)

3.Is there a thunderstorm soon?! (surprised)

4.There will be a thunderstorm soon, (sad)

5. A thunderstorm is coming! (with fear, scared)

Procedure: Pictures depicting people of different age categories (woman, man, child, grandmother, grandfather) are laid out in front of the child. Then the child is asked to listen to a tape recording with the recorded voices of people of different ages and show the corresponding image of the people.

Instructions:“Look carefully at the pictures. Listen and determine whose voice is heard. Show me a suitable picture."

Speech material: one phrase spoken in different voices.

Criteria for evaluation:

3 points – the task is completed correctly.

2 points – the task is completed with errors, but the errors are corrected independently as work progresses.

1 point – active assistance from an adult is required to complete the task.

0 points – the task is not completed, repeated instructions are ineffective.

Method No. 8. Method of reproducing voice timbre.

The emotional characteristics of the voice are assessed. Since changes in voice coloring are characteristic of certain types of emotional speech, the study of its features in children is carried out on the basis of interjections and the fairy tale “Kolobok”.

It is determined whether the child has sufficient control over his vocal capabilities, whether he can change the color of his voice in accordance with the requirements and the situation, whether he is able to convey with his voice the emotional experiences and feelings of the characters in a fairy tale, whether he can imitate the voices of several animals at once. Before completing the task, a conversation is held with the children about possible voice changes. Children are told that the voice can change depending on the situation: the voice can be gentle or squeaky, rough or hoarse, cheerful or sad, plaintive or frightened, etc.

1. Conveying an emotional state through interjections using different tones of voice

Material for research: a series of plot pictures depicting different moods of the characters.

Procedure: The speech therapist invites the child to look at a series of plot pictures and determine what mood the characters depicted in it are in. A comment is given for each picture. The child is asked to express the state of the character using interjections, changing the color of his voice according to the situation in the picture.

Instructions:“Look at the picture, guess how they sound if...”

The cup fell - Oops! (scared).

We scored a goal - Hurray! (joyfully).

Asking to remove the toys - U-U (dissatisfied, whiny).

Tired and want to sleep - Oh (tired, quiet).

Chopping wood - Wow (hard).

They shake a finger, you can’t - Aya-ay (strictly) for children to take matches

Material for research: plot picture with a character from the fairy tale “Kolobok”.

Procedure: In the preliminary conversation, the content of the fairy tale “Kolobok” and its characters are clarified. It turns out what voices they speak in - the same or different. If they speak in different voices, then what is characteristic of each of them.

Instructions:“Remember who scared the bun and wanted to eat it? What voice did they speak in..."

Bear – // – (loud, low, calm).

Evaluation criteria:

4 points – correct completion of the task with an exact match of all characteristics of the voice timbre of a given character, on the first try and very expressively.

3 points – correct completion of the task with the transmission of voice timbre, but only after several tests, after repeated demonstration of the sample.

1 point – active assistance from an adult is required to complete the task.

0 points – the task is not completed, repeated instructions are ineffective.

2.2 Quantitative and qualitative analysis of the results obtained

QUANTITATIVE ANALYSIS

Method No. 1. “Methodology for perceiving intonation.”

QUALITATIVE ANALYSIS

Evelina P. Independently coped with determining the presence of a declarative, interrogative and exclamatory sentence. Some errors arose when differentiating the types of intonation in a sentence, which Evelina immediately corrected on her own. In the poetic text, the intonation was perceived much better, without errors. Errors occurred when perceiving the emotional pronunciation of sentences and when determining the completeness of a sentence.

Sveta B. Makes mistakes in defining declarative, interrogative and exclamatory sentences, finds and corrects errors independently. When differentiating types of intonation in a sentence, the help of a speech therapist is required. In the poetic text, intonation was perceived with errors, which were corrected independently. When perceiving the emotional pronunciation of sentences and when determining the completeness of a sentence, the active assistance of an adult is required.

Olesya B. Independently determines the presence of declarative and exclamatory sentences, got a little confused with interrogative sentences, independently found and corrected errors. Some errors arose when differentiating the types of intonation in a sentence, which Olesya immediately corrected on her own. In the poetic text, the intonation was perceived much better, without errors. Errors occurred when perceiving the emotional pronunciation of sentences and when determining the completeness of a sentence.

Nikita M. In determining the presence of a narrative sentence, he made serious mistakes, which he tried to find and correct on his own. Active help from an adult was required in identifying interrogative and exclamatory sentences, as well as in differentiating types of intonation in a sentence. In the poetic text, intonation was perceived with errors, which Nikita corrected independently after some attempts. Many errors occurred when perceiving the emotional pronunciation of sentences, which the child himself tried to correct.

Georgy Ch. Independently, without errors, determines the presence of a narrative sentence. Makes mistakes in identifying interrogative and exclamatory sentences, finds and corrects errors independently. Accuracies arose when differentiating types of intonation in a sentence, which Georgy independently corrected. In the poetic text, the intonation was perceived much better, without errors. Errors occurred when perceiving the emotional pronunciation of sentences and when determining the completeness of a sentence.

QUANTITATIVE ANALYSIS

Method No. 2. "Method of reproducing intonation."

QUALITATIVE ANALYSIS

Evelina P. Reflectively reproduces phrases with different intonations and poetic lines in accordance with the intonation of the speech therapist, but only after repeated demonstration of the model. When independently reproducing intonations that reflect the emotional state based on the material of individual phrases, Evelina makes mistakes and independently corrects them as she works. The child also makes many mistakes when independently reproducing the melody of narrative, interrogative, and exclamatory sentences.

Sveta B. When reproducing phrases with different intonations and poetic lines in accordance with the intonation of the speech therapist, she makes mistakes, which she corrects with effort. When independently reproducing intonations that reflect the emotional state based on the material of individual phrases, Sveta requires the active help of an adult. The child also needs help when independently reproducing the melody of narrative, interrogative, and exclamatory sentences.

Olesya B. Reflectively reproduces phrases with different intonations and poetic lines in accordance with the intonation of the speech therapist, but only after repeated demonstration of the model. When independently reproducing intonations that reflect the emotional state based on the material of individual phrases, Olesya makes mistakes and independently corrects them as she works. When independently reproducing the melody of narrative, interrogative, and exclamatory sentences, the child does not make mistakes, but only after repeatedly demonstrating the model.

Nikita M. When reproducing phrases with different intonations and poetic lines in accordance with the intonation of the speech therapist, he makes mistakes that he cannot correct on his own. Active assistance from an adult is required. Independently cannot reproduce intonations that reflect the emotional state based on the material of individual phrases; repeated instructions are ineffective. Nikita needs help when independently reproducing the melody of narrative, interrogative, and exclamatory sentences.

Georgy Ch. Reflectively reproduces phrases with different intonations and poetic lines in accordance with the intonation of the speech therapist, but only after repeated demonstration of the model. When independently reproducing intonations that reflect the emotional state based on the material of individual phrases, Georgy makes mistakes and independently corrects them as he works. The child also makes many mistakes when independently reproducing the melody of narrative, interrogative, and exclamatory sentences.

QUANTITATIVE ANALYSIS

Method No. 3. “Methodology for the perception of logical stress.”

QUALITATIVE ANALYSIS

Evelina P. With errors, he notes, names and shows in story pictures the word highlighted by voice in narrative and interrogative sentences. Inaccuracies are corrected independently as work progresses. In a poetic text, he correctly identifies the word highlighted by the speech therapist, without the help of adults.

Sveta B. When identifying a word highlighted by a speech therapist in a narrative sentence and in a poetic text, the child cannot cope independently and requires the active help of an adult. Makes mistakes when defining the word highlighted by the speech therapist in an interrogative sentence, corrects them independently without the help of a speech therapist.

Olesya B. With errors, marks and names the word highlighted by voice in a narrative sentence. In a question sentence and a poetic text, he correctly identifies the word highlighted by the speech therapist, without the help of adults.

Nikita M. When identifying a word highlighted by a speech therapist in narrative and interrogative sentences, the child cannot cope independently and requires the active assistance of an adult. Makes mistakes when defining a word highlighted by a speech therapist in a poetic text, and corrects them independently without the help of a speech therapist.

Georgy Ch. With errors, he notes, names and shows in story pictures the word highlighted by voice in narrative and interrogative sentences. Inaccuracies are corrected independently as work progresses. In a poetic text, he correctly identifies the word highlighted by the speech therapist, without the help of adults.

QUANTITATIVE ANALYSIS

Method No. 4. "Method of reproducing logical stress."

QUALITATIVE ANALYSIS

Evelina P. Reproduces phrases with logical stress according to a model with errors that are corrected independently as work progresses. When comparing two sentences that differ only in stress, he also makes mistakes. Correctly answers questions about story pictures, but only after several trials, after demonstrating a sample. When reproducing phrases with narrative and interrogative intonation with shifting logical stress depending on the number of words in the sentence, he makes mistakes. He also gets confused when independently choosing a word pronounced with logical stress, depending on the intended meaning.

Sveta B. Makes mistakes when reproducing phrases with logical stress according to a model, when reproducing logical stress when answering questions based on plot pictures, when reproducing phrases with narrative and interrogative intonation with moving logical stress depending on the number of words in the sentence. The active assistance of an adult is required when comparing two sentences that differ only in logical stress, while independently choosing a word pronounced with logical stress depending on the intended meaning.

Olesya B. Correctly answers questions about story pictures, but only after several trials, after demonstrating a sample. Makes mistakes when reproducing a phrase with logical stress according to a model, when comparing two sentences that differ only in logical stress, when reproducing phrases with narrative and interrogative intonation with the movement of logical stress depending on the number of words in the sentence. Active assistance from an adult is required when independently choosing a word pronounced with logical emphasis depending on the intended meaning.

Nikita M. Active assistance from an adult is required when reproducing a phrase with logical stress according to a model, when comparing two sentences that differ only in logical stress, when reproducing phrases with narrative and interrogative intonation with the movement of logical stress depending on the number of words in the sentence, when independently choosing a word pronounced with logical stress depending on the intended meaning. Makes mistakes when reproducing logical stress when answering questions based on plot pictures.

Georgy Ch. Reproduces phrases with logical stress according to the model correctly, but only after repeated demonstration of the model. When comparing two sentences that differ only in stress, he makes mistakes. Correctly answers questions about story pictures, but only after several trials, after demonstrating a sample. When reproducing phrases with narrative and interrogative intonation with shifting logical stress depending on the number of words in the sentence, he makes mistakes. He also gets confused when independently choosing a word pronounced with logical stress, depending on the intended meaning.

QUANTITATIVE ANALYSIS

QUALITATIVE ANALYSIS

Evelina P. Isolated sounds and onomatopoeia, pronounced at different pitches of the voice, are perceived well, with sufficient modulation in pitch. Reproduction of isolated sounds and onomatopoeia with lowering and raising the pitch of the voice is performed with insufficient modulation of the voice in pitch. Reproduction of a progressive rise and fall of the voice on vowel sounds based on a graphic image or hand movements is performed with insufficient modulations of the voice in pitch.

Sveta B. Isolated sounds and onomatopoeia, pronounced with different pitches of the voice, are performed with insufficient modulations of the voice in pitch. Reproduction of isolated sounds and onomatopoeia with lowering and raising the pitch of the voice is performed with insufficient modulation of the voice in pitch. Reproduction of a progressive rise and fall of the voice on vowel sounds based on a graphic image or hand movements is performed without modulation of the voice in pitch, but when performed conjugately, the pitch of the voice changes.

Olesya B. Isolated sounds and onomatopoeia, pronounced at different pitches of the voice, are perceived well, with sufficient modulation in pitch. Reproduction of isolated sounds and onomatopoeia with lowering and raising the pitch of the voice is performed with insufficient modulation of the voice in pitch. Reproduction of a progressive rise and fall of the voice on vowel sounds based on a graphic image or hand movements is performed without modulation of the voice in pitch, but when performed conjugately, the pitch of the voice changes.

Nikita M. Isolated sounds and onomatopoeia, pronounced with different pitches of the voice, are performed with insufficient modulations of the voice in pitch. Reproduction of isolated sounds and onomatopoeia with lowering and raising the pitch of the voice is performed with insufficient modulation of the voice in pitch. Reproduction of a progressive rise and fall of the voice on vowel sounds based on a graphic image or hand movements is performed without modulation of the voice in pitch, but when performed conjugately, the pitch of the voice changes.

Georgy Ch. Isolated sounds and onomatopoeia, pronounced at different pitches of the voice, are perceived well, with sufficient modulation in pitch. Reproduction of isolated sounds and onomatopoeia with lowering and raising the pitch of the voice is performed with insufficient modulation of the voice in pitch. Reproduction of a progressive rise and fall of the voice on vowel sounds based on a graphic image or hand movements is performed with insufficient modulations of the voice in pitch.

QUANTITATIVE ANALYSIS

QUALITATIVE ANALYSIS

Evelina P. Individual sounds and onomatopoeia, pronounced with different voice strengths, are perceived and pronounced correctly, but only after several trials. Reproduces with errors the gradual increase and decrease in voice strength when pronouncing individual sounds and onomatopoeia.

Sveta B. Individual sounds and onomatopoeia, pronounced with different voice strengths, are perceived and pronounced with errors, which are independently corrected as work progresses. To reproduce the gradual increase and decrease in voice strength when pronouncing individual sounds and onomatopoeia, the active assistance of an adult is required.

Olesya B. Individual sounds and onomatopoeia, pronounced with different voice strengths, are perceived and pronounced correctly, but only after several trials. Reproduces with errors the gradual increase and decrease in voice strength when pronouncing individual sounds and onomatopoeia.

Nikita M. Individual sounds and onomatopoeia, pronounced with different voice strengths, are perceived and pronounced with errors, which are independently corrected as work progresses. To reproduce the gradual increase and decrease in voice strength when pronouncing individual sounds and onomatopoeia, the active assistance of an adult is required.

Georgy Ch. He perceives individual sounds and onomatopoeia pronounced with different voice strengths correctly, but only after several trials. Reproduces with errors individual sounds and onomatopoeias pronounced with different voice strengths, as well as a gradual increase and decrease in voice strength when pronouncing individual sounds and onomatopoeias.

QUANTITATIVE ANALYSIS

Method No. 7. "Method of timbre perception."

QUALITATIVE ANALYSIS

Georgy Ch. To distinguish the timbre of a voice based on interjections, the active assistance of an adult is required. Distinguishing the timbre of a voice based on the material of sentences and distinguishing the timbre of the voice of people of different ages occurs with errors, which are corrected independently as work progresses.

QUANTITATIVE ANALYSIS

Method No. 8. “Method of reproducing voice timbre.”

QUALITATIVE ANALYSIS

Evelina P

Sveta B. When conveying an emotional state through interjections using different shades of voice and when conveying the timbre of the voice depending on which fairy tale character is being imitated, some changes in voice coloring are noted, but they are not expressive enough and not entirely correct.

Olesya B. He copes correctly with conveying an emotional state with interjections using different shades of voice, but only after several tests. Correctly conveys the timbre of the voice depending on which fairy tale character he imitates.

Nikita M. When conveying an emotional state through interjections using different shades of voice and when conveying the timbre of the voice depending on which fairy tale character is being imitated, some changes in voice coloring are noted, but they are not expressive enough and not entirely correct.

Georgy Ch. He copes correctly with conveying an emotional state with interjections using different shades of voice, but only after several tests. Correctly conveys the timbre of the voice depending on which fairy tale character he imitates.

FINAL QUANTITATIVE ANALYSIS

Method No. 1. “Methodology for perceiving intonation.”

QUALITATIVE ANALYSIS

Evelina P. Showed good results. She is able to distinguish and reproduce various intonation structures in impressive speech. Understands and reproduces the selection of the main meaning of the word in a phrase. Able to identify and intonate the gradual movement of a melody from bottom to top, top to bottom. Copes well with changing voice volume. Determines the nature of the sound of the tone of the voice by ear.

Sveta B. Didn't show very good results. She has difficulty distinguishing intonation structures in impressive speech, and confuses the perception and reproduction of interrogative, narrative and exclamatory intonations. Poorly understands and reproduces the selection of the main meaning of the word in a phrase. Has difficulty identifying and intoning the gradual movement of the melody from bottom to top, top to bottom. At the average level, it copes with changes in voice volume and determines the nature of the sound of the tone of the voice by ear.

Olesya B. Showed good results. She is able to distinguish and reproduce various intonation structures in impressive speech. Understands and reproduces the selection of the main meaning of the word in a phrase. Able to identify and intonate the gradual movement of a melody from bottom to top, top to bottom. Copes well with changing voice volume. Determines the nature of the sound of the tone of the voice by ear.

Nikita M. Didn't show very good results. He has difficulty distinguishing intonation structures in impressive speech, and confuses the perception and reproduction of interrogative, narrative and exclamatory intonations. Poorly understands and reproduces the identification of the main meaning of the word in a phrase; assistance from adults is required. Has difficulty identifying and intoning the gradual movement of the melody from bottom to top, top to bottom. At the average level, it copes with changes in voice volume and determines the nature of the sound of the tone of the voice by ear.

Georgy Ch. Showed good results. He is able to distinguish and reproduce various intonation structures in impressive speech. Understands and reproduces the selection of the main meaning of the word in a phrase. Able to identify and intonate the gradual movement of a melody from bottom to top, top to bottom. Copes well with changing voice volume. Determines the nature of the sound of the tone of the voice by ear.

Conclusion

The role of the intonation aspect of speech is extremely important. First of all, it ensures the design of phrases as integral semantic units, and, at the same time, ensures the transmission of information about the communicative type of utterance, about the emotional state of the speaker.

Preschool age is the most favorable for solving correctional problems and mastering the intonation characteristics of speech.

The purpose of this work was to identify the features of the intonation side of speech in children with erased dysarthria.

This goal required solving the following tasks:

– study theoretical material on the research topic;

– to select a set of methods aimed at diagnosing the intonation aspect of speech in older preschool children with erased dysarthria;

– select a contingent of children;

– conduct a confirmatory experiment;

– provide an analysis of the data obtained;

In the course of the study, the hypothesis was confirmed that diagnostic material aimed at studying melody, voice strength, voice pitch, timbre will help us identify the features of the intonation side of speech in older preschool children with erased dysarthria.

In our work, we relied on the theoretical and methodological works of specialists in the field of speech disorders and speech disorders (E.F. Arkhipova, R.E. Levina, I.A. Povarova, T.B. Filicheva, G.V. Chirkina, M. E. Khvattsev, L. V. Bondarko, A. M. Gvozdev, L. R. Zinder, N. D. Svetozarova, L. V. Shcherba, N. H. Shvachkin).

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Budgetary institution of secondary vocational educationKhanty-Mansi Autonomous Okrug-Ugra

"Nizhnevartovsk State Social and Humanitarian College"

GRADUATE QUALIFYING WORK

“FORMATION OF INTONATIONAL SPEECH EXPRESSIVENESS IN SENIOR PRESCHOOL CHILDREN”

students 411/3 groups

Kirshanova Elena Sergeevna

speciality

"Preschool education"

Supervisor

Vinyukova Inna Viktorovna

Nizhnevartovsk, 2012

INTRODUCTION

CHAPTER 1. THEORETICAL FRAMEWORK FOR FORMING INTONATIONAL EXPRESSIVE SPEECH IN SENIOR PRESCHOOL CHILDREN

1.1 Domestic theories of the concept of “intonation side of speech”

1.2 Features of the formation of intonation expressiveness of speech in older preschoolers

1.3 Methods and techniques for developing speech expressiveness

1.4 Theatrical play as a means of developing intonational expressiveness of speech in children of senior preschool age

CHAPTER 2. EXPERIMENTAL WORK ON FORMING INTONATIONAL EXPRESSIVE SPEECH IN SENIOR PRESCHOOL CHILDREN THROUGH THEATER GAMES

2.2 Formative stage of experimental work on the formation of intonational expressiveness of speech in children of senior preschool age

2.3 The final stage of experimental work on the formation of intonational expressiveness of speech in children of senior preschool age

CONCLUSION

LIST OF USED SOURCES

APPLICATIONS

Annex 1

Appendix 2

Appendix 3

Appendix 4

Appendix 5

Appendix 6

Appendix 7

INTRODUCTION

Speech is the activity of communication. Expressions, influences, messages are realized through language; speech is language in action. We can distinguish two main functions of speech - communicative and significative, thanks to which speech is a means of communication and a form of existence of thought and consciousness. They are formed one through the other and function one in the other.

Speech communication is a complex and multifaceted process.

Intonation expressiveness of speech is one of the prerequisites for the formation of communicative competence, which greatly facilitates communication, contributes to the successful interaction of the child with peers and teachers, and the satisfaction of intellectual and emotional needs.

The formation of intonation expressiveness in children is a complex process; the child learns to control his speech organs, perceive speech addressed to him, and exercise control over the speech of others and his own. intonation speech game preschool

At preschool age, children are most sensitive to linguistic phenomena. A child who freely uses the word, enjoys his speech, and when conveying feelings, involuntarily uses a wealth of intonations, facial expressions and gestures. A different picture emerges when children’s development of intonation expressiveness of speech is impaired. According to V.I. Seliverstova, “the lack of incentive and desire to speak, the fear of verbal communication lead to the fact that the child’s speech becomes dull, sluggish, quiet, and inexpressive.”

Insufficient development of the intonation side of speech of preschool children leads to difficulties in organizing communicative activities, reducing the need and effectiveness of speech interaction, and limiting communicative potential. This determines the expediency of measures to develop intonation expressiveness of speech in a set of measures to correct speech fluency disorders.

Children will need voice modulation skills when reading and retelling a work, in which, along with narrative sentences, there are also interrogative and exclamatory sentences. It is this skill that will help make speech emotionally rich, expressive, and meaningful, which is undoubtedly the key to children’s successful education at school.

We believe that the use of theatrical games in working with older preschoolers will open up broad prospects for the formation of intonational expressiveness of children's speech; the basis of our assumption is the following features:

· expressiveness of the language, facilitating the child’s mastery of the best examples of Russian speech;

· traditionalism and improvisation;

· the possibility of a creative attitude towards their execution, which makes the joint action more vivid and expressive.

Due to these features, theatrical play is an effective means of developing intonational expressiveness of speech, since it reveals to the child the beauty and accuracy of the Russian language, thereby enriching children's speech.

Theatrical games can be considered the optimal content of artistic, speech and gaming activities. In these types of activities, favorable conditions are created for improving the verbal and non-verbal expressiveness of speech, as well as for the child’s verbal self-expression.

Research problem: What are the content and structure of work on the formation of intonation expressiveness of the speech of older preschoolers?

Target: the process of formation of intonation expressiveness of speech in children of senior preschool age

Object of study - intonation expressiveness of speech in preschoolers.

Subject of study - features of the formation and development of intonation expressiveness of speech in older preschoolers in the process of theatrical games.

Hypothesis: we assume that if theatrical games are actively used in the system of pedagogical work aimed at developing the intonation expressiveness of children of senior preschool age, this will increase the emotional mood for classes and other forms of work, which will more effectively affect the development of intonational expressiveness of children’s speech.

Tasks:

1. Study psychological and pedagogical literature on the research problem.

2. Consider the features of the formation of intonation expressiveness of speech in older preschoolers

3. To identify the levels of development of intonation expressiveness in the speech of children of senior preschool age.

4. Develop a set of measures to develop intonation expressiveness of speech through the use of theatrical games.

5. Assess the effectiveness of the developed set of measures for the development of intonational expressiveness of speech through the use of theatrical games.

Research methods:

1. Methods of studying, analyzing and summarizing literary data (familiarity with bibliography, selection and systematization of sources on problems);

2. Interviewing - conversations with children, parents, teachers;

3. Organizational method (creation of pedagogical situations for studying the features of intonational expressiveness of speech);

4. Empirical method (experimental) - ascertaining, control and formative experiments;

5. Quantitative and qualitative analysis of the data obtained, interpretive methods that contribute to the theoretical study of connections between the phenomena being studied (connections between the particular and the whole, between individual parameters and phenomena as a whole).

Methodological basis of the study: The research compiled the modern scientific ideas of domestic psychologists and speech therapists about the basic patterns of speech formation both in conditions of normal and abnormal development. The idea of ​​unity and complex interaction of organic and social factors in ontogenetic development was leading, both at the research stage and in the interpretation of the results. In our work, we relied on the theoretical and methodological works of specialists in the field of speech disorders and speech disorders (E.F. Arkhipova, R.E. Levina, I.A. Povarova, T.B. Filicheva, G.V. Chirkina, M. E. Khvattsev, L.V. Bondarko, A.M. Gvozdev, L.R. Zinder, N.D. Svetozarova, L.V. Shcherba, N.H. Shvachkin).

Research base: MBDOU DS No. 3 “Petushok”, Srezhevoy, Tomsk region. A group of 24 children of senior preschool age took part in the study.

Practical significance of the study: Methods for examining the intonation expressiveness of speech in preschool children have been systematized; Specific features of the formation and development of the expressive side of speech of older preschool children have been identified.

CHAPTER 1. THEORETICAL FRAMEWORK FOR FORMING INTONATIONAL EXPRESSIVE SPEECH IN SENIOR PRESCHOOL CHILDREN

1.1 Domestic theories of the concept of “intonation side of speech”

A person’s speech, rich in various intonation characteristics, is considered expressive.

Prosody- a complex set of elements, including melody, rhythm, intensity, tempo, timbre and logical stress, serving at the sentence level to express various syntactic meanings and categories, as well as expression and emotions.

Intonation- This is the main component of prosody. Intonation includes several acoustic components: tone of voice, its timbre, intensity, or strength of voice sound, melody, pauses, verbal logical stress, rate of speech.

Casting intensity- the degree of strengthening or weakening of exhalation, voice, tempo and articulation when pronouncing speech sounds, that is, the strength or weakness of pronunciation when articulating sounds, especially vowels.

Melody of speech- a set of tonal means characteristic of a given language; modulation of pitch when pronouncing a phrase.

Rhythm of speech- orderliness of the sound, verbal and syntactic composition of speech, determined by its semantic task.

Speech rate- the speed of speech in time, its acceleration or deceleration, which determines the degree of its articulatory and auditory tension.

Logical stress- intonation device; highlighting a word in a sentence by intonation; words are pronounced more articulately, longer, louder.

These acoustic characteristics of intonation depend on the frequency and amplitude of vibration of the vocal cords, on the degree of muscular tension of the speech organs, on the different speed of change of articulations, and on emotional tone.

The history of the development of special studies of intonation in linguistics can be divided into two periods. The first - from the end of the 19th to the beginning of the 20th century - is characterized by the search for an object of study and methods for its analysis. In the second period, from the 40s of the 20th century to the present day, there was an expansion of intonation research associated with the development of both linguistic theory and the technique of instrumental phonetics. In addition to studying intonation as a set of suprasegmental units, researchers analyze its individual components. The works of L.V. are of greatest importance for the theory of intonation. Bondarko, E.A. Bryzgunova, V.V. Vinogradova, A.M. Gvozdeva, L.R. Zindera, L.V. Zlatoustova, T.M. Nikolaeva, N.D. Svetozarova, I.T. Torsueva, L.K. Tseplitis, N.V. Cheremisina, L.V. Shcherby.

As a phonetic phenomenon, intonation is considered in various aspects: articulatory, acoustic, linguistic.

The study of intonation in the articulatory aspect involves identifying the work of the speech organs.

The study of intonation in the acoustic aspect considers speech as the oscillatory movements of an air stream affecting the human hearing system, which manifests the objective characteristics of intonation: frequency of the fundamental tone, spectrum, intensity and duration (Altman Ya.P., Gershuni G.V., Chistovich L. A., Ventsov A.V.).

The main components of intonation are usually correlated with the listed acoustic parameters: stress, melody, tempo, timbre and pauses, highlighting melody and stress as the most important and most unique components of Russian intonation (Cheremisina N.V., Zinder L.R.).

The study of intonation in the perceptual aspect involves the study of those correspondences to the objective characteristics of intonation, thanks to which a person perceives this or that meaning conveyed by intonation. Sound sensations that correlate with the objective characteristics of intonation are height, duration, volume, timbre (Vakhtina N.Yu.).

In the linguistic aspect, intonation is understood as a complex unity of melodic, dynamic and temporal characteristics of speech. Each of these parameters has its own specific units - carriers of meaning. (Nikolaeva T.M.).

According to the observations of Zinder L.R. all components of intonation, except the pause, are necessarily present in the utterance, because no element of it can be pronounced without some kind of pitch, strength, and so on.

The prosodic organization of speech is understood as a set of sound means that form sequences of segmental units (phonemes) and serve to combine them into meaningful linguistic units: words, syntagms, statements. According to N.D. Svetozarov’s use of such obligatory sound features as duration, intensity and frequency of the fundamental tone as prosodic characteristics of speech is one of the universal properties of human speech.

N.I. Zhinkin, considering the prosodic organization of language, notes that “the natural form of language realization is sound. Sound as a function of time varies according to the following parameters: duration, fundamental strength and height.” The researcher calls the control of these parameters during speech prosody. And the realized set of these parameters is intonation.

E.A. Bryzgunova, analyzing the relationship between the components of intonation, argues that logical stress is formed in speech by a combination of these components, since at logical centers the voice changes in pitch, strength, tempo, and timbre.

The question of the nature of the units involved in the intonational design of an utterance was examined in detail by L.V. Shcherba, who noted that the connection between the semantic and sound aspects of speech is carried out within the simplest syntactic whole - syntagma, a single semantic whole in the process of speech - thought.

I.G. Torsueva, using a semantic approach to identify rhea units, identifies statements. The main characteristics of an utterance are its communicative orientation, targeting, the possibility of semantic division, emotional richness, and the presence of subtext. Unlike a sentence that has meaning, a statement, in addition to meaning, has a specific holistic meaning, it has authorship and an expressive side.

The intonation of each phrase is the result of the interaction of many factors, the most important being: the communicative attitude of the speaker, his reflection of the communication situation, the universal physiological foundations of speech production.

The most emotional phrases are such as “exclamation”, “command”, “implication”, phrases like “general and special question” have a lower degree of emotionality, and a weak degree of emotional intensity is characteristic of simple statements and phrases.

L.V. Bondarko identifies several factors that determine the behavior of all components of intonation: “... the place of the main stress in the syntagm is important: it is in this place that the most significant change in melody occurs - a decrease or increase. The very direction of change is determined by the type of intonation (narration, question, unfinished intonation, exclamation).” Changes in tempo and volume are also related to the place of the main stress: if it is close to the end of the syntagma, then the tempo slows down more significantly, and the volume is weakened less than in the case when the syntagmatic stress is close to the beginning of the syntagma.

Studying the intonation of conversational speech allows us to draw the following conclusions. Spontaneous speech does not have its own intonation resources. However, a distinctive feature of spontaneous speech is that a number of general language intonation patterns undergo transformation, which manifests itself in the interruption of the intonation pattern, its restructuring, and the combination of different intonation patterns to convey the same meaning. In spontaneous speech, there is a maximum interaction of verbal and intonation means, the synthesis of which is aimed at solving a communicative problem, at expressing emotional meanings.

In the case of insufficient development of the intonation side of speech, persons with speech pathology may experience difficulties in organizing communicative activities, a decrease in the need and effectiveness of speech interaction, limitation of communicative potential, “failures” in the social-perceptual, interactional and communicative communication systems, leading to violations in the sphere of interpersonal relationships.

1.2 Features of the formation of intonation expressiveness of speech in older preschoolers

Senior preschool age is a period of intensive personality formation, which is characterized by the formation of the foundations of self-awareness and creative individuality of the child in various types of activities (L.S. Vygotsky, V.A. Zhilin, G.G. Kravtsov, etc.).

In the system of factors that determine the development of personality, a special role belongs to the expressiveness of speech. Already in the early stages of ontogenesis, speech becomes the main means of communication, thinking, planning activities, and voluntary control of behavior (L.S. Vygotsky and others).

Upon reaching senior preschool age, the formation of speech is so significant that we can talk not only about their mastery of phonetics, vocabulary, and grammar, but also about the development of such qualities of speech as content, accuracy and expressiveness.

Speech is an important means of self-expression for a child. From this point of view, expressiveness as a qualitative characteristic of speech is of particular importance; many researchers emphasize the functional significance of speech expressiveness (E.E. Artemova, N.S. Zhukova, etc.).

Expressiveness of speech ensures the effectiveness of communication and helps convey the meaning of the statement to listeners. Appropriate and justified use of means of verbal expression makes an older preschooler an interesting interlocutor and a desirable participant in various activities, and allows him to attract the attention of adults and peers. An older preschooler with expressive speech feels more relaxed and confident in any environment due to the fact that he can express thoughts and feelings through adequate means and show his creative individuality.

Expressiveness of speech allows an older preschooler to express himself more clearly in various types of activities, and above all, in play and art. Expressiveness characterizes not only the level of formation of children's speech, but also the personality traits of an older preschooler: openness, emotionality, sociability, and so on. The broad influence that expressiveness has on an individual’s communicative culture, relationships with others, and self-expression in various types of creative activity necessitates the study of factors and means of developing expressive speech in older preschool age.

L.S. Vygotsky emphasized that the essence of the process of formation of an individual lies in his gradual entry into human culture through the mastery of special “tools of the mind.” These, first of all, include language and speech, which always stand between a person and the world, and are means of discovering for the subject the most significant aspects of the surrounding reality. The cumulative accumulative function of the native language allows us to consider it an important channel for the spiritual formation of personality.

The limited intonation capabilities of preschoolers are characterized by a number of features:

· violations of coordination of movements of the respiratory, vocal and articulatory muscles;

· respiratory dysfunction: weakened speech breathing, short speech exhalation, disruption of the respiratory rhythm during the speech act;

· difficulties in children perceiving and reproducing the emotional meanings of intonation;

· violations of the melodic component of intonation;

· violations of the tempo-rhythmic organization of utterances.

If children's speech is undeveloped or poorly developed, then mental processes such as attention, memory, perception and, most importantly, logical thinking suffer. Therefore, it is necessary to develop communication skills in preschool children. It is very important that the child knows how to control his voice, intonation, and is able to modulate his voice depending on the environment in which he is, be it communicating with adults, peers, in play, educational activities or in everyday life.

Work on developing expressive speech in older preschoolers should permeate the entire life of children in kindergarten, should be carried out in all classes: teachers, music director, in physical education classes, and be included in all routine moments, starting from the moment the child arrives in kindergarten.

The rhythm and intonation of speech and poetry begin to give way to the word. The word, first in speech, then in poetry, becomes a carrier of meaning, and rhythm and intonation turn into a kind of accompaniment of verbal speech. At the same time, restructuring the rhythm and intonation of speech is fraught with danger: the word can push aside the rhythm so much that the child’s speech actually loses its expressive color and rhythm.

Education of rhythm and intonation is not only a problem of improving the expressiveness of speech itself. As the classics of pedagogy and psychology have repeatedly noted, rich rhythmic speech contributes to the overall mental development of the child and facilitates learning.

To develop the expressive side of speech, it is necessary to create conditions in which each child could express his emotions, feelings, desires and views, not only in ordinary conversation, but also publicly, without being embarrassed by the presence of outside listeners. It is important to teach this in early childhood, since it often happens that people with rich spiritual content and expressive speech turn out to be withdrawn, shy, avoid public speaking, and get lost in the presence of unfamiliar people.

The habit of expressive speech can be cultivated in a person only by involving him from an early age in speaking in front of an audience. Theatrical activities in preschool educational institutions can be of great help in this regard.

Thus, the expressiveness of speech is integrated and includes verbal and nonverbal means. The issue of developing expressive speech is related to the general learning process. The richer and more expressive a child’s speech, the deeper, broader and more varied his attitude to the content of speech; Expressive speech complements and enriches the content of a preschooler’s speech. The issue of developing expressive speech is related to the general learning process. The richer and more expressive a child’s speech, the deeper, broader and more varied his attitude to the content of speech. Expressive speech complements and enriches the content of speech of an older preschooler.

1.3 Methods and techniques for developing speech expressiveness

Theatrical activities are a source of development of feelings, deep experiences and discoveries of the child, introducing him to spiritual values. This is a concrete, visible result. But it is no less important that classes with elements of theatrical games develop the emotional sphere of the child, force him to sympathize with the characters, empathize with the events being played out and thereby form expressive speech.

The artistic expressiveness of the images and sometimes the comic nature of the characters enhance the impression of their statements, actions, and events in which they participate. The intonation expressiveness of speech and children's creativity are especially evident in theatrical games.

An analysis of psychological and pedagogical literature reveals that the concept of “speech expressiveness” has an integrated nature (Fig. 1).

Rice . 1 . - Speech expressiveness scheme

The process of speech development involves mastering not only the content, but also the figurative emotional side of the language. L.S. Vygotsky wrote: “The more expressive the speech, the more it is speech, and not just language, because the more expressive the speech, the more the speaker appears in it; his face, himself." He considers expressiveness as a qualitative characteristic of speech, which is closely related to the manifestation of a person’s individuality.

In the methodology for developing speech expressiveness, several groups of methods can be distinguished.

Visual methods. If the objects being studied can be observed by children directly, the teacher uses the observation method or its variations: inspection of the premises, excursion, examination of natural objects. If objects are not available for direct observation, the teacher introduces children to them indirectly, most often using visual means, showing paintings and photographs, films and filmstrips.

Indirect visual methods are used in kindergarten and for secondary familiarization with the object, consolidation of knowledge acquired during observation, and the formation of coherent speech. For this purpose, methods are used such as looking at pictures with content familiar to children, looking at toys (as conventional images that reflect the world around them in three-dimensional visual forms), children describing pictures and toys, and inventing plot stories. Of course, in all these processes, the teacher’s word is necessarily assumed, which guides the children’s perception, explains and names what is being shown. The source that determines the range of conversations and reasoning between the teacher and children is visual objects or phenomena.

Verbal methods in kindergarten they are used less often than in school. In kindergarten, mainly those verbal methods that are associated with artistic expression are used. The teacher reads works of art provided by the program to the children. More complex methods are also used - memorization, retelling.

Less common in preschools teacher story method, although it should take place both in early age groups (story without showing) and in preschool groups (stories from the life experience of the teacher, stories about noble, heroic deeds of children and adults).

In older groups, to consolidate previously communicated knowledge and to accustom them to collective conversation, it is used conversation method.

Verbal methods in their so-called pure form are used very rarely in kindergarten. The age-related characteristics of preschoolers require reliance on visibility, therefore, in all verbal methods, either visual teaching techniques are used (short-term display of an object, a toy, looking at illustrations), or demonstration of a visual object for the purpose of relaxation, relaxation of children (reading poetry to a doll, the appearance of a solution - an object and etc.) .

Practical methods. The purpose of these methods is to teach children to apply the acquired knowledge in practice, to help them acquire and improve their speech skills. In kindergarten, practical methods are most often playful in nature.

Didactic game(with visual material and verbal) - a universal method of consolidating knowledge and skills. It is used to solve all speech development problems. Work with a familiar literary text can be done using a dramatization game or tabletop dramatization. The same methods apply to teaching storytelling. When familiarizing children with certain phenomena of everyday life and nature, labor methods can be used in classes. Practical methods include those developed by S.V. Peterina visual games-activities, games-dramatization of an ethical nature. To carry them out, appropriate equipment is required: a doll and a large toy bear (1 m 20 cm), which ensures actions with them as partners and gives a great educational effect.

The main goal of these games-activities is to foster a culture of behavior in children, but they are also extremely important for the development of expressive speech, as they enrich the vocabulary and consolidate speaking skills. For example, in the lesson “Tanya the doll is visiting us,” children not only observe actions with the doll, but also sit around the tables set for tea, learn to maintain a general conversation while eating, show attention to the guest and to each other, and try to eat gracefully , behave correctly at the table.

Each method is a set of techniques used to solve didactic problems (introduce new things, consolidate a skill or skill, creatively rework what has been learned).

Reception-- is a method element. Currently, the methodology of speech development, like general didactics, does not have a stable classification of techniques. First of all, they can be divided according to the role of clarity and emotionality into verbal, visual, and playful.

The most common verbal techniques are as follows.

Speech sample- correct, pre-worked speech (language) activity of the teacher. The model must be available for repetition and imitation. In order to achieve children's conscious perception of the model, to increase the role of children's independence, it is useful to accompany the model with other techniques - explanations, instructions. The sample must precede children's speech activity; During one lesson it can be used repeatedly, as needed. The speech sample is presented to children in an emphatically clear, loud, and leisurely manner.

Repetition- deliberate, repeated use of the same speech element (sound, word, phrase) for the purpose of memorizing it. Practices include repetition of material by the teacher, individual repetition by the child, joint repetition (of the teacher and the child or two children), as well as choral repetition. Choral repetition especially needs clear guidance. It is advisable to send him an explanation: invite everyone to say it together, clearly, but not loudly.

Explanation- disclosure by the teacher of the essence of any phenomenon or course of action. This technique is most widely used in dictionary work, but it also finds its place in solving other problems.

Directions- explaining to children how to act, how to achieve the required result. There are different instructions of a training nature, as well as organizational and disciplinary ones.

Verbal exercise-- repeated performance by children of certain speech actions to develop and improve speech skills. Unlike repetition, the exercise is characterized by greater frequency, variability, and a greater proportion of children’s independent efforts.

Assessment of children's speech- a detailed motivated judgment about the child’s answer, revealing the degree of assimilation of knowledge and speech skills. In one lesson, only some children’s answers can be assessed broadly and in detail. As a rule, the assessment concerns one or two qualities of the child’s speech; it is given immediately after the answer, so that other children take it into account when answering. Evaluation often concerns the positive aspects of speech. If shortcomings have been noted, you can invite the child to “learn” - try to correct his answer. In other cases, the teacher can express his opinion about the answer more briefly - with praise, remark, blame.

Question- a verbal address that requires a response, a task for the child that involves the use or processing of existing knowledge. There is a certain classification of questions. According to the content, questions that require statements are distinguished, reproductive (What? Which? Where? Where? How? When? How much? etc.); a more complex category is search, i.e. questions that require inference (Why? Why? How are they similar? etc.). Based on the wording, questions can be divided into direct, leading, and prompting. Each type of question is valuable in its own way.

When posing a question, it is important to correctly determine the place of logical stress, since the child’s answer is directed precisely by the reference word, which carries the main semantic load.

Visual techniques- showing a picture, toy, movement or action (in a dramatization game, in reading a poem), showing the position of the organs of articulation when pronouncing sounds, etc. - also usually combined with verbal techniques, for example, a sample pronunciation of a sound and showing a picture, naming a new word and showing the object it denotes.

In the development of expressive speech in preschoolers, play techniques and simply emotionality in the use of certain techniques are very important:

· exaggeratedly concerned intonation when setting a difficult task,

· use of jokes when explaining a task.

The liveliness of emotions increases the attention of children in the game, as a result of which all speech processes are activated (compare the exercise on classifying objects, which is carried out at tables, and the game “Don’t Yawn!” with the same verbal material, carried out in a circle with a ball, with playing forfeits). During the lesson, especially at the end of it, you can ask humorous questions, use fables, flip-flops, the game “This way or not,” a game character (bring in Parsley, a bear), use game forms of assessment (chips, forfeits, applause). They enhance the emotional impact educational material such techniques as actions by choice (make up a story based on one of these two pictures; remember a poem that you like) or by design. Elements of competition (“Who will say more words?”, “Who can say it better?”), colorfulness, novelty of attributes, and entertaining game plots arouse interest and increase children’s attention to speech material.

According to their teaching role, speech development techniques can be divided into direct and indirect. These categories of techniques have been developed in detail by preschool pedagogy. Examples direct teaching methods are a sample, an explanation, a question, an assessment of the child’s answer, instructions, etc. Among the direct teaching techniques, one can distinguish leading techniques for a given lesson with specific content, basic ones for a given lesson, and additional ones. For example, in a storytelling lesson, depending on its purpose and the level of children’s skills, the leading technique may be a sample story, and others - a plan, options for a plan, questions - will be additional. In another lesson, the leading technique may be a story plan, an additional one - a collective analysis of a separate point of the plan, etc. In a conversation, questions are a leading technique; in teaching storytelling they play an additional, secondary role.

Indirect methods, are a reminder, advice, hint, correction, remark, remark.

A set of techniques is usually used in one lesson. For example, a comparison of objects or illustrations is accompanied by naming, (a sample word), an explanation, a literary word, and appeals to children. The teacher must first not only think through the general course of the lesson, but also carefully outline teaching techniques (precision and brevity of formulations, compatibility of individual techniques). In the methodology, speech development techniques are called differently.

Along with the term “teaching techniques,” others are also used: “techniques for working on speech development,” “techniques for developing correct speech,” “techniques for solving a speech problem.” These terms also have a right to exist. As a rule, they are used in cases when it comes to educational activities (outside of classes). We can talk about methods of working in the book corner: joint examination of the book by the teacher and the child, sorting books, their classification, repair, etc.

Speech development techniques constitute the main specificity of the methodology. A justified, reasonable selection of the necessary techniques largely decides the matter. Thanks to the use of speech development techniques, the closest meeting between the teacher and the child occurs, whom the former encourages to a certain speech action.

Thus, there are many ways and methods of forming the expressiveness of speech. To develop expressive speech, various logorhythmic exercises and speech therapy techniques are used; all exercises and training are carried out in the form of a game, since the game is one of the most accessible and understandable methods for children. Thanks to systematically conducted game exercises, facial expressions become more mobile and expressive, movements acquire greater confidence and controllability, and the expressiveness of speech is formed.

1.4 Theatrical play as a means of developing intonational expressiveness of speech in children of senior preschool age

The process of forming the expressiveness of speech appears to the preschooler as a special area of ​​objective relations, which he comprehends in the process of practical use of language; in a sense, the language system is “extracted by the child” from the speech of the people around him. A special role in the process of forming the expressiveness of speech belongs to theatrical games, which have concentrated all the beauty and richness of the Russian language.

The educational possibilities of theatrical activities are wide. By participating in it, children get acquainted with the world around them in all its diversity through images, colors, sounds, and skillfully posed questions force them to think, analyze, draw conclusions and generalizations. Improvement of speech is also closely related to mental development. In the process of working on the expressiveness of characters’ remarks and their own statements, the child’s vocabulary is imperceptibly activated, the sound culture of his speech and its intonation structure are improved. The role played, the lines spoken, confront the child with the need to express himself clearly, distinctly, and intelligibly. His dialogical speech, grammatical structure, and expressiveness improve.

Theatrical games allow the child to become familiar with the achievements of cultural history and, mastering them, become a cultured person. The child’s independent activities serve to develop his creative abilities in the process of mastering culture. Theatrical play has enormous pedagogical value, consisting in its cognitive, aesthetic and educational significance. The fascination, imagery, emotionality, and dynamism of theatrical games, which are conveyed using special stylistic means, are close to the psychological characteristics of children, their way of thinking, feeling, perceiving the world around them and expressing their attitude to its phenomena and events.

In domestic preschool pedagogy, a fairly wide range of studies has been carried out on the formation of expressive speech through theatrical games (G.I. Baturina, N.F. Vinogradova, R.I. Zhukovskaya, G.F. Kuzina, O.I. Solovyova, E. I. Radina and others).

Research can be grouped according to three main areas:

· general educational significance;

· developmental value;

· an important means of familiarization with the culture of your country.

It can be argued that theatrical activity is a source of development of feelings, deep experiences and discoveries of the child, and introduces him to spiritual values. This is a concrete, visible result. But it is equally important that theatrical activities develop the emotional sphere of the child, force him to sympathize with the characters, empathize with the events being played out and thereby form expressive speech.

Theatrical activities make it possible to develop the experience of social behavioral skills due to the fact that every literary work or fairy tale for preschool children always has a moral orientation (friendship, kindness, honesty, courage, etc.). Thanks to a fairy tale, a child learns about the world not only with his mind, but also with his heart. And he not only knows, but also expresses his own attitude towards good and evil. Favorite heroes become role models and identification. It is the child’s ability to identify with his favorite image that allows teachers to form expressive speech through theatrical activities.

Child development in theatrical activities, the criteria of which emphasize that the teacher is obliged to:

· create conditions for the development of children’s creative activity in theatrical activities

· encourage performing creativity

· develop the ability to behave freely and relaxed when performing

· encourage improvisation through facial expressions, expressive movements and intonation, etc.

· introduce children to theatrical culture (introduce them to the structure of the theater, theatrical genres, and different types of puppet theaters);

· ensure the interconnection of theatrical activities with other types of activities in a single pedagogical process;

· create conditions for joint theatrical activities of children and adults.

To fulfill these criteria, it is necessary to create certain conditions. This is, first of all, the appropriate organization of work. Only a reasonable organization of children's theatrical activities will help the teaching staff choose the best directions, forms and methods of work on this issue, and rationally use personnel potential. This will contribute to the implementation of new forms of communication with children, an individual approach to each child, non-traditional ways of interaction with the family, etc., and, ultimately, the integrity of the pedagogical process and the forms of its implementation, acting as a single, well-thought-out system for organizing the life of children together and adults.

Thus, theatrical activities allow children of senior school age to solve many problematic situations indirectly on behalf of a character. This helps to overcome timidity, self-doubt, shyness, and to form expressive speech. Theatrical games help to develop the child comprehensively. Therefore, it is no coincidence that in the approximate requirements for the content and methods of work in a preschool educational institution, a special section is highlighted, the organization of theatrical activities.

CHAPTER 2. EXPERIMENTAL WORK ON FORMING INTONATIONAL EXPRESSIVE SPEECH IN SENIOR PRESCHOOL CHILDREN THROUGH THEATER GAMES

2.1 Contents of experimental work and results of the ascertaining stage

To study the problem of forming expressive speech in preschool children, we conducted a theoretical analysis of the literature, which showed that theatrical games are the most effective means of developing intonational expressiveness of speech in children of senior preschool age.

The process of forming the expressiveness of speech appears to the preschooler as a special area of ​​objective relations, which he comprehends in the process of practical use of language; in a sense, the language system is “extracted by the child” from the speech of the people around him. A special role in the process of developing speech expressiveness belongs to theatrical games, which have concentrated all the beauty and richness of the Russian language.

The content of experimental work is to confirm or refute the hypothesis in its original position:

If theatrical games are actively used in the system of pedagogical work aimed at developing the intonational expressiveness of children of senior preschool age, this will increase the emotional mood for classes and other forms of work, which will more effectively affect the development of intonational expressiveness of children’s speech.

The pedagogical idea of ​​the experimental work is to develop theatrical classes using methods and methods that should ensure the effectiveness of the formation of intonation expressiveness of speech of older preschoolers.

In our opinion, the effectiveness of the formation of expressive speech largely depends on the professional skill of the teacher, on his knowledge of the child’s psychology, taking into account his age and individual characteristics, on the correct selection of methodological guidance, on the clear organization and conduct of theatrical games, on the organization of the active participation of parents in the process formation of expressive speech in older preschoolers.

Thus, if all the above conditions are met, then the formation of expressive speech will be effective.

The criteria for assessing the effectiveness of classes with elements of theatrical games aimed at developing intonational expressiveness of speech in older preschoolers were:

Tempo-rhythmic characteristics of speech

· rate of speech

· simultaneous implementation of movements and speech

· reproduction of rhythmic patterns

· melodic-intonation characteristics of speech

· logical stress

The purpose of this work: to explore the intonation expressiveness of speech and determine the level of its development in children of senior preschool age.

Hence, purpose of experimental research is to determine the effectiveness of the proposed classes with elements of theatrical games as a means of developing intonational expressiveness of speech in older preschoolers

Tasks experimental experimental research :

· identify the level of formation of intonation expressive speech in children of senior preschool age;

· develop and test classes with elements of theatrical games aimed at developing intonational expressiveness of speech in children of senior preschool age

To solve the problems, methods were used:

1) observation;

2) testing;

3) mathematical processing

4) interpretation of results

Experiment base: MBDOU DS No. 5 “Petushok”, Strezhevoy, Tomsk Region. Children from the older group, 24 people, participated in the ascertaining experiment.

Experimental work consists of three successive stages - ascertaining, formative, control.

Ascertaining stage of experimental research was held in October 201 1 of the year.

Tasks :

· selection of diagnostic techniques;

· determination of the level of formation of intonation expressiveness of speech in older preschoolers.

To carry out the ascertaining stage, we selected the methodology of I.F. Pavalaki “Study of speech expressiveness” (Appendix 1).

This technique is based on several tests that determine the level of formation of speech expressiveness characteristics, which in our study acted as evaluative criteria for the effectiveness of classes with elements of theatrical games aimed at developing speech expressiveness.

The level of development of speech expressiveness was determined on the basis of the data obtained from all research methods as follows, a generalized assessment was derived and the level of speech expressiveness was determined in accordance with the scale:

· high level, if the child scored 9-15 points according to the methods used

· average level, if the child scored 4-8 points using the methods used

· low level, if the child scored 0-3 points according to the methods performed

The ascertaining stage was carried out in two series.

1) examination of the subject-development environment;

2) testing according to the method of I.F. Pavalaki “Study of speech expressiveness” and processing and interpretation of the results.

1. Survey of the subject-development environment

A distinctive feature of the kindergarten is targeted work on the development of play activities. The institution has created comfortable conditions for the emergence and development of different types of games: role-playing, directing, construction, didactic, theatrical, movement, etc.

The game-based educational environment created in kindergarten meets modern requirements and recommendations of the author of the methodology for organizing and directing role-playing play for preschool children M.D. Makhneva. .

For theatrical and play activities, a special room is equipped in the preschool institution - a theater living room, which turns into a winter garden, which made it possible to create the most comfortable conditions for creativity and children.

Before dramatizing a fairy tale, children learn to tell it in roles, finding the right intonation. To form intonational expressiveness of speech, teachers use specially selected sketches and exercises that develop clear pronunciation of words and sounds. This is, first of all, memorizing tongue twisters and pure tongue twisters. First, children are required to pronounce words slowly and clearly, then - clearly and quickly. To master expressive speech, teachers introduce exercises that develop the ability to determine the meaning of logical stresses in the text, and special creative tasks for the development of figurative speech. We are talking about exercises for selecting synonyms and antonyms, coming up with comparisons and epithets for given words.

All of this work is carried out in specially organized classes in theater studies, in the joint activities of teachers and children, as well as in the work of a theater studio. Classes in theater studies are included in the block of cognitive cycle classes and are held regularly: once a month. Which, in general, is not enough to form expressive speech.

The structure of these classes includes exercises to develop children's intonation expressiveness of speech, the development of emotions, movements, gestures, and facial expressions. Finger gymnastics is carried out, which is a preparatory stage in preparing the child’s hand to control riding puppets.

Taking into account the comprehensive educational programs implemented in kindergarten, the teaching staff purposefully creates conditions for the cognitive and speech development of children, however, almost no classes are conducted on the formation of expressive speech through theatrical games due to the lack of scientifically developed methods.

2. Study of speech expressiveness, processing and interpretation of results

The study of speech expressiveness in older preschoolers was based on the methods proposed by I.F. Pavalaki:

1. The child’s natural speech rate is determined when performing speech tasks of varying complexity:

Noted:

· the child reads the poem freely at a given tempo-rhythm - 2 points

· inability to read a poem at a given tempo-rhythm - 0 points

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