"Introducing children to musical art through integration various types musical artistic activity using ICT" Bocharnikova S.V. Music director of MBDOU d/s 12 of 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. Content 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: use information technologies increases children's learning motivation 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 does 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 activities with the use of ICT causes greater activity in children, keen interest “Emotionally responsive” The degree of emotional responsiveness and external emotional manifestations increases. “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 rhythmic 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, use computer programs, allows children to hear pure professional performances of classical works and compare what they hear and see. 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.
By incorporating videos and creative tasks into the structure of the lesson, I thereby contribute to the development of children’s creativity (taking into account the requirements of San Pin: watching the video for no more than 5-7 minutes) 1. Musical greeting 2. Watching the video 3. Answering questions 4. Creative task (depict raindrops on musical instruments, rustling leaves, etc.), didactic game(“The fourth odd one”, find an extra musical instrument, draw a 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, development creative potential child and the harmonious development of the individual 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.
Source of information: Background pictures: Photo: from the archive of S.V. Bocharnikova.
Hearing
Continue to introduce children to musical culture and cultivate artistic and aesthetic taste.
Enrich children's musical experiences and evoke a vivid emotional response when perceiving music of a different nature.
Introduce basic musical concepts: musical image, means of expression, musical genres(ballet, opera); professions (pianist, conductor, composer, singer, ballerina and ballerina, artist, etc.).
Continue to develop the skills of perceiving sounds in pitch within the fifth-third. Enrich children's impressions, shape musical taste, develop musical memory. Promote the development of thinking, imagination, memory, hearing.
Introduce basic musical concepts (tempo, rhythm); genres (opera, concert, symphony concert), the work of composers and musicians.
Introduce children to the melody National Anthem Russian Federation.
Strengthen practical skills in expressive performance of songs ranging from before first octave C re second octave. Learn to take your breath and hold it until the end of the phrase; pay attention to articulation (diction),
Strengthen the ability to sing independently, individually and collectively, with musical accompaniment and without it.
Song creativity
Develop the ability to independently come up with melodies, using Russian folk songs as a model; independently improvise melodies on a given topic with or without a model, using familiar songs, musical pieces and dances.
Musical and rhythmic movements
Contribute further development skills in dance movements, the ability to move expressively and rhythmically in accordance with the diverse nature of the music, conveying emotional and figurative content in dance.
Introduce national dances (Russian, Belarusian, Ukrainian, etc.).
Develop dance and play creativity; to develop skills in the artistic performance of various images when staging songs and theatrical performances.
Musical, gaming and dance creativity
To promote the development of children's creative activity in accessible types of musical performing activities (playing in an orchestra, singing, dance movements, etc.).
Improve the ability to improvise to music of the appropriate nature (skier, skater, horseman, fisherman; crafty cat ; angry goat, etc.).
Strengthen the ability to come up with movements that reflect the content of the song; act expressively with imaginary objects.
Develop independence in finding a way to convey musical images in movements.
Develop musical abilities; promote the manifestation of activity and independence.
Playing children's musical instruments
Introduce musical works performed by various instruments and in orchestral arrangements.
Improve skills in playing metallophones, pipes, percussion and electronic musical instruments, Russian folk musical instruments: rattles, rattles, triangles; ability to perform musical works in an orchestra in an ensemble.
Approximate musical repertoire
Hearing
"Children's polka", music. M. Glinka; "March", music. S. Prokofiev; "Lullaby", music. W. Mozart; "Doll's illness", "Doll's funeral", " New doll", "Kamarinskaya", music. P. Tchaikovsky; "Autumn", music. An. Alexandrova, lyrics. M. Pozharova; "The Cheerful Peasant", music. R. Schumann; “Autumn” (from the cycle “The Seasons” by A. Vivaldi); “October” (from the cycle “Seasons” by P. Tchaikovsky); works from the album “Beads” by A. Grechaninov; “Sea”, “Squirrel”, music. N. Rimsky-Korsakov (from the opera “The Tale of Tsar Saltan”); “Tobacco Waltz”, music. A. Dargomyzhsky; “Italian polka”, music. S. Rachmaninov; "Sabre Dance", music. A. Khachaturyan; “Winter has come”, “Troika”, music. G. Sviridova; “Waltz-joke”, “Gavotte”, “Polka”. "Dance", music. D. Shostakovich; "Cavalry", music. D. Kabalevsky: “Winter” from the cycle “The Seasons” by A. Vivaldi; “In the Cave of the Mountain King” (suite from music to G. Ibsen’s drama “Peer Gynt”), “Procession of the Dwarves”, op. 54 E. Grieg; "Song of the Lark", music. P. Tchaikovsky; "Dance of the Birds", music. N. Rimsky-Korsakov (from the opera “The Snow Maiden”); "Dawn on the Moscow River", music. M. Mussorgsky (introduction to the opera “Khovanshchina”); “Sad Song”, “Ancient Dance”, “Spring and Autumn”, music. G. Sviridova; “Spring” from the cycle “The Seasons” by A. Vivaldi; Organ Toccata in D minor by J. S. Bach. “On the Harmonica” from the album “Beads” by A. Grechaninov and other works from children’s albums of piano pieces (at the choice of the music director); “Minuet” from the children’s album “Spills” by S. Maikapar: “Chamomile Rus'”, “Forget-me-not Gzhel”, “Pipe and Horn”, “Palekh” and “Our Khokhloma”, music. Y. Chichkova (collection “Chamomile Rus'”); “Summer” from the cycle “The Seasons” by A. Vivaldi.
Other works by Russian and Western European composers may be performed (optional) music director).
Exercises to develop hearing and voice.“A fox walked through the forest”, Russian. adv. song; “Jingle Bells”, “Our House”, “Fipe”, “Cuckoo”, music. E. Tilicheeva, lyrics. M. Dolinova; “A bunny walks in the garden”, Russian. adv. melodies; “Sleep, dolls”, “To school”, music. E. Tilicheeva, lyrics. M. Dolinova; “Wolf and kids”, Estonia. adv. song; “Bunny”, “Parsley”, music. V. Karaseva; "Pipe". "Horse", music. E. Tilicheeva, lyrics. N. Naydenova; “To school”, music. E. Tilicheva, lyrics. M. Dolinova; “Cat-cat”, “Lullaby”, “Pea”, music. V. Karaseva; "Swing", music. E. Tilicheeva, lyrics. M. Dolinova; “And I’m in the meadow”, Russian. adv. melodies; “Skok-skok, skok”, Russian. adv. song; "Vegetable Garden", music. B. Karaseva; “Waltz”, “Nonsense”, “Balalaika”, music. E. Tilicheeva, lyrics. N. Naydenova.
Songs."Leaf Fall"; music T. Popatenko, lyrics. E. Avdienko; “Hello, my Motherland!”, music. Yu. Chichkova, lyrics. K. Ibryaeva; “My Russia”, music. G. Struve; “We are warm in any frost”, music. M. Partskhaladze; “The Cranes Are Flying Away”, music. V. Kikto; “There will be a slide in the yard”, music. T. Popatenko, lyrics. E. Avdienko; "Winter Song", music. M. Kraseva, lyrics. S. Vysheslavtseva; "Christmas tree", music. E. Tilicheeva, lyrics. E, Shmanova; "He comes to us New Year", music V. Gerchik, lyrics. 3. Petrova; "Mom's Holiday", music. Yu. Guryeva, lyrics. S. Vigdorova; “The best”, music. V. Ivannikova, lyrics. O. Fadeeva; “The trees are sleeping at the edge”, music. M. Jordansky, lyrics. I. Cheriitskaya; “It’s good in our garden”, music. V. Gerchik, lyrics. A. Alien; “It’s good that the snow started falling,” music. A. Ostrovsky; "New Year's round dance", music. T. Popatenko; "It's Mother's Day", music. Yu. Tugarinova; "New Year's round dance", music. S. Schneider; “Song about Grandma”, “Brother Soldier”, music. M. Partskhaladze; “Spring has come”, music. 3. Levina, lyrics. L. Nekrasova; "Vesnyanka", Ukrainian. adv. song, arr. G. Lobacheva; “The trees are sleeping at the edge”, music. M. Jordansky, lyrics. I. Chernitskaya; “There was a birch tree in the field”, Russian. adv. song, arr. N. Rimsky-Korsakov; “I want to study”, music. A. Dolukhanyan, lyrics. Z. Petrova; “Goodbye, kindergarten”, music. Yu. Slonova, lyrics. V. Malkova; “We are now students,” music. G. Struve; "Victory Holiday", music. M. Partskhaladze; "Lesson", music. T. Popatenko. "Summer Flowers", music. E. Tilicheeva, lyrics. L. Nekrasova; “How our girlfriends went”, Russian. adv. song; “About a goat”, music. G. Struve; “On the Bridge”, music. A. Filippenko; “Song about Moscow”, music. G. Sviridova; “Who invented the song”, music. D. Leo the Companion.
Song creativity
"In Autumn", music. G. Singer; “Merry song”, music. G. Struve, lyrics. V. Viktorova; “Sad song”, music. G. Struve; "Dancing", music. T. Lomovoy; "In Spring", music. G. Singer; “Quiet song”, “Loud song”, music. G. Struve; “Slow song”, “Fast song”, music. G. Struve.
Musical and rhythmic movement
Exercises."March", music. I. Kishko; walking with a cheerful and calm step to “March”, music. M. Robert; “Running”, “Colored flags”, music. E. Tilicheva; “Who jumps better?”, “Running”, music. T. Lomovoy; “Girls and boys are walking, music. V. Zolotareva; “Raise and cross the flags” (“Etude”, music by K. Guritta). “Who jumps better?”, “Running”, music. T. Lomovoy; "Brave Rider", music. R. Schumann; "Swing of arms", Polish. adv. melody, arr. V. Ivannikova; “Exercise with ribbons”, music. W. Mozart; “Let’s stomp and twirl”; “Ah, the street, the street is wide”, Russian. adv. melody, arr. T. Lomovoy; “Rinse handkerchiefs”: “Oh, meadow duck”, Russian. adv. melody, arr. T. Lomovoy; “Exercise with flowers”, music. T. Lomovoy; “Exercise with flags”, German. adv. dance tune; “Exercise with cubes”, music. S. Sosnina; "Rattles", music. T. Vilkoreiskaya; “Exercise with balls”, “Jump ropes”, music. A. Petrova; “Exercise with a ribbon” (Swedish folk melody, arrangement by L. Vishkarev); “Exercise with tape” (“Game”, music by I. Kishko).
Sketches.“We’ll dance” (“Lamb”, Russian folk melody); “Rain” (“Rain”, music by N. Lyubarsky); “Horses” (“Dance”, music by Darondo); “Offended”, music. M. Stepanenko; “Bears are dancing”, music. M. Kraseva. Show the direction (“March”, music by D. Kabalevsky); each couple dances in their own way (“Oh, you, birch,” Russian folk melody); “Jumper”, “Stubborn”, music. G. Sviridova; "Frogs and Storks", music. V. Vitlina; "Dance of the Butterflies", music. E. Tilicheeva.
Dancing and dancing.“Pair dance”, Karelian. adv. melody; “Dance with ears of corn”, music. I. Dunaevsky (from the film “Kuban Cossacks”); “Circular gallop”, Hungarian. adv. melody; "Spring", music. Y. Chichkova (“Polka”); “Pair dance”, Latvian, nar. melody; "Fun Dance", music. V. Zolotareva; "Polka", music. V. Kosenko. "Waltz", music. E. Makarova; "Polka", music. P. Tchaikovsky; "Minuet", music. S. Maikapara; "Waltz", music. G. Bachman; "Apple", music. E Gliere (from the ballet “The Red Poppy”); "Tachanka", music. K. Listova. "Mazurka", music. G. Wieniawski; “Heels”, Russian. adv. melody, arr. E. Adler: “Spinning Spinning”, Russian. adv. melody, arr. T. Lomovoy; “Russian Dance with Spoons”, “And I’m in the Meadow”, “Polyanka”, Russian. adv. melodies; “The girls sowed flax”, Russian. adv. songs; “Sudarushka”, Russian. nar, melody, arr. Yu. Slonova; “Quadrille with spoons”, Russian. adv. melody, arr. E, Tumanyan. "Dancing", music. T. Lomovoy; “I’m already pulling the pegs”, Russian, Nar. song, arr. E. Tilicheeva; "Tachanka", music. K. Listova; "Waltz", music. F. Schubert; “She's gone young”, “Tell everyone, Nadyusha”, “The girls sowed flax”, Russian, Nar. songs; “Sudarushka”, Russian. adv. melody, arr. Yu. Slonova; “Barynya”, Russian. adv. song, arr. V. Kikto; “I’ll go.” Will I come out”, Russian. adv. melody.
Characteristic dances."Dance of Parsley", music. A. Dargomyzhsky (“Waltz”); "Dance of Snowflakes", music. A. Zilina; “Exit to the dance of the bear cubs”, music. M. Kraseva; “Matryoshka”, music. Yu. Slonova, lyrics. L. Nekrasova; "Cheerful Elephant", music. V. Komarova.
Round dances.“Will I go out to the river”, Russian. nar, song, arr. V. Ivannikova; “There is a viburnum on the mountain”, Russian. adv. melody, arr. A. Novikova; " Winter holiday", music M. Starokadomsky; "On New Year's Eve", music. E. Zaritskaya: “The New Year is coming to us,” music. V. Gerchik, lyrics. 3. Petrova; “There was a birch tree in the field”, Russian. adv. song, arr. N. Rimsky-Korsakov; “Is it in the garden? in the garden", Russian. adv. melody, arr. I. Arseeva.
Music games
Games.“Take the flag”, “Find yourself a partner”, Hungarian. adv. melodies; “Hares and Fox”, “Cat and Mice”, music. T. Lomovoy; “Who is faster?”, music. M. Schwartz; “Game with rattles”, music. F. Schubert "Ecosseuse"; “Trappers and Beasts”, music. E. Tilicheeva; “Trip”, “Walk”, music. M. Kuse (for the game “Train”); “The Shepherd and the Little Goats”, Russian. adv. song, arr. V. Trutovsky.
Singing games.“Pleten”, Russian. adv. melody “The girls sowed”, arr. AND. Knshko;“Recognize by voice”, music. V. Rebikova (“The Play”); “Teremok”, “Blizzard”, “Oh, I got up early”, Russian. adv. songs; “Look”, music. T. Lomovoy; “Like thin ice”, Russian. adv. song. “The girls were sowing”, arr. I. Kishko; “Shadow-Shadow”, music. V. Kalinnikova; “I walk with the loach”, Russian. adv. song, arr. A. Grechaninova; “Zemelgoshka-chernozem”, Russian. adv. song; “Savka and Grishka”, Belarusian, Nar. song; “Like on a small bridge”, “Like ours at the gate”, “Kamarinskaya”, arr. A. Bykanova; “Bunny”, “Medve-dgoshka”, Russian. adv. songs, arr. M. Kraseva; "Crane", Ukrainian. adv. song; "Game with flags", music. Yu. Chichkova.
Musical and didactic games
Development of pitch hearing.“The Three Little Pigs”, “Think, Guess”, “There are different sounds”, “Funny parsleys”.
Development of a sense of rhythm.“Walk in the park”, “Complete the task”, “Identify by rhythm”.
Development of timbre hearing.“Guess what I’m playing”, “The story of a musical instrument”, “Musical house”.
Development of diatonic hearing.“Loudly - quietly binge drinking”, “Ringing bells, look for them.”
Development of music perception.“In the Meadow”, “Song - Dance - March”, “Seasons”, “Our Favorite Works”.
Development of musical memory.“Name the composer”, “Guess the song”, “Repeat the melody”, “Recognize the work”.
Dramatizations and musical performances
“Like ours at the gate”, Russian. adv. melody, arr. V. Agafonnikova; “Like on thin ice”, Russian. adv. song; “On the Green Meadow”, Russian. adv. melody; “Zainka, come out”, Russian. adv. song, arrangement E. Tilicheeva; “We will marry a mosquito”, “I walk with a loach”, Russian. adv. songs, arr. V. Agafonnikova; “New Year's Ball”, “Under the Shadow of Friendly Muses”, “Cinderella”, author. T. Koreneva. “The Tsokotuha Fly” (opera-play based on the fairy tale by K. Chukovsky), music. M. Kraseva.
Development of dance and gaming creativity
"Polka", music. Yu. Chichkova; “Dance of the Bear and Cubs” (“Bear”, music by G. Galinin); “I’m already pulling the pegs”, Russian. adv. song, arr. E. Tilicheva; “I’m walking down the street”, Russian. adv. song, arr. A. B. Dyubuk; “Winter Holiday”, music. M. Starokadomsky; "Waltz", music. E. Makarova; "Tachanka", music. K. Listova; "Two Roosters", music. S. Razorenova; “The dolls came out to dance”, music. V. Vitlina; "Polka", Latv. adv. melody, arr. A. Zhilinsky; “Russian Dance”, Russian. adv. song, arr. K. Volkova; “Lion Cub Lost”, music, V. Enke, lyrics. V. Lapina; "Black Panther", music. V. Enke, lyrics. K. Raikine; "Waltz of the Cockerels", music. I. Sgriboga.
Playing children's musical instruments
“Jingle Bells”, “To School” and “Accordion”, music by E. Tilicheeva, lyrics. M. Dolinova; "Andrey the Sparrow", Russian. adv. song, arr. E. Tilicheeva; "Our Orchestra", music. E. Tilicheeva, lyrics. Yu. Ostrovsky; “Latvian Polka”, arr. M. Rauchwerger; “On the green meadow”, “In the garden, in the vegetable garden”, “Magpie-magpie”, Russian. adv. melodies; “Squirrel” (excerpt from the opera “The Tale of Tsar Saltan”, music by N. Rimsky-Korsakov); "Raven", Russian. adv. joke, arr. E. Tilicheeva; “I was walking up the hill”, “There was a birch tree in the field”, Russian. adv. songs; “Oh, the hoop broke,” Ukrainian. adv. melody, arr. I. Berkovich; “Guests have come to us,” music. An. Alexandrova; "Waltz", music. E. Tilicheeva; “In our orchestra”, music. T. Popatenko.
Planned intermediate results of the Program implementation
The planned intermediate results of mastering the Program in the preparatory group for school coincide with the final results of mastering the Program, therefore they are presented in a separate section that completes the substantive part of the Program.
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 educate the child’s ear for music and emotional responsiveness - two essential components musicality. Without them it is impossible to introduce a child to this wonderful world, holistic development of personality is also 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 only the content could be accurately translated into words piece of music, to explain in words the meaning of each sound, perhaps there would be no need for music as such. 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 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 form of musical art, which is consistently taught in nurseries, kindergarten, school 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 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 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 a complex of artistic means from the fields of music, literature, drama, and choreography. Gets their attention literary plot, character traits 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 is the basis of all life modern man. Art, in particular music, contains great opportunities for creative development the younger generation.
Musical education of children begins with gaining experience, components which are listening to music and composing it. Creativity 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 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...”
Dyumina Natalya Vladimirovna
first category music teacher
Game forms of introducing children
to musical art or creativity
Music, like other forms of art, is a specific form of artistic reflection of reality. By deeply and diversely influencing the feelings and will of people, music can have a beneficial effect on their social activities, influence the formation of personality.
The musical culture of a person is the process of a person discovering the values of works of art for himself, the level of their perception and mastery.
Music evokes spiritual pleasure and pleasure in people. Without the pleasure and enjoyment that work, science, and art give a person, his life turns out to be impoverished and meaningless. Music can calm and comfort people, relieve mental stress, helps overcome stress, and becomes one of the sources of human health and a preventive means of treating mental illnesses.
The effect of the educational role of music, as well as the direction and nature of its social impact, seems to us the most important criteria, determining the social significance of music, its place in the system of spiritual and cultural values.
Childhood is a special world that remains in a person’s soul for the rest of his life if happiness and joy of being oneself reign in it. The world of fantasy and invention in children is associated with play. In everything historical times children of different nations played and play, imitating adults, realizing their desires and creative needs.
Game, according to psychologist G.S. Tarasov, is the emotional spontaneity of motives, striving for a goal, evaluating the results of activities, and learning new things. The child’s personality is born in it.
Game is the optimal psychological and pedagogical tool that allows you to influence the development of children. This is confirmed by D.B. Elkonin: “...the game influences the formation of all basic processes, from the most elementary to the most complex.”
A game is a type of activity in conditional situations aimed at recreating and assimilating social experience. Children's play is a type of activity of children consisting in reproducing the actions of adults and the relationships between them, aimed at orientation and understanding of objective and social reality, one of the means of physical, mental and moral education children.
When studying the “Music” course in accordance with the requirements of the Federal State Educational Standard in the classroom, I assign a significant role to the method of musical playing. After all, it fruitfully helps to cultivate interest and love for the art of music, moral and aesthetic feelings, respect for traditions musical culture different peoples. Musical play in the classroom brings students together, organizes them, and instills an interest in music. She teaches you to think, analyze, and be on the fast track of useful things.
Playing in a music lesson is developmental in nature and is focused on mastering motor and intellectual skills, sensory abilities, developing cooperation skills, and effective interaction based on cognitive interests.
The impact of the game can be considered in three aspects.
The first aspect is physiological, associated with the studies of V. M. Bekhterev, I. M. Dogel, I. M. Sechenov, which revealed positive influence music on various human systems. The relationship between music and rhythmic movements increases overall vitality, regulates the activity of the cardiovascular, respiratory, and musculoskeletal systems, and forms the arbitrariness of mental functions.
The second aspect is psychological. Music affects the emotional and personal sphere of the child, corrects cognitive, mental, and communication disorders.
The third aspect is pedagogical. Through music, a child develops the ability to aesthetically perceive reality and acquire social experience for creative, constructive activities.
In musical play, it is easier for children to master the means of musical expression, the nature of music and speech - rhythm, dynamics, pitch. Music helps to establish contact between children and adults, between peers when playing games. By creating the prerequisites for further pedagogical influences, music directs children's auditory attention to fulfilling the conditions and rules of the game. Desire, impulses, a feeling of joy, revival, high spirits activate the child in play, help create a special atmosphere that will help avoid misunderstanding and disapproval, will not drown out the child’s natural desire to ask questions, will help to feel a sense of joy in the creative process, will teach to understand and respect opinion others, openly express their feelings, are not afraid to show their own individuality, appreciate in themselves creative personality.
Goals and objectives of the musical game:
Music evokes an emotional and motor response; the game helps the child listen to music carefully and consciously. In the game, the student performs various tasks related to the process of recognizing and distinguishing the nature of music, individual expressive means, activates feelings, imagination, thinking.
In accordance with this, musical games have the following tasks:
1. Corrective:
development of auditory, visual, tactile perception, facial muscles, respiratory system, articulatory apparatus, voice properties (pitch, timbre, dynamics, rhythm), coordination of movements;
formation of expressive means: intonation, facial expressions, gestures, movements.
2. Wellness:
development of motor skills: general, fine, articulatory;
improving the ability to relieve emotional and physical stress, strengthening the “muscle sense”;
development of speed of motor reaction.
3. Educational:
training in speech and singing skills;
development of musical, creative, communication abilities;
formation of mental skills and actions.
4. Educational:
education of general musical and speech culture;
formation of aesthetic perception of the surrounding world; artistic taste
development of the emotional sphere.
5. Developmental:
development of cognitive activity;
maintaining sustainable interest;
strengthening self-regulation and control;
development of attention, memory, thinking, imagination.
During the game, students should:
1. Reflect on familiar works, express judgments about the main idea, means, forms of its implementation.
2. Distinguish between simple and complex genres of vocal and instrumental music.
3. Participate in collective and performing activities /singing, plastic intonation, improvisation/.
4. Develop skills and abilities in musical self-education.
5. Show creative initiative by participating in the musical and aesthetic life of the class and school. Variety of music games
Among musical games, N.A. Metlov singled out games with singing, which develop hearing, voice, the ability to correctly convey a melody, as well as fairy tale games
N.A. Vetlugina, in the course of scientific research in the field of development of musical-sensory abilities, showed the primary role of musical-didactic games as the basis for the sensory perception of music
E. Raevskaya, S. Rudneva, G. Soboleva, Z. Ushakova changed the idea of the game, their methodological development of games was aimed at comprehensive development musicality of children, namely: the development of emotionality, a sense of rhythm, a sense of musical form, perception, imagination.
E.D. Makshantseva proposed another type of musical games - fun games.
L.N. Komissarova developed a system for using visual aids when organizing and conducting didactic games.
The importance of vocal games when working on the purity of intonation with elements of didacticism was shown by A.D. Voinovich.
Dramatization games, theatrical games, folk games, business games are also actively used in secondary schools: in music lessons, extracurricular activities, V correctional work with kids.
Musical play gives children the joy of creative transformation and self-expression through a variety of practical activities.
Bringing children joy and pleasure from musical experiences is a task no less important and noble for a teacher than teaching them any specific musical knowledge and skills.
Playing in a music lesson turns from an external form of entertainment into a form that ensures the child’s creative self-expression.
Maximilian Voloshin: “Art is precious only insofar as it is a game. Artists and musicians are just children who have not forgotten how to play. Geniuses are those who failed to grow.”
In my teaching activities, in almost every music lesson, I use game forms of the lesson that contribute to the development musical abilities students, encourages their desire for associative thinking. During play, children receive an impulse of pleasure, imagination, and self-organization. They feel relaxed, comfortable, always in search, in motion, where thinking and creativity are always active. By the way, I always remember A.S. Makarenko, who said more than once: play is one of the significant foundations for the development of a child’s personality. It must be constantly included in pedagogical process in class and in extracurricular activities.
While working at school, I came to a deep conviction: a game is creative laboratory childhood, that rainbow, that aroma of a child’s life, giving creativity growing up. How a child expresses himself in play from childhood is how a healthy core of creative activity will be formed in him, moral principles adult life. If a child “spits out” his state, “experiences” musical images, cognitive ability, observation, intelligence, and curiosity involuntarily develop.
In music lessons in grades 5–9, I use the following musical games and creative tasks:
Game "Association"
Option 1: In high school, I use this technique as follows: after listening and analyzing a piece of music, students must, in a chain, without repeating each other, name associative words related to the work and to the words already named. All answer options are recorded by the child in the workbook. Based on the listed concepts, it is proposed to write a mini-essay. For example:
Beethoven's Pathetic Sonata - tragic - dramatic - excited - stormy - impetuous - captivating - heroic - victory - jubilation...
Option 2: Come up with and write down at least 20 words of associations to a specific term or concept. For example: Musical - music, dialogue, dance, drama, comedy, theater, America, Notre Dame de Paris, etc. In my lessons it serves as a control test on the topic covered.
Game – journey “Back to the Future”
Traveling in a time machine
Getting to know the music and musical instruments of the past.
Game "Carnival"
Option 1: Trying to master the rhythms Latin America. For this game you will need new tools, and you will have to make them yourself. Chokalo - a simple tin can for a carbonated drink is filled with small bulk objects such as rice, sand or small pebbles and the hole is sealed with tape and adhesive tape. Guiro - in America it is made from dried pumpkin. At home, a tin can is filled with dried peas or dried olive pits, and the hole is sealed with tape. To make maracas, use a chocolate egg container, which is filled with dry material and placed on the body of the pen. Now we need any melody in the rhythm of samba, rumba, tango or bossa nova. The game consists of having previously practiced and trying to blend into the sound of a pre-prepared song or composition.
Option 2: Finding yourself on an unexplored planet in an alien universe, invent musical instruments of aliens and hear their music. Give names to these instruments (come up with how they sound and draw them, or make them from scrap materials (for example, from nails suspended on a wire or from glasses, etc.)
Game "Musical Football"
The game is played according to the rules of football. The class is divided into two teams. Question or task - throwing a ball. An incorrect answer or an incorrectly completed task is a goal (defeat). Based on the number of goals, the winner is determined and he is given a mark for his work in the lesson. The referee watches the game closely. All questions and creative tasks are related to the topics covered in music lessons.
Route game “Hurry up for the road”
Movement along a special map through individual stations (Cities) in order to answer all questions and complete pre-prepared music tasks, collect all the letters (in each city, one letter is awarded for the correct answer) and reveal the next secret of music. The game is played with the aim of reinforcing the material covered and introducing new ones. musical term or a concept that is included in a travel map (musical dictionary)
Role-playing game “The court is coming to stand up”
The game can be played on a pre-selected topic (for example, “Is classical music necessary?” Classical music and modern rock”, etc.) In the game, the chosen positions are defended and researched within the framework of the court rules.
Game "Improvisation"
This game form uses plastic, vocal, and literary improvisations. The class is divided into 3 groups. With the suggested literary heroes Group 1 composes a small composition - a miniature, group 2 voices them vocally or portrays them using musical instruments, group 3 conveys the image of each character in plastic improvisation. An aesthetic attitude to musical and sound reality is being formed: musical sound is a musical image - a way of its embodiment.
Game "MUSIC ON THE WATER"
One of the options for rhythmic games is a game that prepares children to memorize simple melodies. It also requires some preparation. You need to take several (5-7) glasses, preferably identical and with not too thick walls. Fill them with water and hit the glass with a metal rod and check what sound they make. Each glass should “sound” differently. Even if it is not too melodic and harmonious, the main thing is that the sounds are clearly distinguishable by ear. To begin with, try to repeat the given rhythm as accurately as possible, while the melody is not yet the main thing for you. You can take any examples of rhythmic patterns. So, we have learned to catch and remember the rhythm. Now let's try to start solving more difficult task: for games that develop musical ear and memory.
The task of the players in this case is to remember not just the timbres, but also the pitch of each of the glasses. It is better if, before the start of the game, they are lined up in a row as the height increases, so that the low ones are to the left of the performer, and the high ones are to the right.
Game "GUESS"
To play this game you will need a real musical instrument. Of course, it's better if it's a real piano. That is, players need an instrument on which anyone playing can reproduce the simplest sound. Now you need to choose a leader, someone who knows at least a little how the keys are located on the keyboard (you don’t need to know their names). This leader must be able to remember the pitch of the sound and exactly the key that will produce this sound. All other participants in the game turn away, and the presenter presses one of the keys. Then he selects one of the guys and invites him to guess which key he pressed.
Moreover, if a real piano is used, it means that since its keyboard is long, it is necessary to allocate a small section of keys (within an octave) to make it easier for a novice player to guess. Using the “poke” method, the guesser must settle on one option. The rest of the game participants can express their agreement or disagreement. If the presenter recognizes the correctness of the choice, then the game passes to this participant.
Creative task “Brainstorming” I often use this technique in music lessons. The task is given: to compose a meaningful sentence that includes 3 given words. For example:
a) music, literature, composer (The composer composes music based on a literary work);
b) Glinka, romance, Italy (While traveling in Italy, Glinka wrote the romance “Venetian Night”);
c) suite, Bach, dance (J.S. Bach wrote many suites consisting of ancient dances).
Creative task “Sinquain” Children are given a word for which they need to choose two adjectives, three verbs, four connected words and at the end one generalizing word. Words should not be repeated, and words with the same root cannot be used. For example:
a) Mozart – sunny, festive – composes, creates, inspires – we love his music – classic;
b) orchestra - symphony, chamber - plays, tours, performs - four groups of musical instruments - collective;
c) baroque - elegant, pretentious - captivates, inspires, fascinates - mother-of-pearl irregular shape- style.
Great importance is given to general lessons at the end of each quarter. These lessons can also include solving crossword puzzles - as a form of game form and creative assignment.
Presentations. Starting this year, I use presentations as creative task. This may be a forward task to new topic or, on the contrary, homework as a generalization of the musical impressions of high school students. I guide the children, create a plan with them according to which they make presentations. Presentations can be used as part of the game “Day of the Understudy”
You can write a lot and talk about musical games. The main thing is that without them it is impossible to captivate children in the world of art, into the world of beauty during a music lesson.
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...”
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