“Musical environment as a means of developing a child's creativity. The concept of a pedagogically organized musical environment as a means of developing the spiritual culture of a growing person L

16.06.2019

Analysis of the finale of the First Sonata L

We draw pictures ourselves. How to draw pictures. Required materials and tools

Airbrushing on a car Airbrushing on a car fire

(from work experience)

In our time, the problem of versatile upbringing of a person is very relevant already at the very beginning of his path, in childhood, upbringing of a Man, in which the emotional and rational principle would develop harmoniously. Losses in aesthetic education impoverish the inner world of a person. Not knowing the true values, children easily accept false and imaginary values.

The main goal of education is to prepare the younger generation for the future. Creativity is the path that can effectively realize this goal.

An integrated approach to the education of a creative personality covers a wide range of issues related to the problems of general aesthetic and moral education. The indissoluble unity of ideological, worldview, spiritual and artistic is an essential condition for the personality of a growing person, versatility and harmony of its development.

The value of creativity, its functions, lie not only in the productive side, but also in the very process of creativity.

An indicator of the creative development of an individual is creativity. In psychological research, creativity is defined as a complex of intellectual and personal characteristics of an individual that contribute to the independent advancement of problems, the generation of a large number of original ideas and their unconventional solution. It is necessary to consider creativity as a process and a complex of intellectual and personal characteristics of an individual, inherent in many individuals.

A lot of talent, intelligence and energy have been invested in the development of pedagogical problems associated with the creative development of the personality, primarily the personality of the child, such outstanding researchers as L.S. Vygotsky, B.M. Teplov, K. Rogers, P. Edwards.

Currently, G.V. Kovaleva, N.F. Vishnyakova, L. Dorfman, N.A. Terentyeva, A. Melik-Pashaev, L. Futlik.

For a long time, music has been recognized as an important means of forming the personal qualities of a person, his spiritual world. Modern scientific research shows that musical development has an irreplaceable effect on the overall development of children: the emotional sphere is formed, thinking is improved, the child becomes sensitive to beauty in art and in life. The lack of full-fledged musical and aesthetic impressions in childhood is difficult to make up for later.

The most important indicators of a child's creativity include:

creative activity , i.e. readiness and high level of motivation to create a new product;
self-expression,otherwise - the child's free choice of the type of musical activity, the way of implementing his plan;
intelligence, "Intellectual abilities",
"Musical intelligence" - the ability to perform, compose and perceive music;
knowledge and skills.

Factors contributing to the development of creativity in children include:

informationalallowing to develop intelligence;
social,providing support for children in the process of their creativity, giving the opportunity to communicate and exchange impressions;
emotionalproviding psychological comfort and safety.

Considering musical education as a process of organized introduction of children to musical culture, we can talk about the musical environment as a means of introducing a child to musical culture.

Thus, the musical environment becomes one of the components of the pedagogical system and represents the musical design of the life of children.

The most general concept of the environment as a pedagogical tool is given in the works of Yu.S. Manuilov, the developer of the theory of an ordinary approach to education. He defines the environment “as that, among which the subject is, by means of which, the way of life is formed and that mediates its development and averages the personality”. From this we can conclude: the environment provides every child with equal opportunities to acquire certain personality traits. The environmental approach ensures the creation of a single musical and aesthetic space in the life of children and assumes influencing each other and interrelated forms of music in preschool educational institutions, family and society.

The accumulation of knowledge in pedagogy about the components of the environment has led to the understanding of the need to identify zones in the environment with various capabilities.

For a child of preschool age, the musical environment can be represented as a combination of several main functional areas: the environment of a preschool institution, the environment of the family, and the environment of society.

In accordance with this, in our kindergarten, we highlight the musical environment of the preschool educational institution, family and cultural and educational institutions.

1. Music and educational environment of the preschool educational institution

A block of organized (regulated) musical activities: musical activities and entertainment, holidays and other activities with the use of music (for all children).

A block of unregulated (joint with the teacher and independent) musical activity of children in a group outside of classes (in warm weather - in the fresh air):

Joint with the teacher (in role-playing games using a musical repertoire, round dance, musical didactic, musical creative, etc.)

Independent musical activity of children outside of classes (arises at the initiative of children, is represented by songs, musical games, exercises, dances, as well as song, musical-rhythmic, instrumental children's creativity).

2. Musical and educational environment of the family, where the unregulated musical activity of children is carried out.

Joint with parents (in terms of content, it is adequate to the similar activities of an educator with children in a preschool educational institution);

Independent (similar to the independent musical activity of children in a preschool educational institution).

3. Musical and educational environment of cultural and educational institutions aimed at musical education of children attending preschool institutions (concerts, music school or art school, performances of the theater of opera and ballet, etc.).

This is exactly how, by integrating the musical environment and the environmental approach in our kindergarten, close and successful interaction of children, educators and parents, as well as three levels of organization of musical education of children and their constituent blocks, is ensured.

How does the musical environment affect the development of a child's creativity in our preschool?

The development of a child's creative personality is a problem that the entire team of our kindergarten is constantly working on. Analyzing the results of my work on musical education, I came to the conclusion that it is necessary to use the musical environment for the development of creativity in preschoolers.

The environment of organized musical and creative activity in our preschool educational institution is created at musical lessons, holidays that take place in a music hall, light, spacious, aesthetically designed.

Part of the hall is separated by a curtain - this is a stage where children perform musical performances, concerts for parents. The music hall is equipped with technical means: there are 2 music centers, a TV, DVD player.

Musical instruments, toys, manuals, musical and didactic material are stored in the hall, in a specially designated place. Collected a record library (cassettes, discs) with children's songs, modern, folk and classical music.

One of the forms of work with children is music lessons. I attach great importance to them. It is here that the systematic and systematic development of the musical abilities of children of all age groups is carried out, the musical culture of each child is formed. This happens through the following activities:

perception,
performance,
creation
musical and educational activities.

It is very important that children feel comfortable in a music lesson. I try to build relationships with children on the basis of cooperation, respect for the personality of the child, providing freedom of development in accordance with his individual abilities. The knowledge and skills acquired in the learning process allow children to actively express themselves at holidays, entertainment and in independent activities.

The ability to transfer the experience gained in music lessons to other conditions helps to establish a sense of self-confidence, activity and initiative.

The child spends most of the time in the kindergarten group, therefore the musical environment of the group is of great importance for musical education and the development of his creativity.

The organization of ad hoc activities requires compliance with the following conditions. In each group, a musical corner has been created, where musical instruments and didactic games are placed, as well as a tape recorder and cassettes, on which a new musical repertoire is recorded especially for educators; cassettes with recording of instrumental music, children's songs and musical fairy tales.

The unregulated musical activity of children is carried out together with the teacher in the group and in the circles of musical creativity, organized by me. In joint activities, benevolent relations are formed between children, their creative ideas are realized. Here we do not teach children, but we try to interest them in listening to familiar music, express our attitude towards it, involve children in musical games and exercises familiar to them, conduct musical warm-ups and traditions (morning song greeting a new day, holding a song evening once a week etc.).

We select the musical repertoire for listening with children in our free time together with educators. Musical accompaniment of various events, listening to musical compositions, fairy tales, etc. allow you to acquaint children with a variety of musical compositions available to them in style.

In consultation with educators, we are working on issues of organizing the independent musical activity of children. Together with the educators, a monthly plan is drawn up for organizing the independent musical activity of children in groups. This makes it possible for the educator to consolidate with the children the skills and abilities acquired by children in music lessons in various types of activities.

Independent musical creative activity of children has the greatest potential for the development of creativity of preschoolers.

Independent musical activity of children outside of classes arises at the initiative of children, is represented by songs, musical games, exercises, dances, as well as song, musical-rhythmic, instrumental children's creativity.

In our work, we use various forms of organizing independent musical activity. One of the forms is role-playing game, when children choose a theme for various musical tasks ("looking for talents", "concert", "music and literary quizzes", "music lessons", "playing in the orchestra", "playing the theater", etc.), assign roles , and the plot develops.

Another form is exercise games, in which the child trains by playing an instrument or learning dance moves.

Independent activity is clearly manifested in playing music. Children's music-making includes singing, rhythmic movements, and playing musical instruments. Watching children, you can see how they are looking for melodies for their fun and entertainment: marches, dances, folk and didactic games, puppet shows, often improvise their melodies. The teacher carefully directs independent musical activity according to the wishes and interests of the children, helps everyone to express themselves, to interest inactive children.

Independent musical activity fosters artistic taste, enthusiasm, creative imagination, forms the inner spiritual world of the child, and encourages creativity.

2. Musical and educational environment of the family

The relevance of work with parents is determined by the fact that kindergarten is the first non-family social institution in which systematic pedagogical education of parents begins. The further development of the child depends on the effectiveness of our joint work with parents.

The main problem in interacting with the family is the lack of understanding by parents of the importance of musical education of children, therefore, together with the teachers of our kindergarten, I set myself the following tasks:

to form in parents a strong belief in the importance and necessity of early musical development of the child;
to teach the ways of creating a musical environment, methods of musical education of children in the family;
to promote musical education of parents.

The child receives his very first life lessons in the family, therefore it is important from the first days of the child's visit to the preschool institution to establish contact with the parents so that in the family, and not only in the kindergarten, favorable conditions for communication with music are created for the child.

In our kindergarten, a survey of parents is conducted annually in order to obtain the necessary information about their musical culture (their musical preferences), about their awareness of the musical development of children, their attitude to cooperation with preschool teachers.

I have developed various forms of interaction with the family, for example, consultations, seminars, parent-teacher meetings, joint celebrations and entertainment, etc. All of them have a certain effect. However, I was convinced that this is not enough, it is not enough to convince parents of the need for musical education of a child in the family, I realized that it is also important to teach them the most accessible methods of organizing this work (for example, tell how to create a musical environment, at what age and how to start listen to music with children, what kind of music is preferable to listen to, what musical toys and instruments to buy or make with your own hands, how to organize a children's party, how to create a musical "museum" at home, etc.)

With the aim of musical education of parents we organizeparenting meetings (round tables), open days, individual consultations, as well as organizing feedback, questionnaires, informing parents through the "Parents' Corner", creating photo albums "My Family", holding exhibitions of books on musical and aesthetic education (a selection of pedagogical and psychological literature).

To to introduce parents to joint musical activities, with educators we hold open music lessons for parents, holidays and entertainment for parents with children, an exhibition of works by a child and his parents on the topic "Draw Music", the best homemade children's musical instrument.

Experience shows that thanks to the combined efforts of our kindergarten teachers and parents, their personal participation in some aspects of the pedagogical process, their use of teaching materials and pedagogical recommendations, audio and video recordings available in kindergarten, work on the musical education of children in general and their development creativity becomes more successful.

3. Musical and educational environment of cultural and educational institutions.

The environment of the society is significantly different from the environment of the preschool educational institution and the family. Therefore, we strictly adhere to the principle of integrity when organizing this environment. The musical and educational environment of cultural and educational institutions is aimed at musical education of children attending preschool institutions. Our preschool educational institution often organizes concerts of pupils of a music school and an art school, performances of puppet and drama theaters, etc.).

Information factor provides for the agreement of teachers and parents on the possibilities of using society in the musical education of children. So, the musical works with which our children meet in the philharmonic society, theater, etc., should be familiar to them - they have already listened to them in the preschool educational institution and in the family. This gives children the opportunity to enjoy meeting familiar works and more actively and consciously strive to visit concert halls (large society) and music school (small society).

Feature social factor consists in the fact that children get acquainted with professional musicians, with people interested in the musical education of children. This is different and emotional factor. The passion of professionals infects children and allows us to consider it as a powerful factor in stimulating the creative activity of children. Using the possibilities of the social environment contributes to the personal growth of children - the development of their musicality in general, artistic and general culture, and creative imagination.

In this way, the musical environment as a means of introducing a child to musical culture and the environmental approach are an integral means of ensuring close and successful interaction of children, educators and parents, as well as three levels of organization of musical education of children and their constituent blocks.

In organizing the musical environment, I, as a music director, take on a leading role, performing various pedagogical functions:

diagnose the environment and personal qualities of children (musicality, creativity, empathy);
organize musical and educational process;
advise educators and parents on musical education.

For the musical education of children in our preschool institution, a properly organized musical environment has become a means of developing a child's personality.

Bibliography

1. Novoselova L.V. - "Developing subject environment", M. Enlightenment, 1997

2. E.P. Kostina - "Program of musical education for children of early and preschool age", M., Tuning Fork

3. E. Kostina "Musical environment as a means of developing a child's creativity" // "Preschool education" No. 11-12, 2006

Consultation for educators

"Musical environment as a means of developing a child's creativity"

The main goal of education is to prepare the younger generation for the future. Creativity is the path that can effectively realize this goal.

The value of creativity, its functions, lie not only in the productive side, but also in the very process of creativity. An indicator of the creative development of an individual is creativity. In psychological research, creativity is defined as a complex of intellectual and personal characteristics of an individual that contribute to the independent advancement of problems, the generation of a large number of original ideas and their unconventional solution. It is necessary to consider creativity as a process and a complex of intellectual and personal characteristics of an individual, inherent in many individuals.

The most important indicators of a child's creativity include:

- creative activity, i.e. readiness and a high level of motivation to create a new product;

- self-expression, otherwise - the child's free choice of the type of musical activity, the way of implementing his plan;

- intelligence, "Intellectual abilities";

- "musical intelligence" - the ability to perform, compose and perceive music;

- knowledge and skills.

Factors contributing to the development of children's creativity include:

- informational allowing to develop intelligence;

- social, providing support for children in the process of their creativity, giving the opportunity to communicate and exchange impressions;

- emotional providing psychological comfort and safety.

The modern approach to education as a cultural phenomenon allows us to talk about the cultural formation of an individual in the process of mastering various types of artistic activity in a specially organized environment. Considering musical education as a process of organized introduction of children to musical culture, we can talk about the musical environment as a means of introducing a child to musical culture. Thus, the musical environment becomes one of the components of the pedagogical system and represents the musical design of the life of children.

In accordance with this, in our kindergarten, we highlight the musical environment of the preschool educational institution, family and cultural and educational institutions.

Music and educational environment of the preschool educational institution

A block of organized (regulated) musical activities: musical activities and entertainment, holidays and other activities with the use of music (for all children).

A block of unregulated (joint with the teacher and independent) musical activity of children in a group outside of classes (in warm weather - in the fresh air):

Joint with the teacher (in role-playing games using a musical repertoire, round dance, musical didactic, musical creative, etc.)

2. Musical and educational environment of the family, where the unregulated musical activity of children is carried out:

Joint with parents (in terms of content, it is adequate to the similar activities of an educator with children in a preschool educational institution);

Independent (similar to the independent musical activity of children in a preschool educational institution).

2. Musical and educational environment of the family

To form in parents a strong belief in the importance and necessity of early musical development of the child;

To teach how to create a musical environment, methods of musical education of children in the family;

To teach how to create a musical environment, methods of musical education of children in the family.

3. Musical and educational environment of cultural and educational institutions

In this way, the musical environment as a means of introducing a child to musical culture and the environmental approach are an integral means ensuring close and successful interaction of children, educators and parents, as well as three levels of organization of musical education of children and their constituent blocks.

The environmental aspects of the development of society, the strong and often decisive influence of a certain way formed environment on a person was known in ancient times. Religious and social centers of the past were created on the basis of the regularities of the influence of the environment, in which, under the influence of all types of art, a certain view of a person on the world, his spiritual and mental needs that was in demand in a given historical period, corresponding to the ideals accepted in society, was formed. The artistic environment as a whole has always carried on itself formative, nurturing functions, influencing human development. In the philosophy of the nineteenth century, attention is drawn to the profound interest in the historical roots of individual states and peoples, the originality of the ethnic spaces of mankind. This article reveals the special properties of the musical environment, that is, the environment formed with the help of artistically (spatially, intonationally, rhythmically, dynamically, timbre) organized sounds, which are determined, first of all, by their wave nature, which determines the permeability and ability to propagate in any physical environment. Modern science has proven that each cell of the human body has its own types of vibrations and, under the influence of resonance or interference, these vibrations can be amplified or suppressed by sound (I.A. Aldoshina, A.A. Volodin, N.A. Garbuzov, N. A. Gezekhus, Yu.A. Indlin, I.G. Kobylyansky). Consequently, it is precisely the permeability of sound that determines the ability to create a certain environment, which can have different qualities depending on which particular sounds are involved in its formation. Music occupied an important place in the system of medieval knowledge. “Christianity very early appreciated the possibilities of music as an art of universal and at the same time possessing the power of mass and individual psychological influence and included it in its cult ritual” (Darkevich V. Applied art // Culture of Byzantium, second half of the 7th-12th centuries. - M., 1989. - S. 683). The twentieth century has transformed the "musical landscape" itself. Now it is full of paradoxes associated with the rapid progress of civilization. “The phenomenon of mass music has emerged. This type of music developed so rapidly that by the second half of the last century, mass genres became the main ones in musical culture, and today folk, classical or church music are just small islands in the sea of various popular music. The very concept of "music" in the minds of a modern person, as a rule, is associated with one or another genre of mass music, for example, with a popular song "(Kurchan N.N. Musical culture of the XX century // World art culture. - M .: Peter, 2008. - S. 238-239). Modern youth often perceive music exclusively in the form of a clip - a new genre built on a sequence of musical fragments supported by a flickering video sequence, which forms only a certain impression, a feeling, but not a full-fledged artistic image, since the clip lacks its most important components - continuity and development during time. Perhaps the clip consciousness is a reaction to the information overload of a modern person, an attempt to "curtail", reduce its flow and, thereby, become an integral and natural feature of the modern cultural (including musical) environment. “This is self-defense, however, aggressive self-defense, since the habit of“ clip consciousness ”crowds out all other forms of cognition of the surrounding world. Choosing between simple and complex work, a person, as a rule, makes a choice in favor of the first "(Gleb Cherkasov. One-armed dictator // Gazeta.ru, November 23, 2004. http://www.gazeta.ru/comments/2004/11/ 24_a_202524.shtml). On the basis of a systematic analysis of philosophical, historical and art history literature, we traced the line of development of the artistic and, in particular, the musical environment. Among the principles of building a musical environment, we single out the following: the principle of complexity, when information, psychological, aesthetic and moral codes affect a person in a complex; the principle of unification (of all components of the musical environment and everyone who is the object of its influence); the principle of reflection (ideals of the era, the originality of ethnic spaces, etc.); the principle of permeability (based on the wave nature of sound). In the work of outstanding pedagogues-musicians, such as S.V. Zverev, A.D. Artobolevskaya, G.G. Neigauz, A.I. Yampolsky draws attention to the interaction and inextricable connection of the professional sphere of activity of these teachers with their personal sphere of communication, life, and apprenticeship. In the history of Russian musical pedagogy, outstanding achievements are based on the high professional skill of the teacher, which manifests itself in interaction with the pedagogy of cultural communities. The features of the pedagogical musical environment, created in the process of working with students by outstanding teachers-musicians, include: intensive pedagogical inclusion; creating an atmosphere of trust and special "kinship" of people close in spirit; high "moral degree"; appeal to the inner forces of students in the process of their immersion in the atmosphere of creative creation; breadth of interests and comprehensive education of the teacher. Placing high demands on the personality of a music teacher, Kabalevsky proceeded from the belief that the personality of a student can only be brought up by an extraordinary, bright personality of the teacher. The main difficulties of its implementation and development are also associated with this direction of the concept. There is an obvious shortage of highly qualified specialists capable of conducting pedagogical work at the proper level in all schools, implementing the idea of mass musical education of young people. Having described and analyzed the forms of existence of the musical environment, as well as the ways of its organization and existence, we distinguish two main types of it - spontaneous and cultural. The spontaneous appearance of the musical environment was described by E.P. Kabkova (Materials of the international interactive network seminar "Education by art as a factor of personality socialization", 2008 /art-education.ru). The researcher argues that the spontaneous musical environment develops by itself under the influence of various factors and is an example of a characteristic of the twentieth century. "Clips". An important difference between the spontaneous musical environment is the predominance of commercial forms of musical art, often acting on a subconscious level in such a way that students immersed in such an environment increase and develop aggressiveness, isolation, inability to dialogue, inability to daily work, and the need to distance themselves from reality. ... In the space of a spontaneously emerging musical environment, there are also examples of high musical art, but their presence or absence depends largely on social factors. Thus, we can clarify the definition of a spontaneous musical environment, which in this work sounds as follows: a spontaneous musical environment is a kind of musical environment that develops by itself under the influence of various, often unrelated factors and is an example of a characteristic of XX in. “Clip”, when a modern schoolchild in his ordinary life is under the influence of various, often negatively influencing musical factors. Researchers comprehensively study the influence of clip consciousness on the personal characteristics of modern youth. Among other changes, the following are noted as the most obvious: 1) a decrease in interest in learning, since it is not considered as a way of shaping the future, and the future is of little interest to a young person. The worldview is based on formulas about the transience of life and the need to enjoy and “take everything from life”; 2) weakening and decreasing interest in the search and formation of spiritual ties; strengthening the pragmatic aspect in relationships with people; 3) the dominance of individualistic values aimed at satisfying such qualities as vanity, selfishness and others; 4) a decrease in the individual's ability to self-analyze. The pedagogically organized musical environment is defined by the author as a polymodal, dynamic artistic sound environment that exists in the integral space of culture and contributes to the implementation of the elevation and improvement of the spiritual sphere of listeners. A characteristic feature of the cultural musical environment is its harmony, which ensures a balanced, "consonant" impact of such an environment on a person. Even very strong emotions evoked by music in the cultural musical environment contribute not to the destruction of the spiritual sphere of a person, but to its cathartic purification, which has been noted by many researchers since antiquity. Thus, we can assert that the cultural musical environment is distinguished by the following features: polymodality, dynamism, intellectual fullness, harmony, a significant degree of presence of high samples of musical art, communicative potential, openness to dialogue, therapeutic, health-preserving functions, a high level of verbal component. The main components of a pedagogically organized musical environment are: musical works (in their finished form or presented in the form of certain fragments reflecting thematic, emotional-figurative or illustrative aspects of the educational process), which sound in the recording; live music performed by professional performers; music played in the students' own direct performance; carriers of live musical sound - musical instruments available in an educational institution, in a music studio, with children at home, in a museum; imaginary music - that is, one that students “hear” with their inner ear in the process of perceiving other types of art (works of literature, painting, architecture, sculpture, etc.); the so-called "music of nature" - the singing of birds, the rustle of foliage, the sound of waves, wind, the hum of the flame in the hearth, the ringing of drops, etc .; the melody of expressive speech (meaningful and figurative). We note the following main channels through which, in our opinion, the influence of the musical environment occurs: the channel of vibrations (as the most general, covering all manifestations of the sounding world); the channel of emotions (as the basis of the “focus of the spiritual life of society”); verbal-analytical channel (contributing to critical understanding of incoming information, its ranking and evaluation); communication channel (providing, on the one hand, a connection between various manifestations of the musical environment, and on the other, promoting rapprochement, mutual understanding of people immersed in the musical environment and experiencing its all-round influence. We refer to the significant features of the musical environment: global character, connection with the harmony of the universe, spatial structure, the intensity of its influence on a person, the ability to form the worldview of the younger generation, the ability to be a catalyst for emotional impact, the ability to create synthesis, self-sufficiency, and, at the same time, the ability to the creation of environmental compositions in collaboration with other arts, blurring the boundaries between art and reality. Thus, the most significant pedagogical conditions for the formation of the spiritual values of young people in the process of their growing up are those that are formed and function within a specially created pedagogical musical environment based on its permeability, influence and properties of consonant influence on a person.

MBDOU CRR D / s number 117 "Druzhnaya family"

academic year

Speech at the teachers' council

Topic: "Musical environment as a means of developing a child's creativity."

Speaker: Shvatskaya N.V., musical director of the highest qualification category

Before starting to consider the stated problem, let's dream a little. Imagine a child in an empty room. What's going to happen? He will make every effort to leave her: it is not interesting, there is nothing to do. Another variant. There are many interesting toys, games, manuals in the room. But there is nothing for musical activity. Will the child do it? Of course not. He will do what the objects around him are suitable for. The third option. In the preschool educational institution, two groups of children of the same age are equipped with the same games, toys, aids, including for musical activities. In one group, the teacher does not pay attention to them, sometimes even expresses a negative attitude towards them. As a result, children gradually lose interest, and they cease to engage in musical activities on their own. In another group, the teacher shows interest in musical games, demonstrates to children the possibilities of a musical subject environment, creates creative situations that awaken interest in musical games and toys. As a result, children often play with them in a creative way.

So, we come to an indisputable conclusion: for the musical education of children, a rich musical subject-developing environment is needed, and for the development of the personality of preschoolers, there should be a teacher next to them who is passionate about music, who knows how to realize the creative potential of the musical environment and manage the development of children's creativity in musical activity.

The environment that surrounds a child in kindergarten, family and society can become a means of developing his personality only if the teacher is able to organize such an environment. To do this, he needs to know what the environment should include, the mechanism of its impact on the personality, as well as the personality traits that form the basis of creativity. Determination of the characteristics of the creative personality and the developing musical environment is the managerial activity of the teacher, aimed at designing the conditions for the creative development of preschoolers.

^ The most important indicators of creativity include:

creative activity, i.e. readiness and a high level of motivation to create a new product;

self-expression, otherwise, the child's free choice of the type of musical activity, the way of implementing his plan;

intelligence, "intellectual abilities", "musical intelligence" - the ability to perform, compose and perceive music (H. Gardner);

knowledge and skills (L. Ermolaeva-Tomina).

Factors contributing to the development of creativity include:

informational, allowing to develop intelligence;

social, providing support for children in the process of their creativity, giving the opportunity to communicate and exchange impressions;

emotional, causing psychological comfort and safety.

Knowledge and consideration of the above indicators of creativity and factors that contribute to the development of creativity, allow the teacher to carry out the function of indirectly managing the process of musical education of children. Mediated management, using the environment as a pedagogical tool, is currently in its infancy.

In the history of understanding the environment as the main factor and means of upbringing and education of the individual, two approaches are distinguished:

1. Presented in the majority of modern studies, it defines the environment as a condition for the child's realization of his abilities;

2. Appeared at the beginning of the last century and received in domestic pedagogy the name "pedagogy of the environment", defines the environment as a means of educating personal qualities.

One of the founders of the pedagogy of the environment, S. T. Shatsky, considered the environment as a means of mastering culture by children from two positions, referring to the material and non-material components of the environment (following L.N. children for creative work).

The idea of the environment as a “micro-model of culture” is found in the work of A. M. Lobok, dedicated to the “probable educational environment”, which indicates the need to use the principle of cultural conformity when organizing the pedagogical process. The idea of the environment of an educational institution as a center of culture is very important in music education, which is at the intersection of education and culture.

In pedagogical research, the concept of "educational environment" is more common, that is, the emphasis is on its educational function. However, even with this approach, most authors endow the environment with various functions. So, V.A. Yasvin distinguishes varieties of environments (family, preschool, extracurricular, additional, spontaneous) that perform special pedagogical tasks.

The modern approach to education as a cultural phenomenon allows us to talk about the cultural formation of an individual in the process of mastering various types of artistic activity in a specially organized environment (R. M. Chumicheva). There is a scientific direction (E. P. Belozertsev), which interprets the cultural and educational environment as “a set of different conditions in which people live, study and work. The environment is the atmosphere in which a person breathes, lives and develops. Knowledge, science is a means of adapting to life in this atmosphere, familiarizing with abstractions, concepts, theoretical models ”. But it is also the focus of "natural, historical, religious, cultural, material, social conditions in which the life and activity of the population takes place." The cultural and educational environment is understood by representatives of this trend as a means of forming "living, vital" knowledge that actively affects the mind, feelings, emotions, and faith of the individual. The pedagogical potential of the cultural and educational environment contributes to the introduction to the triad of ways of knowing the world and man: rational-logical (science), emotional-figurative (art) and providential-axiological (religion).

Considering musical education as a process of organized introduction of children to musical culture, we can talk about the musical environment as a means of introducing a child to musical culture. Thus, the musical environment becomes one of the components of the pedagogical system and is a musical accompaniment to the life of children, including classes and holidays.

Musical instruments, toys, manuals can be distinguished into a subject-developing environment; which is developed in sufficient detail in preschool pedagogy. However, this is not enough to model the process of music education aimed at the development of creativity.

The accumulation of knowledge about the components of the environment: natural (M.V.Sheptukhovsky), aesthetic (Yu.S. Manuilov), architectural (L.P.Baryshnikova, V.L. Glazychev), out-of-school (M.P. Kuzminova, L.A. Tsyganov), the environment of the microdistrict (MM Plotkin) - led to the understanding of the need to distinguish in the environment zones with various capabilities. For a child of preschool age, the environment can be represented as a combination of several main functional areas: family environment, preschool environment, society environment.

V.S.Mukhina noted that the child gradually enters the space of the objective (man-made) world, figurative-sound systems, nature, social relations of people. AA Ostapenko, following this logic, proposes to generalize these realities and identify the main elements that underlie the pedagogical process. Following VI Slobodchikov, who believes that objective reality is the environment that mediates the formation of the inner world, he distinguishes the following components of the pedagogical process: subject-spatial environment; the reality of the social space of pedagogy, which he calls the local subculture of relations; sign-symbolic reality.

The well-known Estonian environmentalist M. Heidmets, considering the environment from the point of view of the subject, divided it into individual and group; objects of the spatial environment - into places (territories, premises) and individual things; by the nature of the use of objects - for permanent and temporary. For the organization of the environment, this is quite an important structuring, which makes it possible to model this component through the places of the child's activity and individual objects.

The most general concept of the environment as a pedagogical tool is given in the works of Yu. S. Manuilov, the developer of the theory of the environmental approach in education. They will define the environment, "as that, in the midst of which the subject is, through which the way of life is formed and that mediates its development and determines the personality." From this we can conclude: the environment provides each child with equal opportunities to acquire certain personality traits (to learn something). The environmental approach ensures the creation of a unified musical and aesthetic space for the life of children and assumes influencing each other and interrelated forms of music in preschool educational institutions, family and society.

Finally, the objective component of the environment of preschool children is described in detail in the works of S. L. Novoselova. It substantiates the concept of a developing environment as a system of material objects of a child's activity that functionally simulate the content of his development, both spiritual and physical.

Speaking about the musical development of preschoolers, one can imagine the subject-developing environment as a musical-educational environment, which consists of subject and musical components. The musical component is represented by audio-musical information, that is, directly by music, regardless of its source. Everything else, including musical instruments and music extraction tools (tape recorder, radio, etc.), belongs to the subject component. In the musical and educational environment, in addition to these components, there is also a social one, since in any environment there are social interactions of a child that affect his development. The peers and adults around the child constitute his living environment, and adults, in addition, are the organizers of the pedagogical process.

Many researchers pay attention to this aspect, noting that the motivational-value attitude to culture is a complex process due to the social environment, environment and the nature of the activity of not only the personality itself, but also the people who direct this process.

In the social component of the environment, it is necessary to highlight such an essential moment as the organization of the motivating factor, the emotional background of the environment. Maintaining such a background, creating comfortable conditions for the child and cultivating his musical creativity, is an important task for the teacher.

V.A.Yasvin spoke about the problem of the importance of the social environment in the development of the child's creative abilities, who showed that teachers should take into account not only the environment of the institution, but also the characteristics of the families of pupils, including interaction with the child in the process of home musical education. In a creative educational environment, according to V.A.Yasvin, self-development of a free and active personality takes place: the student becomes the subject of his development (and does not remain an object of pedagogical influence), is active in using the possibilities of the environment.

Following from the above, the creative educational environment should be characterized by an emotional background, including creative enthusiasm, an attitude to search, creation. Thus, the creative environment is characterized primarily by a creative atmosphere, as well as a varied and rich subject and information content.

S.L. Novoselova developed requirements for a developing objective environment, which are justified by the fact that the ability to create is rooted in the child's interest in the objective world of people close to him, in orientation towards novelty, in primary experimentation with toys and tools, in curiosity, interest exceeding their motivation to obtain a utilitarian result.

It is required to take into account the need for the development of leading children's activities; At the same time, it is important to be guided by this provision: at every moment of life, all the leading types of activity of children of early and preschool age (subject, play, prerequisites for educational activity) are present simultaneously, but each of them goes through its own development path until the moment when it becomes the leading one.

The environment should be aimed at the zone of proximal mental development (L. S. Vygotsky).

The musical environment should correspond to the structure of the child's cognitive sphere, i.e., contain both conservative (already known to the child) components and problematic ones that are subject to research.

It should be remembered: an unrealized desire to immediately apply the knowledge gained leads to the fact that the knowledge is not consolidated, and, on the contrary, the knowledge constantly used by the child lives and is enriched.

The musical environment reveals its capabilities in the process of communication between children and adults in this environment. It depends on the competence of an adult, his benevolence and an interested attitude towards children whether this environment becomes a developing one, whether the child wants and can master it in his activities. A child and an adult act together - both of them should be comfortable in a musical environment.

When developing and evaluating a musical environment, one should rely on the following criteria for its quality.

The blocks of the components of the environment correspond to the logic of the development of children's musical activity (perception, reproduction, creativity), each provides for an orientation towards performance in the environment of all types of children's musical activity (perception of music-manuals that help to perceive works for listening, works used in performing singing, dancing and musical-play activities, as well as works specially created for the development of musical-sensory perception of children; reproduction of music-aids, encouraging singing activity: to the perception of songs, their creative, expressive performance; aids, encouraging musical-rhythmic activity: to perception , performance of music for a game or dance, etc.; aids encouraging to play children's musical instruments: the perception of music played on them, mastering playing these instruments, as well as to creative improvisation; musical and creative activity-aids, encouraging to ne hay, musical play, dance creativity and improvisation on children's musical instruments. The solution to these problems is provided by a variety of children's musical instruments, educational musical games and toys, visual didactic aids, various audiovisual aids (tape recorder) and a set of cassettes for them and other technical means (TV, VCR, DVD-player, etc.)

The content of the musical environment reflects the principle of consistency in mastering musical activity: it must correspond to the age of children and the content of their musical activity, therefore, the content of the environment should be complicated by age levels. The content should provide opportunities for the musical and creative development of children and receive from the environment the information they need for musical and creative activity.

The dynamism of the content of the environment provides interest in musical activity, motivation, and then the need for it.

The quality of the structure.

The structure of the musical environment is presented in the form of modules, including transforming details, which keeps children keenly interested. It should be organized in such a way that it visually represents all types of children's musical activities and creates conditions for the active interaction of children with any aids and musical instruments. Mini-centers are convenient for the deployment of musical activities by one child, two children, or a subgroup.

The environment assumes flexible integration and zoning, providing for the full and partial transformation of the play modules of the mini-centers, which provides a varied functional load for children.

Functional and emotional comfort for children.

The design of mini-music centers for children of early and junior preschool age should be story-driven, and for older children, it should have a didactic focus.

The object environment should be commensurate with the eye, the actions of the hand, the growth of the child.

Benefits should be solid, aesthetically attractive, easy to use, only then they make you want to act with them.

Mini-centers are designed in the same style, using materials of the same texture and color scheme.

The integrity of the content of the musical environment, which unites mini-centers and all those places where the process of musical education can be organized, is based on the following principles:

Psychological (taking into account the age capabilities of children and leading activities: in infancy, orientation and research activities carried out in conditions of communication with adults: in early childhood, subject, in preschool childhood, play). To ensure the truly creative development of children, the unity of the musical environment, musical repertoire and meaningful communication with adults is necessary;

Aesthetic (taking into account the design requirements for the design; all modules must be commensurate with the height, eye and hand of the child, aesthetically sustained). Interior aesthetics should take into account the traditions of children's culture and be focused on the future of the child;

Pedagogical (the environment is created to provide children with opportunities for active and varied musical and creative activity, therefore it should functionally model the content of the musical and educational process in the content of manuals, games, objects, modules, etc.) The environment should be systemic, i.e. to meet the age and content of the musical activity of children, the goals of the upbringing and development of the child and the level of his training.

In accordance with this, the musical environment of the preschool educational institution, family and cultural and educational institutions is distinguished.

1. Musical and educational environment of the preschool educational institution

A block of organized (regulated) musical activities: music lessons and entertainment, holidays and other activities using music (for all children), visiting one of the studios (at the choice of children and parents).

In music lessons, a child, as a rule, hears musical works for the first time, which should touch his soul and heart; some will be used further in executive activity or in musical sensory exercises. Here the child gains knowledge, skills and abilities, a positive emotional background is created here, a desire is formed to continue to meet with music, various game situations occur, etc.

^ Block of unregulated (joint with the teacher and independent) musical activity of children in a group outside of classes (in warm weather, in the fresh air):

Joint with the educator (in role-playing games using a musical repertoire, round dance, musical didactic, musical creative, etc. ; in exercises with the use of a musical designer E.P. Kostina, modeling the steps of the scale; during the morning arrival of children, at meals, before bedtime, at regular moments, etc.). In addition, children (optional) attend circles in which activities are carried out jointly with the music director;

2. Musical and educational environment of the family, where the unregulated musical activity of children is carried out:

Joint with parents (in terms of content, it is adequate to the similar activities of an educator with children in a preschool educational institution);

Independent (similar to the independent musical activity of children in a preschool educational institution).

^ 3. Musical and educational environment of cultural and educational institutions, aimed at musical education of children attending preschool institutions (concerts, music school or art school, performances of the theater of opera and ballet, etc.).

This is how the musical environment and the environmental approach are understood as an integral means that ensure close and successful interaction of children, educators and parents, as well as three levels of organization of musical education of children and their constituent blocks (see diagram 1).

The environment of the preschool educational institution as a place for musical activity.

The environment of organized musical and creative activity in the preschool educational institution.

It is created in musical lessons conducted by a music director, as well as in lessons in a music studio, musical theater, etc. It assumes the unity of social and objective conditions that provide a variety of musical activities for the child. All components of the environment are linked to each other in terms of content, scale and artistic solution. The initial requirement for the environment is its problematic and developing nature: through its content, it should create conditions for the musical and creative activity of each child, stimulating the development of his creativity.

^ The information factor, as you know, plays a significant role in this, therefore the teacher designs the subject-developing component of the environment

(musical instruments, musical equipment, manuals and didactic materials, costumes, etc.). This includes the repertoire, which the music director chooses in accordance with the program. All these audio, video and tactile components of the environment provide information in the form of sign-symbolic forms, cognizing which the child constructs his musical world.

^ The social factor is manifested in the fact that both the organizer of the environment and its component is the musical director, and musical and creative activity takes place in interaction not only with the musical director, but also with the educator. An adult is a role model, a bearer of musical culture. The child's peers, who act as partners in joint activities, but can also be role models, are also social components.

^ The emotional factor of this environment includes a psychological component, a mood for active cognitive activity and at the same time exactingness, respect for the rules that music “loves” (for example, music “loves” silence). The emotionality of the performance of musical works by the teacher is also of great importance: the child should receive aesthetic pleasure, then he will understand the emotional-figurative content of the musical work. You can't make a child fall in love with music - you can only captivate it.

^ The environment of unregulated musical and creative activity of the preschool educational institution.

Most of the time the child spends in the kindergarten group, so it has - must have - the potential for musical education and the formation of his creativity.

^ The information factor ensures continuity with organized musical activity. The musical repertoire, equipment and instruments, didactic musical games and manuals are practically the same as for musical lessons, however, these components are very diverse, since the teacher has more time for regulated activities.

The unregulated musical activity of children is carried out jointly with the teacher in the group and, to a lesser extent, in the circles of musical creativity, organized by the music director. The teacher does not teach children - he tries to interest them in listening to familiar music, expresses his attitude towards it, involves children in musical games and exercises familiar to them, conducts musical warm-ups and traditions (morning song greeting a new day, holding a song evening once a week, etc. etc.).

The teacher selects the musical repertoire with the help of the musical director or himself, but in agreement with the musical director. Musical accompaniment of various events, listening to musical compositions, fairy tales, etc. allow you to acquaint children with a variety of musical compositions available to them in style and design.

^ Organization of ad hoc activities requires compliance with the following conditions:

Children have skills and abilities in all types of musical activities, as well as a sufficient repertoire that children can use in their musical activities.

The presence in the group of all visual aids that are used in musical lessons (cards for musical exercises and games, children's musical instruments and toys, a musical constructor, etc.)

The presence of a tape recorder and cassettes, on which the musical director records a new musical repertoire especially for educators, cassettes with recordings of instrumental music and musical fairy tales.

Musical games, manuals for musical activity are selected both for the joint musical activity of children with the teacher, and for the independent musical and creative activity of the child.

^ The social factor is that the educator continues the pedagogical line of the musical director and is for children an example of musical perception and musical creativity. Peers as part of the social environment are also of great importance: they can be both models of musical and creative activity, and an incentive to practice it, and a criterion for assessing the results of activity. It is important for the educator to rely on children who are passionate about musical and creative activity: they become a kind of catalyst for this process.

^ The emotional factor in the form of children's interest in musical and creative activity should be cultivated by the educator in various ways, primarily through his own emotional activity and stimulating the creative activity of children. Emotional support, providing psychological comfort, encouraging the creative aspirations of children - this should be the emotional characteristic of the environment in which unregulated musical and creative activity takes place.

In parallel, independent musical creative activity of children is carried out, which has the greatest potential for the development of creativity of preschoolers.

Family environment as a place for the child's musical activity.

It is generally accepted that the family either contributes to the musical development of the child, or inhibits it. In the proposed technology of musical education of children, a great deal of attention is paid to the family.

^ The information factor is presented in the form of a musical repertoire, the choice of which is determined by the characteristics of the culture of each family. Another thing is undoubted: it is necessary to coordinate the musical repertoire and pedagogical actions between the parents and the musical director.

The relevance of work with parents is determined by the fact that a kindergarten is the first non-family social institution in which systematic pedagogical education of parents begins. The further development of the child depends on the effectiveness of the joint work of parents and teachers.

The main problem in interacting with the family is the lack of understanding by parents of the importance of musical education of children. What to do? The kindergarten teacher must have information about the culture of the parents (their musical preferences), about their awareness of the musical development of children, their attitude to cooperation with preschool teachers.

Working with the family includes educating parents about music and introducing them to joint musical activities.

^ Musical education of parents involves parenting meetings (round tables), open days, individual consultations, as well as organizing feedback ("Mailbox"), questionnaires, informing parents through a monthly newspaper (computer version), creating photo albums "My Family" , "Musical diary of the group", holding exhibitions of books on musical and aesthetic education (a selection of pedagogical and psychological literature).

^ Involvement of parents in joint musical activities includes musical lessons, holidays and entertainment for parents with children, exhibitions of works by a child and his parents on the theme "Drawing music", competitions for the best musical rebus, a crossword puzzle, the best homemade children's musical instrument.

Many of the above forms of work are traditional, but you can also use such as a discussion round table, KVN, a musical subscription "Children's Philharmonic".

Parental meetings remain the most common form of interaction, but they can also be held in the form of discussions and round tables, where the teacher's monologue sounds less often than dialogue with parents, there is an exchange of views, ideas, a joint search for solutions to problems. Parents like this form of communication, and they willingly make contact, showing interest in how the children live in the preschool educational institution, what they do. Open house days help answer these questions: viewings of classes give parents the opportunity to observe their children in a situation other than family, to get acquainted with teaching methods and measures of educational influence. It is necessary to convince parents of how important a favorable home musical climate is: parents should show their children that their favorite musical works bring joy and pleasure to them, and improve their mood. Children are greatly influenced by literary images, therefore, it is good to accompany family readings with music (recordings of children's musical fairy tales, works by Vivaldi and Mozart later, other works of Russian and foreign classics).

Parents need to be told about the music mode in the group, about the importance of music therapy. As practice shows, they get acquainted with the "Musical Diary of the Group" and use the information reflected in it, carefully examine the exhibition of musical-pedagogical and psychological literature, take part in the competitions "Draw Music", "Do it yourself a toy-musical instrument".

The peculiarity of the social factor in the family is that it is represented by the people who are relatives of the child.

This circumstance also leaves an imprint on the emotional factor, which can become a positive emotional background in the process of introducing a child to musical creativity.

Society as an environment for musical education of a child.

The environment of the society is significantly different from the environment of the preschool educational institution and the family. Therefore, it is very important to observe the principle of integrity when organizing this environment. The information factor provides for the agreement by the music director and educators, on the one hand, and parents, on the other, the possibilities of using society in the musical education of children. So, the musical works with which children meet in the philharmonic society, theater, etc., should be familiar to them - they have already listened to them in the preschool educational institution and in the family. This gives children the opportunity to enjoy meeting familiar works and more actively and consciously strive to visit concert halls.

(large society) and music school (small society).

The peculiarity of the social factor is that children get acquainted with professional musicians, with people interested in the musical education of children. This is also the difference between the emotional factor. The passion of professionals infects children and allows us to consider it as a powerful factor in stimulating the creative activity of children. Using the possibilities of the social environment contributes to the personal growth of children - the development of their musicality in general, artistic and general culture, and creative imagination.

So, in organizing the musical environment, the leading role belongs to the musical director, who performs various pedagogical functions: diagnoses the environment and personal qualities of children (musicality, creativity, empathy), designs the goal and means of achieving it, organizes the musical educational process, advises educators and parents on the issues of musical education of children, ensures the interaction of all components, analyzes the results of the process of musical education of children and corrects.

Literature

Belozertsev EP Cultural and educational environment of the Lipetsk region: the inevitability of learning // Materials of the scientific-practical conference "Regional aspect in education and upbringing of students." Lipetsk: LGIUU; Yelets, 2003.

Glazychev V.L. Spirit of the place // Liberation of the spirit. / Ed. A. A. Guseinova and V. I. Tolstykh. M., 1991.

Kostina E. P. The program of musical education of children of early and preschool age "Kamerton". M., 2004.

Manuilov Yu.S. Personalization of the environment by the collective as a factor in the perception of its personality // Psychology and architecture. Tallinn, 1983.

Manuilov Yu. S. Environment approach in education: Author's abstract. diss …… Dr. ped. Science. M., 1998.

Mukhina V.S.Children's Psychology: A Textbook for Pedagogical Students. in-tov / Ed. L.A. Wenger. 2nd ed., Rev. And add. M., 1985.

Novoselova S. L. Developing subject environment. M., Education, 1997.

Ostapenko A.A.Latent factors of education //

Bella Verbitskaya

Slide number 1: Presentation of the topic.

Slide number 2: Everyone knows and has been proven by scientists that music enriches the spiritual world of the child, influences the development of his creative abilities. Development musical abilities depends on the psychological and pedagogical conditions and, of course, on the competently organized subject-spatial Wednesday.

Slide number 3: Considering musical education as a process of organized initiation children to musical culture can be talked about musical environment as a means introducing the child to musical culture.

So way, musical environment becomes one of the components of the pedagogical system and represents musical registration of vital functions children.

Slide number 4: Wednesday surrounding the child in the institution, family and society, can become means the formation of his creativity in the event that the teacher is able to be an organizer. To do this, you need to know the composition, structure Wednesday, the mechanism of its impact on the personality. Considering all this, the teacher will indirectly lead the process musical education of the child.

Slide number 5: Wednesday provides every child with equal opportunities to acquire certain personality traits. Wednesday approach ensures the creation of a single content musically-aesthetic space in life children and assumes influencing each other and interconnected forms of being music in preschool, family and society. In accordance with this, in our kindergarten, we distinguish musical environment of preschool educational institution, family and cultural institutions and education.

Slide number 6: The preschool educational institution consists of two blocks.

Block organized (regulated) musical activities:

Block not regulated (joint with the teacher and independent) in a group outside of class.

The musical and educational environment of the family consists of:

Joint with parents;

Self musical activity of children.

Music and educational environment cultural institutions and education aimed at musical education of children visiting preschool institutions(concerts, musical school or art school, performances of the theater of opera and ballet, etc.)

Slide number 7: Music and educational environment of preschool educational institution(regulated) activities organized in music hall.

Musically-subject-developing preschool environment(not regulated) activities organized in kindergarten groups. It is organized in three main blocs: *) perception music, *) playback music, *) musically-creative activity. Each block, in turn, provides for an orientation towards the integrity of a certain type of children's musical activities... Registration musical zones in junior groups preschool age has a plot basis, in the older - didactic.

Slide number 8: The musical and educational environment should:

* consider age development interests of leading children's activities;

* correspond to the capabilities of the child on the verge of transition to the next stage of development;

* Taking into account the initial initiative of the child, his desire to immediately apply the acquired knowledge in practice, both clear and problematic;

* Developing musical and educational environment reveals its capabilities through communication children with adults in this environment;

* A child and an adult act together, they should be comfortable in their subject environment.

Development and evaluation of subject-development Wednesday relies on a number criteria: Slide No. 9 :

1. The quality of the content of the developing subject musical environment

Developed taking into account the activity age system approach,

Reflects the completeness of the nursery musical activities,

Reflects the consistency in mastering the child musical activities,

Provides children with opportunities for their musically-creative development,

Representation of problematicity for solving problems, problems that arose along the way musical activities,

Corresponds to the leading activity,

Dynamic content Wednesday.

Slide number 10:

2. The quality of the structure of the developing subject musical environment:

The structure of mini-centers is presented in the form of integral modules with transforming parts,

All types of children are presented in mini-centers musical activities,

The structure of the mini-center creates conditions for an active, developing character musical activities(manuals, tools,

Wednesday assumes flexible integration and zoning, providing for full and partial transformation of game modules.

Slide number 11:

3. Functional and emotional comfort children in the environment of musical activity:

Colorful decoration of minicenters,

The environment is scaled to the eye, the actions of the hand, the growth of the child,

Benefits are solid, aesthetic, simple,

Mini- Wednesday decorated in the same style.

Musically organized environment-creative activity in our preschool educational institution is created on music lessons,

holidays that take place in music hall, light, spacious, aesthetically decorated.

The hall has sets of puppet theaters, two floor screens, which allows you to play musical puppet shows, dramatizations, concerts for parents.

Musical the hall is equipped with technical by means: there are 2 music centers, TV, DVD player, piano, stereo sound amplifier.

Musical instruments,

toys, manuals,

musically- didactic material

stored in the hall, in a specially designated place.

Collected music library(cassettes, discs) with children's songs, modern, folk and classical music.

The child spends most of the time in the kindergarten group, therefore musical environment group is of great importance to musical education and development of his creativity.

The organization of non-regulated activities requires compliance with the necessary conditions.

Each group created music corner,

1 younger group:

2 younger group:

Middle group:

Senior group:

Preparatory for school Group:

where are located musical instruments and didactic games, as well as a tape recorder and cassettes, on which a new one is recorded especially for educators musical repertoire; instrumental cassettes music, children's songs and musical fairy tales.

Slide number 12: To ensure quality musical education of preschool children requires a rich musical subject-developing Wednesday like in kindergarten and at home. Wednesday is atmosphere, in which the child breathes, lives and develops. It becomes one of the components of the pedagogical system and represents musical filling everyday life, above all, children... It is very important when parents provide viewing of children's music programs, films, collect children musical video libraries and audi edema, when available musical toys, musical instruments, homemade noise instruments, elements of children's theatrical costumes, attributes for children's dances, games, illustrations for children's songs, illustrations of composers, musical and didactic games.

It is very important that musical activity of children in the family proceeded with the participation of adults. Creativity preschooler will be able to develop only if the surrounding people at home participate in the creative process of the child's development. It has been proven that the ability to create is rooted in the child's interest in the objective world of people close to him, in orientation towards novelty, in primary experimentation with toys and tools.

Slide 13: Wednesday society is a place. Musical the leader and educators agree with the parents on the use of opportunities social environment in musical education of children.

Slide 14: The peculiarity of the social factor is the meeting children with professional musicians - bearers of musical culture, with people interested in musical education of children... The same applies to the emotional factor. The passion of the professionals they encounter preschoolers, is contagious enough that it can be considered as powerful factor of stimulating creativity children.

Output: Summarizing the analysis musical and educational environment of preschool educational institution, family and society, we can conclude that only with close interaction music director, educators, family and culture society, the musical and educational environment is becoming a powerful means of musical education for preschool children.

Slide 15: Literature.

1. Federal state preschool education standards.

2. E. P. Kostina. Creative pedagogical technology music education for preschoolers: monograph. - Lower Novgorod: Nizhny Novgorod Institute of Development education, 2011.

Article " Musically-creative potential environmental surrounding the child as means formation and development of his creativity "; P. 185

Article « The environment of the preschool educational institution as a place of musical activity» ; P. 199

Article " Family environment as a place for musical activities of the child "; P. 203

Article “Society as a place musical education of the child» ., Pp. 206

3. Doronova T. N. Interaction preschool institutions with parents // Preschool education. 2004. №1.

4. Doronova T.N. Together with family - M .: Education, 2006.

5. Davydova I. A. Forms of work musical head of the preschool educational institution with parents // September 1. 2013.

6. Radynova O. P. Musical upbringing in the family - M .: Education, 1994.

“Musical environment as a means of developing a child's creativity. The concept of a pedagogically organized musical environment as a means of developing the spiritual culture of a growing person L

Read also

(from work experience)