Activation creative potential children preschool age through introduction to musical art in the context of the Federal State Educational Standard of Education

Kremer Olga Vladimirovna,

music director of the MB preschool educational institution "Kindergarten No. 37"

Novokuznetsk

In accordance with the Federal State Educational Standard for preschool education musical activity - this is a form of child activity that gives him the opportunity to choose the positions that are closest and most successful in implementation: listener, performer, writer.

Artistic and aesthetic development presupposes

1. Development of prerequisites for value-semantic perception and understanding of works of art (verbal, musical, visual), the natural world.

2. Formation of an aesthetic attitude towards the surrounding world.

3. Formation of elementary ideas about types of art; perception of music, fiction, folklore.

4. Stimulating empathy for characters in works of art.

5. Implementation of independent creative activities of children (visual, constructive - modeling, musical, etc.)

Creativity covers a wide range of human activities: science, art, all inventions human civilization, and the very forms of human life are created by creativity. Directly in musical activity this happens through

Perception of music.

Performance (vocal, instrumental):

• playing children's musical instruments.

Creation (vocal, instrumental):

• musical and rhythmic movements;

  musical play activity;

  playing musical instruments

In various forms of educational activities

Table 1 “Musical activity”

IN preschool pedagogy highlight the conditions for the development of children's creativity:

Early start, early introduction to creative activity.

Adults creating a sense of external security for a child when he knows that he is creative manifestations will not receive negative evaluation from adults.

Forming in a child a sense of internal security, relaxedness and freedom through adult support for his creative endeavors.

Maintenance emotional state in the process of creative activity, demonstrating to the child positive attitude towards him and his activities: smile, applaud, show facial interest.

Creating a situation of success for the child.

Absence of external coercion or strict regulation of activities.

Enrichment of the subject-spatial environment for the implementation of the child’s creative activity.

An enriched environment presupposes the unity of social and objective means to ensure the child’s varied activities.

The creative personality of the teacher himself. Only a creative person who thinks outside the box can raise a creative person.

Involving children in musical creativity requires special pedagogical efforts. First of all, the teacher needs to practically master the model of personality-oriented interaction with children. Only in a situation of relying on the principles of humanistic pedagogy will children’s play activities acquire their true meaning: it will bring joy and pleasure to children, lead to the emancipation of creative forces and self-expression, and enrich them.

The methodology for organizing creative activity should be based on the following principles:

freedom of expression, when an adult helps a child in organizing creative activities, does not impose a topic on him, gives him freedom to express his own “I”: “Do as you want, as you like.”

when organizing musical activities, it is necessary to give the child the opportunity to express himself wherever he can express his “I”;

attracting every single child: there are no untalented children, everyone has their own inclinations, abilities, everyone can show themselves and their activity somewhere. personal experience with music.

In my professional activities I widely use transformation games.

Transformation games help children control the muscles of their body, voluntarily tense and relax them. The same applies to separate parts body, legs, arms, including hands. The musical accompaniment is selected according to the content of the games.

Using the example of organizing games with children - plastic improvisations to music, I assess musicality - the ability to perceive and convey in motion an image and basic means of expression, change movements in accordance with phrases, tempo and rhythm. The compliance of the execution of movements with the music is assessed (in the process of independent performance - without the demonstration of a teacher). For each age, different criteria are determined in accordance with the average age indicators of the child’s development, focusing on the scope of skills revealed in the tasks.

The assessment is given on a 5-point system.

For assessing children 4 years of age:

5 points – ability to convey the character of the melody, start independently

and finish the movement along with the music, change movements to

every part of the music

4 – 2 points – the movements express the general character of the music, tempo,

beginning and the end piece of music do not match

0 – 1 point – movements do not reflect the nature of the music and do not coincide with

tempo, rhythm, and also with the beginning and end of the work.

For assessing children 7 years of age:

5 points – movements express the musical image and coincide with the subtle

nuances, phrases,

4 – 2 points – convey only the general character, tempo and meter rhythm,

0 – 1 point – movements do not match the tempo or rhythm of the music,

focused only on the beginning and end of the sound, as well as

at the expense and showing an adult.

The process of including a child in musical play is built by the teacher in a certain algorithm. Let's consider the main stages of this process

First stage

First stage - demonstration by the teacher of options for plastic embodiments of music, his own creative modeling of the images of a musical work. The teacher needs to control his body and be able to show children the connection between bodily plasticity and musical sound. The teacher demonstrates to the children how responsive the human body can be to the slightest changes in the musical flow. It is important for a teacher to develop this specific quality of movements associated with the plastic modeling of musical images. It takes some time for self-preparation in order to combine individual motor-expressive abilities with the skill of musical-plastic movement.

Second phase

Second phase - children repeating movements after the teacher. In a lesson with children, there is no division into the first and second stages. The teacher acts as the leader in the improvisation game, and the children simultaneously watch him and copy his movements. The teacher needs to fully control his actions and unobtrusively, using game techniques, correct the children’s actions. At the same time, the teacher must be aware that in the game he is required to model the music as accurately and expressively as possible.

Pedagogical correction within the framework of a music game, it mainly deals with the basics. First of all, the teacher needs to encourage children to fill the entire space of the room in which the lesson is taking place with movement. It is important that the entire play space is mastered by the child so that he can navigate it and not be afraid to make various movements. Similar exercises with children can be done as musical breaks in classes (any, not necessarily musical), in accordance with the place of play in the child’s daily routine, music can be energetic, cheerful, or, conversely, calming and relaxing.

Third stage

When the tasks of the first and second stages are completed, you can move on to the third stage, i.e. directly to games - plastic improvisations the children themselves.

At this stage it is necessary to introduce additional rules.

1. Anyone can be a leader when it's his turn.

The “queue” is easy to organize by giving it the shape of a circle: children stand in a circle and pass the role of the leader around the circle (counterclockwise or clockwise, as agreed). When children have mastered the shape of a general circle, you can move on to several small circles, squares, triangles, moving with a snake, playing in pairs, etc.

2. Any actions proposed by the presenter must be accepted without discussion. and be repeated exactly by everyone.

Even if the child is confused and just stands or marks time, the game should not stop. Everyone else can also stand and mark time after the leader. The teacher, who takes part in the game on an equal basis with everyone else, in this case must take on the role of a “conductor” and help the child get out of the current situation with dignity.

3. Everyone can remain a host for as long as they want. The child can pass on his role as leader to the next one whenever he wants or when his imagination runs out.

Later, some children become so comfortable with the role of leader that they are reluctant to give it to another. In such cases, the teacher must change the rule: the leaders change for each musical phrase, verse or part of a musical work.

Musical art has an undoubted impact on the child’s personality already in preschool age, in his creative process contributes to the accumulation of a musical thesaurus. Through familiarization with the art of music, a person’s creative potential is activated, the intellectual and sensory principles develop, and the earlier these components are laid down, the more active their manifestation will be in familiarization with the artistic values ​​of world culture.

Literature

1. Artemyeva, T.I. Methodological aspect of the problem of abilities. – M.: Nauka, 1977.

2. Vetlugina N. A., Musical development of the child, M., 2005.

3. Vygotsky L. S., Imagination and creativity in childhood, 2nd ed., M., 2001.

4. Guseva E.P.. Levochkina I.A.. Pechenkov V.V.. Tikhomirova I.V. Emotional aspects of musicality. Artistic type of person (comprehensive studies). M., 1994,

5. Kabalevsky D. B. How to tell children about music? M..2005

“Introducing children to the art of music through the integration of various types of musical and artistic activities using ICT” Bocharnikova S.V. Music director MBDOU d/s 12 Novocherkassk Department of Education of the Administration of the city of Novocherkassk municipal budgetary preschool educational institution general developmental kindergarten 12

Validity of the idea of ​​​​using ICT In the Federal state requirements published in the order of the Ministry of Education and Science of the Russian Federation dated November 23, 2009 655, the principle of integration is put forward as one of the fundamental principles. The content of the educational field "Music" is aimed at achieving the goal of developing children's musicality, the ability to emotionally perceive music through solving the following tasks: development of musical and artistic activities; introduction to the art of music. The essence of the idea: the use of information technology increases the motivation of children's learning and leads to a number of positive consequences: psychologically facilitates the process of learning material by children; arouses keen interest in the subject of knowledge; · broadens the general horizons of children; · the level of use of visual aids in the classroom increases; Novelty of the idea: The use of information technology makes it possible to significantly enrich, qualitatively update the integration process, and increase its efficiency. The range of manifestations of children's creative abilities is expanding.

Relevance pedagogical idea When using ICT, all types of perception (visual, auditory, sensory) develop. Positive motivation for teaching students is enhanced. An additional incentive is created for children to learn new material and facilitate its perception. Cognitive and speech activity is activated.

Benefits of musical activities using ICT The use of animation and surprise moments makes cognitive process interesting and expressive; Children receive approval not only from the teacher, but also from the computer in the form of pictures, answers, prizes, accompanied by sound design (for example, when performing a rhythmic task in the game “Dressing up the Christmas tree”, Santa Claus shows an approving gesture) Harmonious combination traditional means using presentations can significantly increase children’s motivation for classes (technique: the best children’s work is on TV)

The use of ICT promotes the development of integrative qualities: communication, the ability to manage one’s behavior, the ability to solve intellectual and personal problems “Curious, active” Musical activity with the use of ICT causes greater activity in children, keen interest “Emotionally responsive” The degree of emotional responsiveness, external emotional manifestations. “Having mastered the necessary skills and abilities” Performing and creative skills improve, and interest increases. ICT

To develop rhythmic hearing, I use images instead of icons (quadruple durations are large pictures, eighths are small ones)), which contributes to the children’s greater interest. Models for the development of rhythmic hearing. Task: Clap rhythm formulas or play them on children's musical instruments

To develop pitch hearing, I use image-pictures instead of notes, which also attracts children and activates their creative abilities. Model for the development of pitch hearing - drinking, clapping “The Cheerful Mouse” Video tutorial for the development of pitch hearing.

When playing children's musical instruments, presentations and video scores provide an opportunity to show creativity. The use of ICT significantly expands the conceptual range of musical topics and makes the specific sound of musical instruments accessible and understandable to children.

When getting acquainted with the work of composers, the use of computer programs allows children to hear pure professional performance classical works, compare what you heard and saw. Examining a multimedia portrait Listening to a composer's work Watching video illustrations to works Mussorgsky M.P. Prokofiev S.S.

The use of ICT makes musical material accessible to perception not only through auditory analyzers, but also through visual and kinesthetic ones. Thus, I put into practice the idea of ​​​​individualizing children's education. This can be seen in the example of the symphonic fairy tale “Peter and the Wolf”, where children, using each individual a basic level of knowledge, gains knowledge about musical instruments, the sound features of each of them. Violin Clarinet Horn Timpani Cello

In this direction, such as singing, I offer children videos - illustrations with animation elements for exercises on the development of the voice, singing range, the concept of long and short sounds. (“Ladder”, “Merry Droplets”, “Snowflake”, “Where the Bee Flies”, etc.) This makes children more interested and attracted to singing. “Snowflake” - draw with your voice, sing along with the movement of the snowflake “Musical ladder” To develop your singing range.

Learning songs with children using mnemonics promotes faster memorization. For example, “Sun” by muses. etc. A. Yaranova Mnemonics (from the Greek mnemonikon - the art of memorization). A system of special techniques that facilitate the memorization, preservation and reproduction of information.

Using video inclusions in the lesson structure, creative tasks, I thereby contribute to the development of children's creativity (taking into account the requirements of San Pin: watching the video no more than 5-7 minutes) 1. Musical greeting 2. Watching the video 3. Answers to questions 4. Creative task (depict raindrops on musical instruments, rustling leaves, etc.), didactic game (“The fourth odd one”, find an extra musical instrument, complete the musical instrument, etc.) 5. Musical game, playing in an orchestra of children’s musical instruments

The use of information technology tools: has become the basis for the formation of musical taste, the development of the child’s creative potential and the harmonious development of the personality as a whole. allowed me to make the process of learning and development of a child quite effective: the range, variability, and choice (of aids) expanded. Presenting material in the form of multimedia presentations reduced learning time and freed up children's health resources. Thus, taking into account the visual-figurative level of thinking of preschoolers, ICT allows me to support and activate their attention. The interactivity of these resources allows the child to “manage” the situation and “influence” it.

A source of information: Background pictures: Photo: from the archive of S.V. Bocharnikova.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

source http://buslik.net/

Hearing

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

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

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

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

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

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

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

To promote the development of solo singing skills with and without musical accompaniment.

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

Develop song and musical taste.

Song creativity

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

Musical and rhythmic movements

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

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

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

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

Development of dance and gaming creativity

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

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

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

Playing children's musical instruments

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

Develop creativity, encourage children to take active independent action.

Approximate musical repertoire

Hearing

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

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

singing

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

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

Song creativity

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

musical rhythmic movements

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

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

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

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

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

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

Music games

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

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

Musically didactic games

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

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

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

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

Development of music perception and musical memory.“Be careful”, “Buragino”, “ A music shop", "Seasons", "Our Songs".

staging And musical performances

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

Development of dance and gaming creativity

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

Playing children's musical instruments

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

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

Planned intermediate results of the Program implementation

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

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

Integrative quality “Physically developed,

mastered basic cultural and hygienic skills"

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

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

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

Able to independently perform age-appropriate hygiene procedures.

Observes basic rules of behavior while eating and washing.

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

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

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

Integrative quality “Curious, active”

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

Shows a strong interest in various types of children's activities: construction, visual arts, and games.

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

Integrative quality “Emotionally responsive”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Possesses basic self-care skills.

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

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

Able to design according to his own plans.

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

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

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

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

Able to independently find interesting activities for himself.

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

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

Knows family holidays. Has constant responsibilities at home.

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

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

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

Integrative quality “Mastered the universal prerequisites of educational activities”

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

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

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

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

Integrative quality “Mastered the necessary skills and abilities”

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

Educational area"Health"

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

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

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

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

Has a basic understanding of the components ( important components) healthy lifestyle (proper nutrition, movement, sleep) and factors that destroy health.

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

Educational area « Physical Culture»

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

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

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

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

Performs static and dynamic balance exercises.

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

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

Knows how to ride a scooter.

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

Can swim (voluntarily).

Educational field "Socialization"

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

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

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

Explains the rules of the game to peers.

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

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

Educational field "Labor"

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

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

Maintains order in the group and in the kindergarten area.

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

Educational field "Security"

Complies with the basic rules of organized behavior in kindergarten.

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

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

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

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

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

Educational area "Cognition"

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

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

Creates buildings according to drawings.

Able to work collectively.

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

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

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

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

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

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

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

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

Names the current day of the week.

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

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

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

Names the seasons and notes their features.

Knows about human interaction with nature at different times of the year.

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

Treats nature with care.

Educational field "Communication"

Can participate in conversation.

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

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

Determines the place of a sound in a word.

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

Educational field "Reading fiction"

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

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

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

children's writer, favorite fairy tales and stories.

Educational field "Artistic creativity"

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

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

Knows the features of visual materials.

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

Uses a variety of compositional solutions and visual materials.

Uses different colors and shades to create expressive images.

Performs patterns based on folk arts and crafts, years.

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

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

Creates images based on folk toys.

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

Educational field "Music"

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

Distinguishes between high and low sounds (within fifths).

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

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

Can perform dance moves(alternately throwing the legs forward in a jump, half-squatting with the foot on the heel, stepping on the entire foot in place, moving forward and circling).

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

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

Preparatory:

to school group (from 6 to 7 years old)

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Introduction

Tchaikovsky Nutcracker composer music

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

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

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

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

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

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

1. ChoicemusicalworksForconversations

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

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

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

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

1. About the life and work of Pyotr Ilyich Tchaikovsky

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

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

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

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

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

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

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

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

2. Lesson notes with children of senior preschool age

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

Tasks:

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

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

3) Foster a love of music.

4) Expand your horizons, cultivate musical and aesthetic taste.

VocabularyJob: composer, ballet, listener, performer, waltz, genre.

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

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

PreparationEvents includes the following:

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

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

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

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

Moveclasses:

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

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

Children's answers.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Hearing. "March" sounds.

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

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

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

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

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

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

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

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

Hearing. "Waltz of Snow Flakes."

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

Children's answers.

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

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

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

Hearing. "Dance of the Sugar Plum Fairy."

Musicalteacher: Did you like the piece? What did you imagine?

Children's answers.

Ffromculturaljust a minute.

There's a knock on the door.

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

A flute appears.

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

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

There's a knock on the door.

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

A violin appears.

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

Listen to how different it can sound.

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

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

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

All drawings are posted on the board. Discussed.

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

Children's answers.

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

Thanks to all. Goodbye.

conclusions

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

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

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

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

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

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

The following preparatory work was carried out with the children:

- selected methodological material, manuals, a corner “My Tchaikovsky” was decorated;

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

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

Listening to music and verbally analyzing musical images allows children to learn to identify and differentiate musical sounds.

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

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

- area for listening - perceiving music and watching videos;

- an area for musical and motor exercises and games;

-zone for drawing.

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

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

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

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

The following principles were implemented in the classes:

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

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

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

The following methods and techniques were used:

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

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

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

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

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

- the ability to express one’s own opinion, analyze, and react quickly to what is happening.

- acquisition of social communication skills with adults.

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

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

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

Bibliography

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

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

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

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

5. Radynova O.P. Musical masterpieces. Author's program for the musical development of preschoolers / O. P. Radynova. - M.: Academy, 1998. - 240 p.

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