Summary of an open vocal lesson in kindergarten. Open vocal lesson theme "rhythm"

Introduction

Currently, there is interest among scientists in the problems of developing creativity in children. preschool age, including fine arts. After all, preschool age is sensitive in the development of all spheres of personality. Preschool childhood is the starting point of human development. What is instilled in a child in childhood will bear fruit when a person becomes an adult member of society.

More than ever, our society now needs creative developed people. After all, it is in Lately arises a large number of questions that only creative individuals can solve.

Development problem children's creativity is currently one of the most relevant in both theoretical and practical terms, because we're talking about about the most important condition for the formation of the individual identity of a person already in the first stages of its formation. Modern pedagogical and psychological research proves the need for visual arts classes for the mental and aesthetic development of preschool children. An analysis of studies devoted to this topic allows us to conclude that children's creativity has its own specifics, since its products often do not have objective significance for society as a whole. However, the development of creativity in children during preschool childhood is of great importance for the formation of a holistic, creatively developed personality in the future.

The theoretical basis of the work was research on the problem of the development of visual creativity by domestic scientists (Kazakova T.G., Flerina E.A., Bakushinsky, D.B. Bogoyavlenskaya, A.A. Venger, N.A. Vetlugina, Vygotsky L.S. , T.S. Komarova, Ezikeeva V.A., etc.), works devoted to the use of non-traditional techniques in drawing of preschoolers (Ilyina A., Kazakova R.G., etc.).

Research objectives:

1. To study the problem of children's visual creativity in psychological and pedagogical literature

2. Identify the features of plot drawing in middle preschool age.

3. To study non-traditional techniques of visual activity and describe their influence on the development of creativity in the subject drawing of preschoolers.

4. Develop and test an experimental methodology to identify the possibility of the influence of plot drawing on the development of children's visual creativity.

Object of study: plot drawing.

Subject of research: the process of development of children's visual creativity in plot drawing.

Research methods: questionnaires for parents and teachers to identify conditions in the family and kindergarten for the development of children's creativity, observation, experiment, study of the products of children's activities.

The research work was carried out on the basis of station No. 3.

1. Theoretically O e research of the problem development of children's visual creativity in plot drawing

1.1 Psychological and pedagogical characteristics of children's fine arts

The ability to be creative is a specific human feature, which makes it possible not only to use reality, but also to modify it. But before we talk about children's visual creativity, we must first define the concept of creativity as a whole from the perspective of various sciences.

Creativity is considered by scientists as human activity the highest level of knowledge and transformation of the surrounding natural and social world. In the process of creative activity, which is especially important, the person himself changes (the forms and methods of his thinking, personal qualities): he becomes a creative person.

Creativity in in a broad sense- this is an activity aimed at obtaining something new, unique, and therefore the main indicator of creativity is the novelty of its result (a work of art, an idea, a mechanical device, etc.). In other words, the novelty of the result of creative activity is objective in nature, since something is created that did not exist before. The creation process itself has a subjective connotation, since it reveals the individuality of the creator.

From point of view philosophical science, creative activity is a multicomponent process aimed at creating new realities and values, in which the objective and personal are combined, i.e. subjective.

It is also important to highlight the social essence of creativity, since in the conditions of rapid changes in the socio-economic life of society, many questions arise that only creatively gifted people can solve. A. Lilov believes that the social essence of creativity lies in the creation of socially necessary and socially useful values, which will contribute to the formation of the creative potential of the individual.

In the pedagogical literature one can find the following definition of the concept of creativity: activity, the result of which is the creation of new, original and more advanced material and spiritual values ​​that have objective or subjective significance.

A creative personality in pedagogy is defined as a person who has a creative orientation, creative abilities and creates, through the use of original methods of activity, material and spiritual values ​​that are distinguished by personal or social significance.

The types of creativity here are determined by the nature of human activity:

Scientific creativity is the production of new knowledge that has an advantage over the previous one.

Technical creativity - development of new technologies and technical devices.

Pedagogical creativity is the development of new content, methods, principles, forms of pedagogical systems.

Artistic creativity - creating new works of art, etc.

From the standpoint of aesthetics, creativity (artistic) is the self-expression of the inner world of the artist, who not only cognizes, but also expresses his vision and understanding of the environment. The result of his creative activity is an artistic image, like special kind mastering and expressing reality, the form of thinking, existence in art.. A peculiar feature of visual creativity is considered to be a special emotional coloring, the individuality of figurative vision. Psychologists talk about creativity as an activity, the result of which is the creation of new material and spiritual values. It presupposes that an individual has abilities, motives, knowledge and skills, thanks to which a product is created that is distinguished by novelty, originality, and uniqueness. Turning to childhood, it is natural to raise the question of whether a preschool child is capable of the process of creativity - after all, many of the components inherent in this phenomenon during preschool childhood are just beginning to develop. But any adult who is at all familiar with children’s behavior or activities cannot doubt that all of it is permeated with creativity: subjectively, the child constantly discovers something new, even reproducing what is already known to other people. So, V.V. Davydov in the afterword to the book by L.S. Vygotsky “Imagination and creativity in childhood” indicates that creativity is a constant companion of child development.

However, it is important to take into account two points:

Creativity in childhood should be understood as a mechanism for the development of a child’s various activities, his experience, and his personality.

It is obvious that the components of creativity in the period of life we ​​are considering will be of a special nature and have a specific structure.

Children make many discoveries and create an interesting, sometimes original product in the form of a drawing, design, poem, etc. (E.A. Flerina, G.V. Labunskaya, M.P. Sakulina, K.I. Chukovsky, J. Rodari, N.A. Vetlugina, N.N. Poddyakov, etc.). The novelty of discoveries and products is subjective - this is the first important feature children's creativity.

At the same time, the process of creating a product for a preschooler is almost of paramount importance. The child’s activity is characterized by great emotional involvement, the desire to seek and try different solutions many times, receiving special pleasure from this, sometimes much more than from achieving the final result (A.V. Zaporozhets, N.N. Poddyakov, L.A. Paramonova, O.A. Christ and others). And this is the second feature of children's creativity.

For an adult, the beginning of solving a problem (recognizing it, searching for approaches) is the most difficult and painful, sometimes leading to despair. A child, unlike an adult, does not experience such difficulties (unless, of course, he is subject to the strict demands of adults). He easily and, above all, practically begins indicative, sometimes not even entirely meaningful, activities, which, gradually becoming more purposeful, captivate the child with the search and often lead to positive results (N.N. Poddyakov, L.A. Paramonova, G. V. Uradovskikh). And this is the third feature of children's creativity, certainly related to the first two and especially to the second.

One of the first to define children's creativity was E.A. Fleurina: “We understand children’s visual creativity as a child’s conscious reflection of the surrounding reality in drawing, modeling, design, a reflection that is built on the work of the imagination, on displaying his observations, as well as the impressions he received through words, pictures and other forms of art. The child does not passively copy the environment, but processes it in connection with accumulated experience and attitude towards what is depicted.”

IN psychological literature Children's creativity is considered in connection with a number of problems of the child's mental development, such as children's imagination and thinking, children's talent, etc. Here the category of creativity in general and children's creativity in particular is defined extremely ambiguously. In fact, on the one hand, creativity is a characteristic of an activity: its special type (creative activity - art, literature, science) or any activity, if we are talking about its development, improvement, transition to a new level. On the other hand, the problem is related to psychological characteristics creativity and, therefore, is associated with the problem of abilities. The well-known concept of creativity as a mechanism for the development of activity largely links these two aspects of the problem.

A large role in the formation of creativity belongs to the imagination, therefore, first of all, one should use those means that contribute to its development. L.S. Vygotsky sees the power of creativity in the diverse forms of connection between imagination and reality. He gives a dialectical definition to each form of communication:

Images of the imagination are built from elements of reality.

The imagination is guided by the experience of others, historical or social.

Feeling influences imagination and, conversely, imagination influences feeling.

Products of the imagination are realized into concrete things, the results of children's creativity, which again influence the imagination.

Scientific research on children's creativity notes a number of features that characterize the presence of creativity in a child's activities. This is a manifestation of activity, independence and initiative in applying already mastered work techniques to new content, in finding new ways to solve assigned problems, in the emotional expression of one’s feelings using various visual means.

Researchers call creativity, an aesthetic attitude to reality, and intellectual activity the main feature of a creative personality.

An attempt is also made to determine the main components of creativity. In particular, they stand out:

Perceptual component (observation, special concentration of attention);

Intellectual (intuition, imagination, breadth of knowledge, flexibility, independence, quick thinking, etc.);

Characterological (the desire for discovery, the possession of facts, the ability to be surprised, spontaneity).

The development of children's creativity is not a movement from “non-creativity” to “creativity”. It is based on the child’s constructive mastery of the universal “power” of human imagination and thinking.

When studying the problem of children's artistic creativity, three main stages of creative activity were identified, each of which requires specific methods and techniques of guidance from an adult:

The first stage is the emergence, development, awareness and design of the plan. The theme of the upcoming image can be determined by the child himself or suggested by the teacher. The younger the child, the more situational and unstable his plan is.

The second stage is the process of creating an image by children. The topic of the task not only does not deprive the child of creativity, but also directs his imagination, of course, if the teacher does not regulate the solution. Activities at this stage require the child to be able to master methods of depiction, expressive means specific to drawing, sculpting, and appliqué.

The third stage is analysis of performance results. Viewing and analysis of what children create is carried out with their maximum activity, which allows them to more fully comprehend the result of their own activities.

The perception of works of art has a significant influence on the development of children's creativity. When perceiving the environment, works of fine art, as well as in the process of creating an image, children master generalized methods of action, which can subsequently be transferred to their own visual creativity. Among these methods are the following:

A way to peer into objects, phenomena of the surrounding reality, as the first orientation

Methods of orientation in shapes, proportions, colors in the process of visual activity

Methods of independent action when choosing materials, expressive and visual means

Methods of technical actions when creating an image in drawing, modeling, appliqué, etc.

In his book “Imagination and Creativity in Children” L.S. Vygotsky considered perception as the first reference point for future creativity, when the accumulation of material from which fantasy is subsequently built occurs. Based on physiological data, psychologists identify perception as one of the main components of creative activity.

According to many researchers, works of fine art, being highly artistic objects, carry an emotional creative potential, and the aesthetically expressive form serves as an impetus for creative perception

Much attention is also paid to the problem of the relationship between children's creativity and learning. There are even a number of basic techniques and methods that ensure the development of children’s visual creativity:

The use of works of fine art of different types and genres, their aesthetic perception;

Sensory examination of objects, enriching the child’s sensory experience;

Perception of the image in order to establish the relationship of external visual means with the internal character of the image;

- “Getting into character” to convey the mood, character of a character, animal or person;

Synthesis of arts (music, fiction, visual arts);

Creation of search situations;

Gaming techniques;

Questions, explanation of the task, orientation towards a creative approach to activity, the use of supporting elements (topic, idea) that organize the work of the imagination;

Children’s stories about their ideas, children’s analysis and evaluation of their work, taking into account the opinions of each child;

Encouragement by the teacher of interesting solutions to individual images or the entire topic

Such researchers of the problem of children's artistic creativity as N.A. Vetlugina, I.L. Dzerzhinskaya, V.A. Ezikeeva, T.G. Kazakov discovered the means of artistic expression, using which children are able to convey an artistic image. V.A. Ezikeeva writes: “Unlike the image in professional art artistic image in children's drawing requires other criteria for its assessment... color, shape, composition are the means of expressiveness of an image in a child’s drawing.”

The creative process, according to V.A. Ezikeeva, involves children creating an expressive image using visual means available to them, such as rhythm, color, line, shape. They can be not only means of figurative reflection, but also contribute to the formation of artistic creativity, the sources of which, as mentioned above, are reality and art.

At the very early period creativity, when the form of the image is very primitive, the child imagines the image as living, concrete, and active. Researchers of children's fine arts - E.A. Flerina, N.P. Sakulina, T.S. Komarova, T.G. Kazakova, N.B. Khalezova and others note that many of the expressive means used by the artist in painting and sculpture are, to a certain extent, accessible to a preschool child.

However, the most accessible expressive means for a preschooler is the use of color. Children 4-5 years old use color in decorative purposes. With the development of perceptions and aesthetic feelings, children begin to use color to convey the mood of an image.

Another means of expressiveness used by preschoolers is line. Researchers note that objects and phenomena that are close to the child and loved by him, he draws diligently, carefully, and bad and ugly events, in his opinion, are depicted with a careless line.

Rhythm is considered by A.V. Bakushinsky as an organizing principle in drawing, which helps the child gradually master the space of the sheet with rhythmic strokes and strokes. It takes as a basis the motor and visual experience of the child, the dependence of the development of children's creativity on the development of movements and motor sensations in cognition and reflection of the world.

E.A. paid great attention to teaching the means of artistic expression. Fleurina. She viewed it as the basis for the development of creativity.

G.G. Grigorieva also highlighted the conditions for the development of children’s creativity:

A broad approach to solving the problem: the teacher must make the natural process of children’s life and activities creative, put children not only in a situation of creative, but also cognitive, moral creativity. And special work in classes, games, etc., aimed at developing creativity, should organically enter into the child’s life.

Organizing an interesting, meaningful life for a child in a preschool institution and family, enriching him vivid impressions, providing emotional intellectual experience that will serve as the basis for the emergence of ideas and will be material for the work of the imagination (observations, activities, games, visiting the theater, etc.). This experience is created by the child’s entire system of life activity (observations, activities, games, visiting the theater, communication, etc.) and serves as the basis for the creativity of preschoolers.

The unified position of teachers in understanding the prospects for the child’s development and the interaction between them: in last years In a number of preschool institutions, classes in visual arts are taught by specialists. But, when resorting to the services of specialists, it is necessary to ensure their coordination, working together with other teachers and parents. Only when teachers are united by a single vision of the problem, a holistic vision and education of the individual, complete mental development preschooler.

Communication with art. With the correct influence of adults, the child understands the meaning, the essence of art, visual and expressive means and their subordinate significance. And on this basis, he better understands his own activities.

Training that should be focused on developing creative abilities. During the learning process, knowledge and methods of action are formed, and abilities are developed that allow the child to realize any idea. Children's knowledge and skills should be flexible and variable; skills should be generalized, i.e. applicable in different conditions.

Offering effective motives, leading children if not to independent production, then to accepting the task set by adults: creating an atmosphere of creativity largely depends on general culture teacher, understanding of the essence of the matter. Benevolent and systematic attention and interest in children’s activities are extremely important in the development creative possibilities child.

Taking into account the individual characteristics of the child: it is important to take into account the temperament, character, characteristics of certain mental processes, and even the mood of the child on the day when creative work is to be done.

Pedagogical conditions for the formation of visual creativity in children of middle preschool age are aimed at:

Individually differentiated leadership through the use of dialogue forms of interaction between adults and children.

Development of content aimed at developing children's search activity.

The use of various forms of organizing integrated classes and their types, which contributes to the realization of the needs and interests of children in the independent choice of visual media and materials.

Thus, by artistic creativity of preschool children we will understand the creation of a subjectively new (meaningful for the child, first of all) product (drawing, modeling, story, song, dance, game); creating different versions of images, using previously learned methods of depiction or means of expression in a new situation.

1.2 Subject drawing in preschool age: its features and significance

The main goal of plot drawing is to teach a child to convey his impressions of the surrounding reality.

It is known that all surrounding objects are in a certain connection with each other. The attitude towards any object or phenomenon largely depends on the understanding of this particular connection.

The ability to establish semantic connections between various objects and phenomena develops gradually in the child. Therefore, plot drawing for educational purposes is introduced no earlier than middle group, and at the beginning as an image of 2-3 objects located nearby. Naturally, children should know the techniques for depicting objects that are the main characters of the plot, otherwise difficulties in depicting unfamiliar objects will distract them from completing the main task.

However, plot drawing should not be limited to depicting only those objects that children have already depicted. The child must be able to draw the main thing in the plot, and he completes all the details as he wishes.

The ability to highlight the main thing in a plot is associated with the development of perceptions and analytical-synthetic thinking. They are at small child are still too superficial; he first of all perceives what is directly accessible to sight, touch, hearing, and often recognizes an object by some insignificant details that he remembers. In the same way, a child perceives and conveys the plot in a drawing. Identifying shit, understanding the relationships and connections of plot objects are quite difficult tasks for a preschooler. They can be solved by children of the older group.

In plot drawing, it is important to correctly convey the proportional relationships between objects. This task is complicated by the fact that when depicting a plot, it is necessary to show not only the difference in their sizes that exists between them in life, but also the increase or decrease of objects in connection with their location in space. To do this, the child must be able to compare and contrast image objects and see the semantic connection between them.

Solving the problem of spatial relationships between objects is very difficult for a preschooler, since he has little experience and insufficiently developed visual skills and skills.

Children can get ideas about the extent of space, about the horizon line connecting the earth and sky, mainly when going out into nature (to the forest, to the field). But even if some of them understand the perspective changes of objects in space, it will be difficult for them to convey these changes to the flatness of the sheet. What is located far away in nature should be drawn higher in the drawing, and vice versa. These features of the image of space on a plane are understandable only to an older preschooler who has experience.

So, the general objectives of teaching story drawing in kindergarten are the following:

To teach how to convey the content of a topic and highlight the main thing in it;

Teach to convey interactions between objects;

Teach how to correctly convey proportional relationships between objects and show their location in space

Teaching children plot drawing begins in the middle group. True, in the younger group, some of the topics proposed for drawing sound like plot themes (for example, “Kolobok is rolling along the path,” “it’s snowing, it’s covering the whole ground,” etc.). but they do not require the transmission of the action of the plot. Pointing out the plot of the drawing is used to create interest in children in depicting the simplest forms.

As for determining the themes of the image, the teacher should be guided by the following principles:

The first principle for selecting topics is taking into account the emotional and intellectual experience that children develop during their life and activities in kindergarten and in the family.

The second principle of content selection: the formation of generalized methods of representation suitable for embodying images of a whole group of objects similar in appearance, shape and structure, i.e. typical.

The child sets the goal himself, he acts as the subject of his activity, which is one of the indicators of personal development. However, the formulation of the task must be followed by the next step - the selection and application of means to achieve the goal, obtaining a result. But the child does not always do this. Gradually, realizing his ineptitude, he stops setting goals. This means that activities important for human development disappear. Consequently, it is necessary to help the preschooler master the methods and means of achieving the goal, we must teach him visual activity, but in such a way that he can relatively freely depict any phenomenon and realize any of his ideas.

Thus, while maintaining the first principle of selecting image content - taking into account the knowledge and interests of children, their emotional and intellectual experience - one should simultaneously be guided by the second principle - selecting content that is not only interesting, but also systematic.

The third principle for selecting content is taking into account the sequence of mastering visual skills. This means that the selection of systemic knowledge and content embodied in the topic is subject to the specifics of the activity and the image tasks available to children.

The fourth principle combines the previous two: taking into account the need to repeat similar themes while simultaneously increasing the complexity of the character cognitive activity children in the direction of increasing their independence and increasing creativity in the process of cognition, and then in the process of imaginative reflection of impressions

Fifth principle - taking into account seasonal phenomena, local environment - natural and social, social phenomena, etc.

Sixth principle - if possible, taking into account the individual emotional and intellectual experience of children as a condition for updating valuable and effective motives for activity, activating the corresponding feelings, imagination, purposefulness of activity, and, consequently, the creative manifestations of preschool children.

The tasks of plot drawing are not reduced to pictorial tasks, but represent concretization common tasks, directing the teacher to the formation of holistic activity in children and the development of the personality of the preschooler. .

The following learning objectives are highlighted:

To develop interest in surrounding objects, natural phenomena, social phenomena and events, people, their activities and relationships; contribute to the formation of a moral and aesthetic position in children.

To develop in children the desire and ability to accept from an adult and set appropriate goals and objectives themselves.

To develop in children the ability to conceive an image, determining in advance the content and some methods of depiction.

Teach preschoolers some accessible ways images of the plot image:

a) techniques for creating simple compositions, i.e. the arrangement of images on the plane of the sheet, first on the entire sheet, rhythmically repeating images of the same objects with minor additions - in the younger and middle groups; stimulating and encouraging images of one subject in different options, thereby mastering the ways of depicting an object at a variable level - in the middle group; placing images on a wide strip of sheet, indicating the earth, sky, outlining the horizon line, placing images of those objects that are closer - at the bottom of the sheet, further - at the top; varying the arrangement of images on the sheet, i.e. lead children to a conscious choice and construction of compositions, while depicting close-up objects in larger sizes, distant objects - smaller in size - in older groups;

b) learn to depict the main thing in a drawing, i.e. those objects and characters that express the content of a given topic allow you to immediately determine the content of the image (middle, senior groups);

V ) learn to convey relationships by magnitude in a drawing, relative position in space (senior groups);

d) direct children to convey action through the depiction of movement, dynamics, poses, details (from middle school, but mainly in older groups).

To teach children the methods of perception and observation of phenomena in the surrounding world necessary for completing a plot drawing.

To develop in children an understanding of the dependence of image quality on the quality of observation, to form in them a desire and, in the future, if possible, a need for observation for the purpose of subsequent imaging.

Encourage children to be independent and creative in conceiving an image: searching for unique content, using adequate, varied means of expression (composition, color, etc.)

To teach children to feel the expressiveness of an image, to encourage them to have an emotional response to it, to lead them to understand the dependence of the expressiveness of an image on the means used, the methods of depiction, i.e. to form the ability to artistically and creatively perceive drawings.

Based on the set of tasks for guiding plot drawing, taking into account the difficulties of mastering this type of activity (features of children’s perception) and the complexity of the graphic embodiment of the plot image, the methodology for working with children should be built in two directions:

1. Enriching children with vivid impressions of the world around them: social and natural phenomena. Development of observation, the ability to see, feel, notice the expressiveness of shape, proportion, color of individual objects, their interrelation and combinations.

2. Helping children understand the means graphic image plot, in establishing connections between ideas and methods of depiction

Since in our work we must primarily study the development of creativity in middle preschool age, we consider it advisable to outline tasks for plot drawing within the specified age framework. The following tasks are highlighted in the Praleska program:

To introduce the means of expressiveness of subject, subject and decorative drawing

To form ideas about plot composition, constructive (partially integral) and arch methods of creating images

Help in the practical development of plot composition (linear, frieze, over the entire surface of a sheet of paper).

These problems are solved on plots that are well known to children, on images of objects that they have drawn before. The need to place several items on one sheet of paper requires a developed ability to analyze and synthesize, as well as creative use of acquired skills.

The arrangement of several objects on one line is the simplest compositional solution Topics. Children 4 years old are able to learn that in life objects are located next to each other, so it is impossible to place another in the place of one object. The straight line on which children draw objects is, according to E.A. Flerina, by that rhythmic simplification of the image of the space of the earth, which is accessible to children's understanding.

The topics offered to children are simple: a house, a tree grows near it, a bench stands; a house or a tree, a girl is walking nearby; grass, flowers grow, the sun is shining; Chickens are walking on the grass.

In these drawings, the guys do not show the plot development of the action. Children draw 2-3 objects nearby, between which there will be no effective connection.

In the middle group, children are also introduced to another method of composition of a plot drawing - the arrangement of objects on the entire sheet. The teacher gives the children sheets of paper of certain colors corresponding to a certain plot (green - for a clearing, blue - for water, yellow - for sand, etc.), and they freely place the intended objects on a selected colored background, using the entire plane of the sheet (flowers in the meadow, fish in the water).

In plot drawing, children are not tasked with showing exact proportional relationships between objects, since it is quite complex and accessible only to children of the older group.

To summarize, we can say that plot drawing as a way of active, creative, effective and caring awareness by a child of the world around him and his attitude towards it has a huge impact on the development of the personality of a preschooler. At all stages of plot drawing, the cognitive, emotional, moral and volitional spheres of the personality are actively manifested, and therefore develop in a single creative process.

1.3 Non-traditional techniques in the visual activities of preschool children

In kindergarten, visual activities include activities such as drawing, modeling, appliqué, and design. Each of these types has its own capabilities in displaying the child’s impressions of the world around him. T.S. Komarova points out: “However, it is often difficult for educators to add variety to all moments of work and to children’s free activities; it is often difficult for educators to come up with many options for activities on topics. Drawing, modeling, applique as types of artistic and creative activity do not tolerate templates, stereotypes, once and for all established rules, and yet in practice we often encounter exactly this situation (“A tree is drawn from the bottom up because it grows that way, and the house like this”, etc.)”. Therefore, it will be important to use non-traditional techniques in the visual arts of preschoolers.

As part of our work, we will consider the use of non-traditional techniques mainly in drawing. Currently, there are quite a large number of options for art preschool education, but not all of them are scientifically substantiated at a sufficient level. The artistic techniques listed below, which are non-traditional for domestic preschool education, were studied and tested in work with children by R.G. Kazakova and L.G. Belyakova.

The following non-traditional techniques can be used in drawing with children:

Poking with a hard semi-dry brush

Finger painting

Palm drawing

Foam rubber impression

Foam impression

Imprint with eraser stamps

Imprint with crumpled paper

Wax crayons + watercolor

Candle + watercolor

Screen printing

Subject monotype

Blotography

Leaf prints

Watercolor crayons

Landscape monotype, etc.

Since the work in our study is carried out with children of middle preschool age, we consider it appropriate to describe only techniques that are suitable for this age range. According to the “Praleska” program, children of fourth to fifth years of age are classified as children of middle preschool age. Accordingly, a more detailed description will be given to the following techniques:

1. finger painting (from two years old): the child dips his finger in the gouache and puts dots and specks on the paper. Each finger is painted with a different color. After work, wipe your fingers with a napkin, then the gouache is easily washed off.

2. drawing with the palm (from two years old): the child dips his palm (the entire brush) into gouache or paints it with a brush (from five years old) and makes an imprint on paper. Draw with the right and left hands, painted different colors. After work, wipe your hands with a napkin, then the gouache is easily washed off.

3. imprint with a cork (from three years): the child presses the cork to a stamp pad with paint and makes an imprint on the paper. To obtain a different color, change the bowl and stopper.

4. foam rubber imprint (from four years): the child presses the foam rubber onto a stamp pad with paint and makes an imprint on the paper. To change the color, use another bowl and foam rubber.

5. imprint with crumpled paper (from four years): the child presses the paper to a stamp pad with paint and makes an imprint on the paper. To get a different color, both the saucer and the crumpled paper are changed.

6. wax crayons+ watercolor (from four years): the child draws with wax crayons on white paper. Then he paints the sheet with watercolors in one or more colors. The chalk drawing remains unpainted.

7. poke with a hard, semi-dry brush (any age): the child dips the brush into the gouache and hits the paper with it, holding it vertically. When working, the brush does not fall into the water. In this way, the entire sheet, outline or template is filled. The result is an imitation of the texture of a fluffy or prickly surface.

8. stencil printing (from five years old): the child presses a signet or foam rubber swab onto a stamp pad with paint and makes an impression on paper using a stencil. To change the color, take another swab and stencil.

9. subject monotype (from five years): the child folds a sheet of paper in half and on one half of it draws half of the depicted object (objects are chosen symmetrical). After painting each part of the object while the paint is still wet, the sheet is folded again to form a print. The image can then be decorated by also folding the sheet after drawing several decorations.

10. Regular blotography (from five years): a child scoops up gouache with a plastic spoon and pours it onto paper. The result is spots in a random order. The sheet is then covered with another sheet and pressed. Next, the top sheet is removed, the image is examined: it is determined what it looks like. The missing details are completed.

11. spray (from five years): the child puts paint on a brush and hits the brush on the cardboard, which he holds above the paper. Paint splashes onto the paper.

12. Blotography with a thread (from five years old): a child dips a thread into the paint and squeezes it out. Then he lays out an image from a thread on a sheet of paper, leaving one end free. After this, another sheet is placed on top, pressed, holding it with your hand, and pulls the thread by the tip. The missing details are completed.

13. leaf prints (from five years): the child covers a tree leaf with paints of different colors, then applies it to the paper with the painted side to make a print. Each time a new leaf is taken. The petioles of the leaves can be painted on with a brush.

14. embossing (from five years): the child draws what he wants with a simple pencil. If you need to create many identical elements (for example, leaves), it is advisable to use a cardboard template. Then an object with a corrugated surface is placed under the drawing, and the drawing is colored with pencils. At the next lesson, the drawings can be cut out and pasted onto a common sheet.

15. blotography with a straw (from five years): the child scoops plastic spoon paint, pours it onto the sheet, making a small spot (droplet). Then blow on this stain from a tube so that its end does not touch either the stain or the paper. If necessary, the procedure is repeated. The missing details are completed.

16. black and white scratch paper (from five years old): a child rubs a sheet of paper with a candle so that it is completely covered with a layer of wax. Then mascara with liquid soap or tooth powder is applied to it, in this case it is filled with mascara without additives. After drying, the design is scratched with a stick.

17. “familiar form - new image"(from five years): the child traces the selected object with a pencil. Then he turns it into something else by drawing and colors it with any suitable materials. When tracing the foot, the child takes off his shoes and places his foot on the sheet. If a figure is being traced, whatman paper is attached to the wall, one child leans against it, the other traces it.

18. imprinting with stamps from an eraser (from four years): the child presses the signet onto a stamp pad with paint and makes an impression on the paper. To change the color you need to take another bowl and signet.

19. candle + watercolor (from four years old): the child draws on paper with a candle. Then he paints the sheet with watercolors in one or more colors. The candle drawing remains white

20. watercolor crayons ( from five years ): the child wets the paper with water using a sponge, then draws on it with crayons. You can use the techniques of drawing with the end of a chalk and flat. When the paper dries, it becomes wet again.

The availability of these techniques is determined age characteristics preschoolers. You should start working with techniques such as drawing with fingers, palm, etc., and later these same techniques will complement the artistic image created with the help of more complex techniques. The more diverse the conditions in which visual activity takes place, the content, forms, methods and techniques of working with children, as well as the materials with which they work, the more intensively children’s artistic creativity will develop.

It is necessary to diversify both the color and texture of the paper, since this also affects the expressiveness of the drawings and confronts children with the need to select materials for drawing, think through the coloring of the future creation, and not wait for a ready-made solution. To prevent children from creating a template (draw only on a landscape sheet), sheets of paper can be of different shapes: in the shape of a circle (plate, saucer, napkin), square (handkerchief, box). Gradually, the baby begins to understand that you can choose any piece of paper for a drawing: this is determined by what is to be depicted. .

The novelty of the situation unusual beginning works, beautiful and varied materials, non-repetitive tasks that are interesting for children, the opportunity to choose and many other factors - this is what helps prevent monotony and boredom in children's visual arts, and ensures liveliness and spontaneity children's perception and activities. It is important that every time the teacher creates a new situation so that children, on the one hand, can apply previously acquired knowledge, skills, and abilities, and on the other hand, look for new solutions and creative approaches.

Conclusions:

1. Creativity is defined as the activity of changing, transforming the world around us, creating something new that did not previously exist.

2. Children's creativity has its own characteristics, which determines the subjective nature of its results.

3. In order to obtain a creatively developed personality, it is necessary to provide the child with the right to choose activities, as well as the materials necessary for it. This also applies to the development of children’s visual creativity.

4. Preschool age is the initial period in children’s mastery of plot drawing. Children at this age are not yet able to convey a complex plot in a drawing, or accurately embody the intended artistic image.

5. Both narrative drawing and children's visual creativity include a number of visual skills that children must master in the process of targeted learning.

6. Non-traditional techniques are of great importance in working with children: they create interest in visual arts, which is one of the most important conditions for the development of artistic creativity in children.

7. Prerequisites for the development of visual creativity can already appear in preschool age.

2. Empirical research children's fine art in plot drawing

2.1 Description of experimental research methods

Experimental research work was carried out by us on the basis of cell number 3 in Mogilev in November 2008 - April 2009. For the study, we took 25 children from the Pochemuchki group (Appendix 1) and their parents, 1 teacher of the group.

Purpose of the study: to study the influence of plot drawing on the development of children's visual creativity.

Research objectives:

1. Identify the conditions for the development of visual creativity in children in the family and kindergarten.

2. To study non-traditional techniques of visual activity and describe their influence on the development of creativity in the subject drawing of preschoolers.

3. Develop and test an experimental methodology to identify the possibility of the influence of plot drawing on the development of children's visual creativity.

Research hypothesis: we hypothesized that the development of children's visual creativity in story drawing will be facilitated by the use of non-traditional techniques, subject to the following conditions:

Competent selection of content for working with children, as well as non-traditional drawing techniques

Availability of appropriate material resources

The interest of preschool teachers and families in the development of visual creativity in children

The relationship between various types of children's activities.

The research work included several stages:

1. ascertaining experiment aimed at identifying the conditions for the development of children's visual creativity in a preschool institution and family and at identifying children's levels of development of visual creativity.

2. a formative experiment, during which we selected various non-traditional drawing techniques and conducted a number of classes on plot drawing using these techniques with children who showed the prerequisites for the development of creativity.

3. control experiment aimed at identifying the influence of the use of non-traditional techniques in plot drawing on the development of visual creativity in children of middle preschool age.

To conduct research work to identify the conditions for the development of visual creativity in the family and kindergarten, we used questionnaires. (Appendix 2, 3).

We compared the answers of parents and teachers of preschool institutions with the conditions necessary for the development of artistic creativity, identified by G.G. Grigorieva in the book “Development of a preschooler in visual activity”:

A broad approach to solving the problem: this task must be addressed in all areas of the child’s life and in all activities. (there should be special systems of games and tasks that develop creativity).

Organization of an interesting, meaningful life for a child in a preschool institution and family; enriching it with vivid impressions, providing emotional intellectual experience, which will serve as the basis for the emergence of ideas and will be material for the work of the imagination (observations, activities, games, visiting the theater, etc.).

A unified position of teachers in understanding the prospects for a child’s development and the interaction between them.

Communication with art.

Education

Comprehensive and system use methods and techniques, leading value among which have preliminary observation, creation problem situations, identifying the problem, and the lack of ready means to resolve them.

Offering effective motives, leading children, if not to independently set, then to accept the task set by adults.

Taking into account the individual characteristics of the child.

To identify children’s levels of development of creativity in plot drawing, we conducted a plot drawing lesson on the topic “Snow, snow is spinning, the whole street is white...”. The following levels of creativity were identified: high, medium and low. The assignment of a child to each of them is determined by the compliance of the process indicators and the quality of the product of his artistic creativity with the evaluation criteria put forward by N.A. Vetlugina:

1. indicators of creativity characterizing the relationships, interests, abilities of children:

Sincerity, spontaneity, passion, emotionality.

Interest in visual arts.

The ability to enter into the depicted image

2. indicators of creativity, characterizing methods of creative action:

Creating new combinations from previously learned elements.

Additions, changes, transformations of familiar material, finding original image techniques.

Independently finding new ways, quick reactions and orientation in new conditions.

3. creativity indicators characterizing the quality of children's artistic activities:

Finding adequate expressive and visual means to embody the image.

Compliance of creative results with elementary artistic requirements.

The individual “handwriting” of children’s products, the originality of the manner of execution and the nature of the expression of their performance.

Further, at the stage of the formative experiment, we developed a series of classes on plot drawing using non-traditional techniques for conducting with children who have demonstrated the prerequisites for development high level fine arts. The series of lessons included the following lessons: “Butterflies in the clearing”, “Our turtles on a walk”, “My favorite fish”, “Spring flowers for my mother”, “My toys”.

At the stage of the control experiment, we conducted a lesson on plot drawing using non-traditional techniques “My favorite tree in different seasons” with all the children in the group and again determined the levels of children’s creativity, determined the influence of the use of non-traditional techniques in plot drawing on the development of children’s visual creativity.

At the final stage of the study, we drew conclusions and developed recommendations for educators on the development of visual creativity in children, and selected information for parents on the topic “How to develop children’s visual creativity” (Appendix 4)

2.2 Identification of conditions for the development of visual creativity of children in the family and kindergarten and levels of visual creativity in children of the study group

The ascertaining experiment was carried out in several stages. The first stage was to identify the conditions for the development of children's visual creativity in the family and kindergarten. For this purpose, we developed questionnaires for parents and separately for the group teacher.

The questionnaire for parents included questions, the answers to which presupposed a certain attitude of the parents towards the child’s visual creativity, their participation in activities with the child, in the creation certain conditions for a child to engage in a favorite type of artistic activity, etc. After analyzing the answers given by parents, we made the following conclusions:

Most families have created good conditions for the development of creativity in children

Parents most often actively participate in the lives and activities of their children

Most of the children in the group have a sufficient number of artistic impressions

Among the children there are those who really love to draw (Iman M., Karina N., Sasha S., Nastya Sh., Dasha M., Oleg G., Nika P., Alisa A., etc.)

Some children are good at composing stories, but do not know how to draw, and, therefore, cannot display an artistic image created by the imagination using visual means.

The questionnaire for the teacher was aimed at identifying the forms of work of the teacher with children in visual arts, and the methods used in the work. It also included questions, the answers to which suggested the teacher’s attitude towards children’s visual creativity and awareness of the influence of visual activity on the development of the child’s personality as a whole. In this questionnaire, the teacher could also make suggestions for improving the methodological and subject environment in organizing artistic activities in kindergarten.

Having studied the teacher’s answers, we made the following conclusions:

Work on visual activities in kindergarten is underway

The teacher uses various possibilities of fine art to develop children's personalities

Children are given independence in visual activities

Attracts the attention of parents to the visual activities of children

However, most kindergartens still use traditional materials for visual arts.

The second stage was aimed at identifying the prerequisites for visual creativity in children and took place in the form of a lesson with the whole group on the topic “Snow, snow is spinning, the whole street is white...”.

Program content: learn to convey a simple plot, include familiar objects in a drawing; notice the beauty in the combination of white with other colors; continue to teach drawing in the specified sequence; Practice rhythmically applying dots with the end of the brush across an entire sheet of paper.

Equipment: 2-3 illustrations depicting snowfall; A4 size sheets of gray paper, brushes, gouache paints.

Progress of the lesson

The teacher shows the children illustrations depicting snowfall. He asks what is shown in the pictures.

Draws their attention to the fact that during heavy snowfall, snow covers all objects around. And roofs of houses, and tree branches, and fence posts, and benches, etc. snowflakes are flying everywhere. We see all objects as if through flying snowflakes. gray sky, on objects (dark green spruce trees, black tree trunks, etc.).

Today you will draw a picture for the song “snow, snow is spinning, the whole street is white.” Decide for yourself what you will draw on the street: one or 2 houses, trees or other objects (snowman, fence, benches, gates).

First you will draw houses, trees and other objects, whatever you want, then the snow lying on the ground and on everything, and at the end with the tip of your brush you will draw small snowflakes everywhere.

By asking questions, the teacher reinforces children’s ideas about the sequence of drawings. He asks several people what they would paint on their street and invites everyone to get to work.

During the work, you need to ensure that children first depict large objects (houses, trees), then smaller objects (fence, snowman, benches). Reminds you that you need to wait until one paint dries, and only then apply another one on it (windows on houses, etc.).

The teacher also reminds that tree branches should be painted with the end of a brush. He advises painting them with white paint, since in heavy snowfall the snow covers the entire branches. Falling snow on spruce branches can be depicted using the technique of dipping. When children start drawing snowflakes, make sure that they are depicted all over the sheet of paper.

At the end of the lesson, the teacher displays the drawings on a stand for viewing. On the top shelf he places two or three drawings with the most successful depiction of snowfall, and says: “children, look at these drawings, they are very suitable for the song “snow, snow is spinning, the whole street is white.” In the drawings, most of the color is white: white snow on the roof of the house, on the trees and on the fence. All objects are visible through falling snowflakes. Who will find among other drawings similar to these and put them next to each other? invites several children to the board. He asks: “Why do you think that this drawing will also suit the song “Snow, snow is spinning...”?”

The selected drawings are moved together and everyone admires the snowy street.

During the lesson, the following methods were used: conversation, demonstration, explanation, instructions, reminder, encouragement, analysis. Visual aid was also used in the form of illustrations depicting snowfall, a snow-covered street, etc.

The positive thing about the lesson was that some of the children achieved their goal.

Most of the children did not cope with the work, despite the aroused interest and activity in completing the task. During the lesson, the children sought to create an artistic image based on previously accumulated experience, but the goal was not achieved due to the fact that the children do not know how to convey the intended artistic image. The result of the ascertaining experiment is summarized in the form of a table.

Thus, according to the table, we can conclude that in the group we studied, the majority of children have an average and low level of creativity in plot drawing classes. But there are also those who showed good results: a prerequisite for the development of a high level of creativity - these are Alisa A., Kirill K., Iman M., Nastya Sh., Karina N., Nika P., Oleg G., Dasha M. All the children listed are rated positively on all or most criteria.

Based on the results of the ascertaining experiment, we can conclude that both education and the creation of conditions in the family and kindergarten are equally important for the development of visual creativity in children. But personal prerequisites for the development of creativity also play an important role.

2.3 Development of visual creativity in children of middle preschool age in the process of plot drawing using non-traditional techniques

Conducted with children: Alisa A., Kirill K., Iman M., Nastya Sh., Karina N., Nika P., Oleg G., Dasha M., who in the ascertaining experiment showed the existing prerequisites for the development of a high level of visual creativity.

The purpose of the formative experiment was to develop visual creativity in children of middle preschool age in the process of plot drawing using non-traditional techniques.

The use of non-traditional techniques in story drawing classes in our study is due to the fact that in middle preschool age story drawing is just beginning to develop. Our work was carried out with children of middle preschool age. We hypothesized that the use of non-traditional techniques by children in story drawing classes can help them more fully convey the artistic image which they want to portray.

During the formative experiment, individual sessions with capable children. All classes were of an entertaining nature. In these classes, children mastered new techniques, new visual materials, new technical capabilities these materials.

1. “Butterflies in the clearing”

Non-traditional techniques: subject monotype

Program content: to form in children an idea of ​​the appearance, structure of a butterfly, feeding habits, variety of colors; practice counting, determining the right and left sides; teach children to make a pattern and achieve symmetrical image by folding paper; cultivate neatness.

Progress of the lesson

Children sit in a semicircle

Children, listen to what happened to me once. I was walking through the forest and came to an unusual clearing. How beautiful it was, bright, strewn with unusual flowers! I wanted to smell the flower. But as soon as I bent down, all the “flowers” ​​fluttered up and flew away. What were these unusual flowers in the clearing? (The teacher suggests looking at the butterfly).

Have you seen butterflies? Where did you see them? What were the butterflies doing? Why can butterflies fly? What else do butterflies have besides wings? Let's now take a close look at the illustration and determine what the butterfly has. Here you will see what has already been named. (The teacher calls the child to the picture. The child looks at it again and says what the butterfly has).

What is the most beautiful thing about a butterfly? How many wings are there in total? Let's count how many wings are on the left side of the body and how many are on the right. How can you say it differently? (equally) and now let's look again at both wings on the left side. Are they the same shape? Size? And on the right side? Right. The upper and lower wings differ in shape and size.

Summary:

Children, look at the butterfly again. How beautiful she is! She has two wings on the right and left sides of her body. And she has two identical upper wings, and two identical lower ones. Well done everyone.

Now get up, let's play a little with you. Let's imagine that we are butterflies, and our hands are wings. Let's show how big and beautiful our wings are (spread our arms to the sides), and now let's fold them. Let's imagine that we are in a spring meadow. Let's fly, spread our wings (children “fly” to quiet music). The children sit down again.

Who knows why butterflies land on flowers? (answers are listened to)

Butterflies land on flowers to eat. What do butterflies eat? Each flower has a sweet juice inside, it is called nectar. Butterflies get juice with their long proboscis, which is located on their head (look at the illustration)

What colors are butterflies? That's right, multi-colored. Look what beautiful butterflies flew to us! (look at the illustrations).

All butterflies are different, unusual, and have their own colors. The name of individual butterflies is associated with color: peacock eye, lemongrass, etc.

Is the pattern on the wings on the right side similar to the pattern on the left? Find a pattern that repeats on the left and right wings. All these butterflies are different, but each has the same pattern on the left and right sides, both sides of the wings are colored the same.

And now we will draw with you. What do you think needs to be done to get an accurate pattern on both sides? On our desks we each have a piece of paper with a silhouette of a butterfly. To get the same pattern, we decorate only one side of the butterfly (half). And then we fold the sheet in half and press it with a pen so that the design is imprinted. But butterflies are all different. And you, children, come up with each of your own drawings (unusual patterns).

After finishing drawing:

Remember, children, I told you about the flower meadow. Bring butterflies here and we will create an extraordinary clearing with you. And sit down next to the butterflies yourself, (music sounds)

How beautiful! Butterflies are like unusually bright flowers. I just want to take them in my hands. But we can’t, let’s not destroy this beauty, because if we take the butterfly in our hands, we can hurt its wings and erase the pattern. Let them flutter, fly and sit on flowers. Let's admire this beauty and take care of it.

2. “Our turtles on a walk”

Non-traditional techniques: wax crayons + watercolor, black marker + watercolor, imprint with crumpled paper.

Program content: to cultivate an aesthetic attitude towards nature and its depiction using various visual techniques; learn how to most expressively display the image of animals in drawings; develop color perception and sense of composition.

Equipment: A3 paper, watercolors, wax crayons, black marker, illustrations and sketches of turtles, various herbs and flowers in the form of a landscape.

Progress of the lesson

The teacher reads K. Chukovsky’s poem “Turtle”:

It's a long walk to the swamp,

It's not easy to walk to the swamp!

“Here is a stone lying by the road,

Let’s sit down and stretch our legs.”

And the frogs put a bundle on the stone:

“It would be nice to lie down on a rock for an hour!”

Suddenly a stone jumped to his feet,

He grabbed them by the legs.

And they screamed in fear:

"What is it! – this is RE!

This is PAHA! – this is – CHERERE!

This is PAHA! This is DADDY!”

Children remember watching turtles; They jokingly explain why the frogs did not notice that it was a turtle and not a stone. It is proposed to draw a family of turtles on a walk, complementing the drawing with grass, trees, flowers, etc. The children come up with simple plots (mother turtle teaches her babies to crawl, father turtle brings them delicious dandelions, etc.). The proposed techniques are discussed, illustrations and sketches are reviewed.

The teacher reminds children of the basic rules of working with watercolors, draws attention to the tenderness, smooth transitions of watercolor colors and the clarity of marker lines, the locality of the color of wax crayons. If there are difficulties, he shows how to work in the selected techniques.

Finished works are hung. When viewing, turtles with the most powerful and beautiful shell, the smallest, the most cheerful family, the largest, etc. are selected. Landscapes with turtles are given names.

3. "My favorite fish"

Non-traditional techniques: wax crayons + watercolors, foam prints or stamps made from vegetables and potatoes.

Program content: introduce artistic techniques; develop a sense of composition and color.

Equipment: wax crayons, blue and violet watercolors, A3 or A4 sheet (to choose from), blue, violet, white (for wax crayons and watercolors), blue flowers, brush, 2 pieces of foam rubber in the shape of the tail and body of a fish, bowls with gouache, potato signets in the shape of a fish’s tail and body, green gouache in jars, pedagogical sketches.

Progress of the lesson

The inhabitants of the aquarium, soil, and algae are considered. The teacher asks a riddle: a clean silver back (a fish) splashes in the river.

Reads I. Tokmakova’s poem “Where the Fish Sleeps”:

It's dark at night, quiet at night.

Fish, fish, where do you sleep?

The fox trail leads to the hole,

The dog's trail leads to the kennel,

Belkin's trail leads to a hollow,

Myshkin - to the hole in the floor.

It’s a pity that in the river, on the water,

There are no traces of you anywhere.

Only darkness, only silence.

Fish, fish, where do you sleep?

The teacher reminds what is in the aquarium (soil, pebbles, algae), where the fish can hide and sleep. Illustrations are being considered different fish, it is noted that they swim by moving their fins, tail, and body.

It is proposed to choose a technique using pedagogical sketches. Children name the drawings they like and dislike. The teacher explains the techniques to each individual separately and shows how to draw algae.

Viewing pictures is played out like feeding fish. At the same time, children can draw worms, flies, bloodworms. The largest, brightest, smallest, most active, funny and cocky fish are selected.

4. "Spring flowers for my mother"

Non-traditional techniques: wax crayons + watercolors + stencil printing.

Program content: to cultivate an aesthetic attitude towards the image of mother through the image of flowers in various techniques Oh; develop color perception, sense of composition, imagination.

Equipment: white and pale green paper in A3 and A4 format, illustrations, wax crayons, watercolors, green gouache, gouache in bowls for printing, sketches of flowers, cardboard cards of various colors for the game.

Progress of the lesson

The teacher reads a poem written by eleven-year-old Olya Arkhangelskaya:

To an open clearing,

Warmed in the spring

A piece of the sky fell -

The forest flower has bloomed!

Illustrations and sketches of snowdrops and other spring flowers (tulips, coltsfoot, daffodils, etc.) are examined, and children express their impressions. The game exercise “Flowers Bloom” is performed: cards with drawn flowers (bud, half-opened, blossomed) are lined up in the order of growth and development. IN game exercise“Pick a Color” matches color cards (white, yellow, lilac, blue, violet, light blue, red, etc.) to illustrations of spring flowers.

It is proposed to draw a “family” of flowers or a bouquet for mom, choosing their color, image technique and composition yourself. Several children show how to work in these techniques, depicting different flowers.

Viewing children's drawings is accompanied by a description of the nature of the flowers: sad, heads down; cheerful, many, many flowers in the family, the bouquet is selected according to color, shape, etc. Drawings are discussed with the children, and it is determined which can be called landscapes and which can be called still lifes (bouquets).

5. “My toys”

Non-traditional techniques: signet imprinting, cork imprinting, finger painting.

Program content: to form an aesthetic attitude towards toys by means of their depiction in drawings; practice combining two different techniques; develop a sense of composition and rhythm.

Equipment: sheets of A3 paper, gouache, gouache in printing bowls, seals of various shapes, cork, simple-shaped toys, for example, a tumbler, a mouse, balls, two toy bears, brushes, pedagogical sketches.

Progress of the lesson

A scene is played out in which two bear cubs try to play with one tumbler and a ball, but they fail: everyone needs both to play. The cubs are upset. The teacher asks the children to help: let the bears play with their toys. They tell us what toys they have, it turns out that there is a tumbler, balls, a mouse, etc. Then the cubs say that they figured out what to do: draw these toys for them. The teacher draws the children's attention to the toys arranged in the composition; they are examined in combination with the balls: how they are decorated, what shape, size. Attention is focused on the composition of the drawing: a tumbler and balls next to it, balls around a tumbler, etc.

The teacher shows how to draw a tumbler, a mouse and there are many different balls around: large and small.

Viewing children's drawings in a playful way: the cubs choose toys for themselves and their friends: the funniest tumbler, the most decorated balls, the most unusual composition, etc.

2.4 Identification of the level of children's visual creativity in plot drawing, developed during a formative experiment using non-traditional techniques

The purpose of the control experiment was to identify the level of children's visual creativity in plot drawing, developed during a formative experiment using non-traditional techniques.

The control experiment was carried out in the form of a lesson in plot drawing using non-traditional techniques.

During the lesson, the following methods and techniques were used: story, questions, demonstration, explanation, instruction, reminder, analysis. The children were offered non-traditional equipment and illustrative material. Music was also used for a better emotional mood.

Topic: “My favorite tree in different seasons”

Non-traditional techniques: signet imprinting, crumpled paper imprinting, finger painting, monotype, spray painting, blotography with a tube.

Program content: improve children's skills in arts and crafts techniques; consolidate knowledge about seasonal changes in wildlife; learn to depict these changes in the drawing most expressively; develop a sense of composition.

Equipment: sketches and illustrations depicting trees in different seasons, paper tinted with a pale blue color, gouache, hard and soft brushes, a piece of cardboard for spraying, a tube for blotography, signets, gouache paints, paper.

Progress of the lesson

A riddle is asked: “it makes you happy in spring, cools in summer, warms in winter” (tree).

Children look at illustrations of trees in winter, summer, spring and autumn and determine how these pictures differ. It is proposed to draw up a nature calendar for the group and draw a tree on it. It is discussed how accurately the trees will reflect changes in wildlife. It is determined how many drawings are needed for the calendar. Attention is drawn to the fact that the image of inanimate nature (sky, earth, etc.) must correspond to the season in which the tree is depicted. To select a technique, children look at sketches made in various fine arts, select them by season, then choose what they like and don't like.

The depiction of trees in the chosen technique, the addition of such suitable details as grass, people, leaf fall, snow are accompanied by invention figurative name your work, for example: “ White birch in winter”, “green oak in summer”, “colored aspen in autumn”. The drawings are inserted into frames and hung on a gallery-style stand. All this is done with the participation of children. Along the way, it is discussed which technique helped to depict the season, and in which case it would have been better to choose a different material. The drawings are grouped by season, young artists It is proposed to choose 3 works per season and make a calendar for the group.

The result is summarized in table form:

The presence of a certain criterion is marked with a “+” sign, the absence – with a “-” sign.

Thus, having conducted a series of classes using a variety of techniques, it is clear that among children who have the ability to work with paints and non-traditional techniques, the studied indicators are at a high level. And for children with poorly developed artistic and creative abilities, the indicators are still at a low level, but due to the use of non-traditional materials The level of passion for the topic and technology has improved.

Conclusions:

1. With targeted, systematic, step-by-step training, children’s indicators of interest in the topic and content, passion for the work process, originality of design, creativity and imagination have improved.

2. Children of middle preschool age, for the most part, have difficulties in conveying an artistic image in plot drawing, and have poor command of visual techniques and techniques. But there are also those children who, already in middle preschool age, have the prerequisites for the development of a high level of visual creativity.

3. The use of non-traditional techniques in story drawing classes helps the child more fully and accurately convey the artistic image.

4. In the families of the children studied, as well as in the preschool institution, good conditions have been created for the development of children's visual creativity.

5. A number of conditions are of great importance for the development of children’s visual creativity, including: creating conditions for the development of a child’s artistic creativity in the family and kindergarten; interest in the development of children's visual creativity and coordinated planned activities of kindergarten teachers to form the child's creative personality; the child’s own interest in visual arts, etc.

6. Story drawing, one way or another, has a great influence on the development of children's visual creativity, and this can be especially evident when using non-traditional drawing techniques in story drawing with children of middle preschool age.

Enriching the child's experience artistic impressions through acquaintance with works of art, literature, visiting the theater, etc.

Planning classes in visual arts using non-traditional drawing techniques.

Individual work with children who have shown the prerequisites for the development of creativity in various types of artistic activity, including visual arts.

Working with parents on issues creative development children

Conclusion

Based on the materials presented in our study, a number of main provisions can be identified:

Analysis theoretical foundations the development of children's visual creativity showed that the phenomenon of creativity as a complex cultural-historical phenomenon and type of human activity has been studied from the end of the 19th century to the present. This is due to the fact that visual creativity allows you to communicate with a child in his “language”, since the drawing reveals his inner world, his attitude towards the surrounding reality and people.

The creative process involves children creating an expressive image using the visual means available to them, such as rhythm, color, line, shape. They can be not only means of figurative reflection, but also contribute to the formation of artistic creativity

Narrative drawing can have a great influence on the development of visual creativity in children, but only if children know the basic visual methods of conveying an artistic image. Purposeful and well-planned visual activity will be important here.

The family, the example of parents and older children play a big role in the development of children's visual creativity.

We have confirmed the hypothesis put forward at the beginning of our research: the development of children's visual creativity in plot drawing will be facilitated by the use of non-traditional techniques, subject to the following conditions:

Competent selection of content for working with children, as well as non-traditional drawing techniques

Availability of appropriate material resources

The interest of preschool teachers and families in the development of visual creativity in children

The relationship between various types of children's activities.

We believe that the results obtained in our study are also important for the practice of preschool institutions. Work should be carried out on the basis of the kindergarten to develop visual creativity in children. Perhaps not only fine art, but also other types of creativity. We must not forget that the life of the entire society tomorrow depends on our efforts made today, because children today are members of society in the future.

Literature

1. Bakushinsky A.V. Artistic creativity and education. M., 1925

2. Bogoyavlenskaya D.B. Intellectual activity as a problem of creativity/resp. Ed. V.M. Kedrov, Rostov-on-Don, 1983

3. Brykina E.K. Children's creativity in working with various materials: Book. For preschool teachers. Institutions, teachers early. class, parents / under scientific. Ed. Komarova T.S. – M.: Ped. Society of Russia, 2002. – 147 p.

4. Wreath of Fantasies: development of artistic and creative abilities of preschoolers in the process of visual activity and familiarization with art: a manual for teachers / comp. Krivonogova L.D. – 2nd ed. – Mozyr: White Wind, 2006 – 46 p.

5. Vilenchik S.I. Fine arts in development creative activity children / S.I. Vilenchik // Pachatkovae vyhavanne. - No. 3. – 2005. – pp. 41-43.

6. Vygotsky L.S. Imagination and creativity in childhood. M., 1986.

7. Gmoshinskaya M.V. Babies working with paints is the beginning of creative activity / M.V. Gmoshinskaya // Preschool education. - No. 2. – 2002. – p. 30-33.

8. Grigorieva, G.G. Visual activities of preschool children / G.G. Grigorieva - M.: Academy, 1999. – 205 p.

9. Grigorieva G.G. Development of a preschooler in visual arts. – M., 2000.

10. Doronova T.N. Development of children in visual arts / T.N. Doronova.// Child in kindergarten. - No. 4. – 2004. – p. 21-29; No. 5. – 2004. – p. 3-13.

11. Dyachenko O.M. On the main directions of development of a preschooler’s imagination./ O.M. Dyachenko // Questions of psychology. - 1988. - No. 6. - P.52-60.

12. Ilyenkov E.V. Philosophy and culture. M., 1991

13. Ilyina A. Drawing in unconventional ways. / A. Ilyina // Preschool education. – No. 2. – 2004. – p. 48-50.

14. Kazakova T.G. Visual activities and artistic development preschoolers. - M.: Pedagogy, 1983. - 112 p.

15. Kazakova T.G. Theory and methods of development of children's visual creativity: textbook. a manual for university students studying in the specialties “Preschool. pedagogy and psychology”, “Pedagogy and methods of preschool. education" / T.G. Kazakova. - M.: Humanitarian. ed. VLADOS center, 2006. - 255s

16. Kvach N.V. Development imaginative thinking and graphic skills in children 5-7 years old: A manual for pedagogical preschool institutions. – M.: VLADOS, 2001., P. 18

17. Komarova T.S., Antonova A.V., Zatsepina M.B. "Beauty. Joy. Creativity": Aesthetic education program for children aged 2-7 years. – M.: Pedagogical Society Russia, 2000.-128 p.

18. Komarova T.S. Children's fine art: what is meant by this? / T.S. Komarova // Preschool education. - No. 2. – 2005. – p. 80-86.

19. Kosminskaya V.B. , Vasilyeva E.I., Khalezova N.B. and others. Theory and methodology of visual activity in kindergarten. Textbook manual for pedagogical students. In.-comr. majoring in preschool pedagogy and psychology. M., “Enlightenment”, 1977, p.30-44

20. Lilov A. The nature of artistic creativity. M., 1981

21. Pedagogy: Large modern encyclopedia/ comp. E.S. Rapatsevich – Mn.: “Modern Word”, 2005. – p. 565 – 572

22. Poddyakov N.N. A new approach to developing creativity in preschoolers. M., 1990. P. 16 - 20.

23. Praleska: preschool education program/E.A. Panko [and others]. – Minsk: NIO; Aversev, 2007. – p. 178-179

24. We work according to the “Praleska” program: a manual for teachers and heads of institutions, provision. receiving preschool education, with Russian language of instruction / E.A. Panko [and others]. – Minsk: NIO; Aversev, 2007.-p. 112-125

25. Drawing with preschool children: Non-traditional techniques, planning, lesson notes / Ed. R.G. Kazakova - M.: TC Sfera, 2005. - 128 p.]

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28. Flerina E.A. Aesthetic education of a preschooler. M., 1961, p. 181

29. Artistic creativity in kindergarten: A manual for teachers and music director. Under. ed. ON THE. Vetlugina. M., “Enlightenment”, 1974

30. Artistic creativity and the child / Ed. ON THE. Vetlugina. M., 1972

31. Shanchenko L. How creativity is born: visual activity in kindergarten / L. Shanchenko // Praleska. - No. 1. – 2003. – p. 41-42

32. Me and the world around me: A collection of practical materials to help kindergarten teachers / L.N. Varfolomeeva, I.A. Golacheva, D.V. Grin et al.; Ed. E.I.Krasilo. – Mozyr: Publishing House“White Wind”, 2001.- 92 p.

Lyudmila Bukhovets
Report for educators: “Implementation of the educational field “Artistic Creativity” in preschool educational institutions.”

Artistic creativity- just one of the means education, and a complex combination various means and forms in the process educational impact on children makes this impact more fruitful and interesting.

The interconnection of various activities makes it possible to deepen and expand children’s understanding of the world around them and to enhance their emotional positive influence on the process education, make this process more efficient; At the same time, there is an impact on the child through activities that are interesting to him. The knowledge, skills and abilities acquired under these conditions become stronger, more conscious and can be used in various conditions.

Artistic creativity in kindergarten is part of the whole educational working with children and bears the burden of solving problems of comprehensive education of preschool children.

Software tasks for artistic creativity are interconnected with goals and objectives for other sections of work. Solving specific problems is based on what children have learned, what they have learned before, and not only in classes visual arts, but also in other activities, walks, excursions, games, Everyday life. Thus, children acquire knowledge about the shape of objects before they are offered depict objects, - V didactic games, in games with a variety of toys, in the process of observations, looking at illustrations. Great value for a comprehensive aesthetic education children has relationships of all kinds visual arts: drawing, sculpting, appliqué, artistic design.

Artistic creativity includes the main tasks of psychological and pedagogical work:

*development of children's productive activities;

* child development creativity;

* joining fine arts.

Specifics of content implementation region« Artistic creativity» is next:

Concept « productive activity children" allows you to integrate visual activities(drawing, sculpting, applique and artistic design) within one educational field as an alternative to the subject principle of constructing the Program section « Artistically- aesthetic development";

Productive activity - activity as a result of which a certain product is created, can be not only reproductive (for example, drawing an object as taught, but also creative(for example, drawing according to your own plans, which allows, within the framework of this region most effectively solve one of the main problems educational working with preschool children – child development creativity;

The concept of "productive (creative) children's activities" allows you to integrate content region« Artistic creativity» with others regions Programs on a special basis - development opportunities imagination and creativity abilities of the child (For example, with "Cognition" in terms of design, "By reading fiction» , "Communication" in particular elementary verbal creativity);

General developmental orientation of the content region(development of higher mental functions, fine motor skills of the hand, imagination) is primary in relation to the formation of children’s special abilities.

Children discover every day the world. How many interesting things it holds for them! Here’s a beetle crawling—the baby has never seen anything like this1 And all the attention is focused on the insect. The first flowers have bloomed, and again the child experiences surprise and the joy of learning. The environment evokes positive emotions in children and a desire to talk about what they saw, what delighted and attracted their attention.

Artistic creativity should be closely related to familiarizing children with the environment (Cognition). It is important that the relationship between these sections educational the work was of a natural, logically sound nature, was not contrived, and familiarity with the environment was not subordinated only to the tasks of learning to draw, sculpt, and appliqué.

For example: Subject: "Cars are driving down the street", first we introduce the cars driving along the street, we suggest looking at different cars. Knowing about great interest children to the cars, you need to plan the lesson so that the children can reflect their impressions. It should be remembered that the process Images associated with conveying the appearance of an object, its shape, characteristic features that distinguish one object from another.

In order for children to develop clear ideas about objects and phenomena, they need to be taught to peer into objects, into the surrounding phenomena of life, to listen, to think. A culture of such close attention to a subject, a phenomenon, which is instilled from childhood and shapes observation. Children are invited to listen to the sound of the wind, how drops of rain fall, to watch how a blooming flower opens its petals, how the first leaves appear, how snowflakes fall and melt on a warm hand. As a result, children not only is formed a poetic attitude towards the phenomena of life, interest in the environment is consolidated, but also clear ideas are formed about what they observed and considered. All this helps children depict what he saw. Targeted observations of natural objects for their subsequent Images are carried out as a single process of natural science and aesthetic knowledge.

To become familiar with natural objects, children are given correct ideas about the life of animals, pay attention to the beauty of their appearance, interesting habits, behavior, desire to draw, sculpt or cut and stick them.

The relationship between classes and activities is important artistic creativity with work on speech development. (communication)

At these classes, children are read fairy tales, stories, and poetry is taught to them. Children develop speech, thinking abilities, artistic performances. When children subsequently draw, sculpt, cut out and paste images on fairy tale themes, stories, poems, their imagination is activated, the desire to express their attitude to what they learned in speech development classes, in figurative form. To convey the theme of the fairy tale, poems, children must remember the content; in order to activate speech, at the beginning of the lesson, invite them to explain what and how they will draw, and at the end of the work, talk about their works and the works of their comrades, evaluating them and motivating their assessment. Poetic poetry has a particularly strong positive emotional impact on children. image of an object, phenomena. This happens when verbal images rely on visual data obtained from direct perception objects and phenomena of reality.

For example: kids enjoy reading poem A. Barto "Checkbox". And then they draw this bright flag or many flags or poem C. Ya. Marshak "Song about the Christmas tree", and then cut out the decorations and stick them on a Christmas tree made of paper along with teacher(teamwork). Children love to draw, sculpt, and create applications based on themes from fairy tales and stories. Children especially like to draw covers for fairy tales.

Children get acquainted with a children's book and its creation. The teacher talks about how a children's book appears, who works on it (writer, editor, artist, printing workers, etc., an exhibition of children's books is organized. After this, the children are offered a play area situation: every child- artist and have to draw the cover for your favorite fairy tale (book).

The results are interesting, the children showed creativity and imagination. The exhibition is left in the group for several days and the children often discuss and look at the drawings.

A game (socialization)– the leading type of activity for preschoolers. Both in the game and in fine art activities, children reflect their impressions of surrounding life. The connection between these types of activities lies in playful manifestations in the process of creating Images and in terms of play sample.

Having created image of this or that object, animal, the child begins with them play: starts at the drawn airplane "Buzz" engine, and now he's already flying, a sculpted chicken "squeaks" And "pecks" grains, etc. Game "revives" image, and this in turn figurative, emotional perception, ideas about objects and phenomena of the environment, is an indispensable condition for the development imagination, without which it is impossible artistic creativity. Are used various forms of visual communication activities with game: game situations, game techniques; children created drawings, modeling, appliqués, which were then used in different games(decorating a doll's room, modeling vegetables, fruits and other products for playing "shop", decorations and masks for dramatization games, etc., painted toys. Communication in progress fine art activities with didactic, role-playing and other games. The classes use game situations, teaching techniques, playing out created images.

For example: Subject: "Our house"

Stage 1: preparatory, during which children are introduced to the object that is to be portray. (explains the specifics of block housing construction, how panels are installed, what workers do and how, etc. In our rural areas, we talk about the city, use children’s books, reproductions, slides, etc.)

Stage 2: -class on visual arts. (the lesson is conducted with a game situation. The first situation is "Tenants" (on a piece of paper draw your apartments, the furnishings in the room)

Second situation - "construction and occupancy of a house". Children have new ones roles: architects, installation workers, crane operators, panel truck drivers, etc. Educator with the active help of architects, he determines which floor this or that apartment will be on, then, with the help of installers, he connects the panels into a single structure with colorless adhesive tape. When the assembled house is fixed on the board, you can begin to draw conclusions.

Stage 3 - final. Another gaming situation: “We are going to visit a friend”; Each child talks about his apartment.

The game form of the lesson captivates children, increases their emotional responsiveness, promotes aesthetic and moral education. This activity allows children to create image, available to their forces and visual experience.

Toys are a faithful companion of childhood and games, so the offer to draw a particular toy brings joy to children of all age groups. Portraying your favorite toy, the child again experiences the same feelings as when playing with her. You can invite the children to draw or some specific toy: a bear, a doll or a bunny, or any toy of your choice ( “Draw whatever toy you want”)

For example: y teacher are on the table toys: Cheburashka, tumbler, piglet, Parsley, bunny. First, they look at the toys and name them; some more complex toys, you can consider in more detail (pig, Cipollino, having determined together with the children their shape, structure, size of parts, etc.

Plays a big role in children's lives role-playing game, therefore valuable in educational relation is its relationship with visual activities. Depict the progress of the game, gaming images It’s much more interesting for children than just drawing this or that life phenomenon. The events experienced by the child in the game color him artistic activity with positive emotions; in his drawing he talks about what and how he played. Reflection of games in drawings helps to deepen and enrich the content of games - they become long-lasting, new characters and new episodes are included in them. In the younger group fine art Children's capabilities are not yet very great, but a connection with the game can and should exist.

For example: Children sculpt "treat" for dolls (bags, candies, cookies, etc., goods for playing "shop" (apples, berries, cucumbers, potatoes, tomatoes and other vegetables and fruits). Then the molded, dried objects can be painted and added to the game, which will make it more interesting for children. The children will see the real application of what they created with their own hands.

Watching children play allows us to identify the most common stories: clinic (hospital, family, store, post office, construction, school, etc., that is, games that reflect the impressions of everyday life. The richer the children’s impressions, the more interesting and meaningful the game. Children are greeted with an offer to draw how they played joy.

Great opportunities in implementing comprehensive tasks education lies in the relationship artistic creativity with dramatization games, which are based on literary works. Children can prepare scenery, details of character costumes, masks for dramatization. For dramatization games, tales such as "Teremok", "Three Bears", "The wolf and the seven Young goats", "Hare and Hedgehog" etc. Children can color the cut out animal mask teacher(wolf, goat) draw masks of a hare and three bears.

A game for which the children have done a lot with their own hands will be more lively and interesting, will evoke positive emotions that will unite the children with common joy, and will leave deep impressions. Everyone can be involved in dramatization games children: some as performers of roles, others as masters and artists in preparing the details of costumes, masks, scenery, others - as spectators, actively perceiving the actions of the heroes deeply emotionally experiencing all events. And then the children all draw together on how the fairy tale played out.

WITH great interest perceive children are asked to create drawings about what outdoor games they played.

For example: creating drawings on a topic "Crucian carp and pike", children draw fish; pretending to be playing"Geese-geese"- running geese and a wolf waiting for them under the mountain.

When selecting outdoor games, you need to think about how easy the games are images can be conveyed in drawings, modeling, applications visual means. Image outdoor games can be offered to children of all ages age groups, selecting available topics.

Interesting opportunities to connect with fine art activities are also contained in didactic games, during which children acquire or consolidate knowledge about the properties of objects, their color, shape, size, necessary to depict these objects in art. In didactic games, children receive varied sensory experience, enriching perception and ideas about the environment; generalized ideas are formed about the properties of a group of similar objects, the development of children's fine arts.

Images objects and objects of reality, musical and literary works are transmitted in different forms artistic activities in their own way, thanks to the means of expressiveness (in drawing this is shape, line, stroke, color, proportions, composition, dynamics, rhythm; in dramatization - intonation, facial expressions, gestures, movements; in music - tempo, dynamic assessments, rhythmic drawing, etc.).

In music, ways of interconnection are defined that promote aesthetic development preschoolers, enriching them creativity with new images and content.

After listening to the piece, children express their impressions about the music, and then, in accordance with these impressions, create Images. This type of relationship is interesting because it awakens imagination and gives rise to a variety of images, enriching children's fine arts, which in turn deepens children’s impressions of musical works and promotes their memorization. Music can be used during classes artistic creativity for creating Have a good mood. Sounds quiet during class musical composition, similar in theme to that portrayed by children, or just good calm music. Relationship fine art activity and music serves to enrich both one and the other activity with new content, contributes to the formation of deeper and more conscious knowledge and ideas.

For example: children 3 years old listen "Autumn Song"(music by A. Alexandrov, lyrics by N. Frenkel, then they enjoy painting how multi-colored leaves spin in the air and fall to the ground.

After singing a song "Chicks" (music by A. Filippenko, lyrics by T. Volgina) the guys paste the general picture on the topic "Chickens Walk on the Grass".

Communication is very important artistic creativity with the work of introducing children to works of art. By looking at paintings or reproductions, sculptures, works of folk decorative art, children get an idea of ​​how artist selects objects for Images. What means does he use to convey images, how differently this or that topic can be solved.

For example, in still lifes there are different artists depict the same fruit in different ways, vegetables, various dishes.

Learning process fine art activities in kindergarten must be formed in children fine arts skills, including drawing techniques, formative movements, generalized methods of action and regulation of drawn movements (by strength, scope, speed)

The child's soul is sensitive to the native word, and to the beauty of nature, and to musical melody, and to painting, because every child is a natural artist, musician and poet. AND create he is capable of brightness and talent if a favorable environment is created for this.

I can sing beautifully.

Vocal club lesson notes

in the senior group, first year of study.

Compiled by S. L. Golubtsova, music director

MDOU "Child Development Center - kindergarten No. 86"

city ​​of Severodvinsk.

Program content:

1. Encourage children to be active vocally.
2. Strengthen the ability to sing in unison, a cappella , sing sounds using hand movements.
3. Develop pitch, dynamic and rhythmic ear children.
4. Continue working on developing breathing.
5. To promote the development of expressive, emotional performance in children: singing without tension, smooth, melodious.
6. Practice singing into a microphone.

Equipment:

1. Microphone.
2. Cups of boiled water, straws for cocktails.
3. Cards with vowel letters.

Progress of the lesson:

Children enter the hall.

Musical director.Guys, I'm glad our new meeting. Look how many guests we have today. Let's say hello to them.

Children sing: "Hello" by showing their hands

Now let's say hello to each other.

Let your controlling ears choose the best greeting today.

Children stand in a circle.

“Say a friendly hello to the neighbor on your right,” into the microphone.

Musical director.Whose greeting did you like better? Why?

Listen to some of the children's answers.

Musical director.Today in class we will remember some important rules beautiful singing. You have already mentioned one thing: we need to try to draw out vowel sounds so that our singing differs from ordinary speech. You agree with me? You have good controller ears. Now listen carefully to the music and try to show the rhythm correctly. (Half, 2 quarters).

To the music of “Polka Flapper”, held

rhythm game “I am my friends.”

At the end of the game, the children go to the chairs near the piano.

Musical director.What wonderful friends we are, attentive and kind, we treat each other with care. Do you think our voice needs to be treated with care?

Musical director.What should we do to ensure that our voice always remains beautiful?

Children's answers:

Don't shout, don't eat ice cream outside in winter,

not to drink cold water, do not wallow in the snow.

Harden your throat.

Musical director.Raise your hand, who's hardening their throats at home? Let's remember how we did it.

Give children glasses of water.

Take a small sip, raise your head up,

and pronounce the sounds drawn out: A, E, I, O, U.

Musical director.Well done! But to sing beautifully, you need to know one more important rule: to be able to control your breathing. Make the inhalation short and silent, and the exhalation long and smooth.

Hand out cocktail straws.

At the conductor's signal, the children take a breath,

and exhale into the water through a tube.

Musical director.The next important rule: you need to open your mouth well and pronounce words clearly, both quietly and loudly.

“I’m walking down the stairs” - chant.

Sing, changing the dynamics: f, p.

Musical director. (Scared)Our friend is a crocodile, he swallowed someone. Whom?

Children offer their own options.

The chant “How a crocodile screams” is sung.

Musical director.I looked at you and remembered another important rule: you need to be able to sit or stand correctly while singing. Do you remember this rule?

The song “It’s nice and comfortable to sing” is performed.

Musical director.To make a song interesting to listen to, you need to convey its mood and character. In the song “Mama”, what is the character, how should it be sung?

Children's answers.

Musical director.Try to sing as you said. And let our guests appreciate your performance.

Children sing the song "Mama".

Summarize the speech.

Musical director.A good performance is rewarded with entertainment.

We begin to play and walk to the music.

The musical game “Sing Your Letter” is being played.

Play 2-3 times.

Musical director.Our game is over. And our lesson came to an end. Today in class we remembered the important rules of beautiful singing. List them again.

Children call.

Musical director.And now how polite people, let's say goodbye to our guests and each other until the next time we meet.

Children sing: ""See-bye-da-ni-ya"

They leave the hall.

Elena Mikhailovna Ivanova
Vocal lesson outline

Outline

open classes additional education teacher

Ivanova Elena Mikhailovna

head vocal circle"Singing Friends"

Technological College of Birobidzhan

Subject classes vocal numbers».

Target classes: to form an idea of ​​the sequence and content of work that helps improve the quality of performance of the songs being learned, to teach how to use the acquired knowledge in independent work.

Tasks:

a) educational:

Reinforce concepts "solo" And "ensemble" singing;

Give the concept "algorithm";

Summarize previously studied material by introducing the algorithm for working on vocal piece;

Teach children to use the acquired knowledge in independent work;

b) developing:

In progress vocally-choral work to develop singing skills;

Develop Creative skills, involving children in working on the song;

c) educational:

To form a sustainable interest in music vocal culture;

Cultivate good relationships with each other and with others.

Technologies used on class:

Technology of formation of singing culture.

Technology of differentiated learning.

Technology of individual training.

Health-saving technology.

Material resources training:

Piano

Board, chalk

Magnets

Multimedia projector, screen

Pencil, notebook

Laptop

Microphone

Phonogram minus

Sheet music and lyrics

Progress of the lesson

I. Organizational moment.

The pupils of the circle enter the class and sit down in their seats.

Teacher:

Hello. I am glad to meet you again. Today, guys, we will continue working on our songs. First half classes we will devote ourselves to learning new material and a common song that we are preparing for festive concert, and in the second half we will engage in individual and independent work.

Safety training at work place:

I remind you that all our technical equipment runs on electricity, so it is necessary to be as careful: try not to touch the wires of the piano and tape recorder, do not twist the microphone wire in your hands. Do not swing on chairs to avoid injury.

The topic of our classes sounds like this: “Algorithm of work aimed at achieving a high level of performance of solo and ensemble vocal numbers", A.

our goal today: find out in what sequence work is being done on vocal work and learn to independently apply the acquired knowledge.

II. Theoretical part.

Learning new material.

And we'll start by trying figure out: what is the essence of the topic classes. The first word, I think, will seem most interesting to you - "algorithm". Straightaway I'll ask: maybe someone knows what it means?

Students: …

Teacher:

But there is nothing simpler: algorithm - a sequence of actions (steps) leading to the achievement of a goal, i.e. what should be done after what in order to get the desired result.

What is our main goal? Why do we come here (V vocal circle) study?

Students: To learn how to sing songs beautifully and perform on stage.

Teacher:

Right. We don’t want to just sing a song (as it turns out, on our classes We strive to learn how to perform it at a decent level. It is known that there is no limit to perfection, but we must strive for it. And in order to get a good result in our work with you, we must clearly understand what it consists of.

It is clear that we must listen to a lot of music, read, perform various breathing exercises, develop our voices, and much more. But now we will try understand: what steps, what stages does work on a song consist of, be it solo or ensemble.

And by the way, who can remind: what is the difference between solo performance and ensemble performance. And what is the complexity of each of them?

Solo singing - 1 person sings, great responsibility for how you sing, the absence of a friend's elbow nearby - no psychological support, hence fear, no opportunity "hide" if something doesn't work out the way you would like.

Others in the ensemble peculiarities: many voices, here it is important to achieve harmonious singing, i.e. unity in performance.

Regardless of whether the piece is solo or ensemble, the algorithm is approximately the same. In an ensemble, the work becomes more complicated due to the expenditure of more time, especially at the beginning, when the parts are learned (votes)(i.e. the melody and rhythm of each of them, and then connecting them and building harmony.

So, guys, here is the following diagram for your attention. (see diagram No. 1) Today we are just getting to know her. And already on the next classes We will study it in more detail. This diagram reminds someone "ladder", and for some, in connection with the latest Olympic Games "pedestal". The winner here will be the one who reaches the highest step, and the reward will be what?

Students: …

Teacher: Yes, applause from the audience and satisfaction from the work done.

Fizminutka

Teacher: Now we will try to apply our knowledge in practice. But before we start working on our repertoire, what do we need to do?

Students: …

Teacher: That’s right, prepare the singing apparatus for work, because work on the quality of performance of a piece begins with performing exercises.

III. Practical part.

Work on the quality of solo and ensemble performances vocal works.

3. 1 Preparing the singing apparatus for work (work standing):

1. Singing installation.

2. Articulation gymnastics:

Cheek development: "Clown grimaces: tube smile", "The Lion's Mouth", « Hamster: hungry and full", "Swords".

Lip development: "Piglet", "We bite our lips", "Dissatisfied Horse".

Language development: "Chewing gum", "Watch", "Horse and Pony".

Development of soft sky: "Wheels", "Let's yawn".

3. Breathing exercises:

"Game with a candle" (deep breath - slow exhale).

"Blowing up the balloon" (exhale with stops on a count of 1-5).

"Pump" (slow inhale - strong exhale).

"Dog in the Heat".

4. Chanting:

"On one sound closed mouth» (+ chain breathing).

"Two sounds : m, y, a" (vowel formation + soft attack).

"Five Sounds": "lip singing" (+work of the lip muscles).

"Five Sounds" : a-ah... o-oh... and-and..." (+singing on a support).

"Five Sounds" : Mi-i-a-mi... A-mi" (vowel formation + hard and soft attack + jumps).

"T 5/3 and D"(expanding the range + support + timbre coloring of the sound + breathing + sound attack).

Teacher: Now let's start working on the song "Only forward".

3.2 Working on ensemble vocal piece

("Only forward"- 1 verse and chorus):

1. Song repetition (1 verse and chorus).

2. Chorus:

Rhythmic and tempo unity of the ensemble.

A unified manner of sound production: rounded vowels.

Phrasing.

3. Verse (work with soloists):

4. Connecting a verse with chorus:

Timely introduction of soloists.

Pause before chorus.

5. Attachment to soundtrack (1 verse and chorus):

With the help of a piano and a teacher.

On one's own.

Fizminutka

Teacher: Guys, please tell me at what stage of work we are now. Give reasons for your answer.

Children: Mainly at the initial stage (work is being done on the purity of intonation and construction of harmony, accuracy of rhythm, but we are gradually starting to use elements of stage 2 (a unified manner of sound production, diction, articulation, breathing, attack of sound).

Teacher: Well done. And now I suggest you work on your own. The task ahead of you will be next: to determine at what stage of work on the song the guys with whom I will now work individually are.

Please be attentive: do not criticize - you must understand that some came to the team earlier, some later, some do it a little faster, and some need more time. You just need to determine (without consulting anyone) the step on which they are, i.e. to show their knowledge.

The work is carried out by a teacher parallel: 2 forms of work are used: individual and frontal.

3.3 Work on solo vocal piece:

1. "White Birds" Elena Furman and Christina Senko:

Rhythmic Ensemble,

Timeliness of entry

Diction and articulation,

The purity of intonation in the chorus.

2. "Cuckoo" Ksenia Bokovnya:

A single rounded manner of sound production,

Sound on a support - getting rid of singing while shouting.

3. "Star Calendar" Nastya Egrishchyna:

Diction and articulation,

A single open manner of sound production,

Singing on a support.

4. "I'll come back" Julia Slesarchuk:

Dynamic shades,

Singing on a support

Phrasing,

Genre and character of the work,

Intonation-dramatic development of the song (contrasting).

IV. Summarizing.

Teacher: Class ours is nearing its end, and I would like from you hear: what new things have you learned for yourself today, what work has been done today, and what work, in your opinion, remains ahead of us.

Students: 1. Today we introduced you to the algorithm for working on vocal works and learned to determine the stages of finding the process of working on a work. 2. We worked on the ensemble of part 1 of the song "Only forward". 3. We worked on solo songs, improving the level of their performance.

You and I have done a great job today, each of you tried, you did great. We have a lot of interesting work ahead. But it will be on the next classes. And today, thank you everyone, goodbye!

Hello guys and dear guests!

Throughout the school year we learn a lot of interesting and varied songs, each of them has its own story and meaning. Guys, please tell me, without what we cannot convey the meaning and content of the work to the viewer? (Children answer) Correct! Without clearly spoken lyrics.

Today we will conduct an open lesson, the topic of which is “Articulation and vocal speech.” Singing is the only type of musical performing art where musical performance is organically combined with the need for expressive delivery of speech text.

But before we begin articulatory and vocal work, we will do the breathing exercises necessary for a real singer.

Guys, you probably all really love balloons. Let's imagine that you and I swallowed a balloon, now when you and I take a breath, our balloon inflates right in our stomach. Then we exhale and our balloon deflates! Well done, now let’s inflate and deflate the balloon 5 more times.

Okay, now let's play a game called "Snake". Let's turn our faces to each other, and now imagine that our right hand- it's a snake. Let's take some air into our stomach, raise our hand and form our hand in the shape of a snake's muzzle, and with the sound "Ssss" the snake crawls. Okay, now let’s imagine that our snakes want to scare each other. We draw air into the stomach again, make the sound “Ssss”, and at the moment when the breathing ends, we will make a sharp active exhalation with the same sound, and our snake will throw accordingly. Now let's play this game again. Smart girls!

Now we move on to articulatory gymnastics. Guys, let’s all stand in front of the mirror and you and I will now go to the zoo. First we will visit the aquarium. The first fish we saw was the needle fish, a thin, thin fish. Let's suck in our cheeks to be like her. And after the needle fish swims a ball fish, puffed up the cheeks like this fish, well done! And a seahorse is swimming behind her, look how his lips are stretched forward, let’s stretch our lips the same way! And finally, we will look at the ball fish and puff out our cheeks just as much! We leave the aquarium, move on, and a horse runs towards us, let's make the sound of clattering hooves, first quickly, and then the horse saw us and slowed down a little (we make the sound of clattering hooves slower). The horse ran far away, and we move on and see a giraffe. The giraffe not only has a long neck, but also a long tongue. And now you and I will make our tongue long like a giraffe’s, stretch our tongue to our nose, don’t help ourselves with our hands! Okay, now let's pull it out to the chin. Great! Let's go further and see a hippopotamus, and it has a big mouth! Come on, they opened their mouths like hippos, wide and wide. And let's stand like that for a little while. Well done, we gave you a tour of the zoo, now let's go play ball.

Now we will remember the tongue twisters that we learned in previous lessons, the first one was “Roading the Greek”, loudly, slowly, we pronounce each word.

(Children tell a tongue twister)

Greek rode across the river,

The cancer sees the Greek in the river

Stuck the Greek's hand in the river

Cancer by the hand of the Greek DAC.

And in the same way, we clearly and actively pronounce with you the second “Cuckoo Cuckoo”

"Cuckoo cuckoo

I bought a hood

Like in the hood

He's funny"

(Take a small tennis ball) And now, as promised, we will play ball! Please break into pairs and stand opposite each other (children are divided into pairs). Now each of you will recite one line from the tongue twister and, on the last word, on the stressed syllable, throw the ball to your partner. The left side says the first line, the right side says the second, and so on until the end of each tongue twister. (Children complete the task). Well done boys!