Introduction

Tchaikovsky Nutcracker composer music

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

The influence of music in development creative activity There are very many children. Music, like any other art, can influence the comprehensive development of a child, stimulate moral and aesthetic experiences, lead to a transformation of the environment, and active thinking. Along with fiction, theater, 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 and understand it expressive means, feel the various shades of mood conveyed by music, express your attitude to songs, plays, and their characteristic features.

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

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

. Choice piece of music for conversation

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

The Nutcracker is a good friend and 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 fairy tale of the same name Some people, having seen Ernst Hoffmann once, forever remember the wonderful cartoon, while others with all their hearts adore the ballet “The Nutcracker,” which they first attended as a child with their parents, and now he himself comes to watch “The Nutcracker” with his children. This is a fairy tale with magnificent music by the great Russian composer Pyotr Ilyich Tchaikovsky.

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

The Nutcracker ballet was first performed in St. Petersburg in December 1892. The performance “The Nutcracker” immediately won the hearts of the audience. From that moment it became good tradition organize pre-New Year's performances of the Nutcracker ballet. This performance is attended with pleasure by both children and adults - after all, everyone, without exception, likes the magical fairy tale told at Christmas. 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 children to preparatory group with a work by 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 inexplicable beauty 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 Petersburg branch of the Russian musical society. In the fall of 1862, he became a student at the St. Petersburg Conservatory, which was transformed from music classes, from which he graduated with honors in 1865 in the classes of A.G. Rubinstein and N.I. Zaremba, who highly appreciated the student’s talent. At the same time, the first major works were written for symphony orchestra: Overture "Thunderstorm" and Overture in F major, "Character Dances", cantata for soloists, choir and orchestra on Schiller's ode "To Joy" ( graduate work), chamber works. After leaving service in May 1863, he began to earn a living by giving lessons.

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

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

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

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

In Tchaikovsky’s ballet “The Nutcracker” there is a surprisingly natural fusion of the expressive and the visual, theatricality and the deepest psychologism. The scene of the growth of the Christmas tree in Act I is accompanied by music of a truly symphonic scale - at first alarming, ghostly, depicting the bustle of mice and strange night visions, it gradually expands, blossoms with a beautiful endlessly unfolding melody. The music subtly embodies everything that happens in the subsequent scene: the shouts of the sentry, 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, rich comic effects Chinese), as well as lively, in the folk spirit, Russian trepak; gracefully stylized dance of shepherdesses; comic dance of Mother Zhigon with children crawling out from under her skirt. The pinnacle of the divertissement is the famous Waltz of the Flowers with its variety of melodies, symphonic development, pomp and solemnity. The dance of the Sugar Plum Fairy is amazingly graceful and subtle. The lyrical culmination of the entire ballet is the adagio (in the original production - the Sugar Plum Fairy and the Prince, now - Clara and the Nutcracker).

. Lesson notes with children of senior preschool age

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

Tasks:

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

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

) Cultivate a love of music.

) Expand your horizons, cultivate musical and aesthetic taste.

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

Musical material 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, brushes for painting.

Preparation of the eventincludes the following:

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

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

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

) Children learn noise musical instruments play "March".

Progress of the lesson:

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

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

Children's answers.

Music teacher:Right. Let's remember P.I. Tchaikovsky. This is an outstanding Russian composer, known all over the world. He was born in the Urals in the city of Votkinsk on April 25, 1840. His parents loved music very much. Her mother played the piano and sang; there was a mechanical organ in their house. Later, having moved to Moscow, he composed music and 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: “Mazepa”, “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?

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

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

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

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, an old magician - all this real characters 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.

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

Conversation with children based on what they listened to. When listening again, the illustration is dance 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. New toy I especially like Marie! How happy Marie is! After all, this ball and flowers, and music - everything was for her. And most importantly, next to her was her faithful friend the Nutcracker.

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

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

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

And 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 a long time, Masha did not know how to help, but at one point she took off her shoe from her foot and threw it at 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."

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

Children's answers.

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

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

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

Hearing. "Dance of the Sugar Plum Fairy."

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

Children's answers.

There's a knock on the door.

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

A flute appears.

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

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

There's a knock on the door.

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

A violin appears.

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

Listen to how different it can sound.

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

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

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

All drawings are posted on the board. Discussed.

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

Children's answers.

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

Thanks to all. Goodbye.

conclusions

So, the main objectives of this event were achieved:

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

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

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

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

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

The following 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“Tchaikovsky’s works - “The Nutcracker”, “The Seasons”, “Children’s Album” (cut 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 the lesson, music hall divided into zones:

area for listening - perceiving music and watching videos;

area for musical and motor exercises and games;

drawing area.

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

Great value for problem solving aesthetic development children are assigned to the selection of repertoire. The main criterion for the significance of any work is its content, accessible to children. The strength of the emotional impact of the piece being performed largely depends on how we are able to present it, what we say about it, how we direct the attention of children 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 describe the music as a whole (bright, fabulous, affectionate);

The technique of inventing a plot and creating a game situation. Using this technique, the performance of any vocal or instrumental work turns into a mini-performance, and here important point is emotional responsiveness and expressive performance with elements of theatricality precisely on early stages 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.

acquiring social communication skills with adults.

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

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

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

Bibliography

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

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

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

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

Application

March (excerpt)

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

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

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

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

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

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

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

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

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

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

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

Creativity underlies the entire life of a modern person. Art, in particular music, contains great opportunities for 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 encourages children to enjoy freedom and discovery, adventure and original expression. Musical activities can be creative if you actively participate in it: 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/

Plan

1. Analysis of the situation.
2. Problem.
3. Planned results.
4. Work system.
5. Diagnostic tools.
6. Conditions that provide results.
7. List of sources used.
8. Application.

Analysis of the situation.

Global transformations are taking place in all areas today social life, including in the field of education. Role folk systems education refers to the most important issues pedagogy. The heritage of every nation contains valuable ideas and educational experiences. The preservation and development of the traditions of each people is important for our multinational country. Joining folk traditions provides spiritual and moral development personality.

How did people live? How did you work and how did you rest? What made them happy and what worried them? What traditions and customs did they observe? How did you decorate your home? How did you dress? What games did the children have? What holidays? To answer these and similar questions means to restore the connection of times, to return lost values. To do this, we need to turn to the sources of Russian folk culture, the history of Rus', and get in touch with folk art and part of the child’s soul, the beginning that gives rise to personality. In order to instill in children pride in their people, maintain interest in their history and culture, help them to know and respect their past, their origins, the history and culture of their people, the project “Development of musical and artistic activity through familiarization with the traditions of the peoples of Russia” was created. The project promotes the development of children’s cognitive abilities, the formation of high morality, fosters love for the Fatherland, respect for ancestors, interest in the original Russian culture, through the development of musical and artistic activities in kindergarten (in accordance with the content of the educational field “Music” of the FGT).

Problem.

Folk culture is one of the means of moral, cognitive and aesthetic development of children. Currently, for many reasons, most of the spiritual heritage and objects of material folk culture have been lost. A critical situation is being created in which we can, after some time, deprive the current and subsequent generations of the most valuable heritage of the regional folk artistic culture and thereby completely destroy the spiritual connection of contemporaries with the cultural traditions and creative experience of past generations.

It follows from this that the problem of preserving traditional folk culture is becoming important and solving this problem must begin from preschool age. Already in kindergarten it is necessary to introduce people to folk culture, because it is in preschool age that the formation and development of the child’s personality takes place, and folk traditions educate the future citizen of Russia.

Russia is rich in its traditions, customs, and folk holidays. One of these holidays is the Great folk festival at the end of winter, “Maslenitsa” and direct participation in the holiday leaves a more complete and profound understanding of it. Enables children to understand the depth, breadth and deep meaning this cheerful and a little sad holiday. That’s why the idea arose to hold the Maslenitsa holiday celebration with the help of teachers, parents and children.

Objective of the project: Formation of ideas about folk traditions in children of senior preschool age (Maslenitsa holiday).

Project objectives:

didactic: form an idea of ​​what “traditions” are. To introduce the traditions of the Russian people;

developing: promote the development of interest in history and traditions in people’s lives; develop search activities and creative activity; develop communication skills;

raising: to cultivate ethnocultural competence of preschool children.

Target audience of the project:

Musical director;

Teachers of middle, senior, preparatory groups;

Parents, children from 5 to 7 years old.

Project type:

by method: creative;

by number of participants: intergroup

by duration: short.

Planned results.

For each of the tasks of musical and artistic activity, it is planned to achieve the following results in children:

- formation of ideas about what “traditions” are, familiarization with the traditions of the Russian people;

Developing interest in history and traditions in people’s lives; development of search activity, creative activity; communication skills;

- education of ethnocultural competence of preschool children.

Work system.

Work to introduce children to Russian folk culture is carried out through educational field“Music” in accordance with the “Program of education and training in kindergarten” edited by M. A. Vasilyeva, V. V. Gerbova, T. S. Komarova. In addition, I use different technologies by O.L. Knyazeva “Introducing children to the origins of Russian folk culture”, technology of “Elementary music playing with preschoolers” by T. Tyutyunnikov”, technology by M.V. Khazova “Gorenka”, musically - literary developments magazine " Musical palette", "Folk holidays" by G. Naumenko.

A creative group of kindergarten teachers has developed a long-term plan to familiarize children of senior preschool age with the folk ritual holidays of Russia. For my practical work in this direction, I use:

Developmental environment in kindergarten;

Various types of folklore;

As a result, I spend the holidays.

As a result of work on this problem, methodological recommendations were developed for organizing and holding folk festivals in kindergarten.

Project stages

Project implementation

Intended Product:

For children: creation of a mini-museum “Russian Izba” in a group .

Exhibitions of children's activities during the project implementation.

Final event “Broad Maslenitsa”

For teachers: development of methodological recommendations for organizing national holidays in preschool educational institutions;

broadcast of the project work at stands for parents in kindergarten.

Diagnostic tools.

The main results of the musical and artistic development and education of students are assessed within the framework of monitoring procedures, in which the leading methods will be:

Supervision of children;
- individual conversations (with children, parents);

Questioning,

Various test tools,

Children's self-evaluative judgments.

The diagnostics allowed us to determine the most important directions in the work to create conditions for familiarizing and introducing children to traditional folk culture.
For this purpose several structural components, the purpose of which was:

• Determine the level of formation of children’s ideas about folk traditions;
• Showing interest in the culture and traditions of your people;
• Experience family education, traditions and customs in the family.

Conditions that provide results

To introduce older preschoolers to Russian folk traditions, certain conditions have been created in preschool educational institutions:

Logistics provision of the project:

• Mini-museum “Russian Izba”.
• Multifunctional corner “Mumming Corner”, “Privacy Corner”.
• Fairy tale room, where various types of theaters are located.
• Audio library with recordings of folk songs and melodies, fairy tales.
• Selected works of decorative and applied art, paintings and folk items with various types of paintings.
• A plan has been drawn up for organizing and holding national holidays and holidays of the national calendar.
• A library with oral folk art, small folklore genres fiction of the Russian people and different nations peace.
• A card index of folk games, folk toys and national dolls has been made.
• Summaries of joint activities with children have been compiled.

Personnel composition:

• Teachers in various areas of activity: musical folklore, folk choreography;

Educational and methodological provision of the project:

“Introducing children to the origins of Russian folk culture” O.A. Knyazeva, M.D. Makhaneva. " Complete encyclopedia life of the Russian people" I. Pankeev, "We live in Russia" N.G. Zelenova, L.E. Osipova (for senior and preparatory groups), “Heritage” by E.V. Solovyova, L.I. Tsarenko, “Heritage” M.Yu. Novitskaya, EOR (presentations, cartoon).

List of sources used

1. "All year round." Russian agricultural calendar. Moscow, ed. "Pravda", 1991.
2. "Russian folklore". Moscow, “Fiction”, 1986.
3. Aksenova Z.F. Sports events in kindergarten: A manual for employees preschool institutions. -M.: TC Sfera, 2003.
4. Baturina G.I., Kuzina T.F. Folk pedagogy in the modern educational process – M.: “School Press” 2003.
5. Bondarenko Z.O. "Holidays of Christian Rus'." Russian folk orthodox calendar: Reference ed. Kaliningrad: Book. Publishing house, 1993.
6. Vasilyeva M.A., Gerbova V.V., Komarova T.S. “Methodological recommendations for the Education and Training Program in kindergarten”;
7. Vasilyeva M.A., Gerbova V.V., Komarova T.S. “Program of education and training in kindergarten”;
8. Veraksa N.E., Komarova T.S., Antonova A.V., etc. From birth to school.
9. Daimedina I.P. Let's play, kids M., Enlightenment, 1992
10. Zatsepina M.B. “Musical education in kindergarten”;
11. Keneman A.V., Osokina T.I. Children's outdoor games of the USSR: A manual for kindergarten teachers. -M.: Education, 1988.
12. Melnikova L. I., Zimina A. N. Children's musical folklore in preschool educational institution Gnom-Press LLC 2000
13. Pavlova P.A., Gorbunova I.V. “Grow up healthy, baby!” Health improvement program for young children M., 2006
14. Penzulaeva L.I. Outdoor games and play exercises for children 5-7 years old.-M.: Humanit. publishing center VLADOS, 2001.
15. Collection edited by V. Dahl in 2 vols. "Proverbs of the Russian people." Moscow, “Fiction”, 1984.
16. Tikhonova M.V., Smirnova N.S. Red hut St. Petersburg “Childhood-Press” 2000
17. Encyclopedia of holidays. Author-compiler N.V. Chudakova. Moscow, Publishing House AST-LTD, 1998.

Applications

Annex 1.

Plan for Maslenitsa Week events for senior preschool age

Monday – Meeting

Tuesday – Flirting

Wednesday is delicious

Thursday – Razgulyay

Friday – Farewell to Maslenitsa

Appendix 2

Diagnostic card

High level - 3 points.

Average level - 2 points.

Low level - 1 point.

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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 are necessary conditions for the formation of an integral 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 an important social function.

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

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

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

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

The Nutcracker ballet was first performed 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 enjoyed by both children and adults - after all, everyone, without exception, likes a magical fairy tale told at Christmas. 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. My parents’ family loved music, my mother sang well and played the piano, and musical evenings were held in the house. 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 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 of the creative imagination of 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 was engaged in pedagogical work: he taught future pianists and composers. His music pleases and excites, it is always sincere and truthful.

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

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

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

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 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 background music.

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

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

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

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

Snow flakes are flying outside the windows, but the room where the children are gathered is warm and cozy. Everyone 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 was her faithful friend the Nutcracker.

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

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

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

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

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

Hearing. "Dance of the Sugar Plum Fairy."

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. The 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 were 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:

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

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

- game material was produced: 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, a large mirror in which children see themselves and control their musical and rhythmic movements. To conduct classes, the music room is divided into zones:

- area for listening - perceiving music and watching videos;

- 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 strength of the emotional impact of the piece being performed largely depends on how we are able to present it, what we say about it, how we direct the attention of children so that the work reaches their hearts and arouses interest.

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

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

The following principles were implemented in the classes:

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

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

The principle of systematicity and consistency is manifested in the gradual complication of the repertoire. A lot of preliminary work has been done to develop the perception (listening) of music and children are now able to analyze musical works that are more complex in figurative content.

The following methods and techniques were used:

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

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

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

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

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

- 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 of 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 methodological recommendations / 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.

Application

March (excerpt)

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Conducting a lesson with preschoolers using a musical work by P.I. Tchaikovsky "Waltz of the Flowers". Introducing to the beauty of nature and art, developing emotional responsiveness. Formation of the ability to perceive a piece of music.

test, added 09/25/2014


Goals and objectives of music education in kindergarten. Music teaching methods. The influence of music on children's development. The process of formation of musical and auditory representations. Dance training how to priority music movement classes.

test, added 11/19/2015


Age characteristics musical development of children of early and preschool age. The role of listening to music in comprehensive development children, analysis of the repertoire of the music listening section program age groups and independence of student activity.

abstract, added 05/27/2012


Cultural institutions for children like social institution. Functions and main activities of children's cultural institutions. Development of children's musical creativity in an instrumental music studio. Methodological features of project activities.

thesis, added 10/02/2013


The main tasks of musical education of children. Organization of work on musical education in a preschool educational institution. Planning and accounting of work on musical education and development of children. The relationship between musical development and education.

abstract, added 12/04/2010


Formation creative personality child through theatrical activities. The role and specificity of theatrical activities in the process of musical development of children. Analysis of programs combining theatrical activities and musical education.

course work, added 11/15/2010


Musical and creative development of children. The essence of organizing creative activity in a music lesson. Analysis of quantity and quality creative tasks in a music textbook for third grade. Systematized set of creative tasks "Kaleidoscope".

Introducing a child to music introduces a child to a world of exciting, joyful experiences and opens the way for him to aesthetically master life within the framework accessible to his age. To open the door to this world for a child, it is necessary to develop his abilities that allow him to successfully express himself in musical activity. First of all, it is necessary to cultivate in a child a musical ear and emotional responsiveness - two most important components of musicality. Without them, it is impossible to introduce a child to this wonderful world, and holistic development of the individual is impossible.

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

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

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

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

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

Children's creativity is understood as an independent artistic activity. P. P. Blonsky believes that aesthetic education involves either the formation of creativity, or the development of perception and artistic taste. He writes that aesthetic education is, first of all, the development of 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...”