Introduction
Chapter 1. Dimensional features of a musical fairy tale
1.1. The concept of "fairy tale" in modern literature and its classification
Conclusions on chapter 1
Conclusion
Bibliography

Introduction

"The fairy tale is a cradle of thoughts,

summate to raise the child's upbringing

So that it is for life

preserved exciting memories

about this cradle. "

V.A. Sukhomlinsky

Music is given a special role in raising a child. With this art, a person comes into contact from birth, and a targeted musical upbringing he gets in kindergarten - and later in school.

Music education is one of the funds of the child's identity. In musical education, the perception of music by children is a leading activity.

The musical fairy tale enters the life of a child from the very early age and accompanies it throughout the whole childhood, and often remains with him for life.

In this work, the basis of the musical fairy tale as a means of developing the social qualities of the younger schoolboy.

The relevance of the problem of research: It is that the musical tale is one of the most visible forms of artistic reflection of life based on the perception of the world through images. However, in the field of musical education of younger students, the musical and theater activities of children seemed to be the least designed area, while its effectiveness is obvious, as evidenced by numerous psychological and pedagogical research.

Based on the relevance of the problem of research, we formulatedsubject research:"Music fairy tale."

Purpose of the study - identify the distinctive features of the musical fairy tale.

Subject of study: Musical tale.

Tasks for research:

1. Reveal the concept of a fairy tale and a musical fairy tale in modern pedagogical literature;
2. Trace the story of the emergence of a musical fairy tale;
3. consider genres and types of fairy tales;
4. Determine the role of a musical fairy tale in raising children of younger school age.

In the study of the issue, the following methods of theoretical study were used:

1. selection and reading methodical literature;
2. search and analysis of literature;
3. comparison of the material studied;
4. systematization and generalization of the material.

Chapter 1. Distinctive features of a musical fairy tale

1.1. Conference "Fairy Tale" in modern literature and its classification

All people perceive the word "fairy tale" in different ways and invest different meaning in it. Let's try to turn to science and find out how the tale is interpreted by different researchers. Here are some definitions of fairy tales taken from different sources:

Vladimir Ivanovich Dal gave the concept of a fairy tale: "The fictional story, an unprecedented and even unless story, tale."

Sergey Ivanovich Ozhegov - Russian linguite, lexicologist, lexicographer, researcher of the norms of the Russian literary language, doctor of philological sciences determined the concept of "fairy tale" as"The narrative, usually peopicallyoethical, the work of fictional persons and events, mainly with the participation of magical, fantastic forces."

In the dictionary of the Russian language under the "fairy tale" it is understood - a narrative work of oral folk creativity about fictional events, sometimes with the participation of magical fantastic forces.

Literary encyclopedic dictionary. One of the main genres of oral folk poetic creativity, the epic, mainly prosaic artwork of a magical, adventure or domestic nature with a fictional installation.

Sophia Kimovna Nartova-Bochamnotes: "The fairy tale isto rattaya instructive, more often an optimistic story, including the truth and fiction. "

Vladimir Ivanovich Anikin writes: "Tale- P removing, in which the main feature becomes the installation on the disclosure of life truth using an elevation or reducing the reality of conditionally poetic fiction. "

Russian pedagogy has responded even more than a hundred years ago about fairy tales not only as an educational and educational material, but also as a pedagogical agent, method. So, the nameless author of the article "Educational meaning of the fairy tale" (1894) recognizes that "if children repeat at least one thousand times the same moral center, it will still remain dead in the children; But if you tell them a fairy tale, imbued with the same thought, - the child will be excited and shocked. "

Fairy tales represent a rich material for moral education of children. No wonder they constitute some of the texts on which children comprehend the diversity of the world. Vissarion Grigorievich Belinsky saw in a fairy tale the deepest educational agent: "In childhood, fantasy is the prevailing ability and power of the soul, the main figure and the first mediator between the spirit of the child and outside his worldwide reality"

Zinkevich-Evstigneeva Tatyana Dmitrievna offers the following classification of fairy tales:

1. Artistic fairy tales

These include fairy tales created by the centuries-old wisdom of the people, and the author's stories. Actually, it is such stories that are called fairy tales, myths, parables.

2. Folk fairy tales

The most ancient folk tales in literary criticism are called myths. The oldest basis of myths and fairy tales is the unity of man and nature. This includes:

• fairy tales about animals
• relationships of people and animals,
• terrible fairy tales
• magic fairy tales.

4. Didactic fairy tales

5. Psychotherapeutic fairy tales.

Fairy tales that reveal the deep meaning of occurring events. Stories helping to see what is happening on the other side is from the life of the Spirit. Such fairy tales are not always unequivocal, do not always have a traditionally happy end, but always deep and penetrated.

The fairy tale has its own varieties:

Legends

tales

Myths

saga

proverbs

jokes - this is not a complete list of fabulous forms.

There are fairy tales about animals, magical, novnelistic.The fairy-tale image or action is born in the usual setting and the need to change the situation, adapt the surrounding items to more vividly reflect this or that fabulous situation. Associative thinking is included in the work. How to create a fabulous train? How to make a house for three piglets? The usual table turns into a hut on the couch legs, blue ribbons - in the lake, gymnastic hoops - puddles on the asphalt. But the most important thing in the fairy tale is still a fabulous character.

Each child wants to turn into a fabulous hero and change their appearance. But how to do this without a special costume. But there is a big beautiful handkerchief, which can be a veil, a veil for the princess, may be a cloak for Tsarevich, the wizard, if you can become a grandmother, if in the form of a chalms, then a magician, a magician, etc. "Just a wand with the help of the" magic "words can be magical, and it can be a magic flute. Take into the hands of a transparent scarf, and you are already a breeze, take a white scarf, and you are an antique statue. "

1.2. The concept of a musical fairy tale in modern pedagogical literature

Music education plays an important role in the formation of the identity of the child, the development of aesthetic feelings, artistic taste, creative activity and moral qualities. The basis of the preschooler musical culture is the emotional responsiveness for highly artistic works of musical art. Doctor of Pedagogical Sciences Olga Petrovna Radyov emphasizes that "the development of children's emotional responsiveness and awareness of perception (emotional-evaluative attitude towards music) leads to manifestations of preferences, wishes to listen to musical works that are masterpieces of art, creates creative activity."

The tale is the world of fantasy, intertwined with reality. To understand the fairy tale, you need to be able to fantasize, imagine. To understand the music, also need fantasy and imagination. Thus, to some extent, the tale and music have points of contact in their perception. Therefore, the fairy tale can help teach to perceive music.

Music fairy tale - Music and stage work, in which dialogs, songs, music, dancing are intertwined, while the plot is usually uncomplicated.

Musical fairy tales Promote the development of artistic taste, singing skills, cause joyful emotions.

The fairy tale, being an important means of mental development of the child, develops his fantasy, helps to understand music. But the music "fills fabulous images by living heartbeat and trembling thoughts. Music introduces the child to the world of good. " The fairy tale gives a powerful impetus to the development of the most kind of senses in a small man.

In musical fairy tales, spiritual and moral content is enhanced by musical accompaniment. A certain attitude contributes to the awakening in the listeners of empathy, complicity, coactivity.

Music fairy tales enjoy in children unchanged love. Children with great pleasure are reincarnated in one or another character, experience the events that take place, fight evil and are always ready to help weak.

Social teachers of the psychological and medical and social center "Phoenix" Makeeva I.P., Churakova MD, Horiev L.A. In 2002, created a program of classes with children of secondary and senior pre-school age "Education of a fairy tale", where the priority is the expansion Presentations of children about the world around them by introducing them into literary and musical culture and creating conditions for the active inclusion of children in speech, musical, artistic, game activity related to the shape and plot of fairy tales.

Merzlyakova Svetlana Ivanovna - Honored Teacher of the Russian Federation, over the years, the organizer of methodical work in Moscow for the musical education of preschool children. The author of numerous printed works, among which programs, methodological benefits, compilations containing musical-literary practical material, abstracts of musical classes, holiday scenarios. For us, its program for the development of the scenic creativity of children by the means of theatrical games and gaming ideas "The Magic World of the theater". In her S.I. Merzlyakova notes that theatrical fairy tales represents not only introduce the content, they recreate specific images, but also teach deeply to feel the events, relationships between the heroes of this work. Theatrical fairy tales contribute to the development of children's fantasy, imagination, memory, all types of children's creativity (artistic-speech, musical and gaming, dance, scenic).

Staging a fairy tale is a wonderful key that opens the door to the magic world of images, paints, sounds. This is creativity, improvisation requiring children and fantasy, and from adults - fictions and ingenuity in costumes and decorations.

The poetic text is preparing children better than prose, so many fairy tales of famous writers are translated into poetic rhythm, which greatly facilitates work with the text. The plot of the musical fairy tale includes classic and folk music. You can use modern pop songs available to children. In children's performance, they sound more emotionally.

Music can be a background that develops action, the music helps to enter the right emotional state, the music accompanies all the rhythmic actions from the simplest game to the plot stage dance and, of course, the music helps brighter to present fabulous characters.

All musical material, with whom the child meets, develops musical memory throughout the performance. Music for listening and music for execution require memorization to keep track of the performance of the performance, interact with partners, remember your musical theme and perform it.

Zimin Angelina Nikolaevna Pedagogue, Doctor of Pedagogical Sciences, Corresponding Member of the International Academy of Sciences of Pedagogical Education In the textbook "Basics of Music Education and Development Children of Young Children" considers the foundations of the theory and methods of musical development of children, types of children's musical activity and its organizational forms. In the II chapter "Types of children's musical activity", a musical tale is considered - as a type of musical activity of the preschooler. The main goal on creating a musical fairy tale with children of preschool age is the development of the ability of children to the free creative perception of the surrounding world, reflecting his impressions and attitudes towards the world around creative activity - the art of a musical fairy tale.

1.3. The emergence of a musical fairy tale

The fairy tale in music is a very interesting, the original genre, obliged by its statement by Russian musical culture. Although related epic instrumental genres - ballad, legend - were known to Western European music of the XIX century., The fairy tale itself has developed in Russian music, probably due to its deep rootation in the archaic formation of folklore.

Many Russian composers in their work appealed to fairy tales. Mikhail Ivanovich Glinka recalled: "Songs, fairy tales, who heard in the guys, were the first reason that I began to mainly develop national Russian music." As Pushkin opened the era of new Russian literature and M.I. Glinka laid the foundation of the Russian classical fairy tale (Opera Ruslan and Lyudmila). Both artists unites the bright perception of the world. Another Russian composer, Nikolai Andreevich Rimsky-Korsakov, said this: "My genus is a fairy tale, epics ... and certainly Russian." He knew well and loved M.I. music Glinka. ON THE. Roman Korsakov is a storytener composer, since from fifteen operas nine written on them to the plots of Russian fairy tales and epic (Opera "Golden Cockerel", "Tale of the Tsar Saltan", etc.). Initiative N.A. Roman Korsakov, who created a symphonic "fairy tale" in 1880, picked up Sergey Ivanovich Taneyev, who included a fairy tale in his concert suit for violin with the orchestra (1909), and then developed Nikolai Karlovich Metpener in their works"Tale of elves" oR. 48 №2, fairy tale OR. 26 No. 1 with an indicative author's remark of Allegretto Fres-Camente. Some tales of the Metric are withstanding in the spirit of certain varieties of a musical picture, for example, motion patterns ("Procession of Knights" oR. 14 No. 2) or sound imagining ("Tale of the bell" op. 20 No. 2, "Tale of Birds" oR, 54 No. 1). And in the fairy tale. 35 No. 4." King Lear " combined signs of both these species. Sergey Sergeevich Prokofievi composed music to the text of the famous fairy tale Andersen "Naudsky Duckling", fabulous plots based on Cinderella's ballets and the "Stone Flower". Among the "fabulous" works of Prokofiev piano plays "Tales of the Old Grandmother", ballet "Tale about the jester, seven jesters of the gone", Opera on the plot of the Italian fairy tale Carlo Gotszi "Love for Three Oranges". Everyone knows the symphonic fairy tale for the reader and orchestra "Peter and wolf".

Special quality of the synthesis of stories and articles Their bright manifestation in music in the absence of a plot program is a remarkable specificity of the genre that highlights it among other software and limiting communication with the people's epic prototype. The musical genre transmits only a common fairy-tale atmosphere, not seeking to retell any primary sources. This is his special charm, obviously consciously protected by the authors.

1.4. Music genres used in musical fairy tales

In music, literature and other types of art, during their existence, various types of works have developed. In the literature, this, for example, Roman, story, story; in poetry - poem, sonnet, ballad; in painting - landscape, portrait, still life; In music - Oratoria, Opera, Symphony. The nature of the works, their species, often defined by typical signs, within one art is called the French word genre (genus, view).

Thus, genre - A certain type of work, in which an unlimited number of works can be written. Over time, various genres changed, but at the same time they retained their main signs characteristic of "signs" that allow for judge the origin of the genre. Music genres differ from each other with features of content and forms, and these differences are caused by life and cultural purposes, peculiar from each genre.

Lyrical music genres include a huge area of \u200b\u200blyrics, in which there are a wide variety of its types and shades, ranging from serenely calm and ending with dramatic (for example, dramatic aria or idyllic-light pastoral).

The life goal of the lullaby song to reassure the child, and the music immerses us in the measured rhythm of the camping movements. A person needs and in artistic understanding of the most subtle movements of the soul. So there are gentle-sad elegances shrouded in the mood of the night of Nochturna, intimate sheets from the album, frequency songs without words. A wide variety of human feelings reflect a romantic prelude, similar to a lyrical poem. Fantasy pleases the listener with the discharge of imagination, free flight of thought. Fugue is a sample of strict, focused reflection.

In music related to the organization of movement or his image, the genres of march and numerous dance genres have developed. In the march melody, rhythm, texture and other expressive tools are ideally adapted to the step.

The dance area is unaware, its value is in music, because the dance and song are the primary genres of all musical art. Cheerful and joyful, folk dance gives to feel the cattleness and burdens, powerfulness and solemnity. And here is a huge variety of national traits: Compare Russian Trepak and Georgian Lezginka, Hungarian Chardash and Latin American Rumba, etc. Many dances, originating as local genres of folk music, spread in the future worldwide. People's dance music has had a huge impact on professional art, receiving new impulses to development in its depths, enriching the arsenal of its expressive funds.

Genres of high "serious" music, such as Sonata, Opera, Symphony, tool concert, demand from listeners of deep, concentrated perception. Their main goal is the spiritual elevation of man, the development of spiritual culture. Symphony is one of the most capacious and complex genres. By the breadth of life coverage, the versatility of its lighting it resembles a novel or drama. It is symbolically reflected by the whirlpool of life clashes, struggle, conflicts, human reflection about life.

Song and dance genres contribute an important contribution to the professional music of large forms. They inform her accessibility for perception, national soils, completeness of expression, vitality. A musical language becomes a concrete, touches.

The main genres of orchestral music is a symphony, a single symphonic poem, a concert overture, instrumental concert. These are symphony genres. Genres of choral music - Choral Suite, Cantata, Oratoria, Mass, Requiem. In the twentieth century, new genres arose - a kinometer, pop music.

1.5. The role of a musical fairy tale in raising children of younger school age

The acquisition of children to musical creativity in our kindergarten is carried out by creating a musical fairy tale, which makes it possible to help children reveal and develop creative qualities, so important for a modern person, frees the child from the community, gives him a feeling of its feature, brings a lot of joyful minutes. As well as the ability to experiment, to freely communicate with peers and senior comrades, manage emotions, independently make decisions - these qualities will be very useful to the guys in the future life.

The main purpose of the attachment to the musical tale of children is to educate a musically developed listener and a performer who is capable of sensitively, emotionally perceive the world around and express its attitude towards everything that is happening.

Musical fairy tales have a huge educational influence on children, they contribute to the development of artistic taste, singing skills, cause joyful emotions. Children better convey the nature of music in movements, they develop speech, clarity of diction, speech intonation. The development of creative abilities and the formation of a child's harmonious personality occurs through the perception of music, the ability to listen to it, analyze, as well as through the activity of the child, which manifests itself in different kinds of musical activity. Children in the learning process must learn to feel the beauty of the musical work and express their joy from his perception with words, dance, playing children's musical instruments or visual creativity.

Musical fairy tales using small instrumental plays or passages from large musical works are a transitional step to understanding such complex genres as opera and ballet.

Fairy tale love everything: both adults and children. The main thing here is that the fairy tale is the embodiment of the people's dreams, the presentation of the people about justice, about the victory over the space and the time, the incarnation of faith in the mighty power of the native land. The people's fabulous hero, the ideal of the people - the carrier of truthfulness and generosity, physical spiritual power, constantly ready to put this force for the service of good and justice.

Many fairy tales inspire confidence in the truth of truth, in the victory of good over evil. The optimism of fairy tales especially like children and enhances the educational value of this fund.

In musical fairy tales, spiritual and moral content is enhanced by musical accompaniment, emotionally sensual effects. A certain attitude, installation to perception contributes to the awakening in the listeners of the instinct of empathy, complicity, co-creation. The musical tale is a bright, emotional statement of fabulous events having spiritual and moral content.

Conclusions by chapter I

Based on the work done, we defined that, musical education is one of the means of forming a child's personality.

Musical fairy tales contribute to the development of artistic taste, singing skills, cause joyful emotions.

Fairy tales contribute to the development of children's fantasy, imagination, memory, all types of children's creativity (artistic and speech, musical and gaming, dance, scenic).

Many great Russian composers in their work appealed to fairy tales. Through the perception of a fabulous material, the musically developed listener and the performer who is capable of sensitively, emotionally perceive the world around and express its attitude towards everything that is happening.

The musical fairy tale helps children to develop their creative imagination, and at the same time shows on the examples, what features of the character should bring up in themselves, they launch a self-development mechanism, awakening the personal potential of the child.

Conclusion

The fairy tale makes its business: Helps the child to navigate in the surrounding world, enriches his mental life, makes him feel the fearless participant of imaginary battles for justice, for good, for freedom, and, when the need for it passes, the child himself destroys it. But before seven-eight-year-old age, the fairy tale for every normal child is the most healthy food - not a treat, but the urgent and very nutritious bread, and no one has the right to take away this without replaceable food. The fairy tale is needed by a child in order to possibly fully, more, rich, richer to survive this useful for his mental development. It is necessary to use the child to the fairy tale to develop, strengthen, enrich and send their ability to creative dream and fiction. Those who fantasy belong to the future. Now it is already considered to be the generally accepted true that the fairy tale improves, enriches and humanizes the children's psyche, since the child feels an active participant and always identifies himself from those of her characters who are fighting for justice, good and freedom. In this, an active sympathy of small children with noble and courageous heroes of literary fiction and is the main educational value of the fairy tales. The challenge is to awaken, to raise, strengthen this precious ability to empathize in a susceptible childhood soul, and coat, without which a person is not a person.

Only this ability, grafted from the earliest childhood and communicated during the development process to the highest level, created and will continue to create misfortune, pyrogu, necris, Czech, bitter ...

In the course work, we plan to identify and substantiate the impact of a musical fairy tale on the formation of the artistic and aesthetic taste of children of preschool age.

Mordvinova Olga Sergeevna
Position: Music leader
Educational institution: MBDOU № 104 "Gusi-Swan"
Locality: Ulyanovsk
Name of material: article:
Subject: "Music fairy tale or fabulous music"
Publication date: 02.10.2017
Section: preschool education

Mordvinova Olga Sergeevna,

music leader.

Music fairy tale or fabulous music.

Fairy tale

Yes in it hint

Music fabulous

Music has the possibilities of exposure not only for adults, but

and on young children.

Moreover, it is also proven, even the intrauterine period

extremely important for subsequent human development: music,

which is listening to the future mother, has a positive effect on

the well-being of a developing child (maybe forms it

tastes and preferences). Only developing emotions, interests,

the tastes of children can be attached to the musical culture, lay it

basics. Pre-school age is important for later mastering

man of musical culture. If in the process

the musical activity of children will be developed by their musical and aesthetic

consciousness, it will not pass without a trace for the subsequent development of man,

his common spiritual formation. "Tale in music" - comprehension

expressive sense gives you the opportunity to express your impressions in

different manifestations of creativity, she opens the theater to children.

The formation of the basics of musical culture, and through it and artistic, and

aesthetic - the up-to-date task of today. Tale - that form

that method of exposure that the baby is familiar from the first days of life, and

encouraged with music, it acquires an effective way to implement

pedagogical tasks.

Fairy tale love everything: both adults and children. Probably because the fairy tale is

the incarnation of the dream, an idea of \u200b\u200bjustice. Tale, being

an important means of mental child development, develops its fantasy,

helps to understand music. But the music "fills fabulous images alive

heartbeat and trembling thoughts. Music introduces a child to the world of good "(V.

Sukhomlinsky). The fairy tale gives a powerful impetus to the development of the best feelings.

in a small man.

In musical fairy tales, spiritual and moral content increases

musical accompaniment, emotionally sensual effects.

A certain attitude, installation to perception contributes to awakening

in the listeners of the instinct of empathy, complicity, creativity.

The musical tale is a bright, emotional statement of fabulous

events having spiritual and moral content.

Music fairy tale - modestization of fabulous events,

having spiritual and moral content.

In working with younger preschoolers it is possible to use simple

pieces. For example, "Nianin Tale", "Mom" from the "Children's Album" P. I.

Tchaikovsky, "Evening Tale" A. Khachaturian.

Kids emotionally respond to music, hear her general

mood, tempo, dynamic features, some allocate

melody. With the help of the teacher they express about the nature of music,

come up with fairy tales, try in drawings and elementary movements

convey musical images, coordinate the actions respectively

parts of the musical work. On musical entertainment with

kids listen, and sometimes play musical tales: "Teremok"

music T. Popatenko, "Masha and the Bear" Music E. Tilicheva, where he sounds and

instrumental, and vocal music, which makes it much easier for babies

holistic perception of musical images.

To work with senior preschoolers, it is possible to complicate tasks for

the topic "Tale in music" up to the musical improvisations (movement and

playing musical instruments); Painting).

For example, PI Tchaikovsky "Baba Yaga", M.P. Mussorgsky "Hut on

courish legs. "

Musical fairy tales using small instrumental

pieces or passages from large musical works are

transition step to understanding such complex genres as an opera

For several years, teachers have made sure that acquaintance

with the music of the Opera or Ballet, even with children of one age is necessary

carry out differently, depending on the complexity, and most importantly - from

musical and general development of children. Differently acquaintance with

literary material (reading a fairy tale or using musical

literary compositions of this fairy tales), differ forms

The world of the musical fairy tale is an excellent means of admission

preschoolers for classical music, the development of the emotional sphere,

formation of the basics of musical culture.

Story - This is the world of fantasy, intertwined with reality.

A-musical tale is just a fabulous music !!!

Introduction 3.

Chapter 1. Music fairy tale as a means of developing a child

1.1. Music as a means of developing a child of preschool age 5

1.2. Formation of the foundations of musical culture of preschoolers through

world of Musical Fairy Tale 11

1.3. Methods of applying a musical fairy tale in the program

O. Radynova "Musical Development of Preschool Children 15

Chapter 2.Musical fairy tale in the daily life of the child of preschool age

2.1. Musical Games Tales for Preschool Children 17

2.2. Creating a musical fairy tale with preschool children 19

Conclusion 27.

Bibliography 28.

Introduction

Music is given a special role in raising a child. With this art, a person comes into contact from birth, and a targeted musical upbringing he gets in kindergarten - and later in school. Music education is one of the funds of the child's identity. In musical education, the perception of music by children is a leading activity. And the execution and the work of children is based on bright musical impressions. Music information is also given in support on her "living" sound. A developed perception enriches all the musical abilities of children, all types of musical activity contribute to the development of the abilities of the child.

The influence and value of fairy tales to children in preschool age is undoubtedly. That is, each tale that is offered to the child requires attention from an adult, and the question of the psychological and pedagogical examination of modern children's literature arises, which would include the analysis of different types of fabulous forms, would evaluate the quality of printed publications for children and the quality of cartoons, As an embodiment of literary fabulous images.

Such an approach allows not only conscious to the choice of a fairy tale for reading or listening from the already existing works, but also allows modern authors and parents to write those fairy tales that will be useful and in demand by children.

Let's think about the influence of the fabulous form on the development of the child and we denote its main features and dignity:

The fairy tale sets the assessment of a positive and negative in life, opposes the perfect and erroneous, good and evil.

Audio fairy tales affect the emotional development of the child: a bright shape causes a child to empathize, worry and rejoice.

The fairy tale contributes to the development of imagination, and this is necessary, among other things, and to solve the child of his own problems.

It was noted, in the process of listening to fairy tales, in addition to the development of the child's sensory system, the egocentric side of the speech is developing, very similar to the inner speech of an adult.

The relevance of research: The musical fairy tale enters the life of a child from the very early age and accompanies it throughout the whole childhood, and often remains with him for life.

Object of study: child preschool age.

Subject of study: Diagnosis and development of children's musical abilities through a musical fairy tale as a means of music.

Purpose of the study: To identify, justify the impact of a musical fairy tale on preschool children.

Tasks:

1. Intensify and develop in children interest in the world of fairy tales through listening to works on fabulous themes.

2. Develop auditory attention imagination.

3. Create an atmosphere of a fairy tale from the nearest surroundings of items.

Research base:

Structure of the course work: Introduction, the main part that consists of two chapters, conclusion, bibliography.

Chapter 1. Musical fairy tale as a means of developing a child of preschool age

1.1. Music as a means of developing a child preschool age

Music has the possibilities of exposure not only on adults, but also on young children.

Moreover, it is also proven, even the intrauterine period is extremely important for the subsequent development of a person: the music that the future mother listens is to have a positive effect on the well-being of a developing child (maybe forms its tastes and preferences). Only developing emotions, interests, tastes of children can be attached to the musical culture, lay its foundations. Preschool age is important for subsequent mastery of musical culture. If their musical and aesthetic consciousness will be developed in the process of musical activity of children, it will not pass without a trace for the subsequent development of a person, its common spiritual formation.

Music develops a child and mentally. In addition to a variety of information about music that have cognitive importance, the conversation about it includes the characteristic of emotional-shaped content. The dictionary of children is enriched with shaped words and expressions characterizing moods, feelings transmitted in music. Music activity implies mental operations: comparison, analysis, comparison, memorization, and thus contributes not only to the musical, but also to the overall development of the child.

It is very important to create conditions for the formation of the foundations of the musical culture of preschool children. In preschool pedagogy, music is considered as a non-replaceable means of development in children of emotional responsiveness to all the kind and beautiful, with whom they are found in life.

Music for the child is a world of joyful experiences. To open the door to this world in front of him, it is necessary to develop his abilities from him, and above all the musical hearing and emotional responsiveness. Otherwise, the music will not fulfill its educational functions.

Music - art that affects the child for the first time months of his life. The direct influence of it on the emotional sphere contributes to the emergence of initial responses, in which the prerequisites for the formation in the future of major musical abilities can be seen.

At the earlier age, the baby allocates music from the surrounding sounds, noise. He focuses his attention on the heard melodies, freezes for a while, listening, reacts with a smile, humming, separate movements, shows a "auxiliary complex". Older children have already increased mental abilities. They comprehend some ties between phenomena, capable of making the simplest generalizations - to determine, for example, the nature of the music, to call, for which signs of the playful play of cheerful, joyful, calm or sad. They are clear and requirements: how to sing a different song in character, how to move in a calm dance or in a movable dance. Musical interests are also consisted: it is preferred to this or another activity, the genre of music.

For the six-seven years, the initial manifestations of the artistic taste are observed - the ability to evaluate works and their execution. Singing voices at this age are acquired by the bellivity, observance, mobility. Range aligned, vocal intonation becomes more stable. If four-year children still need constant support for an adult, then with systematic training, most six-year-old children sings without instrumental support.

The versatile development of the identity of the child is ensured due to the close relationship between aesthetic education with moral, mental, physical. The implementation of ideological and moral impact helps a properly developed program and selected in accordance with the age capabilities of children. But the most important thing is the "School of Sensities", which are formed due to the special property of music - to arrange empathy.

Cognitive and mental activity is also activated at musical classes. Children know many things, carefully listening to the work. However, they only perceive the most common features, the most vivid images. At the same time, emotional responsiveness does not lose its meaning if the task will be delivered to the child to listen, to distinguish, compare, allocate expressive means. These mental actions enrich and expand the sphere of feelings and experiences of the child, give them meaningfulness.

The harmony of musical and aesthetic education is achieved only when all types of musical activity available to preschool age are used, all the creative possibilities of a growing person. At the same time, complicating pedagogical tasks, one cannot abuse special child susceptibility. Musical art itself, its features are put forward to the teacher the need to solve a number of specific tasks:

1. Rail love and interest in music. Only the development of emotional responsiveness and susceptibility makes it possible to widely use the educational impact of music.

2. Enrich the impressions of children, familiar them in a definitely organized system with a variety of musical works and used expressive means.

3. To acquire children to a variety of musical activities, forming the perception of music and the simplest performing skills in the field of singing, rhythm, games in children's instruments. To acquaint with the initial elements of musical letters. All this will allow them to act consciously, at ease, expressive.

4. Develop the overall musicality of children (sensory abilities, ladscent hearing, a sense of rhythm), form a singing voice and expressive movements. If at this age the child is trained and attached to active practical activity, then the formation and development of all its abilities occurs.

5. Promote the initial development of the musical taste. Based on the impressions and ideas about music, it first is manifested first selective, and then the estimated attitude to the executable works.

6. Develop a creative attitude to music, primarily in such an affordable activity, as the transfer of images in music games and dances, the use of new combinations of familiar dance movements, improvisation of speakers. It helps identifying independence, initiatives, desire to use in everyday life a learned repertoire, musitizing tools, sing, dance. Of course, such manifestations are more characteristic of middle and senior preschool children.

In order for the development of children in this direction successfully, it is necessary to organize work on musical education, taking into account the peculiarities of the music and age possibilities of children.

All musical abilities are combined with a single concept - musicality. "Music is a complex of abilities developed on the basis of congenital deposits in the musical activity necessary for its successful implementation" (Radyov O.P. "Musical Development of Children").

The core of musicality is the three main abilities that are necessary for the successful implementation of all kinds of musical activity: emotional responsiveness, musical hearing, a sense of rhythm.

Emotional responsiveness to music is the center of the child's musicality, the basis of his musical activity necessary to feel and understand the musical content and its expression in performing and creative activity.

Musical hearing is necessary for pure intonation when singing, a sense of rhythm - for movement, dances and playing musical instruments.

The following types of musical activity are distinguished in the musical education of children: perception, execution, creativity, musical and educational activities. They all have their own varieties. So, the perception of music can exist as an independent activity, and may precede and accompany other types. Performance and creativity is carried out in singing, musical and rhythmic movements and playing musical instruments. Music-educational activities include general information in music as the form of art, musical genres, composers, musical instruments, etc., as well as special knowledge about the ways of execution. Each type of musical activity, having its own characteristics, assumes the mastery of children by the methods of activity, without which it is not feasible, and has a specific impact on the musical development of preschoolers. Therefore, it is so important to use all kinds of musical activity.

Music and educational activity does not exist isolated from other species. Knowledge, information about music is given to children by themselves, but in the process of perception of music, execution, creativity, along the way, to the place. Each type of musical activity requires certain knowledge. For the development of the execution, creativity, special knowledge of the methods, receptions of the execution, means of expressiveness are needed. Studying singing, the guys acquire the knowledge necessary for the mastery of singing skills (sound formation, breathing, diction, etc.). In musical and rhythmic activities, preschoolers are mastering various movements and methods for their execution, which also requires special knowledge: about the mercy of the nature of music and movements, about the expressiveness of the game image and its dependence on the nature of the music, from the means of musical expressiveness (tempo, speakers, accents, register , pause). Children learn the names of dance steps, assimilate the names of the dance, dance. Studying on the game on musical instruments, children also receive certain knowledge about the timbres, ways, game receptions on different tools.

Thus, it is necessary to remember that musical development has a positive effect on the overall development of children. The child is improving thinking, enriched with an emotional sphere, and the ability to worry and feel the music helps to raise love for the beautiful in general, sensitivity in life. Independent operations, language, memory are developing. Therefore, developing a child musically, we contribute to the formation of a harmoniously developed personality, which is very important. Music activities of preschoolers are various ways, means of knowledge of the children of musical art (and through it and the surrounding life, and itself), with the help of which general development is carried out.

1.2. Formation of the foundations of musical culture of preschoolers

through the world of musical fairy tale

Music education plays an important role in the formation of the identity of the child, the development of aesthetic feelings, artistic taste, creative activity and moral qualities. The basis of the preschooler musical culture is the emotional responsiveness for highly artistic works of musical art. Doctor of Pedagogical Sciences O.P. Radins emphasizes that "the development of the children's emotional responsiveness and awareness of perception (emotional-evaluative attitude towards music) leads to the manifestations of preferences, the desire to listen to the musical works that are masterpieces of art, creates creative activity."

The development of creative abilities and the formation of a child's harmonious personality occurs through the perception of music, the ability to listen to it, analyze, as well as through the activity of the child, which manifests itself in different kinds of musical activity. Children in the learning process must learn to feel the beauty of the musical work and express their joy from his perception with words, dance, playing children's musical instruments or visual creativity.

Such a direction in the field of musical education is a priority, since reflections and analysis contribute to the development of logical and associative thinking, the formation of independent work skills. When developing thinking, a mature personality is formed, capable of creating and creating. Practical musical activity activates the will of the child, makes the learning process more efficient. In the course of musical classes, there is a natural development of speech, the ability to clearly state their thoughts, to express the words emotional perceptions and sensations.

Fairy tale love everything: both adults and children. What is the secret of this universal love for a fairy tale? The main thing here is probably the fact that the fairy tale is the embodiment of the people's dreams, the presentation of the people about justice, about the victory over the space and the time, the incarnation of faith in the mighty power of the native land. The people's fabulous hero, the ideal of the people - the carrier of truthfulness and generosity, physical spiritual power, constantly ready to put this force for the service of good and justice.

The fairy tale, being an important means of mental development of the child, develops his fantasy, helps to understand music. But the music "fills fabulous images alive heartbeat and trembling thoughts. Music introduces a child to the world of good "(V. Sukhomlinsky). The fairy tale gives a powerful impetus to the development of the most kind of senses in a small man.

In work with the younger preschoolers, simple plays are used on this topic. For example, Nianin Tale, "Mom" from the "Children's Album" P. I. Tchaikovsky, "Evening Tale" A. Khachaturian. The kids emotionally respond to music, hear its common mood, tempo, dynamic features, some allocate melody. With the help of the teacher, they express about the nature of the music, come up with fairy tales, try in drawings and elementary movements to transfer musical images, coordinate the actions according to the change of parts of the musical work. On musical entertainment with kids listen, and sometimes playing musical fairy tales: "Teremok" Music T. Popatenko, "Masha and the Bear" Music E. Tilicaeva. They are also instrumental and vocal music, which makes it much easier for kids with a holistic perception of musical images.

To work with senior preschoolers on the topic "Tale in music" developed cycles of integrated thematic classes, including various types of artistic activities of children (listening to music, poems, Russian folk fairy tales; viewing video materials; musical improvisation (movement and game of musical instruments); Painting).

"Magic Lake" - a cycle of six integrated classes for children prepared to school group includes the musical works of A. Lyadova "Magic Lake" and "Kimikor", P.I. Tchaikovsky "Baba Yaga", M.P. Mussorgsky "Hut on Courish Legs".

With senior preschoolers, they continue to listen and play musical fairy tales using the best samples of classical music. For example, musical entertainment based on fairy tales. Andersen "Thumbelina", where children performed dance improvisations to the music of K. Saint-Santa "Aquarium", F. Chopin "NCTURN", E. Griega "Norwegian dance" and "Morning", then expressed their impressions in the drawings. The musical fairy tale "The Snow Queen" (based on the fairy tales of G.H. Andersen) was shown by children on the New Year holiday. The music of E. Grieg "in the Cave of the Mountain King", "Aitra Dance", M.I. Glinka "Waltz Fantasy", I. S. Bach "Menuet" Sol C major, V. Rebikova "Waltz" from the Opera "Tree", F. Chopin "Waltz".

Musical fairy tales using small instrumental plays or passages from large musical works are a transitional step to understanding such complex genres as opera and ballet.

On musical classes to familiarize children with a opera or ballet, reading wonderful fairy tales and considering illustrations to them, as well as pictures of famous artists, always try to keep music priority. All means used in classes should help the child better understand music, deeper to penetrate its content.

For several years, teachers were convinced that acquaintance with the music of the opera or ballet even with children of one age must be carried out in different ways, depending on the complexity, and most importantly - from the musical and general development of children. In different ways, acquaintance with the literary material (reading the fairy tale or the use of the musical and literary composition of this fairy tales), differ in forms of classes.

Children delivered joy and the process of preparing the performance, and, of course, the speech itself. As it was nice to see both parents, and us, teachers, when a child, still preparing for their exit, was completely transformed: a lightweight face, legs in the desired dance position, beautiful, correct posture. And this is especially important for our pupils, since we have a correction preschool institution and attend it only children with a disruption of the musculoskeletal system. And when dance compositions were performed, everyone was completely forgotten that these children had just been engaged in therapeutic physical education yesterday, massage and other healing procedures were visited. And all this happened under the influence of beautiful, emotional and sensual music PI Tchaikovsky.

The annual diagnostic examination of children shows that integrated listening studies, the inclusion of classical music in musical entertainment and holidays, playing musical fairy tales and the formulation of musical performances, visiting theaters have a positive impact on the general and artistic development of children, the formation of their musical and creative abilities. And the world of the musical fairy tale is an excellent means of the introduction of preschoolers to classical music, the development of the emotional sphere, the formation of the basics of musical culture.

1.3. Methods of applying a musical fairy tale

in the program O. P. Radinova

"Music development of a child of preschool age"

Story - This is the world of fantasy, intertwined with reality. To understand the fairy tale, you need to be able to fantasize, imagine. To understand the music, also need fantasy and imagination. Thus, to some extent, the tale and music have points of contact in their perception. Therefore, the fairy tale can help teach to perceive music. Immediately before starting familiarizing with music, educators read the fairy tale or literary composition with children, so that the guys knew its content, the plot. Acquaintance with such a large work as an opera or ballet occurs for several lessons. For listening, they offer the most vivid musical relations and on dramatic fragments.

When listening to pay attention to the sound of the symphony orchestra tool, we find the connection between the tool timbre and the character of the musical image. So for sparkling fluffy snowflakes in the sun, the composer was necessary to use bells in orchestra, triangles, a striking delicate timbre of the flute; To transfer a pattern of snowstorms - Hercules sorts; And the "solo" melody played trembling violins. Be sure to show illustrations of these tools.

At the next stage, they offer children themselves to choose musical instruments for joint execution of a fragment. For the "march" they choose a drum, tambourine, shoes, ratchets, and for the "lullaby" - a metalphone, bell, triangle.

Pick up illustrations, reproductions corresponding to the plot to help children better present the scene itself and understand music. Spectative clarity, no doubt, increases the impressions of music, causes visual images in their imagination and encourages to express their perception in creative movement, plastic, dance.

The guys of the preparatory group are distinguished by the increased level of intelligence, certain vital and musical experience. This allows them to prevent them in an affordable form some volume of theoretical knowledge of music. They can be given a submission not only about ballet, but also to tell about the opera, explain what aria is, choir, overture, speaking, leitmotif. It is necessary to emphasize that familiarization with genres and music forms is not an end in itself. Theoretical information about music is directly related to the content and form of the musical work.

Chapter 2. Music fairy tale in the daily life of the child

preschool age

2.1. Musical Games Tales for Preschool Children

Music fairy tales occupy a great place in the life of a kindergarten. Games fairy tales Children perform in free time. Often the game-fairy tales make up part of children's holidays. For example, the game "Dudochka" can be held on May Day festival, the fairy tale "Cold Nose, a short tail" - on a festival dedicated to the release of children to school.

Games fairy tales have a huge educational influence on children. They contribute to the development of artistic taste, singing skills, cause joyful emotions. Children better convey the nature of music in movements, they develop speech, clarity of diction, speech intonation.

Before you offer to children to listen to a fairy tale, the music director and the educator should know her well, master the text, learn music and artistically to fulfill it. The expressive music will be executed, the brighter and it will be perceived, and the truthful of the children of the fairy tale will be expressive.

The fairy tale is usually absorbed in several stages.

At the first stage, the teacher expressively reads the fairy tale to children, fulfilling the songs and music along the operation. After listening, the children share their impressions with educators and with each other. After some time, about a week or a larger interval, the hearing is repeated. Thus, children listen to a fairy tale 2-3 times, gradually absorbing and remembering it.

At the second stage, children are actively involved in the execution of a fairy tale. Mastering and memorizing text and music can go in two ways: a fairy tale can be learned with the whole group or subgroups. This usually happens in this way. The educator reads a fairy tale, and children - at will, or at the request of the educator, say words and sing a song of a particular character.

Songs that meet in a fairy tale can also be learned from all children, and then to execute those who are better to do. Workers in the fairy tale at this stage should be held at the chairs.

At the third stage, children assimilate the text of the fairy tale and the song melodies and begin to perform them in the game. The head gives some directorial instructions, for example: where to go from the acting persons, in which direction to move, where they are, etc. When learning a fairy tale in the game should not be imposed on children of fixed movements, poses, do not give a ready-made sample. It is advisable to encourage the independent detection of the children, their creative finds.

If children find it difficult to portray one or another character, you can remind his characteristic features (for example, a buggy bunny, cautious, jumps, looks around; Bear is clumsy, clumsy; the rooster walks highly raising his legs, he holds his head alive, and so on.).

At the fourth stage, you can make the necessary attributes, props.

At the fifth stage, the participants of the game put on full costumes or their elements. Costumes help children deepen the image, make it brighter, emotional.

Reading the text of the fairy tale can be entrusted with an educator or someone from children who have good memory and can clearly and express text. When the tale is learned, the participants show it to all children of their own and other groups. If the fairy tale is not included in the holiday, it is given as an independent view.

You can organize the arrival of this performance as a visit to the theater. Children take tickets at the box office, controllers check tickets, indicate the places where to sit down, and after the third call, the execution of the fairy tale begins. It is advisable to deepen and consolidate the impressions after some time this fairy tale is once again with the same or (even better) with other performers.

2.2. Creating a musical fairy tale with preschool children

The main goal of working to create a musical fairy tale with children of preschool age is the development of the ability of children to the free creative perception of the surrounding world, reflecting his impressions and attitudes towards the world around creative activity - the art of a musical fairy tale.

Step number 1. Introduction to the world of magic.

1. Intensify and develop in children interest in the world of fairy tales through reading, watching movies, visiting theaters, listening to musical works on fabulous themes.

2. Develop auditory attention, imagination, promote comprehensive speech development (speech communication, literary speech, working on request, clarity pronunciation, pace and speech volume, figurative speech). Learning to differentiate the sounds of the surrounding world. Develop associative thinking with the perception of sounds of the surrounding world.

A specially selected repertoire of "Magic Music", sounding in a fabulous atmosphere, allows you to cause a bright emotional response in children, allows you to talk about your ideas, experiences, the nature of sound, tech, share the impressions of the heard.

The world around the world is full of different sounds. To show the magic forest, a mysterious country or singing of paradise birds need to develop such qualities as attention, observation and learn to differentiate the sounds of the surrounding world. For this purpose, research games are conducted with children: "How the tree sounds," how water sounds ".

3. Use elementary music to transmit senses and emotions, characters and moods using the tools and tools of substituents to transmit characteristic feelings.

Mastering the skills of the game tools, using the ensemble in various performances.

4. Create an atmosphere of a fairy tale from the nearest surroundings of items.

The fairy-tale image or action is born in the usual setting and the need to change the situation, adapt the surrounding items to a brighter visual reflection of a fabulous situation. Associative thinking is included in the work. How to create a fabulous train? How to make a house for three piglets? The usual table turns into a hut on the couch legs, blue ribbons - in the lake, gymnastic hoops - puddles on the asphalt. But the most important thing in the fairy tale is still a fabulous character.

Every child wants to turn into a fabulous hero and feels the need to change its appearance. But how to do this without a special costume. But there is a big beautiful handkerchief, which can be a veil, a veil for the princess, may be a cloak for Tsarevich, the wizard, if you can become a grandmother, if in the form of a chalms, then a magician, a magician, etc. Just a wand with the help of "magic" words can be magical and it can be a magic flute. Take a transparent scarf in the hands, and you are already a breeze, take a white scarf and you are an antique statue.

To feel like a beloved and famous hero of fairy tales, some help is needed by a teacher. The teacher offers sets of objects or elements of costumes, of which the child independently chooses what will help him to express his beloved look. With a careful viewing of items, it turns out that the same subject can be used to identify many characters. For example: cap - parsley, clown, dwarf, starvature. Cape - Pellerina - Carevich's cloak, cat in boots, prince mantle. A set of hats, skirts, vests, masks - opens unlimited ability to reincarnation.

For the development of associative thinking, the development of fantasy, the imagination is used games: "Find a couple", "Magic scarf", "Mask, I know you."

Step 2. Introduction to the atmosphere of a particular fairy tale.

1. Choosing a work.

How to choose a work that will really be interested in children will correspond to the possibilities and features of this age, will meet the legally developing tasks, will satisfy the children's creative impulse and desire, bring the joy of communication and will reveal individuality. A large share of the teacher's information will result in the first stage of the work. So the individual abilities and the possibilities of each child will be. But how to take a collective decision, because The fairy tale is a collective work. Since children do not have a rich literary baggage, the teacher makes well-known and unknown fairy tales in different versions. With the main part of fairy tales, children have already familiarized themselves at the preparatory stage.

Thus, the circle of interests and desires of children is determined and the type of fairy tale is determined at a given age.

For example, in the senior preschool age, girls want to be princesses, fairies, and boys fabulous warriors, Tsarevichi. Children are invited to remember the fairy tale where the desired characters are present. Girls can call the "Sleeping Beauty" fairy tale (there is a princess and fairy there), boys can call the "tale about Tsar Saltan" (there are 33 heroes).

2. Acquaintance with the musical design of the performance.

Development of auditory attention. Hearing attention is the most difficult area of \u200b\u200bdevelopment for preschoolers. In order to listen to serious music for a long time, a certain preparation is necessary. Children must learn to understand where the sounds come from, to distinguish them on the timbre, follow the development of sound in dynamics, determine the nature of sound and music in general. This occupation pays great attention in the preparatory period described above. Therefore, to the perception of the music of the performance, children come already prepared. Since the performance itself is not an accurate copy of any fairy tale, but rather a fantasy on the topic, then the music in the performance is very diverse. Classical music sounds - Tchaikovsky, Mozart, Vivaldi, Mussorgsky, Roman-Korsakov; Modern classic - Prokofiev, Sviridov; pop compositions; folk music; Baby songs and children's muscy.

Music can be a background on which the action develops, the music helps to enter into the desired emotional state, music accompanies all the rhythmic actions from the simplest game or signal to the plot stage dance and, of course, music helps strengthen and brighter to present fabulous characters.

Acquaintance with music can occur while reading the text of the fairy tale. Music fragments may sound as background, can illustrate the descriptions of any character or actions. Individual songs are learned when working on the way, dancing characters get acquainted with music when learning dance, choral or ensemble singing when working on episodes. Very often acquaintance with music and reading the fairy tale text at the same time. Artistic Word and Music complement each other, strengthen the impressions of the heard and encourage children to take into the hands of pencils or paints and express their impressions on paper. Someone immediately draws a princess in a fabulous castle in the group, and someone at home thinks out the magic forest. The next day we have our own illustrations that further activate interest in our fairy tale.

Step 3. Work on the characters.

1. Starting work on the characters, the teacher relies on the imagination of children, the child's personal experience and memory. The child is invited to tell and show how he represents this character. Since personal experience is not yet great, the teacher adjusts and helps, prompts the most vivid character characteristics, helps to understand the image deeper. To do this, you need to encourage the child to the manifestation of imagination, fantasy. If you need to imagine the wizard, then the exercise "Duman", if you need to feel like the Fairy, then the exercise "Fairy of Sleep", if the cheerful clown does not immediately work, then the exercise "Parsley jumps" or "two clowns" will help. Often there are very complex characters, special, with which children rarely meet or first hear. It is the novelty of the topic and gives great opportunities for the development of memory, imagination, develops cognitive abilities, a horizon. Such characters are selected, integer complexes of group and individual exercises are invented.

Well presenting and understanding your character, voiced him. The child meets the text of the character and in the process of learning and memorization is formed a clear, expressive pronunciation. The child begins to understand that if it is well aware of the subject of speaking and expressively say - then the text is remembered better and faster.

Thus, work on the character contributes to the development of mental processes - memory, imagination, fantasy, speech.

Interaction with partners and participation in the performance is becoming increasingly fascinating. Well knowing and presenting his hero, I can understand how to speak and express him in words, children can easily copes with a faithful image solution.

Children are already familiar with the music of the performance. Where music sounds background, children can improvise and create a driven image themselves. Each hero in his own way: Music "Forest" - like a red hat goes through the forest, and as a wolf, the music "ball" - how the ladies are dancing, and as the guards.

There is music for a specific character. For example, a dance is already offered a certain set of movements. In this case, the music enhances the expressiveness of the image and transmits the image in a slim artistic form.

Each character has its own special creative characteristics. The brightness of the image is achieved in different ways, but most of all musical. What is the red hat without songs? Or what are the eastern guests without dance? How will the guards cost without brave songs and a fun march? How will Cinderella tell about his trouble? Of course the song. To fulfill all these particularly interesting musical numbers, you need to develop musical abilities.

All musical material, with whom the child meets, develops musical memory throughout the performance. Music for listening and music for execution require memorization to keep track of the performance of the performance, interact with partners, remember your musical theme and perform it.

Step 4. Creating a stage space.

To do this, you need to be able to navigate in any space, be able to determine the boundaries for this action, divide the space on the sectors, lines, the main place of action, know the parties (left, right, back, forward, diagonally), determine the middle, edges.

Games contribute to the development of orientation: "Remember your place", "Remember your tree", "breeze", "forest" (trees and animals), "needle and thread", "boring so sit", "path", "scenery", "Scout".

Orientation development contributes to various rebuilding exercises. To better present the drawing of rebuilding, children are offered a visual range of pictograms. Having learned to see and understand the space, children quickly find their place, partners and subjects with which it is necessary to interact. In force, children's improvisation is entering, associative thinking. There is a need to use objects (both scenery and objects - substitutes). Interaction with partners leads to the compilation of Misaneszen.

The teacher remains to adjust the creative hint of children, not imposing his vision, but together "burning" with children. All that can serve, for the rehearsal episodes, finds its exact location on the site (elements of scenery, props). And the elements of the costume find their artist.

Step 5. Forming an acting (role distribution)

Children divered in a magical world for some time, they themselves created him, learned to watch and listen to famous fairy tales and fairy tales invented by children. During this time, children's desires were formed, there was a circle of interest, the addicts were revealed. The guys tried themselves in all roles - animated and inanimate. Played in different episodes. Now it is time to take responsibility for a specific role to convey the performance to the viewer. Children gives the opportunity to express their desire and try yourself in a particular role. As the child is fulfilled, it also appreciates himself (its capabilities, degree of expressiveness, the ability to interact with partners). The child is given to feel how comfortable in this role, whether it is "clothes". On the other hand, it is evaluated by comrades (mutual execution, how convincing the image is obtained, the ability to work with partners). The team of children expresses his wishes, determines its sympathy. The joint selection of children defines the performer of the most appropriate role.

The child is given the opportunity to try himself in the form of one or more characters, thereby developing self-confidence, communicativeness in relation to peers. There is a need to determine the second composition of the performers so that everyone can reveal its creative potential.

Step 6. Speech.

Speech is the most exciting and responsible stage in our work. The child gets the opportunity to declare himself and believe in itself. A sense of responsibility for the common cause is formed. The child feels the joy of communicating with peers and adults. Adults are given the role of assistants and connoisseurs. The socio-personal development of the child is carried out.

Step 7. Repeated shows.

Having received an assessment of the audience and appreciating themselves, the performers wish to tell the fairy tale "on the new" - with additions, changes, and even change roles at all. The patient spectators may also become performers who did not participate in the first show in virtue of some reasons. Fastening, the resulting skills and skills each child is individually manifested, reveals through creative activities.

Conclusion

The musical fairy tale, being an important means of mental development of the child, develops its fantasy, helps to understand music. But the music "fills fabulous images alive heartbeat and trembling thoughts. Music introduces a child to the world of good "(V. Sukhomlinsky). The fairy tale gives a powerful impetus to the development of the most kind of senses in a small man.

In musical fairy tales, spiritual and moral content is enhanced by musical accompaniment, emotionally sensual effects. A certain attitude, installation to perception contributes to the awakening in the listeners of the instinct of empathy, complicity, co-creation. The musical tale is a bright, emotional statement of fabulous events having spiritual and moral content.

Given the role of a fairy tale, as a carrier of moral and social values \u200b\u200band ideals, special attention should be paid to a meaningful aspect, the characteristic features of the heroes, a dialogue speech in the work. Among the main groups of social and moral standards digestible in preschool age can be called: the norms of intra-family relationships, the norms of behavior, social and moral norms of self-regulation and the organization of interpersonal relations, preferences in the choice of the ideal of development, aesthetic ideas, etc. The tales given Layout the ideological and moral basis of the person.

Questions are written in the paper - music as a means of developing a child of preschool age; Formation of the foundations of musical culture of preschoolers through the world of the musical fairy tale; Methods of applying a musical fairy tale in the program O.P. Radinova "Musical Development of Preschool Children"; Music fairy tales for preschool children; Creating a musical fairy tale with preschool children.

The purpose and task of the course work is achieved.

Bibliography

1. Vetlugin N.A. Music education in kindergarten - M.: Enlightenment, 1981;

2. Vetroga N.A. Music keyproof - M.: Logging, 1990;

3. Zimina A.N. Basics of musical education and development. - m.; "Vlados", 2000

4. Koreneva T.F. "In the world of musical drama." M. "Vlados".

5. Mentils N.A. Music - Children - M.: Enlightenment, 1985;

6. Method of musical education in kindergarten / under. ed. N.A. Llugina. - M, 1982;

7. Makeeva I.P., Churakova MD, Horiem L.A. Education fairy tale. Program of classes with children of middle and senior preschool age. PHOLOGOLOGICAL AND SOCIAL CENTER "FENIX" // Collection of practical materials. - M.: "Planet 2000".

8. Merzlyakov S.I. "Magic world of the theater." The program for the development of the scenic creativity of children by means of theatrical games and gaming ideas. " M. "Vlados" .1999.

9. Naumenko G.I. Folklore Azbuka - M.: Publishing Center "Academy", 1996;

10. Petrova V.A. "Kid". The program of development of musicality in children of early age (the third year of life). M. "Violanta" .1998.

11. Radina O.P. "Musical masterpieces." M. "Gnome Press" .1999.

12. Radina O.P., Kabin A.I., Polavdishvili M.L. Music education preschoolers / under. ed. O.P. Radinova - M.: Education: Vlados, 1994;

Developing:

• develop the ability to analyze, compare, summarize;
• develop the creative abilities and independence of children.

Educational:

• based on the emotional perception of music by N.A. Roman Corsakov develop the imagination of children
• educate interest, the need for communication with art
• develop the audience culture of students.

Equipment:

• Portrait of N.A. Roman Corsakov
• Fochrestomitia - three miracles (fragments from the opera "Tale of Tsar Saltan" N.A. Rimsky-Korsky - Squirrel, Bogati, Tsarevna Swan).
• Pushkin "Tale of Tsar Saltan" (with illustrations)
• Reproduction of Vrubel "Tsarevna-Swan"
• Shadow Theater (Bogatyer Figures, Squirrels, Swan, Tsarevna)

Type of lesson: Lesson fixing.

DURING THE CLASSES

1. Topics and lesson objectives.

Children enter the class "" and sing the musical greeting "Good afternoon".

Teacher:

Do you like fairy tales? And what is a fairy tale?

(Certificate for the teacher: "The fairy tale is a folk genre, mainly a prose product of a magical, adventurous or domestic nature with a fictional installation" // Encyclopedic dictionary V.Dalya)

Who composes them?

a) people - folk tales: "Snow Maiden", "Tsarevna-Frog", "Havroshchka", "Ivan-Tsarevich and a gray wolf"; Arab - "Thousand and one night," Ali Baba "; Danish "swinefield", "Mermaid";

b) Writers - Brothers Grimm, Sh.perro, Afanasyev;

c) poets - A.S. Pushkin, P. Ershov.

Where can I hear (see) a fairy tale?

Oral story, read in the book, see the performance, cartoon, film fairy tale; Musical performance (Ballet Tchaikovsky "Nutcracker", R. Shchedrin "Konk-Gorbok", Opera "Tsar Tsar Saltan", "Sadko", "Koschey immortal" - N.A. Roman-Korsakov, Symphonic fairy tale "Peter and Wolf "S. Prokofiev; paintings by artists - Vasnetsov" Three heroes "," Ivan Tsarevich on a gray wolf "," Alenushka ", etc.).

And songs come with fabulous content? What are you singing in the lessons of music? (L. Knipper "Why's Bear Winter Sleep", A. Filippenko "Cheerful Musician")

What unites them? - Unreality of the situation, fiction, fantastic images.

The performance of the song L. Knipper "Why the Bear is sleeping in the winter."

Guys, what a fairy tale formed the basis of the Opera of the Roman Corsakov "Tale of Tsar Saltan"? (Work by A.S. Pushkin "Tale of Tsar Saltan")

Let's remember the music from this opera.

Task: Determine In which musical fragment, the composer describes each of the wonders (previously the students call all three miracles - a squirrel, hero and princess-swan).

Hearing.

You all learned everything, what did you suggest? (music)

Well, if the music sounded like this, would you easily deal with this task? (Bad examples on piano in one register and in the same pace)

Of course, all the examples became the same, inexpressive, it becomes incomprehensible, about what music.

So something helps to make music unique, special? (Call the means of musical expressiveness). Let's give all your answers to the system.

Compare the means of musical expressiveness and together with the guys to fill in the table.

Name of fragment	Wok / Instru	Genre base	Register	Temp, Dynamics	Timbre	Leader
Squirrel	tool.	dance	tall	fast	the flute	melody, dance. rhythm
Bogatyri.	tool.	march	low	slow, F.	string	marsh rhythm
Swan	tool.	song	medium +.	moderately, MF.	harp	timbre, harmony

When repeatedly listening to musical fragments, you can use the theater of shadows or rhythmoplasty (reflect the movement of fabulous characters).

II. With these means We meet musical expressiveness in each work, but each time there is an independent, different from another, inimitable musical image. Remember how we performed the song R.N.P. "Whether in the garden, in the garden."

Singing R.N.P. "Lee in the garden ..." (with dance movements and children's musical instruments)

And now compare the song and the musical excerpt from the opera. Let's follow her reincarnation. As scientists would say - metamorphosis.

(certificate for teacher: Metamorphosis (from Greek. - Transformation) - Transformation, transformation (for example, a headastyc - frog, doll - butterfly).

Listening fragment "Squirrel"

Together with students analyze changes in music

Conclusion: From the dance song turns into a tool product, and the timbre of the flute gives a fabulous tint of music.

III. Sure, These fabulous characters are based on real creatures. What kind?

And what makes them fabulous? (fantasy, fiction, they all know how to do what in ordinary life does not happen)

How did the composer suggest music that the action is unreal, fabulous? (In music, the theatricality of what is happening is clearly emphasized)

Task-tip before the hearing: how the fragment begins and that it separates each music number from the following.

Hearing (3)

Student responses:

• We hear musical fragments in which there are no miracles.
• The sound of the pipe resembles fanfares. So they were told on the theater representation. (The teacher suggests: it's like imitation of a puppet bolav when the decorations change behind the closed curtain).

The outcome of the lesson;the fairy tale can be told by the means of music without the help of words. All words and visual images (the fact that from the area of \u200b\u200bthe dramatic theater) replace the means of musical expressiveness (timbre, pace, harmony, register, rhythm and, of course, melody). You need to be able to carefully listen to music, and she will wake up your fantasy, will expand and enrich your inner spiritual world.

Additional question:

- What is the famous instrumental number from this opera, which has become an independent work, do you know? ("Flight of the Bumblebee") - hearing

Guys, do not forget that this music from the opera. And in the opera there is an action, there are costumes, scenery. Try yourself as directories, decorators, artists in the costumes.

Creative tasks (to choose from):

• draw scenery, costumes, portraits, illustrations for this fragment of the Opera Roman-Korsakov (Impressions after listening to music);
• check out any of these fragments.

Exacastidy Elena Vitalevna
Music fairy tale as a means of attaching children to the theater

« Music fairy tale, as "

music leader

Exacastidy Elena Vitalevna.

Music fairy tale, as tool for children to theater

Story -"Cradle of thoughts". This figurative expression V. A. Sukhomlinsky is not accidental. It was the result of studying the nature of one of the most popular genres of folk art. Exactly at fairy tale The child gets acquainted with the beauty of his native word, knows its emotional paints and shades.

What music fairy tale? it story, "Written" via musicAnd therefore actions actions, the sense of mood of characters are very bright. What do children say? - this is storywhere the characters not only say, but also sing, dancing, playing on musical instruments. This is a fascinating journey along with music in the world of fairy taleswhere you can be the audience, and the performer, and the writer. This is a holiday meeting with your favorite heroes of well acquaintances. tales.

Musical fairy tales Different from ordinary fairy tales for children. They are bright, original, somewhat unusual for traditional perception. Deploying plot tales accompanied by musicwhich is characterized by simplicity and clarity. Musical fairy tales develop artistic taste, creative abilities, form a steady interest in theater artthat in the future creates a child need to contact theater.As a source of emotional empathy, creative complicity. Art and pedagogical value of children's musical fairy tales Doubted. The famous teachers S. I. Merzlyakova, F. Z. Gershov, Z. Ya. Root, N. V. Zaretskaya, E. Churilova, L. Olifirova are working on this topic.

At the same time, this kindergarten musical creativity is not sufficiently studied, in the methodical literature very little data on the experience of its practical application in musical and artistic education children preschool age. Insufficient examination of the problem in theory and practice children's musical education Preschool age determines the relevance of this topic.

Based on this main position, goals and objectives are formulated as follows.:

Goal:

The formation of aesthetic attitude towards the world around;

attach children to theatrical activity;

Develop aesthetic feelings through the perception of the best samples musical and artistic culture;

Training initial artistic knowledge, practical skills in the field theatrical art;

Develop the basics of acting skills.

Tasks:

Improve the comprehensive development of creative abilities children by means of theatrical art.

Develop creative independence in creating an artistic image using game, songs, dance improvisations for this purpose;

Continue to activate and specify the dictionary children.

Encourage children improvise on the topic of friends tales, invent the stories of your own essay individually and collectively;

To form a desire to take an active part in holidays and entertainment, using skills and skills, acquired in class and in independent activities;

Introduce theatrical genre - musical fairy talethrough the use of all stage tools: Word, music, Movement, Mimic, Plastic, Improvisation.

Novelty - Music + Tale + Theater. Who does not dream from childhood about the merger of these words into a single whole. We are trying to embody this dream in our practical activity. Music fairy tales enjoy in children unchanged love.

Staging musical fairy tale - This is a wonderful key that opens the door to the magic world of images, paints, sounds. This is creativity, improvisation requiring labor and fantasy children, and from adults - fiction and ingenuity in costumes and decorations.

Stages of work:

Compilation of the scenario;

Acquaintance children with fairy tale text;

Acquaintance children with musical tales(full performance);

Acquaintance children with music and the text of each character separately;

Learning text fairy tales with all children as an educator;

Distribution of roles, destination of doubles;

Game exercises, etudes that contribute to the practical and emotional development of actions on the plot;

Staged work on a holistic performance;

Show musical fairy tale.

The poetic text is remembered better than prose, so many fairy tales Famous writers are translated into poetic rhythm, which makes it easier to work with the text. In the plot musical fairy tale included classic and folk music. You can use modern pop songs available to children. In children's performance, they sound more emotionally.

Matinery and entertainment scenarios make as small theatrical ideas, or mini performances where the heroes familiar from childhood are involved, the scenario developments can be called conditionally musical fantasies on fabulous themes. In the traditional plot, new, unusual characters invented by children and adults are successfully intertwining. It creates a warm environment and thus helps to adapt to the child in new conditions. On holidays, children are both spectators and artists at the same time, so they are activated, leaving directly from the auditorium, not because of the scenes. Adults are active participants in the performance. This form of holidays allows you to create figurative - game wednesdayfavorable for the development of the child's creative abilities, and the presence musical and poetic material that meets the high art level contributes to the development of the aesthetic taste of the child.

Creative activity children In matinees, leads them to the fact that in the group preparatory for school they can fulfill the children's opera. To produce a children's opera, the choice of a literary work is of great importance, which is based on the basis of libretto.

Literary work choose with the educator, consider knowledge and interests children. Think in advance with the educator as luck to convey to the child the content of the text and music. We try to make every child in concerned fairy tale, I expressed the desire to play a particular role.

After reading fairy tales We suggest listening to the whole, and they are listening to music, Under which each character is valid. We disassemble the character and features of the heroes and compare them with the visual features music.

The teacher then learns the text with all the children, especially paying attention to the expressiveness of speech.

When distributing roles, consider individual features children, their vocal possibilities. For each role, choose a flubber.

We approach your work creatively: We try to avoid templates, bumps - it gives us the opportunity to develop everyone children at the same time, regardless of the level of their preparation. Our goal is not to be limited to scenario, directorial and producing work with children - "Artists", and through the whole life of a kindergarten, through all types of children's activities, to solve problems aimed at forming a creative start in children.

Work on the opera - analysis of the content of the work, the distribution of roles, game exercises, etudes that contribute to the practical and emotional development of actions on the plot, and finally, staged work on a holistic performance - we carry out in special occupations (circle work, at least 1 time per week at 25 - 30 minutes in the afternoon.

Large performances (musical fairy tales, children's operas) There should be no more than two, as a lot of preparatory work is required. Basically, the opera is preparing for March 8 or a graduation matinee, and also has become a tradition in our kindergarten to spend at the end of April theatrical festivalto which all groups are preparing theatrical ideas. But during the year, thanks to systematic work, it is possible to use a large number of others. theatrical games(desktop, poster, games - dramatization). We introduce them like spectacular entertainment, like a fragment of a festive concert or a matinee.

For example, in opera "Kolobok" The storyline develops based on the Russian People's Republic fairy tales. This tale introduces children in the figurative world of Russian folk characters, but used at the same time, genre music. The performance gives you to feel the connection of poetry and music, plastics motion and dramatization.

Genre « Fairy Tales of Stupid Mouse» You can determine how dramatization with choir elements. Children's opera was created on the work of S. Ya. Marshak, music wrote O.. Getalova. Children perform a work on one breath, are located like a real choir, the action of the characters occurs against the background of singing children. Changed final fairy tales: Mouse does not die in the mouth of the Cat Sweet, and it saves and understands that there is no one's own mother. It is from this fairy tales In 2003, I began to use a children's opera in my work.

Musical "The case was in the forest" Represents a combination music - aesthetic education and acquaintance children With life safety basics. In a well-known friend from childhood fairy tale"The wolf and the seven Young goats" New characters were complemented - cuckoo, fox, even the trees in the forest became the main participants fairy tales. In the affordable form of the opera play for children talking about TomHow to behave, remaining at home alone, teaches mutual execution.

Opera's base "Fly Tsokotukha" Punched by opera Mikhail Ivanovich Krasov. The bright, cheerful creativity of the beauty is almost completely given to children. Opera "Fly Tsokotukha" His special place among musical fairy tales / Libretto composer according to famous fairy tale Rooting Ivanovich Chukovsky /. Witty, simply funny music It was written in a heavy military 1942 for a children's club who created the Moscow guys evacuated in the Ural region.

Music This opera is available and expressive, filled with rapid movement and very rhythmic. Our pupils managed to combine simplicity and ease with musical images.

Vaudeville "Our good neighbors" music E.. Churilova is a continuation tales S.. Ya. Marshaka "Cat house". He develops love for his family, and respect for other families. Via music And poems, children received elementary ideas about traditions, culture, moral, and different families.

Musical tale on the work with. Mikhalkov « Tale of Tomlike the bear has found a pipe " talks about bad habits. In an affordable form, children speak of the dangers of smoking, about diseases that may arise from a smokers, about the dependence of the smoker from tobacco. Kids participated in the performance: Owners elementary musical and dramatic skills.

"Fire in the forest" - This poetic work on fire safety was published in the magazine « Music leader» . Solo and choral buses fell very well for children's songs written by A. Filippenko, and also used "Song about match" music I.. V. Kononova from the collection "Fire safety scenarios for preschoolers".

Story"Kid - Kuraist" Very simpler in the plot and clear in theory. The image of the magic scroll personifies the magic force music And gives power over the human soul. And it is very important in whose hands this power: in good, like a baby, or in evil, like a fox. Music fairy tale"Kid - Kuraist" Written for children younger school age but the children prepared to school group perfectly coped with the task: I learned not only to pronounce the text, sing and dance, but also believed that they "Turn"and related to what is happening seriously. The acting naivety and faith in the proposed circumstances are one of the main elements of scenic skills.

In 2012, equipping musical The hall was replenished with a multimedia projector and a laptop, which allowed us to expand the possibilities of making matineens. Changing slides on the screen, according to the scenario of the opera, allowed us brighter and deeper to perceive the total content music - choreographic fairy tale"Travel drip"written by a wonderful children's composer F. Z. Gershova based on tales of Salavat Karima"Droplet". All vocal buses are written, taking into account the children's performing voice, which helped a lot when the vocal parties are learning each character.

This year, with the educator of the older group planned to prepare musical fairy tale based on Russian folk fairy tales"POH - POH" Composer S. I. Potapova, author of the text A. O. Regional ( "Directory music executive» March 2012). Story designed to participate all group children. By time it lasts 10-12 minutes. Setting requires minimum decorations and costumes, children who acting vegetables, enough to wear caps. IN there is no dancing fairy taleBut during singing characters are in motion, in accordance with the image and event.

Preparation musical fairy tales in kindergartenAs one of the types of choral activities, is of great importance for pupils of kindergartens. Interpenetration of such adjacent arts as music, dance, literature gives conditions to children to express their creative opportunities.

On a varied song material musicalopera numbers produced vocal choral skills: Various types of breathing, sound studies, meaningfulness of phrazing, tasks of tempo and emotional contrasts, naturalness and expressiveness of sound are performed.

Working with pupils over a particular role, pay great attention to the analysis of characteristics of characters and expressiveness of their execution. At the same time, we have to compare and oppose the characters, their defined color. In the work on the expressiveness of the choir version, we use the reception of an emotionally-shaped parsing of the content so that the children see the relationship of the word expressiveness and music. All this contributes like musical development of childrenand mental, stimulates their interest in music.

The educational role of work on the opera is difficult to underestimate. Perceiving it as something important, interesting, children regularly visited classes, understanding how every participant of the choir is important in our work. Performances in front of other pupils of kindergarten each time organized children, and the success of musical fairy tale encouraged children to further work.

The educational function of the children's opera is one of its genre signs. Story Performs the entire structure of the Opera, achieving a special effect of opposing the positive and negative. Grain is a moral beginning. Idea fairy tales Teaches a child to make the right choice, thereby forming positive personal qualities.

The value of the formulation musical fairy tales appreciated parents. In conversations with them, we found out that they were interested in our work, rehearsals, performances, it was nice to see in their children and singers and dancers. Parents had considerable help in preparing costumes.

So, setting musical fairy tales It is highly available in the classroom in kindergarten, it enhances interest in choral singing, develops artistic abilities children, their fantasy, accommodation them to high art.

Practical significance: Work experience has been tested for 11 years. Can be used musical leaders of pre-school institutions, managers theater Studios.

Music fairy tale Creates conditions for the development of creative activity children in theatrical activities through singing music perception, empathy of heroes tales, prompts pupils to improvisation means of Mimika, expressive dance movements and intonation, teaches distinguishing moods, emotional state through music. Music fairy tale Promotes the formation of a system of value relations to the environment.

application

How to bear the tube

The hall is decorated in the form of a forest glade. Left high oak - chair with a crown, right - burgrel. Two leave fairy Tale.

1 Fairy Tale - Decided the forester to quit smoking - threw his phone in the forest behind the bush, a brush with tobacco and a self-made lighter. And I found them a bear. Since this all started.

2 Fairy Tale - Bear was smoking a tube. And so he got used to her that he never wanted to part. Previously, it happened, the bear will wake up, it will break up on the river runs to swim and fish to catch, and then to the Malinik or on the Dupels to climb at honey.

1 Fairy Tale "Now there will be a little eye of his eyes, the phone will dwell, it will drive it into the mouth, chirknet lighter and lies under the bush, smoke smoke. So a whole child with a tube in the teeth and fails. And everything would be nothing, but became a bear to take.

Fale tales go. Lisa comes out.

Aria fox.

Fox Lisa came out,

Straight in the lake looks.

In the lake crystal, clean, mirror.

Oh. What a wonderful fur,

I am always smarter than everyone. (Goes out a bear)

Misha! My friend! Is that you?

We have not seen all summer.

How are you poor lost

As if I did not eat for a whole year!

What with you? You are sick?

Aria bear.

I myself do not know what to me!

Unhealthy something like me:

Climbs wool, in the bones of lubrication,

No need for me -

Appetite disappeared!

I began to go to bed before,

Yes, I do not sleep! Do not sleep at all!

Coughing stifles in the morning

Burning in the evenings:

Cool the heart, trembling in the paws.

Fox - What are you not going to Dyatlu?

To the woodpecker, you need to contact!

He has such a bird:

Immediately say what's what.

Do not be lazy. Go to him!

Bear is a week bastard,

It will be worse, so I will go.

Lisa and the bear diverge in different directions. Comes 2. Fairy Tale.

2 Fairy Tale - a week has passedOther passed. It became a bear worse. It was somehow a ravine. Wolf met.

Aria Wolf.

Listen, Misha - Mikhail!

What did you do? How did you live?

Fombed Boca - the skin was great!

Do you braid?

Bear - yes. Rail.

Wolf - what with you?

Bear - I do not know ...

Aria bear.

Loose!

Wolf - disappear1

You need to turn to Dyatlu!

He has such a bird!

Disaster, give advice.

Yes, yes! But not so!

Bear - tomorrow I will go to him!

Wolf - and you will find it?

Bear - I will find!

The bear goes around the hall. Wolf leaves. Bear fits K. "Pine" - Chair on which the woodpecker is.

Bear - woodpecker! Woodpecker! Old friend!

You go down to the lower bitch!

Woodpecker - Ba! Toptygin hello!

Are you healthy?

Bear - Cannot be seen!

Aria bear.

Woodpecker - you can see, smoke, do not drink?

Bear yes, smoke. How do you know?

Dyado - I hurt the smoke you smear!

Well, ka, sit under this bit!

Give your back. Knock-Knock!

Yes - with! Tapping not easy

Bear of this Growth!

Don't breathe:

You are a patient, albeit a bear.

Well - with ... everything seems to me ...

Bear is not fatal? Not dangerous?

Woodpecker - accumulated in the light soot -

From the smoothie of the whole trouble!

You, Toptygin, do you want to stall?

Throw smoky forever!

Bear - throw? Tube? Lighter?

And with a dry sheet of blood?

I can not! Do not bother! Sorry!

Woodpecker - do my advice!

And not in his burglar

You will stretch the legs soon!

Wood man flies. The bear goes around the hall. Sits in Berloga, pulls the phone, looks at her, puts in her mouth. There is a knock. The bear hides the tube, looks around, puts in the mouth. (2-3 r).

1 Fairy Tale "All summer and the whole autumn, until the winter threw a bear to smoke a tube, but never threw. Winter came. I went like a forester in the forest for firewood.

Lesnik comes out, pulls the sleigh. Bypassing Berloga, comes to the bear.

Forester - here are those on! And from the Berls - then the smoke of Walit! Paws up!

He instructs a gun on the bear, he can not raise the paw. Gets up, staggers, tert eyes.

Forester - Who are you like, Bear: Wool flocks, eyes from smoke will be watched, in the teeth tube (takes the phone, and my tube is, then I did not wait - I did not wonder!

Removes the tube to Tulup, puts a bear on Sani, drags him. Foresting leaves.

Lesnichikh - What brought from the forest, Fedya?

Forester - Look, brought the bear.

Lesnocha - real!

Forester - real! Yes, it's still smoking!

Lesnichikh - What now we do with him?

Forester - what to do? In the circus!

Top bear together. Out out Fairy Tale.

1 Fairy Tale - There is a bear in our circus.

Come see.

If someone passes by

With a cigarette in the mouth

Or with a tube - the smell of smoke

Teddy bear is depleted.

2 Fairy tale - I., trampled on the hind legs,

starts suddenly roar.

Because this smell

Does not endure our bear.

Sounds Russian dance. Bear is coming out, dancing. Forester and forest lens come out. Dance with the bear, bow and go.