Musical education and development of preschoolers. The role of the educator in the musical development of children The role of musical education in the pedagogical process

10.07.2019

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CONSULTATION

"The role of the educator in the musical activity of children in younger groups."

Musical education in kindergarten is an organized pedagogical process aimed at fostering musical culture, developing children's musical abilities in order to form a child's creative personality. " All this can be achieved through the development of the perception of music. The acquisition of knowledge, skills, skills should not be an end in itself, but should contribute to the formation of preferences, interests, needs, tastes of children, i.e. elements of musical and aesthetic consciousness.

The influence of music in the development of the creative activity of children is very great.

Music evokes an emotional response in children before other forms of art. Musical education promotes the development of speech, emotions, movements, gives children joy, encourages activity, and enriches them with vivid artistic impressions. Music gives pleasure even to a 3 - 4 month old baby: singing, the sounds of a metallophone cause the baby first to concentrate, and then to smile. The older the children are, the brighter and richer are the positive emotions evoked by music.

Preschool childhood is the most optimal time for introducing a child to the world of beauty. In this regard, the personality of the educator is of great importance. The final result of the upbringing of a preschooler depends on his moral character, level of knowledge, professional skill and experience.

It is important for a teacher-educator not only to understand and love music, to be able to sing expressively, move rhythmically and play musical instruments to the best of his ability. The most important thing is to be able to apply your musical experience in raising children.

Success in the musical development of children, their emotional perception of music is closely related to the work of the educator. It is the educator who has a broad outlook, a certain musical culture, who understands the tasks of musical education of children, who is the conductor of music into the daily life of a kindergarten. A good business relationship between a music director and educator has a beneficial effect on children, creating a healthy, friendly atmosphere, which is equally necessary for both adults and children.

The main form of musical education and training of a child in a preschool institution is music lessons. In the course of classes, children acquire knowledge, skills, skills in listening to music, singing, musical rhythmic movements, playing on the DMI.

Musical lesson is the main organizational form for the implementation of the tasks of musical education and development of children.

Musical lessons play an important role in the development of endurance, will, attention, memory, in the education of collectivism, which contributes to the preparation for school. They carry out systematic upbringing of each child, taking into account his individual characteristics.

The musical lesson consists of several sections:

1. Musical - rhythmic movements:

Movement to music creates a cheerful, cheerful mood, improves posture, coordination of hands and feet.

2. Development of a sense of rhythm.

3. Finger gymnastics.

4. Listening to music.

5. Singing, singing.

6. Dance

7. Game

The teacher carries out basically all the pedagogical work in the kindergarten - therefore, he cannot remain aloof from the musical and pedagogical process.

In music lessons, a versatile education of children is carried out (mental, aesthetic, physical)

Mental:

Children gain knowledge about various aspects and phenomena of the surrounding reality, that is, knowledge about the seasons, holidays and working days of people. Life experience is systematized.

Moral and volitional:

A feeling of love for the mother, the Motherland is brought up, the skills of cultural behavior are formed (in organizational moments), the ability to listen, sing, dance in a team is brought up. Purposefully engage, the ability to bring the work started to the end, to overcome difficulties

Physical:

In dances and games, certain motor skills are formed that develop certain muscle groups.

Aesthetic:

To be able to listen to and understand music, you need to feel it, emotionally respond to it.

Singing skills:

Purity of intonation, breathing, diction, coherence of singing intonations

Types of musical activity:

1. Listening is the main type of musical activity.

As an artistic word or picture, music should become an accessible means of expressing feelings, thoughts, experiences for children.

Listening to music, children develop interest, love for this kind of art, and expand their musical horizons.

When listening to music with children of younger groups, it is necessary to attract attention with a bright toy. You can bring a bunny (or other toy). The bunny greets the children. Children stroke his ears, touch his tail. Then we listen to a song about a bunny: "Zainka, zainka, little zainka, long ears, fast legs." The bunny hides at the words "Bunny-coward". Children at this moment, as a rule, freeze. And the bunny looks out from one side, then from the other. The children are smiling. Here you can sing a song again.

Children are already listening to the song more attentively. This is the first acquaintance with the song.

It is very good to appeal to every child through music, create a friendly atmosphere, evoke positive emotions in children not only from communicating with a toy, but also from listening to music.

The task that we face in working with children of the first junior group is formulated as follows:

“To foster interest in listening to small songs, pieces of music performed on musical instruments and in gramophone records.

Teach children to listen attentively to calm and cheerful songs, musical pieces of a different nature, to understand what is being sung about. "

In working with children of the first junior group, various techniques and methods of teaching listening are used - this is listening to music, showing a toy, verbal explanation. Before starting the song, you need to tell the children what they will hear about: that this song is about a bunny or about a horse, etc.

Talking about music is the most important method. The word conveys the character, the mood of the music. Children of this age have a small vocabulary, little life experience, they cannot formulate the mood conveyed by music themselves, but they can feel it.

Children liven up when cheerful music sounds: "Oh, you, canopy, my canopy!", "Machine."

And when the song "Bayu-bye" sounds, the children become quiet. Even after the end of the song, they are quiet, calm. The impression of the music you listened to can be expressed by catching: "What gentle, quiet music!", "What fun music!" etc. Then repeat the same words, but in the form of a question: "Funny music?" "Cheerful!" - children answer.

Before listening to a new work, it is not enough to tell the children only its title. In order for the content of a new song (its text and melody) to be perceived by children, it is necessary to set them up for listening.

“Guys, I'll sing you a song about winter. In winter everything is white, because there is a lot of snow.

And Vanya took the sleigh and began to ride down the hill. " Then I will perform the song, ask questions about the content. "Who was riding the roller coaster?" "Is it fun to ride the roller coaster?" “That's why the music is funny.” Loan I play the final part of the melody.

In some songs, the piano accompaniment gives a vivid musical image, for example, in the song "Horse" by Rauchwerger or in the song "Cat" by Vitlin, it is necessary to draw the attention of children to these musical fragments. Asking about whom the music told, how did you guess? And once again play a piece of music with onomatopoeia.

Children are very fond of listening to the song "Machine". At the introduction, they make sounds similar to the sound of an engine, make movements with their hands, as if they were driving. These actions happen by themselves, they are dictated by the music. The child listens to music, sings along, dances, claps his hands ..

In order to form the ability of children to listen to music, it is possible to carry out exercises to distinguish musical sounds (timbre, height of dynamics, duration). For this purpose, we recommend using musical instruments and playing the games "Quietly loudly", "A doll walks and runs", "Guess what I'm playing?", "Who walks in the forest." This is how children learn to listen to the melody, the words of the song.

Throughout the year, the musical repertoire is expanding and enriched. Children learn to compare pieces of music of different kinds. For this purpose, a contrast technique should be used. Give to listen to a funny, fast piece, and then a slow, sad one. In order for the musical image to be fixed in the child's mind, we suggest using a toy. Actions with a doll or a bunny illustrate the content of the music: a cheerful, cheerful melody - the doll walks, quiet, slow - the doll is asleep. The nature of the music and the action with the toy are discussed.

As a result of the work carried out, by the end of the first junior group, children are able to listen to music, determine their character, and can answer a question about the content of the song. "Autumn Song" by A. Alexandrov, "Lullaby" by Razoryonov, "Zainka" by M. Krasev definitely influence them with their sad, calm melodies; "My Horse" by Grechaninov, "Song of Petrushka" by Frida "Horse" by Potolovsky evoke animation, smiles, and physical activity.

According to B.M. Teplova "The content of music is feelings, emotions, moods" ("The Psychology of Musical Abilities"). If the child emotionally responds to a particular piece of music, then part of the task for musical development has been completed. This activity, being independent, at the same time is an obligatory component of any form of playing music, any kind of musical activity. For the aesthetic development of preschoolers, mainly 2 types of music are used: vocal, instrumental music. The vocal form of sounding is more accessible for young and young people.

2. Singing and songwriting is one of the most beloved types of muses by children. activities. Choral singing unites children, creates conditions for their emotional communication.

At the first stage, children can only sing along and play onomatopoeia (a cat meows, a dog barks, a bird sings)

To acquaint children with a new song, a teacher who has good musical abilities - voice, pure intonation, correct articulation and pronunciation, performs the song solo. As a rule, such an acquaintance with a new work evokes a lively emotional response in children. The ability of a music director to sing, dance, play an instrument is natural for children, while such skills of a teacher arouse great interest and a desire to imitate.

At the second stage of learning the song, the teacher sings with the children, at the same time monitors whether all children are active, whether they correctly convey the melody.

Educators teach kids to listen carefully to the song, try to make them want to take part in onomatopoeia, coaxing, singing along and singing.

Children are taught:

Sing without tension, in a natural voice, do not force the sound and do not shout out individual words;

Start and finish singing together, sing without anticipating or echoing, pause, listen to the introduction and conclusion;

It is correct to convey the general direction of the melody and the rhythmic pattern of the song (this is within the power of the children of the first younger group).

You should not expect the same success in singing for all children of the same group, as well as for children of two groups formed from babies of the same age. A lot depends on when this group is formed, how many children attend the nursery for the second year, how many new, "home" children who are less prepared for music lessons. The ear for music of children two to three years old is influenced by many factors - speech, coordination of movements (articulation also depends on it), general development, etc.

It must be remembered that by the end of the third year of life, babies know and use five to six times more words than in two or two years, 1-2 months.

The lyrics of songs for kids should be clear, short, expressive, interesting, the melody should be in the range of the voices of the children of this group, be comfortable in tessitation and breathing. ON. Metlov noted that the concept of "accessible song" is inadequate to the concept of "easy song". Light songs alone cannot contribute to the musical development of children. This means that when choosing songs, you must be guided by the rule of a gradual transition from learned to unfamiliar.

The youngest children move from coaxing and onomatopoeia to singing and singing.

Having picked up a song, the teacher learns it by heart - and not only the melody, but also the accompaniment. By doing this, it greatly facilitates the process of teaching children to sing. Children have unstable attention. Only by looking at the kids, seeing each and every one, the teacher concentrates their attention, encourages, and involves them in singing along.

It is necessary to sing with children to a piano accompaniment: in terms of timbre, sound quality, piano accompaniment is better. But to give to listen to the melodies of songs familiar to children, performed on various musical instruments - a triplet, a block-flute, a xylophone, a harmonica, a metallophone, a children's harp - is desirable and necessary. This develops melodic and timbre memory, inner ear for music, teaches kids to understand, love music, and enjoy it.

Often, educators, working with kids, sing very slowly, almost in syllables, explaining it this way. "For everyone to understand." And the result is sometimes the opposite: the connection between the syllables is lost - the word disappears, the meaning disappears, the connection between the sounds of the melody is lost - the melody disappears.

So how do you sing with children? You should sing at a pace that suits your little ones, all the while listening to their singing and singing along. You can invite the children to repeat the song they just played a little faster. To do this, an adult must first sing one phrase at the proposed pace, then sing with the children, listening to how they coped, whether it is convenient for them, decides whether to leave this pace in further studies. You should not artificially speed up or slow down the tempo so much that the song "disintegrates".

The kid is two years old. He's only been in kindergarten for a week or two. The adaptation period passed quickly and easily. At a music lesson, the child watches and listens with interest as the music director and teacher sing.

The teacher offers him: "Sing a song with us!". The kid is silent. Fears? Doesn't want to? Does not understand? Yes, he does not understand what exactly he was asked to do. At home, adults did not involve him in singing ("Mal, speaks badly"), and when he was asked to sing at a music lesson, the kid did not understand the meaning of the verb "to sing." Therefore, the teacher must say before and after the song is performed: "This is how I sing the song," "I will sing," "How did Aunt Olya sing?" If two songs were sung during the lesson, then before and after the performance of each of them, do not forget to say: "We will sing" and "Sing a song". After two sessions, the child already understands the meaning of the verb "sing". He listens, looks at the teacher, asks: “More,” but does not sing himself.

A lot of practice of working with young children helped to highlight those songs that kids most willingly begin to sing.

Popevka "Sings, sings our Tanechka" - one of them.

Performed to the melody of the Russian folk song "The nightingale sings, sings"

Children sit on chairs arranged in a semicircle, the music director calls Tanechka to him, hugs her, looks at everyone affectionately and sings without musical accompaniment:

Our Tanya sings, sings,

Sings, sings, good.

Good, good-looking.

Sings, sings his own song:

La-la, la-la, la-la-la, la, la.

The teacher invites Tanechka to sing "la-la ..."

At the first lesson, Tanechka (or Olechka, Little Johnny) willingly stands next to the music director, enjoys the attention and affection, but may not want to sing. Patiently and skillfully, the music director tries to involve the child in singing along.

Here's luck: one of the kids began to sing! Look at the children's reactions. They immediately turn their attention to the singing child, look at him with surprise and interest. Adults understand: this is a victory. Now other children are joining in singing. If two or three children began to sing along in the group, this is a guarantee that the rest will be singing in a week (of course, with the help of adults). You can invite several kids to sing, and then the whole group, using these words:

My children are singing,

They sing, they sing good.

Good, good-looking,

They sing, they sing their own song:

La-la, la-la, la-la-la, la-la,

La-la, la-la, la-la-la, la-la.

If in the popevka "Our Tanya sings, sings" the kids sing along only "la-la", then in the next song ("Bear") some repeating words begin to sing along. So, in a simple and interesting game for children, a singing song with repeated words is included, and the kids easily begin to sing along.

Popevka "Bear"

A bear (toy) is sleeping on the bench. Children with a teacher come up to him and wake him up:

Bear, bear, why are you sleeping for a long time?

Bear, bear, why are you snoring so?

Bear, bear, bear, get up!

Bear, bear, play with us!

The teacher lifts the bear, he “wakes up and growls,” the children run away. The bear walks, looks for children, says: "Who sang songs here, didn't let the bear sleep?" When the bear "falls asleep" again, the teacher and the children repeat the song. The game is fun, understandable for kids, and they willingly join in singing along.

"In musical games the singing activity of children is the more, the more obvious, the more evident the result of their singing" (Babadzhan T. Musical education of young children. - M., 1967. - S. 53).

Of course, not all children sing the song from start to finish in the very first lessons. First, the kids sing along with the repeating words ("Teddy bear, teddy bear"), and then some phrases.

The short couplets included in the game are very helpful for singing. Although they are not accompanied by music, the children joyfully, amicably speak in chorus (in a chant). So, in the musical and motional show "Natasha's Bathing" (Russian folk. Mel., Lyrics by N. Frenkel, movements by I. Plakida / We love music. Issue 6. - M., 1967) there is such a couplet:

Water - squish-squish-squish,

Natasha - kup-kup-kup.

These lines are not sung, but repeated in a verse between the singing of the verses. Such choral co-ordination is important as a stepping stone to learning to sing along.

This is how adults attract toddlers one and a half to two years old to sing along and begin to sing with children of the third year of life (especially in cases where the group is formed from new "home" children).

Two weeks after learning the song "Our Tanya is singing, singing" and playing with the song "Bear", you can start working on the song "Birds". Ukrainian folk melody.

Popevka "Birds"

Fly, birds, to us, to us, to us.

I will give seeds to the birds, I will give them, I will give them.

With the bird's beaks - a bite, a bite, it went.

I look at the birds and sing:

La-la-la-la, la-la, la-la-la,

La-la-la-la, la-la, la-la-la.

The text of the song is clear to children. Repeated words help them get involved in chanting. The words “I look at the birds and sing” allow the song to continue. Everyone repeats the verse, humming "la-la", which makes it possible to better remember the melody. It is better to sing the song without any instrumental accompaniment. Later, the melody can be offered for listening, performing it in music lessons on a pipe, flute, metallophone, harp, etc .; it is advisable to ask the children to find out and name this song.

In the song repertoire for kids, the song "Birds" is one of the best: it has an expressive melody, clear text, repeating words. It is with her help that we teach children not only to sing along with individual words, but also to sing phrases, the whole song. Maybe you shouldn't "enrich" it with additional rhythmic tasks and entertain children?

To develop a sense of rhythm in babies, to teach them individual movements to music, there is a large selection of instrumental and vocal music (starting with "Ladies"),

Songs where there is onomatopoeia, for example "Bobik" (music by T. Popatenko, lyrics by I. Naydenova // Songs for a kindergarten. Issue 1. - M., 1965), help to involve kids in singing along and singing. Children quickly and willingly imitate the barking of a dog. First, they lengthen the line, breaking the phrase, and then, in the process of training, onomatopoeia sounds more amicable and the rhythmic pattern is not disturbed. Gradually, the kids begin to sing along some words, and then the whole song.

Music lessons with children are held twice a week, which is not enough to successfully teach singing. The more often a baby hears a song performed on various musical instruments or with a voice, with or without words, the faster his musical abilities develop.

The purity of intonation depends not only on the child's ear for music, but also on the degree of his attention while singing. Sometimes shyness and poor articulation interfere with singing.

3. Musical-rhythmic movements include dances, dance creativity, musical games, round dances, exercises. Children learn to move in accordance with the nature of the music, with the means of musical expression. They develop a sense of rhythm, develop artistic and creative abilities.

In this part of the lesson, the role of the educator is great. In the process of learning new movements, he participates in the demonstration of all types of exercises, along with a musical director, which allows children to simultaneously develop their visual and auditory perception. The teacher, since he does not sit at the instrument, sees all the children, can give appropriate instructions and make comments in the course of the action. The teacher must show accurate, clear and beautiful patterns of movements in all types of exercises, with the exception of figurative ones. In figurative exercises, the teacher gives exemplary samples, since these exercises are aimed at developing the creative activity of children.

When learning dances, the teacher's show is also necessary. In the future, only verbal instructions are given in the course of execution, errors are corrected. Children learn to convey various images (birds fly, horses jump, bunnies jump). The teacher verbally helps to more accurately convey the movements, similarities with the characters. Consequently, the creative activity of children develops through purposeful learning, expanding musical experience, activating feelings, imagination, thinking.

The teacher's participation in a music lesson depends on the age group, the musical preparedness of the children and the specific tasks of this lesson. It is especially important for the educator to participate in work with younger groups, where he plays the main role in playing, dancing, and singing. The younger the children, the more active the teacher has to be - to provide assistance to each child, to make sure that the children are not distracted, to be attentive, to observe who and how they manifest themselves in class.

The teacher should be able to sing songs, show any exercise, game or dance, know the music for listening from the children's repertoire. During music lessons, the teacher monitors the posture of the children, the pronunciation of words in the song, the quality of the assimilation of the material.

The teacher is obliged:

To develop the independence, initiative of children in the performance of familiar songs, round dances in various conditions (for a walk, morning exercises, classes), to help children express their musical impressions in creative games.

To develop an ear for music, a sense of the rhythm of children in the process of conducting musical and didactic games.

To deepen the musical experience of children by listening to music in audio recordings.

Know all the program requirements for musical education, the entire repertoire of your group and be an active assistant to the music director in music lessons.

Conduct regular music lessons with the children of your group in the absence of a music director (due to vacation or illness).

The teacher must carry out musical education using all forms of work: singing, listening, musical and rhythmic movements, playing children's musical instruments

The teacher acquires the skills for such work during special training in educational institutions and through communication with the music director at various consultations, seminars and workshops.

No matter how high the pedagogical qualification of a music director is, none of the main tasks of music education can be satisfactorily solved if it is carried out without the participation of a teacher, and also if music sounds for children only on the days when the music director comes, if with children sing, play and dance only in music lessons.

When learning non-plot games with young children, the teacher plays at all stages of learning.

In dances with the participation of an adult, where the actions are recorded by the author of the movements, the teacher always dances with the children in all age groups.

In classes of a different structure, the role of the educator depends on the types of children's activity and corresponds to the methodology for its implementation.

In addition, the main role in musical education is assigned to the educator in the independent activity of children. This type of activity requires the creation of external conditions, a certain material environment. It is important for children to have their own musical corner - with a small number of musical instruments, musical and didactic games.

When planning an independent musical activity, the teacher looks closely at the children at the beginning of the school year. Who is interested in what (singing, dancing, playing an instrument), are there children who do not take part in playing music?

Sometimes the leading roles go to the same children. This is partly due to the child's desire to be a leader, not his interest in music. Other children are drawn to music, but they are timid, indecisive. The teacher must create optimal conditions for each child.

The highest quality of work can be ensured where educators, constantly improving their musical and pedagogical qualifications, become active and skillful assistants to the music director, use musical material in everyday work with children, and are able to independently conduct the simplest music lessons if necessary - in the absence of a music director ...

When the teacher already has some experience in observing and analyzing music lessons, as well as the experience of conducting them independently, he will make his proposals when discussing methodological techniques for conducting classes, stimulate the creativity of children, suggest a topic, distribute roles, outline the development of a plot in games and dramatizations.

Such qualifications are acquired by the educator constantly, as a result of a systematic analysis of the specialist's work with children, his instructional sessions with staff, and the teacher's performance of the ever-increasing tasks of the music director.

Bearing in mind the constant and comprehensive improvement of the musical and pedagogical qualifications of the staff, a musician should not only teach teachers how to sing, move, and the correct method of presenting musical material, but also raise the general culture of teachers, teach them to understand the elementary features of music - in the nature of the work, in musical form. (solo, chorus, phrase.). It is advisable to inform the collective about significant musical dates, news in the musical education of children and other issues of musical life.

Let's consider another important form of musical and aesthetic education of children - a festive matinee, which includes almost all types of creative activities of children and the teaching staff.

The matinee is part of all the educational work carried out in the kindergarten. Here the tasks of moral, mental, physical and aesthetic education are carried out. Therefore, preparing for the holiday, holding it and consolidating the impressions received by children can be considered as links of a single pedagogical process.

The teacher's activities at matinees are very diverse. The most responsible is the role of the leader. His emotionality, liveliness, ability to communicate directly with children, expressive performance of poetic texts, largely determine the general mood and pace of the celebration. The facilitator must not only know the program, but also be able to quickly respond to unexpected random changes.

Great pleasure is given to children by solo and group performances of educators. They can show various dances, sing songs, play the role of a character.

Educators who do not play any roles are with the children of their group. They closely monitor how children perceive this or that performance. They sing along with them, prepare attributes, details of costumes, dress up children in time, help them, if necessary, during the game and dance performance.

After the holiday, children remember the performances they liked for a long time. The educator should strive to consolidate these impressions by linking them to the topic of their studies. He invites children to draw or sculpt a hero they like, come up with a new plot with the characters of the matinee, conduct conversations, repeat favorite songs, games, dances in a group and during a walk.

The teacher can independently learn the game with the children, put on a small theatrical performance, which can then be included in a musical lesson or in the program of a festive matinee.

The quality of the educator's musical work, the development of his activity depends not only on his abilities and experience in this area. An important role here is played by the ability of the music director to take into account the characteristics of the character of each educator: to approve of the shy ones, to instill in them self-confidence, to find a form of criticism that does not hurt pride and causes a desire to correct mistakes made. It is necessary to teach punctuality to those who are frivolous about their responsibilities, to encourage further improvement of those who calm down on what they have achieved.

There is no doubt about the role of the educator in the musical activity of children. He, along with the musician, is of great importance in the matter of musical and aesthetic education. As for responsibilities - there is no need to draw a clear line - this should be done by the educator, and this is the responsibility of the music director. Only joint activity, joint creative approach to this issue can bear fruit. It is important to interest and captivate the educator in musical activity in the same way as we captivate children into the world of music. You need to arouse in him a desire to learn music, to do it, then the teacher will be your best assistant.

Some kindergartens have a good tradition of reinforcing holiday experiences in a musical class. Children come to the hall, where the decoration of the holiday is left, the details of costumes, attributes for games are lying. The teacher invites children to remember what they liked at the matinee, exchange impressions and perform songs, poems, games, dances, dramatizations at will. Some performances can be repeated two or three times with a change of performers. All this helps to deeply feel the content of the holiday, to preserve good memories of it.

Kindergarten holidays are an important part of the educational process. They actively influence the formation of the personality of a preschooler, allow him to show his skills, abilities, creative initiative, sum up a certain result of pedagogical work.

BIBLIOGRAPHY:

N. A. Vetlugina "Methodology of musical education in kindergarten"

A. N. Zimina "Fundamentals of musical education in a preschool institution"

TS Babadzhan "Musical education of young children"

E. I. Yudina "The first lessons of music and creativity"

S. I. Bekina, T. P. Lomova, E. N. Sokovnina "Music and movement"

Music Director's Handbook Magazine

M. B. Zatsepina "Musical education in kindergarten"

M. B. Zatsepina "Cultural and leisure activities in kindergarten"

The influence of music in the development of the creative activity of children is very great. Music evokes an emotional response in children before other forms of art. Musical education promotes the development of speech, emotions, movements, gives children joy, encourages activity, and enriches them with vivid artistic impressions. Music gives pleasure even to a 3 - 4 month old baby: singing, the sounds of a metallophone cause the baby first to concentrate, and then to smile. The older the children are, the brighter and richer are the positive emotions evoked by music.

Raising a child by means of music, the teacher must understand its importance for the all-round development of the personality and be its active guide to the life of children. It is very good when children in their free hours lead round dances, sing songs. Pick up tunes on the metallophone. Music should permeate many aspects of a child's life. The process of musical education can only be guided in the right direction by the one who works inseparably with children, namely the educator. But for this, the educator must have the necessary knowledge in the field of music. In preschool secondary and higher educational institutions, future educators receive broad musical training: they learn to play an instrument, sing, dance, and master the methods of musical education. In the kindergarten, the musical director conducts work to improve the level of musical knowledge and develop the musical experience of the collective of teachers.

Meanwhile, the teacher is not relieved of the responsibility for conducting musical education in the group with which he works, even if there is a very experienced music director in the kindergarten.

The teacher is obliged:

To develop the independence, initiative of children in the performance of familiar songs, round dances in various conditions (for a walk, morning exercises, classes), to help children express their musical impressions in creative games.
To develop an ear for music, a sense of the rhythm of children in the process of conducting musical and didactic games.
To deepen the musical experience of children by listening to music in audio recordings.
Know all the program requirements for musical education, the entire repertoire of your group and be an active assistant to the music director in music lessons.
Conduct regular music lessons with the children of your group in the absence of a music director (due to vacation or illness).

The teacher must carry out musical education, using all forms of work: singing, listening, musical and rhythmic movements, playing musical instruments. The teacher acquires the skills for such work during special training in educational institutions and through communication with the music director at various consultations, seminars and workshops.

Working with the teacher, the music director reveals to him the content of the upcoming music lessons. Learns practical material. Of course, the music director acquaints educators with those immediate tasks that he sets in the process of working on the content of the training program. This helps them to observe the success of each child together. To identify those children who need additional help, to outline the ways of this help.

Besides. Such work allows the music director, taking into account the capabilities of each educator, to skillfully use him in the process of music lessons. It so happens that one moves well, but sings out of tune. The other has a good voice but is not rhythmic. Educators' excuses from participating in music lessons with reference to inability to move or undeveloped hearing are completely unconvincing. If the teacher has poor auditory ideas. Insufficiently pure intonation, he can, knowing the program material and the repertoire, constantly involve singing well-singing children in the performance of songs, and he himself can only sing along with them. He can use audio recording to listen to music.

The teacher's participation in a music lesson depends on the age of the group, the musical preparedness of the children and the specific tasks of this lesson. It is especially important for the educator to participate in work with younger groups, where he plays the main role in playing, dancing, and singing. The younger the children, the more active the teacher has to be - to help the child, to make sure that the children are attentive, to observe who and how manifests himself in class.

In the senior and preparatory groups, children are given more independence, but still, the help of a teacher is needed.

What exactly should the educator do during a typical frontal lesson?

In the first part of the lesson, its role is great in the process of learning new movements. He participates in the demonstration of all types of exercises along with the musical director, which allows children to simultaneously develop their visual and auditory perception. The teacher, since he does not sit at the instrument, sees all the children, can give appropriate instructions and make comments in the course of the action. The teacher must offer accurate, clear and beautiful movement patterns in all types of exercises, with the exception of figurative ones. In figurative exercises, the teacher gives exemplary samples, since these exercises are aimed at developing the creative activity of children.

In the second part of the lesson, when listening to music, the teacher is mostly passive. The musical director performs a piece of music and conducts a conversation on it. The teacher can help children in analyzing music with leading questions, figurative comparisons, if the children themselves find it difficult to answer. Mainly, the teacher, by personal example, shows the children how to listen to music when necessary, makes comments and follows discipline.

While learning a new song, the teacher sings with the children, showing the correct articulation and pronunciation.

To acquaint children with a new song, a teacher with good musical abilities - voice, pure intonation, can perform the song solo. As a rule, such an acquaintance with a new work evokes a lively emotional response in children. The ability of a music director to sing, dance, play an instrument is natural for children, while such skills of a teacher arouse great interest and a desire to imitate.

At the second stage of learning a song, the teacher sings with the children, at the same time monitors whether all children are active, whether they correctly convey the melody, pronounce the words.

Outside of musical studies, when fixing a song, you cannot teach words with children without a melody. Musical accents do not always coincide with textual ones. Children will have difficulty singing a song in class with accompaniment. Such nuances are worked out by the music director in group or individual lessons with educators.

At the third stage of learning (at 5-6 lessons), when the children are already expressively singing the song, the teacher does not sing with the children, since the task of this stage is independent emotionally expressive singing without the support of an adult's voice. Children should completely independently start a song with or without an introduction, perform all dynamic shades, and finish singing in a timely manner. An exception is singing songs with children of younger groups, where the experience of choral activity is not formed and the help of an adult is needed.

When learning non-plot games with children, the teacher gives explanations, instructions, comments on the course of the game, can join the game when it is first performed or when the game requires an equal number of pairs of children. The teacher plays with the kids at all stages of learning the game.

In story games, the teacher is either only an observer, gives instructions, or (in a difficult game, as well as in younger groups) takes on one of the roles. Children's play should not be interrupted. After the game is over, the teacher gives the necessary explanations, instructions and the children play again. The teacher, observing the play of children, helps the music director with advice - he tells what is still not working, what movements should be learned in exercises for further improvement.

The teacher acts in the same way during the performance of the dances. A new dance - a pair, in threes, the elements of which the children learned in the process of exercises, the teacher shows together with the musician or with the child, if the dance is performed to the accompaniment of a musical director. In the process of learning, the teacher gives instructions, helps to perform the movements correctly, prompts a change in movement, paying attention to changes in music, dances with children who have no pair. At the final stage of learning, children dance independently. In dances - improvisations, conducted with older children, the teacher does not participate, since they are carried out in order to develop the creative initiative of children. He can write down the sequence of movements composed by the children and at the end of the dance he can approve or make comments if the children did not show their individuality in solving the task, the movements were all the same or monotonous. But usually these comments are made by the music director. The teacher can, in agreement with him, improvise the dance, and offer the children to perform it in their own way.

In dances with the participation of an adult, where the actions are recorded by the author of the movements, the teacher always dances with the children in all age groups.

In the final part of the lesson, the teacher usually does not actively participate (with the exception of the younger groups), since the music director gives the lesson assessment. The teacher helps children in rebuilding, monitors discipline.

In classes of a different structure, the role of the educator depends on the types of children's activity and corresponds to the methodology for its implementation.

Bearing in mind the constant and comprehensive improvement of the musical and pedagogical qualifications of the staff, a musician should not only teach teachers how to sing, move, and the correct method of presenting musical material, but also raise the general culture of educators, teach them to understand the elementary features of music - in the nature of the work, in musical form ( song, chorus, phrase.). It is advisable to inform the collective about significant musical dates, news in the musical education of children and other issues of musical life.

Let's consider another important form of musical and aesthetic education of children - a festive matinee, which includes almost all types of creative activities of children and the teaching staff.

The activities of the teacher at matinees are very diverse. The most responsible is the role of the leader. His emotionality, liveliness, ability to communicate directly with children, expressive performance of poetic texts, largely determine the general mood and pace of the celebration. The facilitator must not only know the program, but also be able to quickly respond to unexpected random changes.

Solo and group performances of educators give children great pleasure. They can show various dances, sing songs, play the role of a character.

Educators who do not play any roles are with the children of their group and they closely monitor how the children perceive a particular performance. They sing along with them, prepare attributes, details of costumes, change children on time, help them, if necessary, during the game and dance performance.

The teacher can independently learn the game with the children, put on a small theatrical performance, which can then be included in a musical lesson or in the program of a festive matinee.

The activities of the teacher at festive matinees are very diverse.

The most responsible is the role of the leader. His emotionality, liveliness, ability to communicate directly with children, expressive performance of poetic texts largely determine the general mood and pace of the celebration. The facilitator must not only know the program well, but also be able to quickly respond to unexpected random changes.

Solo and group performances of educators give children great pleasure. They can show various folk dances, play the role of a character, and sing songs. Educators who do not play any roles are with the children of their group. They closely monitor how the children perceive this or that performance, sing along with them, prepare attributes, costume details, change the clothes of the children on time, help them, if necessary, during a game or dance. The matinee should be held at a good pace. Lengthy performances, too many of them, unjustified pauses - all this tires, discourages the children, violates the single line of emotional and physiological stress.

To avoid this, first of all, the active participation of adults at the holiday will allow. When discussing the scenario at the teachers' council, it is necessary to determine the role of each educator, his duties, appoint persons responsible for dressing up the children, for regulating lighting effects, for the exact appearance of individual characters, assistance in carrying out surprising moments, etc.

After the holiday, children remember the performances they liked for a long time. The educator seeks to consolidate the most meaningful, colorful impressions, linking them with the theme of the holiday. They are imprinted in drawings, modeling, stories and conversations. Children repeat their favorite dances, songs, actions of individual characters.

The teacher participates in these conversations, summing up the impressions of the children, highlighting the main, the most important, and explains the incomprehensible.

Bibliography:

N. A. Vetlugina "Methodology of musical education in kindergarten"
A. N. Zimina "Fundamentals of musical education in a preschool institution"
TS Babadzhan "Musical education of young children"
E. I. Yudina "The first lessons of music and creativity"
S. I. Bekina, T. P. Lomova, E. N. Sokovnina "Music and movement"
Music Director's Handbook Magazine
M. B. Zatsepina "Musical education in kindergarten"
M. B. Zatsepina "Cultural and leisure activities in kindergarten"

named after I.P. Vyucheysky "

TEST

by discipline

Musical education methodology

theme The role of the educator in the musical education of the preschooler.

Completed by: Aydogdu A.A.

2nd year student

specialty: "Preschool education (OZO)

Teacher: Dresvyankina N.B

Naryan-Mar

Introduction ………………………………………………………………………… .3

1. Musical education …………………… …………………………… ... 4

a) tasks of musical education …………………………………………… 6

2. The role of the educator in the musical education of preschool children ………………………………………………………………………… 8

a) the functions and responsibilities of the educator in musical education ... ... ... .9

b) musical lessons ……………………………………………………. eleven

c) independent musical activity of children ……………………… ..15

d) festive matinee ………………………………………………… .. ..17

Conclusion …………………………………………………………………… ..19

List of used literature …………………………………………… .. 20

Introduction.

In my work, I will consider the concept of musical education, the tasks of musical education, the functions and responsibilities of an educator in the musical education of preschoolers.

Music plays a special role in the upbringing of a child. Children come into contact with this art from birth, and they receive purposeful musical education in kindergarten - and later in school.

The influence of music in the development of the creative activity of children is very great. Music evokes an emotional response in children before other forms of art. Music gives pleasure even to a 3 - 4 month old baby: singing, the sounds of a metallophone cause the baby first to concentrate, and then to smile. The older the children are, the brighter and richer are the positive emotions evoked by music.

Music accompanies a person all his life.

The purpose of the abstract: to consider the role of the educator in the musical education of preschool children.

Select and study literature on this topic.

The relevance of this topic is that the role of the educator in the musical education of preschool children is an important component of the development of the child's personality.

Musical education.

The basis of the theory of musical education of children is the enormous cognitive and educational possibilities of musical art.

Musical education is the purposeful formation of a child's personality through the influence of musical art - the formation of interests, needs, abilities, aesthetic attitude to music.

Music education in kindergarten is one of the most important educational tools. To carry out this work purposefully and in depth, the entire teaching staff must be responsible for it.

The kindergarten does not set itself the task of educating future professional performers. His goals are to educate the child's feelings, his character and will by means of musical art, to help music penetrate his soul, evoke an emotional response, a lively meaningful attitude to the surrounding reality, deeply connect him with it.

In our country, musical education is viewed not as a sphere accessible only to selected especially gifted children, but as an integral part of the overall development of the entire younger generation.

It is very important to start musical education as early as possible in order to introduce the child to the whole diversity of musical culture.

Preschool age is the period when the basic abilities of the child are laid, his hidden talents begin to manifest, and the active development of the personality takes place. A child at this age is the most receptive to information and is able to realize himself in almost any area. Music opens the way for a child to be creative, allows one to get rid of complexes, "open" oneself to the world. Music influences not only the development of the musical abilities of children directly, but also contributes to the socialization of the child, prepares him for the "world of adults", and also forms his spiritual culture.

Acquiring in the classroom in kindergarten, in the family, certain knowledge about music, skills and abilities, children are introduced to the art of music. It is necessary to ensure that in the process of musical education the acquisition of this knowledge, skills and abilities is not an end in itself, but promotes the formation of preferences, interests, needs, tastes of children, that is, elements of musical and aesthetic consciousness.

The purpose of music education is to arouse interest in music, to develop the emotional and musical abilities of the child.

I believe that the role of the musical education of preschool children is very important, because in these years the foundation is laid on which knowledge of a person's artistic preferences will later be produced,

The tasks of musical education.

Based on the goals of musical education, musical pedagogy sets itself the following tasks:

Foster a love and interest in music. This task is solved by developing musical sensitivity, musical ear, which help the child to feel and comprehend more sharply the content of the works he has heard. The educational influence of music is carried out.
To enrich the impressions of children, introducing them in a definitely organized system with a variety of musical works and the means of expression used.
Introduce children to various types of musical activities, forming the perception of music and the simplest performing skills in the field of singing, rhythm, playing children's instruments. To acquaint with the initial elements of musical literacy. All this will allow them to act consciously, naturally, expressively.
To develop the general musicality of children (sensory abilities, pitch-pitch hearing, a sense of rhythm), to form a singing voice and expressiveness of movements. If at this age the child is taught and introduced to active practical activity, then the formation and development of all his abilities takes place.
Promote the initial development of musical taste. On the basis of the impressions and ideas about music received, first a selective, and then an evaluative attitude towards the works performed is manifested.
To develop a creative attitude to music, primarily in such activities accessible to children as the transfer of images in musical games and round dances, the use of new combinations of familiar dance movements, and improvisation of tunes. Independence, initiative and the desire to use the learned repertoire in everyday life, to play musical instruments, sing and dance are formed. Of course, such manifestations are more typical for children of middle and senior preschool age.

The main task of the musical education of preschool children is to develop emotional responsiveness to music, instill interest and love for it, and bring joy. And joy is an emotion that expresses a feeling of great spiritual pleasure. It arises only when a person satisfies his needs. Consequently, in musical lessons, a child should experience a sense of satisfaction and pleasure from performing various types of musical activity, become a person capable of creating and thinking creatively.

The tasks of music education apply to all preschool age. At each age stage, they change and become more complex.

The role of the educator in the musical education of preschool children.

Meanwhile, the teacher is not relieved of the responsibility for conducting musical education in the group with which he works, even if there is a very experienced music director in the kindergarten.

The functions and responsibilities of the educator in musical education.

The success of the musical development of preschoolers largely depends not only on

from the music director, but also from the educator.

The teacher is obliged:

To develop the independence, initiative of children in the performance of familiar songs, round dances in various conditions (for a walk, morning exercises, classes), to help children express their musical impressions in creative games.
To develop an ear for music, a sense of the rhythm of children in the process of conducting musical and didactic games.
To deepen the musical experience of children by listening to music in audio recordings.
Know all the program requirements for musical education, the entire repertoire of your group and be an active assistant to the music director in music lessons.
Conduct regular music lessons with the children of your group in the absence of a music director (due to vacation or illness).

The teacher must carry out musical education, using all forms of work: singing, listening, musical and rhythmic movements, playing musical instruments.

The teacher acquires the skills for such work during special training in educational institutions and through communication with the music director at various consultations, seminars and workshops.

Besides. Such work allows the music director, taking into account the capabilities of each educator, to skillfully use him in the process of music lessons.

Musical lessons.

It so happens that one moves well, but sings out of tune. The other has a good voice but is not rhythmic. Educators' excuses from participating in music lessons with reference to inability to move or undeveloped hearing are completely unconvincing. If the educator has weak auditory ideas, insufficiently pure intonation, he can, knowing the program material and the repertoire, constantly involve well-singing children in the performance of songs, and he himself can only sing along with them. He can use audio recording to listen to music.

The teacher's participation in a music lesson depends on the age of the group, the musical preparedness of the children and the specific tasks of this lesson.

It is especially important for the educator to participate in work with younger groups, where he plays the main role in playing, dancing, and singing. The younger the children, the more active the teacher has to be - to help the child, to make sure that the children are attentive, to observe who and how manifests himself in class.

In the senior and preparatory groups, children are given more independence, but still, the help of a teacher is needed.

No matter how high the pedagogical qualifications of a musical director may be, none of the main tasks of musical education can be satisfactorily resolved if it is carried out without the participation of an educator. And also, if the music sounds for children only on the days when the music director comes, if they sing, play and dance with the children only in music lessons.

Consultation for educators

"THE ROLE OF THE TRAINER

IN THE PROCESS OF MUSICAL EDUCATION

CHILDREN OF PRESCHOOL AGE "

How actively are kindergarten teachers involved in the musical education of children? Do they all understand the importance of such participation?

Often, the educator considers it his duty only to be present at a music lesson - in order to maintain discipline. Meanwhile, without the active help of an educator, the productivity of music lessons turns out to be much lower than possible. The implementation of the process of musical education requires a lot of activity from the teacher. Raising a child by means of music, “preschoolers” teachers should understand well its importance in the harmonious development of the personality. To do this, one must clearly and distinctly understand by what means, methodological techniques, one can lay the correct perception of music.

The teacher-educator needs:

Know all the software requirements for music education.

Know the musical material of your group, be an active assistant to the music director in music lessons.

To assist the musical director in mastering the program musical repertoire by children, to show examples of the exact execution of movements.

Conduct regular music lessons with the children of the group in the absence of a music director.

Learn movements with lagging children.

To deepen the musical experience of children by listening to music in a group with the help of technical means.

To develop musical skills and abilities of children (melodic ear, sense of rhythm) in the process of conducting didactic games.

Possess the elementary skills of playing children's musical instruments (metallophone, bells, tambourine, spoons, etc.).

To carry out the musical development of children, using all sections of the work: singing, listening to music, musical rhythmic movements, playing on the DMI, musical and didactic games.

Take into account the individual capabilities and abilities of each child.

To develop the independence, initiative of children in using familiar songs, round dances, musical games in the classroom, for a walk, morning gymnastics, in independent artistic activities.

Create problem situations that activate children for independent creative manifestations.

Involve children in creative games that include familiar songs, movements, dances.

Use the children's musical skills and abilities in the classroom for other activities.

Include musical accompaniment in the organization of classes and regime moments.

To take a direct part in the diagnostic examination of their pupils to identify musical skills and abilities, the individual capabilities of each child.

Take an active part in celebrations, entertainment, musical entertainment, puppet shows.

Prepare poetry collections of poetic material for entertainment and musical holidays.

Provide assistance in making attributes, decorating a music hall for holidays and entertainment.

The role of the educator in a music lesson

The role of the educator, the alternation of his passive and active participation, are different, depending on the parts of the lesson and tasks.

Listening to music:

By personal example, he fosters in children the ability to listen carefully to a piece of music, expresses interest;

Monitors discipline;

Assists the music director in using visual aids and other teaching materials.

Singing, singing:

Does not participate in chanting

Sings with children, learning a new song, showing correct articulation

Supports singing while performing familiar songs, using means of mimic and pantomimic expressiveness.

When improving the song being learned, he sings along in "difficult places."

Does not sing with children when independently emotionally expressive singing (the exception is singing with children of an early and young age)

Musical-rhythmic movements and games:

Participates in the showall kinds of movements giving appropriate advice to children.

Gives clear, precise, aesthetic standards of movements (with the exception of exercises for the development of children's creative activity).

Takes a direct part in the performance of dances, dances, round dances. In older preschool age, familiar dances, dances, children perform independently.

Corrects the performance of movements by individual children during dance, exercise, play.

Explains and monitors the fulfillment of the conditions of the game, contributing to the formation of behavioral skills during its implementation.

Takes one of the roles in the story game.

Supervises discipline throughout the entire musical lesson.

Only close pedagogical contact between the music director and the educator will give a positive result in the musical development of preschoolers. The educator must carry out continuity between musical studies and other links in the complex process of musical education and development of children.

The tasks of musical education and development of children outside the classroom:

Strengthening the skills and abilities acquired in a music lesson;

Expansion of musical performances, horizons;

Identification and formation of inclinations and musical interests;

Development of musical abilities, independent methods of action.

Forms of musical education and development of children outside the classroom:

Individual work on the formation of musical interests and abilities of children;

The use of music for a walk, gymnastics, art classes;

Listening to audio recordings, music from radio and television programs;

Organization of musical and didactic games, entertainment.

Independent activities of children.

To solve these problems, the teacher must have a certain amount of musical and aesthetic knowledge. For example, in individual work with children, the educator must take into account the characteristics of each child, his ability to music and movement, the degree of assimilation of the material; activate passive children, contribute to the formation of musical interests.

Helping parents in the musical development of preschoolers

Close contact of the music director with the parents is very important. The main forms of this work can be called: consulting on the topics "Development of musical abilities of preschoolers", "Formation of musical interests of a child in the family", etc .; assistance in organizing a home music library; recommendations for the use of children's musical instruments. For the purpose of exchanging information with parents, it is advisable to create an "Ethno-box", which will attract the attention of parents to the revival of ethnoculture in the family, replenishment and enrichment of knowledge of both parents and teachers in ethnopedagogy.

Musical activity of preschoolers and its tasks

Hearing - perception

In the older group, the work on listening to music continues and deepens. It acts both as a section of the lesson, and as a methodological method of work, and as an independent lesson. The perception of children of this age becomes more conscious, controlled. Feelings evoked by music are more differentiated. Voluntary memory and attention develop. Children notice the similarity of musical works of the same genre, compare familiar works by their figurative content, the nature of the sound. An interest in a piece of music, stability of feelings and emotions are manifested. Significant shifts are observed in the thinking of children: there is a transition from visual-effective to visual-figurative thinking. The attention of children is already more stable, so they can listen to rather difficult pieces. The speech of children is quite developed, they are able to express their judgments about music, use various terms and definitions. Their aesthetic experiences become deeper and richer - children react vividly and emotionally to a piece of music.

In the older group, in the process of listening to music, the following tasks are set:

Analyze works of a solemn, joyful, sad and humorous nature;

To perceive samples of Kazakh folk music and musical works of composers of Kazakhstan, to know the history of the work, legends associated with kyuis;

To form knowledge about the life and work of composers of Kazakhstan;

Distinguish the sound of folk musical instruments;

To instill an interest in listening to folk music, classical and modern, performed by soloists, chorus, instrumental ensembles, orchestra;

To teach to memorize works by introduction and conclusion, by melody, individual phrases, parts;

To develop the ability to distinguish the nature of music, the means of musical expression, to make judgments about them, to distinguish between two and three-part forms, song, dance and marching genres;

Develop the ability to compare works by similarity and contrast.

Achieving the fulfillment of the assigned tasks, the teacher strives to:

To teach children to listen carefully to music, to express all their emotions after listening to a piece of music;

Cultivate interest in vocal and instrumental music;

To instill an interest in listening to folk music, classical and modern, performed by soloists of the choir, instrumental ensembles of various compositions, orchestra;

Arouse the desire to repeatedly listen to your favorite works.

The works, intended for listening to older preschool children, reflect a diverse range of feelings, moods, numerous events and phenomena of the surrounding reality that are accessible to children's perception. Verbal techniques are becoming more detailed, contributing to an in-depth perception of musical works. The life experience of children is widely used, new works are associated with already familiar ones. The perception of music is aimed at mastering the intonation-auditory "fund" of the era. Children need to develop the ability to experience musical content as a specific expressive speech. In the process of analyzing musical works, the requirements for children are gradually increasing. When working with children of older preschool age, it is necessary to partially abandon the verbal - descriptive interpretation of the musical content. The word should only be a guideline for the development of the child's creative imagination. Musical perception itself should be developed on an intonation basis. Let us turn to a well-known example - the play by D.B. Kabalevsky "Clowns". Work on this work traditionally began with the words of the teacher: "Children, many of you have been to the circus and saw clowns there ..." and music will not add anything to him. We propose to go from music: "Now we will listen to the play by Dmitry Borisovich Kabalevsky (hearing), And now tell us what music you heard, give it a name" (children answer). We work in the same way with Kurmangazy's kyu "Serper" ("Impulse"). We offer to listen to the work and tell us what the dombra told us, what this music reminds us and what can be imagined while listening to the serper kyu. By the way, good disposition, smooth running. This horse can be compared to a horseman, strong, persistent, tireless, striving forward to the cherished goal. At the second hearing, invite the children to try to hear the breath of the Kazakh land, feel the joy of the rapid running of flying horses and understand the strength of the Kazakh people.

The teacher corrects the answers, directing the attention of young listeners to the expressiveness of the melody. The following techniques are quite effective for the formation of the intonation-auditory experience of preschoolers:

Comparison of musical works: contrasting works of the same heat, plays with the same names, contrasting works that convey different feelings and moods;

Use of color - mood cards;

Comparison of different interpretations of the performance of the same piece (for example, own performance and audio recording);

Comparison of two performance options: solo and orchestral.

All of these techniques can be combined with each other and vary. But all of them will be effective only with expressive, competent execution.

The musical repertoire for listening to music is significant in volume and diverse in content. The previous musical experience of preschoolers allows us to speak about both a sufficiently developed holistic and differentiated perception of children of the sixth year of life, therefore we deliberately abandoned the traditional method of listening to each piece for three to four lessons. The suggested conversations are conducted as part of one or two sessions, depending on the characteristics of the children in the group. It is permissible to hold separate conversations in the evening hours if the teacher has problems with time in a music lesson. At the discretion of the music director, the replacement of works is possible, but only with the preservation of the leading principles of their selection - artistry and accessibility for children's perception.

The program also provides for acquaintance with samples of Kazakh folk music, formation of knowledge among preschoolers about composers of Kazakhstan, acquaintance with the history of works, legends associated with kyuis.

Singing

The song is of great importance to older preschool children. At this age, preschoolers have a particular interest in singing. They quickly learn and memorize songs. At this age, children already have some musical experience. Elements of creativity appear in singing. Breathing improves, the voice develops, its range expands. Children develop a well-known system of ideas about the pitch, timbre, and strength of musical sound. In singing, musical play, children consciously strive for the expressiveness of the images they create. A child of this age represents a set goal, subordinates to it the method and order of performing actions.

Teaching singing to children of the older group, the teacher is given the following tasks:

To teach children to expressive singing without tension, with a light sound, smoothly;

To teach to take a breath between musical phrases;

Pay attention to diction;

Observe dynamic nuances;

Sing in chorus and individually in the range re - si the first octave;

Express intonation clearly;

Distinguish by ear intonationally accurate and fake sound;

Strengthen the ability to simultaneously start and end a song, convey the character of the melody, sing with adults without instrumental accompaniment and independently with accompaniment;

Encourage you to remember and sing previously learned songs, to maintain the correct posture while singing;

To acquaint with some special terms: melodiousness, abruptness, diction, ensemble, sound power, tempo, song form, verse, solo, chorus, phrase, introduction, conclusion;

To develop the melodiousness of the sound, using folk songs, melodies.

At this age, children are told the names of the composers who wrote the songs. The learning process is carried out in three stages. Conversations and questions to children become more varied, as the content of the songs becomes more complex. The illustrated material is used to a lesser extent - mainly when it is necessary to explain unfamiliar words in the text. Song learning begins after the session in which the listening was held. In each lesson, you need to achieve better results than in the previous one, and not mechanically sing songs. In the work on the expressiveness of the performance, it is necessary to proceed from the content of the songs, to rely on the emotional perception of the child. You can sometimes start learning songs with a chorus, if necessary, transpose the melody into a key that is convenient for the child's voice. Before singing, it is necessary to concentrate the attention of children, to chant, to use a special system of exercises. Once the song has been mastered, it can be performed in subgroups and individually. This will give the children the opportunity to hear and appreciate the singing of their companions. The repetition of familiar songs should be done in different ways so as not to diminish the interest of the children. For example, in the form of a "riddle" - recognition of a melody played on an instrument, a "music box" - where songs "live" or a "musical tree" - on which notes with songs grow, etc.

One of the main conditions for songwriting is the ability to stay within a given key while writing. It is characterized as the ability to emotionally distinguish the modal functions of the sounds of a melody, to feel the subordination of sounds, the color of major and minor. You can use the following tasks: "Finish the phrase to the end" (the teacher starts, the child finishes); independent finding by the child of a stable sound (tonic); orientation in distinguishing between major and minor modes ("Merry and sad bell", "The sun and the rain")

The program included songs by famous Kazakh composers. The content of each of the songs is revealed by the titles of the works: "Onran" - "Anthem", "Bizdin tu" - "Our flag", etc. The songs are intended both for listening and for singing. Some of the songs are written in high texture and therefore, it can be difficult to learn and perform them. In this case, you can make small changes to the melody at the discretion of the music director. Initial acquaintance with these works is of particular importance. Using the verbal method, the music director must skillfully lead the conversation around the content of the song. During the conversation, the children talk about their native land, about Kazakhstan, about the people who live in the republic. It is possible that the children themselves will tell the content of the song, and then the music director will only have to supplement and support their story. In the song "Onuran" one should pay attention to the notes with dots, to their exact performance, since they give the song an energetic, vigorous, hymn-like character. Practice should begin with the chorus. Taking into account the performance capabilities of children, you need to choose the right key.

Learning the song "Bizdin tu" requires work on the eighth pauses, which are found at the end of some measures, otherwise the song will lose its rhythm and, accordingly, its character. In addition, it is important to ensure that children sing the last notes before pauses, and pronounce the endings of words well.

The song "Tugan zher" by K. Duisekeev is a story of children about their native land, on which they live, about their parents, about their grandparents living in the aul, about the fact that children are proud of them. The melody of the song is permeated with childish joy, fun, energy. The song can be accompanied by dance moves invented by the children themselves. When working on a song, you should pay attention to the places where the syllable "ah-ah" is sung. Before this phrase, you should definitely take a good breath. Children should sing calmly, without straining, without pinching the vocal apparatus. It will be advisable if you sing similar, but simple exercises before performing. The song can be performed on holidays dedicated to Nauryz, Republic Day, Independence Day, Children's Day, etc.

In the song "Nauryz Oni" by B. Amanzholov it is necessary to teach children to sing whole notes to the end. T. Muratov's song "Nauryz Toyy" is written in a convenient tone for older preschool children, is easy to learn and remember. It can be put on a separate concert number. Dance moves can be added at the Music Director's discretion.