The role of singing activity of preschool children in modern conditions. Vocal and choral education

Traditionally, in the domestic system of musical education, singing activity occupies a leading place. This is explained by a number of reasons (M. S. Osenneva, L. A. Bezborodova, etc.):.

■ the song beginning of Russian musical culture: all folk holidays, rituals, all church services were accompanied by singing;

■ the adequacy of singing to the psychological and age characteristics of children, their desire for active forms of mastering art, their active nature;

■ special accessibility due to the synthesis of words and music;

■ the importance of nurturing feelings of human community in the modern world - singing unites people, creating conditions for emotional communication.

The importance of singing activity is difficult to overestimate in personal development of the child. Singing develops aesthetic perception, aesthetic feelings, artistic taste, musical and musical-sensory abilities and above all musical and auditory performances. It contributes to the formation aesthetic attitude towards the environment, enriching the child's experiences, his mental development. Expands one's horizons and knowledge about the environment. Enriches the child’s vocabulary, improves his articulation apparatus and speech.

Singing lessons help develop social and personal And communication skills, unite the children's team, cultivate will, organization, and endurance. The influence of singing on moral development is expressed in the fact that the songs convey a certain content and attitude towards it. Singing gives rise to the ability to experience the moods reflected in the songs.

Singing is seen as means of strengthening the body preschoolers. It forms correct breathing, strengthens the lungs and vocal apparatus. According to doctors, singing is the best form of breathing exercises. Singing activity contributes to the formation of correct posture.

In the field of music psychology, singing is considered as a form of music therapy that influences the emergence of various emotional states.

Traditionally, the following are identified as tasks for teaching singing to preschoolers (A. N. Zimina, O. P. Radynova, etc.):

■ to educate the foundations of singing and general musical culture: to form aesthetic emotions, interests and vocal and choral skills;

■ develop musical abilities and, above all, the distinction between intonationally accurate and inaccurate singing sounds in pitch and duration;

■ promote the comprehensive spiritual and physical development of children.

Singing is one of children's favorite types of musical activities. Thanks to the verbal text, the song is more accessible to children in content than any other musical genre. Singing in a choir unites children and creates conditions for their musical emotional communication. Expressive performance of songs helps to experience their content most vividly and deeply and evokes an aesthetic attitude towards the surrounding reality. In singing, the entire complex of musical abilities is successfully formed: emotional responsiveness to music, modal sense, musical-auditory perception, sense of rhythm. In addition, children receive various information about music. Singing fulfills the child’s musical needs, because he can perform familiar and favorite songs at will at any time.

Vetlugina N.A. believes that “singing is one of those types of musical activities, in the process of which an aesthetic attitude towards life and music successfully develops, the child’s experiences are enriched, and musical-sensory and, especially, musical-auditory representations of pitch relations are actively formed” 1 .

Singing is closely related to the general development of the child and the formation of his personal qualities. In the process of singing, children's mental abilities are activated. Perceiving music requires attention and observation. A child, listening to music, compares the sounds of its melody and accompaniment, comprehends their expressive meaning, understands the structure of the song, and compares the music with the text.

The impact of singing on the physical development of children is obvious. Singing affects the general condition of the child’s body, causing reactions associated with changes in blood circulation and breathing.

Correctly performed singing organizes the activity of the vocal apparatus, strengthens the vocal cords, and develops a pleasant timbre of the voice. Correct posture affects even and deeper breathing. Singing, developing coordination of voice and hearing, improves children's speech. Metlov N.A. in his book “Music for Children” he writes about the main qualities of a child’s voice, that “the vocal apparatus is very fragile, delicate, continuously growing in accordance with the development of the child’s whole body... The vocal cords are thin, short, so the sound of a child’s voice is high and very weak . It is amplified by resonators. There is an upper cephalic resonator (the cavities of the pharynx, mouth and paranasal cavities) and a lower thoracic one (the cavities of the trachea and bronchi)... In children, the thoracic resonator is poorly developed, the head one predominates. Therefore, the voice is not strong, but ringing. Resonators give the sound different colors. When the sound is forced while singing, children develop an unpleasant, unusual low sound.” 3 .

The problem of staging the singing voice of a preschool child is one of the most complex and least developed in music pedagogical theory and practice. At the same time, this is one of the most important problems in the practice of musical education of preschoolers.

Its importance is determined by the sensitivity of this age in relation to the development of singing skills, the connection with the child’s health, the importance of vocalization for the development of musical ear, and the influence of singing activity on the formation of the child’s musicality system as a whole.

Based on the research and experience of leading musicians, theorists and practitioners, and making extensive use of the latest achievements in music pedagogy, she has built a system for developing the singing skills of preschool children.

I begin this work with three-year-old children. I pay special attention to sound formation: I teach to sing in a drawn-out, natural, light sound without tension or shouting.

In the middle, senior and preparatory groups, work on singing skills continues.

I conduct more in-depth work in this direction in vocal classes, which are attended by children aged 5-7 years.

My classes are based on the ideas of children's musical education by Carl Orff, Ogorodnov D.E. and Emelyanova V.V.

Conventionally, classes can be divided into 4 sections, which are interconnected and interact with each other:

1. Phonopedic exercises Emelyanova V.V. For proper sound production, the clear functioning of the vocal apparatus (lower jaw, lips, soft palate with a small tongue) is of great importance, therefore, to achieve this goal, at each lesson I conduct a warm-up - articulatory gymnastics according to the system of V.V. Emelyanov. These exercises not only develop the singing voice, but also help protect it and strengthen the child’s health.

Articulation gymnastics includes:

working with the tongue (bite the tip of the tongue, chew the tongue alternately with the left and right side teeth, click the tongue in different positions, stretch the tongue, roll it into a tube, etc.);

with lips (bite the lower and upper lips with your teeth, stick out the lower lip, giving your face an offended expression, raise the upper lip, opening your upper teeth, giving your face a smiling expression), facial massage from the roots of the hair to the neck with your own fingers.

Articulation exercises for children are interesting and accessible, because... I spend them in a playful way.

Play is a child’s favorite activity. In the game he asserts himself as a person, his imagination develops. Without noticing it themselves, preschoolers solve complex tasks in the game to develop diction and articulation.

After articulation gymnastics, I use intonation and phonetic exercises that help overcome speech defects and align vowel and consonant sounds. When singing exercises from a series of vowels, in order to align them, one vowel sound should be poured into another smoothly, without a push (uuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuof you of it of you of vowel sound of a vowel). Singing vowels in one order or another serves a specific purpose, depending on what timbre sound you need to tune your voice to. To form the sound of a child’s voice closer to a falsetto sound, the vowel sounds [u], [o], [a] should be used (among which the vowel [u] is most preferable). In practical work with children, the position of the lips in a half-smile is taken as the basis for singing articulation. With this arrangement, the larynx rises, the vocal cords work in a more subtle mode, the voice sounds light and light. The placement of the lips in a half-smile helps to find a close vocal position, which characterizes correct sound production. Particular attention should be paid to loosening the chin. “Checking” is carried out by opening the mouth with hands placed on the cheeks (fingers through the cheeks lie on the lower teeth), while the vowel sound [u] is heard.

2. Games with sound are an indispensable condition in our classes. The child must get a completely accurate idea of it. We are talking about the fact that sound has certain properties. You can't touch it, you can only hear it. The sound can be flat, round, high, low, angry, affectionate, gentle. The material for sound can be anything: elementary instruments, threads, balloons, hoops, balls, soap bubbles - in general, everything that the teacher’s imagination suggests. I often play the game “Magic Box”

Children love to pull the string from the box. They see how the thread stretches, and with it the sound. They understand that sound has a beginning and an end. Children pull a string on any vowel sound; you can sing along it from top to bottom and vice versa. The thread is smooth, silky and the sound should also be smooth. If the thread makes wavy movements, then the sound can be wavy, etc.

3. Working with your hands is a must in class. The hands are “responsible” for certain areas of the cerebral cortex. They help to carry out musical activities in a more meaningful, aesthetic, expressive and varied way, which allows you to achieve success even with the weakest children. In my classes I create situations where the child necessarily begins to work with his hands. Hands below - low sound, above - high, hands make jerky movements - sound jerky on staccato, soft hand movements - smooth sound. This technique helps children consciously control the process of sound production. (Picture 1 ).

In vocal work I use exercises with vocal gestures. With the help of gestures, children learn to sing stable steps from any sound. (Figure 2 ).

In my classes I like to use a technique called expressive reading of a poem. I work on poems in this way: the group reads a poem under my conducting (as if it were a piece of music). Each child repeats these movements, which offer several options for contrasting images (kind, angry, whiny, joyful, etc.). For classes, I select poems containing a vivid playful image or dialogue.

Beautiful, flexible hand movements, high-quality conducting, active, wide movements, positive emotions - all this has a beneficial effect on the psychological and physical health of children.

Finger games are another necessary technique in vocal classes. They develop fine motor skills, are responsible for speech, develop creativity, imagination, and develop expressive speech. Sometimes fast, sometimes measuredly unhurried, sometimes sing-song tempo of rhymed lines fosters smoothness, regularity, rhythm of speech, and develops breathing.

4. Singing games are of great importance for consolidating singing skills. The game situation increases children's interest in singing activities, makes the perception and content of the song more conscious.

For the formation of a modal tonal sound, tasks for the development of song creativity “What do you want, kitty” by G. Singer, “Bunny, bunny, where have you been?” are indispensable. etc. I suggest children play musical questions and answers. The question-and-answer form of the exercise or the task of finishing a melody, the beginning of which the teacher sang, helps to activate the inner ear and develop creative initiative.

Fantasy, imagination, and elements of creative expression accompany every game, and the ability to play unaccompanied, accompanied by one’s own singing, makes these games the most valuable musical material. In singing games, children practice singing a cappella. Under the influence of emotions caused by the game, the child tries to accurately convey the melody, text, and, most importantly, the mood that the given song carries. The general enthusiasm in the game, the joy of performance, activate timid, indecisive children. It is important to maintain interest in every child, to help children gain faith in themselves, to free themselves from tension and embarrassment.

Thus, the use of a system of special exercises of various games, individual and group work with children - all this made it possible to achieve positive results in the development of singing skills in children of senior preschool age. Music has firmly entered into the children's everyday life. They sing in a group, at home for their parents and together with their parents, not only accompanied by an instrument, but also independently without any help.

List of used literature

Vetlugina N.A. “Methods of musical education in kindergarten”, M., “Prosveshchenie”, 1989.

Emelyanov V.V. “Phonopedic method of voice development”, 1999

Metlov N.A. “Music for Children”, M., “Enlightenment”, 1985.

Orlova T.M., Bekina S.M. “Teach children to sing. Songs and exercises for voice development in children 5–6 years old,” M., “Prosveshcheniye,” 1987.

Orlova T.M., Bekina S.M. “Teach children to sing. Songs and exercises for voice development in children 6–7 years old” M., 1988.

Singing for the development of musical perception:

listening to songs not meant to be sung;

listening to songs intended for subsequent performance;

singing melodies and exercises to develop ideas about pitch, timbre, duration, strength of sounds (development of sensory abilities).

Performance of songs:

singing with and without accompaniment;

singing with your own accompaniment on children's musical instruments;

singing to accompany movements (round dances).

Singing in musical and educational activities:

singing exercises to acquire singing skills and musical knowledge;

pedagogical analysis of songs (the most striking means of expression, structure, character, etc.).

Song creativity:

improvisation;

composing melodies for given texts;

composing round dances.

Various types of singing activities are closely related to each other and have a mutual influence: performing and listening to songs, singing and exercises, listening to songs and song creativity, etc. The forms of their organization are also varied: classes (collective and individual), independent activities, holidays and entertainment.

The purpose and objectives of singing activity. The main goal is to educate children in a singing culture and introduce them to music. The tasks of singing activity follow from the general tasks of musical education and are inextricably linked with them. They are as follows:

1. Develop musical abilities (emotional responsiveness to music, modal sense, musical-auditory perception, sense of rhythm).

2. To form the foundations of singing and general musical culture (aesthetic emotions, interests, assessments, vocal and choral skills).

3. Promote the comprehensive spiritual and physical development of children.

These tasks are solved on the basis of a specific song repertoire, the use of appropriate teaching methods and techniques, and various forms of organizing children's musical activities.

Song repertoire includes: exercises for the development of singing voice and hearing; songs for various types of musical activities (listening, choral and solo singing, singing with movements, playing musical instruments with singing, musical literacy, creativity).

The repertoire must be selected so that it corresponds to the physical and mental characteristics of the child, and fulfills aesthetic and general educational tasks. Both music and lyrics play an important role here.

Singing exercises must be used on a specific system. Their main goal is the development of singing technique and musical ear. Each exercise has some basic narrow task: the development of breathing, diction, range, etc., but it is solved against the backdrop of the entire complex of skills. In order for work on basic skills to be systematic, the sequence of exercises is important. The following order of development of singing skills can be recommended (conditionally): diction and articulation, breathing, sound production, range expansion, sound management.

At the beginning of the school year, all age groups are encouraged to sing developmental exercises diction and articulation. (This is especially important for younger groups, since they include children with speech defects.) Many teachers believe that good diction contributes to the purity of intonation and the beauty of the sound of the voice. First, children sing exercises to help overcome speech defects, then - to align vowels and syllables with consonants.

Next are exercises to develop singing breath. The quality of sound, the singing of phrases, and the purity of intonation depend on the correct inhalation (calm, but active). Inhalation is recommended to be done simultaneously through the nose and mouth. The exhalation should be calm and slow so that there is enough breathing until the end of the phrase. To develop breathing, all exercises are given in the following sequence: first, singing two-bar chants, songs at an average tempo in 2/4 time, then the phrases are lengthened. There are also exercises with pauses to take proper breathing.

Correct exercises sound production(natural singing, relaxed, melodious, light) also take into account the importance of developing a “soft attack” of sound in children (the initial moment of sound formation). Children should be able to sing calmly, without jolts. A “hard attack” harms a child’s voice and the correct singing sound: it is rarely allowed, only as a performing technique 4. Among the exercises for children 3-6 years old, there should be no “impact” on the vocal cords. We need to teach the kids to sing in a drawn-out, melodious manner.

For the development of singing skills ranges The same exercises are used, but transposed into other keys.

Vocal skills (sound production, breathing, diction) are acquired simultaneously with choral skills (purity of intonation, ensemble). Clean intonation is the most difficult singing skill. It is associated with the development of hearing (modal sense and musical-auditory ideas), the feeling of the gravitational pull of a melody towards stable sounds, and the representation of a melodic pitch pattern. Impure intonation in singing is often the result of a small vocal range. In such cases, it is useful for the child to sing in a comfortable range so that he can grasp the melodic pattern and reproduce it.

Feeling ensemble also requires auditory attention, the ability to listen to each other. In order for children to be able to listen to singing, it is important to sing quietly, at an average tempo.

Unaccompanied songs. From the age of 3, children sing without instrumental accompaniment in small groups and individually with the support of an adult’s voice. These are onomatopoeias, folk songs, little songs. The melodic moves and rhythm are very simple and easy to intonate. The melody consists of one or two repeating motifs. Children 4-6 years old sing songs that are more difficult, with a wider range, interesting rhythm, and melody. The main goal of unaccompanied singing is to develop purity of intonation; Therefore, it is necessary that the technical side of performance does not require much effort and children can focus on pure intonation.

Songs with accompaniment. At the beginning of the school year, preschoolers sing simple, uncomplicated songs to restore skills that were forgotten over the summer. The melody of the song is accurately duplicated by the instrument; melodic moves are convenient for intonation, written in medium tessitura, with a narrow range.

At the next stage of training, songs with a more complex rhythm and melodic structure are offered. In older groups, instrumental accompaniment can only partially duplicate the melody and sound in a different register. Songs with an introduction, conclusion, pauses, chorus, chorus of various types are used, which requires melodious or moving singing, the use of all singing skills.

Another group of songs, more difficult, is designed for children 5-6 years old. These are songs of two-part or three-part form (the parts may have different characters). Here we already encounter unexpected pauses, short durations, chants (two notes on one syllable), wide ranges (septima, octave), and long phrases. These songs are performed by more capable children (soloists or small groups) with and without instrumental accompaniment.

Songs to accompany movements. When selecting a repertoire for this type of activity, it is necessary to take into account that singing is incompatible with fast, sudden movements; therefore, the songs should be of a calm, smooth nature.

Movements activate the emotional manifestations of children. The guys always sing songs with movements willingly. Such songs are already learned in younger groups.

Songs to accompany movements (round dances) have a simple melody, they are lighter than those offered in the “Songs with Accompaniment” section. Combining singing and movement requires a lot of physical effort, concentration and distribution of attention from children. At the beginning of the school year, songs with short phrases, uncomplicated, of a small range are used, then more developed ones (two-part or three-part form), of a different nature, with varied but calm movements. It is important to remember that sudden movements lead to increased breathing, and singing becomes intermittent and inexpressive.

Songs for playing musical instruments. This repertoire is intended for middle and senior groups. At the beginning of the year, children improvise on a given theme (“Bells”, “Rain”, “Stream”, etc.). The purpose of these exercises is to introduce the instrument and let you play with it like a toy. Then the children play rhythmic exercises on one or two notes and hum. Gradually, the children learn to select by ear melodies from a familiar repertoire (songs of several sounds).

Sample songs for teaching children the basics of musical literacy. The repertoire for various types of singing activities can be used in teaching the basics of musical literacy. Drawing children's attention to the direction of movement of the sounds of the melody, their length, the nature of the song, the teacher gives the children some information about the pitch and duration of sounds, timbre, tempo, rhythm, dynamics, etc. To develop ideas about the pitch and duration of sounds, characteristic rhythmic patterns are selected or melodic turns from already familiar works. Children reproduce them as exercises, for example, clapping, tapping with a stick or playing a rhythmic pattern of a melody on one plate of a metallophone, singing melodic turns on syllables la-la, doo-doo, mi-mi, mo-mo etc., so that the text does not distract from the reproduction of the pitch of sounds.

Methods of teaching singing. The singing capabilities of preschoolers (singing ranges, features of singing breathing, articulatory apparatus) are different in each age group.

Three age periods can be distinguished in accordance with the general and musical development of children: up to 3 years, from 3 to 5 and from 5 to 6 (7) years. In the first age period, children accumulate experience in the perception of music, initial musical impressions, experience in sensory-auditory and rhythmic representations, and intonation of a melody with their voice. In the second age period, coordination of hearing and voice, music and movements, and the combination of knowledge and skills occur. At the age of 5 to 6 (7) years, practical actions are supported by knowledge about music, enriched by it, elements of an aesthetic attitude towards singing and music in general are formed and visibly manifested.

In classes with the youngest children, chants and small songs of an imitative nature are used (voices of birds, animals, sounds of the environment, repeated intonations). With their help, hearing develops, diction and articulation are formed. It is desirable that the text contains sounds f, w, h, r. Melodies should be simple, built on 2-4 sounds, in the range of fourths (re 1-salt 1), the rhythmic pattern should consist of quarter and eighth durations, the tempo and sound strength are average, breathing is short. Children aged 3-4 years usually have a singing range re- la first octave, breathing is still uneven, short, not everyone has developed articulation and diction, some have difficulty pronouncing individual sounds. At 4-5 years old the range of singing expands: re-si first octave, breathing becomes more stable, children can sing longer phrases (two measures at a medium tempo), and pronounce words better. In this age period, songs and round dances are selected about nature and the surrounding reality, singing exercises are based on texts that are feasible for the children. They help develop diction, articulation, singing breathing, and ensemble. To develop coordination of hearing and voice, and singing breathing, it is important to choose songs that have not only uniform, but also drawn-out sounds. By the age of 5, children already use different types of breathing (clavicular, thoracic, lower costal, and mixed). The melodies are sung more complex, at a slow and medium tempo, the dynamics are quiet and moderately loud. At 5-6 (7) years the range is even wider: re first octave - before second octave (sometimes even re first octave - re second octave). Children have better control of singing breathing - they can sing phrases of two measures at a slow tempo. During these years, musically gifted children emerge; they are noticeably ahead of their peers. This is revealed in the following: purity of intonation, ringing voice, artistically expressive singing, artistry, interest in music.

At the age of 5 to 6 (7) years, a more varied song repertoire is used, tempo from slow to active, dynamics from quiet to moderately loud. Singing loudly is not recommended. The sound strength of children's voices is moderate, since the vocal cords are not yet formed.

The most suitable material for classes with children of all ages is folk chants, songs, and round dances. Their melodies are simple and accessible to preschoolers. They are often performed unaccompanied, contribute to the development of hearing, shape taste, and can be used in various life situations.

Work on a song can be divided into several stages, each of which has its own methods and techniques.

At the first stage working on a song (familiarization, perception) visual and verbal methods are used. With the help of an expressive performance of a song, figurative words, and a conversation about the nature of music, the teacher strives to awaken interest in it and a desire to learn it. It is important that children feel the mood conveyed in the music, speak out about the nature of the song as a whole, and the change of mood in its parts. Only a bright, expressive performance by a teacher can evoke positive emotions in children and experience the content of the music. A conversation about the emotional and figurative content of the song helps to set the children up for expressive performance, choosing sound production, diction, and breathing that matches the character of the song. So, if children have determined the nature of the music as affectionate, gentle, calm, they are explained that it must be sung in a melodious, drawn-out manner.

At the second stage The actual learning of the song begins (over 3-5 lessons). In addition to visual and verbal methods, the practical method is of great importance here. Children master the necessary singing skills, remember and reproduce the melody, rhythm of the song, and expressive nuances. At this stage, exercise plays a big role. At first, children learn by imitation, so showing the teacher techniques and reinforcing them in exercises is very important. The exercises are given as chanting before singing songs. With their help, difficult melodic moves found in the song are learned. For example, before singing the song “Herringbone” by L. Beckman, which begins with a move up to the sixth, you can use the song from N. A. Vetlugina’s “Musical Primer” “Echo” to prepare children for playing this complex interval.

Working on difficult melodies based on the material of the song itself requires repeated repetitions, which inevitably reduces children's interest in the song. The exercise, given in a playful form, helps to overcome difficulties and acquire singing skills. Exercises that are playful in nature allow children to sing with pleasure not only in class, but also in independent activities and at home. The kids like songs related to the world close to them. These are melodies from folklore, imitation of the voices of birds, animals, tongue twisters, nursery rhymes, counting rhymes.

When performing singing exercises, children constantly train their singing voice, develop an ear for music, coordination of hearing and voice, and purity of intonation.

Very simple exercises based on one or two intervals are also used. For example, the “cuckoo” exercise is built on a minor third. Children come up with their own words for this interval. This is how auditory ideas are formed, which are important for the development of modal sense. (The interval of the minor third is included in the tonic triad, which forms the basis of the mode.) Other exercises can be created in a similar way: imitation of the voice of a lapwing (a fifth down), the caw of a crow (on one sound), etc.

Learning to sing requires considerable willpower from a child. To maintain interest in the song and focus children’s attention, it is important to be able to create game situations, use musical and didactic games, and problem-based tasks. On average, a song is learned in 8-9 lessons. Children show the greatest interest in the first three lessons, but then interest may decline. It is necessary to support it with the help of various pedagogical techniques, to connect singing with other types of musical activities: movements, playing musical instruments.

At the second stage of working on a song, children master the skills of sound production, breathing, diction, purity of intonation, and ensemble.

To develop the skill of correct sound production methods and techniques are used, such as figurative words, conversation about the nature of music, and demonstration of performance techniques. Melodiousness is associated with sound production. From a young age, it is important to teach children to draw out vowels, the ends of musical phrases, and learn songs at a slow tempo. Singing melodies without words, on a consonant, helps melodiousness m or l combined with vowels u, o. In older groups, exercises in which syllables dominate are useful coo-coo, mo-mo. Moving light sound formation is facilitated by exercises that begin and end with consonants (ding-ding, knock-knock) 5. The technique of comparing the sound with musical instruments is also used (the smooth sound of a pipe, the abrupt and light sound of a bell).

To help children master the correct breathing, they are explained and shown where and how to take their breath, how to spend it in musical phrases. For proper breathing, the singing attitude is important - sitting straight, without raising your shoulders.

To develop the correct diction The following techniques are used: expressive reading of the text, clarification of the meaning of some unfamiliar words, their correct and clear pronunciation, reading the text in a whisper, with clear articulation. It is important to develop the mobility of the articulatory apparatus (lips, tongue, palate, lower jaw) in children through exercises. Meaningful pronunciation of the text makes singing more expressive. This is facilitated by the clear sound of consonants, soft endings of phrases, semantic accents, etc.

Purity of intonation in singing requires constant work on improving hearing starting from an early age: from the development of auditory concentration to distinguishing and reproducing sounds in height, reproducing the direction of movement of the melody. So that children can easily determine the direction of movement of the melody, modeling is used (showing the movement of sounds by hand, didactic games, demonstrating the sounds of a melody on a flannelgraph, etc.).

The following techniques help to obtain purity of intonation in singing: tuning on the first sound of the song; singing of one melody by the teacher (children’s perception of the melody from the voice); playing melody on piano and other instruments; learning a melody in parts, phrases, at a slow pace. They usually start learning a song with simpler, memorable fragments, for example, the chorus. In addition, children's auditory attention is necessary. They should sing quietly, expressively, listening to themselves and others. It is useful to sing in small groups and solo.

It is important for the teacher to understand the reasons for unclean intonation. These may be underdeveloped hearing, articulation deficiencies, or a diseased vocal apparatus. It is recommended to work with children who intonate impurely individually.

One of the reasons for incorrect intonation is the low range of the voice. In this case, transposing the melody into a key that is comfortable for the child helps. If he manages to grasp the pattern of the melody and reproduce it in a comfortable tessitura, he can begin to sing correctly and together with other children, in a higher pitch. Gradually, the range expands, starting with primary (i.e., convenient for humans) sounds.

Along with this technique, the opposite also helps - “opening” the sounds of the upper register of a child’s voice (la, si first octave before, re second octave). First, children do onomatopoeia exercises. (coo-coo, doo-doo) then they sing jokes. Moreover, it is desirable that the melody goes from top to bottom: this immediately tunes the vocal apparatus to a high sound. The third way - along with strengthening low sounds - is to immediately expand the upper register of the child's voice, accustoming it to high sounds (R. T. Zinich) 6.

N.A. Metlov advised seating children for singing so that children with poor intonation sat in the first row, behind them were those with average intonation, and in the third row were children who sang well. At the same time, children with poor intonation adapt better to the correct intonation: in front they hear the sound of the instrument and the singing of the teacher, and behind them - children who are clearly intoning 7 .

The systematic repetition of learned songs, both with and without accompaniment, and listening to songs performed well by adults and children helps to improve the purity of intonation in singing.

Feeling ensemble(from the French ensemble - together) is also necessary for choral singing. The teacher shows the children the moment of introduction, encourages auditory attention and coherence of sound. One should strive not only for the simultaneity of singing, but also for its expressiveness: soft endings of phrases, dynamic shades, semantic accents, quality of sound design corresponding to the nature of the music. Therefore, the teacher’s vivid performance of the song and figurative words are also important at the second stage of working on the work, when learning it.

On third stage songs are repeated. Children have already mastered singing skills and can freely perform the learned repertoire. If a song is liked, the children sing it at will, not only in class. They remember it for a long time, include it in games, and “perform” in front of the audience with pleasure.

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Posted on http://www.allbest.ru/

Description of pedagogical experience on the topic: “Singing activity as a means of developing a child’s emotional, creative and healthy personality”

What can be compared to music in sound?

Noise of the forest? The singing of a nightingale?

Are there thunderstorms? Is the brook babbling?

I can't find any comparisons.

The current stage of development of society in Russia is characterized by significant changes in all social spheres, which have also affected the education system. In modern conditions, the tasks of preschool educational institutions have changed and become more complex in terms of training, education and development of the younger generation. Along with the assimilation of primary knowledge, skills and abilities, the tasks of ethical and aesthetic education of preschool children, the development of their creative abilities and the formation of a healthy lifestyle are brought to the fore.

The comprehensive program for the upbringing, education and development of preschoolers "Rainbow", which is implemented by the Municipal Autonomous Preschool Educational Institution "Kindergarten of a combined type "Rainbow", meets these requirements. The goal of the program: to preserve and strengthen the health of children, to form the habit of a healthy lifestyle, timely and complete mental development and education, to provide each child with the opportunity to joyfully and meaningfully live the period of preschool childhood.

The beginning of work on the stated topic was conducting diagnostics to determine the initial level of singing skills of preschool children. According to the diagnostic results, the groups included only 15% of children with a high level of development, 26% of children were at an average level, and 59% were at a low level of development. Thus, the need arose to create conditions for the creative self-realization of children in singing activities. We set a goal: a singing creative voice

Creating conditions for the development of a child’s emotional, creative and healthy personality through singing activities.

To achieve this goal, I chose this topic of current pedagogical experience: “Singing activity - as a means of developing a child’s emotional, creative and healthy personality,” since the process of singing helps the child not only acquire certain skills in voice development, but also contributes to the formation of overall personality, ability to express himself, development of his musical taste; promotes health (develops respiratory muscles, has a beneficial effect on the nervous system).

Relevance. The latest scientific research in the field of music pedagogy and work experience in a preschool institution, as well as historical experience, have shown that vocal education affects not only the emotional and aesthetic structure of the child’s personality, but also his comprehensive development.

Singing is rightfully considered the primary of all types of musical performance, one of the first manifestations of a child’s musicality. This problem is always relevant, since singing and vocal and choral work are an important form of musical activity in the system of mass musical education.

The formation of singing skills is one of the most difficult sections of the musical education of preschool children. When teaching children vocals, it is necessary to take into account that the child’s vocal apparatus is fragile, delicate, and continuously grows in accordance with the child’s body. Therefore, the teacher must not only master the methods of teaching singing, but also protect the child’s voice, find such methods of vocal technique that would most effectively contribute to the development of the child’s voice, which can be seen in the description of work experience. The problem raised is also relevant because it is associated with the search for new ways of aesthetic education of a child through music through the most accessible and active type of musical activity, which is singing. Systematic, planned vocal education also has a beneficial effect on the physical health of children.

It is not possible to develop the creative activity of preschoolers in full, since in preschool music education there are a number of contradictions between the orientation of the new content of additional education on the development of children’s creative abilities and traditional methods and forms of teaching, as well as the child’s desire to express his emotions, feelings in music and insufficient development of musical singing skills; the individual’s desire for creativity, originality, self-expression and the lack of opportunity to express one’s abilities.

To solve these problems, the following tasks were set.

1. The optimal combination of traditional and innovative technologies for student-centered, integrated learning (game, individual, group methods)

2. Designing the content of a musical lesson focused on the individual and collective creative activity of children.

3. Organization of musical festivals, entertainment, participation in city musical creative competitions.

Based on the contradictions that arose, the idea arose to systematize and introduce a set of exercises that help improve the general condition of the body: breathing and health-improving gymnastics, which in turn will lead to the activation of the creative abilities of preschool children.

· Breathing exercises. Breathing affects sound pronunciation, articulation and voice development.

· Complex of health-improving gymnastics.

This complex prevents various diseases, relieves fatigue, headaches, improves vision and hearing.

The leading pedagogical idea is to determine methods for activating the creative abilities of preschool children through the development of singing skills.

This idea is due to:

The use of traditional and innovative technologies in training (game, individual, group; integration);

Release of the child’s internal creative powers, his emotional and aesthetic potential through the use of a developed system of exercises;

Learning the ability to freely, naturally and at the same time extremely responsibly use the voice, its flexible and musical nature, its potential for an accurate and expressive equivalent to one’s own feeling.

Ways of implementation. Work on this topic is carried out in stages and covers the period from 2010-2011 academic year. to the 2013-2014 academic year (second junior group - preparatory). Throughout the entire activity, the development of preschoolers’ singing skills is monitored.

1st stage - ascertaining (1 year)

1. Study of regulatory documents and materials.

2. Selection and development of exercises for the development of singing abilities.

3. Design of visual demonstration material.

4. Initial diagnosis.

Stage 2 - formative (2 years)

2. Consistent formation of singing skills that develop voice and hearing.

3. Interim diagnostics.

Stage 3 - final (1 year)

1. Final diagnosis of the level of development of singing skills in children.

2. Establishing the dynamics of the development of children's creative abilities.

3. Generalization.

Theoretical basis. It is based on the ideas of L.S. Vygotsky, D.B. Kabalevsky, A.A. Volkova, N.A. Vetlugina, on the need to develop the creative, including musical abilities of preschool children. Practical developments by E.N. Tilicheeva, V.V. Emelyanova, B.S. Tolkachev on vocal and articulation exercises for preschool children, as well as systems of exercises for the development of voice and hearing.

Based on the scientific idea of N.A. Vetlugina, who in her research comprehensively analyzed the capabilities of children in performing creative tasks, the origins of children's creativity, and the ways of its development, developed a theoretical basis for this experience, including the relationship and interdependence of children's learning and creativity. It was found that the necessary conditions for the emergence of children's creativity are the accumulation of impressions from the perception of art and the accumulation of experience in performance. In improvisations, the child emotionally and directly applies everything that he has learned during the learning process. In turn, learning is enriched by the creative manifestations of children and acquires a developmental character.

For example, L.S. Vygotsky substantiated an interesting thesis about the possibility of forming a habit of creativity in a child through specially designed exercises of a creative nature. His concept of creative personality development, having a pronounced humanistic orientation, oriented teachers towards preserving the child’s individuality and creating the conditions necessary for his comprehensive creative development.

Work on the problem of the creative development of the child continued in the 20th century. The result of this activity was the creation of a variety of educational technologies that provide a person-oriented approach to teaching a child and developing his creative abilities.

Singing is the main means of musical and creative education; it is closest and most accessible to children. A prerequisite for the formation and improvement of singing skills is: work on breathing, articulation, diction, as well as exercises (chanting) that make it easier to develop singing skills and intonation pitch hearing.

As you know, an exercise is a repeatedly repeated, specially organized action that is aimed at improving its implementation. In my practice I widely use the exercises of the teacher-musician, composer E.N. Tilicheeva, which help children master basic singing skills, achieve ease and ease of sound in singing, and proper breathing.

V.V. Emelyanov, head of the expert children's choral music school in Yekaterinburg, considers the most important development of the system of the voice-forming complex, grouped according to the following criteria: generator (larynx), resonator (horn), respiratory.

Like V.V. Emelyanov, when working with children, I give primary importance to the development of the vocal apparatus. He said: “Any unprejudiced person can clearly imagine that with the ear, with the help of hearing, we do not feel anything, but we feel with the heart and even more so with the “throat”, where the finest and richly innervated muscles are located.”

Based on theoretical and practical methods of famous teachers and musicians, I have developed a set of breathing and health-improving exercises to activate the creative abilities of preschool children through the development of singing skills based on the method of B.S. Tolkachev and articulation exercises by V.V. Emelyanov, as well as various exercises by E. Tilicheeva.

Degree of novelty. The novelty lies in the combination of the following technologies: student-oriented, integrated learning, gaming technology, exercises for the development of the vocal apparatus according to the V.V. system. Emelyanov, systems of exercises for the development of breathing by B.S. Tolkachev, as well as vocal exercises by E.N. Tilicheeva.

In order to more fully realize this goal, the methodological literature on this topic was studied and the following tasks were set:

Form and accumulate singing skills: articulation, singing breathing, diction;

Form and improve the sound quality of the voice: purity of intonation, timbre, range, flight and mobility of the voice;

Develop drawn-out singing, clear diction;

Develop children's creative abilities.

Singing is one of children's favorite musical activities. Thanks to the verbal text, the song is more accessible to children in content than any other musical genre. Singing in a choir unites children and creates conditions for their musical emotional communication. Expressive performance of songs helps to experience their content most vividly and deeply and evokes an aesthetic attitude towards the surrounding reality. In singing, the entire complex of musical abilities is successfully formed: emotional responsiveness to music, modal sense, musical-auditory perception, sense of rhythm. In addition, children receive various information about music. Singing fulfills the child’s musical needs, because he can perform familiar and favorite songs at will at any time.

Based on the research and experience of leading musicians, theorists and practitioners, and making extensive use of the latest achievements in music pedagogy, she has developed a set of exercises for developing the singing skills of preschool children.

This work begins with children aged three years. Vocal skills are formed in the process of working on singing. Particular attention is paid to breathing and sound production: teaching children to sing in a drawn-out, natural voice, without tension or screaming. In order to develop song creativity, young children are offered creative tasks, didactic games, such as “Call the Kitty”, “Hen and Chicks”, “Rock and Rock the Doll” and others.

In the middle, senior and preparatory groups, work on singing skills continues, and children show increased interest in song creativity.

The system is based on the ideas of children's musical education by V.V. Emelyanov. , B.S. Tolkacheva, Tilicheeva E.N.

The cycle of lessons can be divided into 3 sections, which are interconnected and interact with each other:

1. Breathing exercises

Breathing exercises are a good prevention of respiratory diseases, develop the child’s imperfect respiratory system, and strengthen the body’s defenses. Breathing exercises are especially useful for children suffering from frequent colds, bronchitis, and bronchial asthma. A child can be taught proper breathing. A child who does not know how to breathe properly can be recognized by: narrow shoulders, weak chest, mouth open, nervous movements.

The essence of breathing is to let air into the lungs and oxygenate the blood in the pulmonary alveoli (this is the end part of our breathing apparatus in the lung, shaped like a bubble). Breathing is divided into two acts: inhalation, during which the chest expands and air enters the lungs; and exhale - the chest returns to its normal volume, the lungs compress and push out the air in them. It is necessary to accustom the child to full breathing so that he expands the chest and develops the abdominal muscles. Show how to draw in your stomach while breathing, making it flat and sunken.

Playing with roses and dandelions will help you understand what breathing is. Let him smell the flower (mouth closed, nostrils turned). Many babies sniff rather than sniff. Help me feel the difference. Then let him blow on the dandelion: first with his mouth so that he can see how the seeds fly away, then with his nose (alternately pressing one nostril to the bridge of his nose, then the other). (Appendix “Health-saving exercises”, p. 4)

You can continue the game: make the paper mill spin, blow out the candle. These exercises are also performed alternately (mouth and nose). Children have a lot of fun with soap bubbles - also a useful activity for developing proper breathing!

When performed correctly, breathing exercises are pleasant and enjoyable.

2. Articulation gymnastics.

For proper sound production, the clear functioning of the vocal apparatus (lower jaw, lips, soft palate with a small tongue) is of great importance, therefore, to achieve this goal, articulation exercises are carried out at each lesson according to the V.V. Emelyanov system. (Appendix “Health-saving exercises”, p. 21). These exercises not only develop the singing voice, but also help protect it and strengthen the child’s health.

Articulation gymnastics includes:

Working with the tongue (bite the tip of the tongue, chew the tongue alternately with the left and right side teeth, click the tongue in different positions, stretch the tongue, roll it into a tube, etc.);

With the lips (bite the lower and upper lips with your teeth, stick out the lower lip, giving your face an offended expression, raise the upper lip, opening your upper teeth, giving your face a smiling expression), massage the face from the roots of the hair to the neck with your own fingers.

Articulation exercises are accessible and interesting for children if the teacher uses them in the classroom in a playful way. To develop the creative abilities of children, sketch stories “Tongue” invented by children are used based on exercises of the V.V. system. Emelyanova.

Since play is a child’s favorite activity and play, he asserts himself as an individual, and his imagination develops. Without noticing it themselves, preschoolers solve complex tasks in the game to develop diction and articulation.

After articulation gymnastics, it is necessary to use intonation-phonetic exercises that help overcome speech defects and align vowel and consonant sounds. When singing exercises from a series of vowels in order to align them, one vowel sound should be, as it were, poured into another smoothly, without a push (uuuuuaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa) Singing vowels in one order or another serves a specific purpose, depending on what timbre sound you need to tune your voice to. To form the sound of a child’s voice closer to a falsetto sound, the vowel sounds [u], [o], [a] should be used (among which the vowel [u] is most preferable). In practical work with children, the position of the lips in a half-smile is taken as the basis for singing articulation. With this arrangement, the larynx rises, the vocal cords work in a more subtle mode, the voice sounds light and light. The placement of the lips in a half-smile helps to find a close vocal position, which characterizes correct sound production. Particular attention should be paid to loosening the chin. ““Checking”” is carried out by opening the mouth with hands placed on the cheeks (fingers through the cheeks lie on the lower teeth), while the vowel sound [u] is heard.

3. A prerequisite for music classes is to work on the development of a healthy personality of the child. Health-improving gymnastics is a system of specially selected physical exercises that promote comprehensive development and health promotion. Gymnastics improves the functioning of the respiratory and cardiovascular systems, strengthens the muscle and bone apparatus, enhances metabolism in the body, and improves adaptive mechanisms to various physical activities. This set of exercises helps to activate the brain, relieve fatigue, improve the general condition of the body, prevent various diseases, relieve headaches, normalize blood pressure, improve vision, hearing, and bowel function (Appendix “Health-Saving Exercises,” p. 28).

Thus, the use of traditional and innovative technologies, a system of special exercises - all this made it possible to achieve positive results in the development of singing skills in children of senior preschool age, as well as to activate the creative abilities of preschoolers. Music has firmly entered into the children's everyday life. They sing in a group, at home for their parents and together with their parents, not only accompanied by an instrument, but also independently without any help.

To achieve high results, work is built in collaboration with parents and educators. Conversations and consultations are held on organizing children's musical activities.

Productivity. The performance criterion is the degree of creative realization of preschool children in musical activities.

The use of this system in working with preschoolers significantly increases the level of development of children's singing skills and performing culture, enriches their knowledge about choral performance, the characteristics of the vocal apparatus, the protection of the children's voice, how to control it, and also contributes to the development of children's creative abilities. The development of children's creative abilities is one of the components of the musical development of preschoolers.

The results of the effectiveness of the work carried out are clearly visible in the comparison of summary diagnostic data on the musical development of preschool children.

As a result of such focused work, I was able to achieve consistently high results.

Level of development of singing skills

positive dynamics in the level of development of singing skills in children;

expansion of singing range;

successful mastery of the basic complexes of breathing, articulation and health-improving gymnastics;

obtaining joy and pleasure from performing vocal works;

parents’ awareness of the need to develop the child’s emotional, creative and healthy personality.

Every person, upon being born, receives from Mother Nature a precious and great gift - a special quality musical instrument - a voice. You just need to learn how to use this instrument correctly.

Literature

1. Asafiev B.V. About musical and creative skills in children / B.V. Asafiev. - M.: Education, 1990. 106 p.

2. Boguslavskaya E. Musical education in kindergarten. - M., 2000.

3. Vetlugina N. A. Types of children's musical activities // Preschool education. - 1980. No. 9. - P. 85-93.

4. Vetlugina N.A. Child's musical development. - M.: Education, 1968.

5. Vygotsky JI.C. Imagination and creativity in childhood. - M.: Education, 1991.

6. Gogoberidze A. G., Derkunskaya V. A. Theory and methodology of musical education of preschool children. M.: "Academy", 2005. 320 p.

7. Emelyanov V.V. Phonopedic method of voice development. - Novosibirsk; Science, Siberian branch 1991 102s.

8. Tolkachev B.S. Physical education barrier ORZ.-M. Enlightenment, - 2001.

Posted on Allbest.ru

...

№	Kind of activity	Musical material	Time (min.)
I.	Organizing time.	M. Mussorgsky. "Bogatyr Gate"
II.	Musical listening activity.	A. Borodin. "In the monastery."
III.	Singing activity.	1. Chanting.	Exercise “Sun - Cloud”.
2. Working on a song.	Russian folk song “Like Along the Sea.”
IV.	Musical and plastic activities.	Musical and plastic sketch based on the Russian folk song “I am with a mosquito.”
V.	Singing activity.	Russian folk song “I am with a mosquito.”
VI.	Musical and creative activities.	Vocal improvisation in the style of Russian folk song.
VII.	Generalization.	Lesson material.

The role of singing activity of preschool children in modern conditions. Vocal and choral education

Send your good work in the knowledge base is simple. Use the form below

Similar documents