Musical education in different pedagogical systems. Teaching music: systems for musical education of children

Children are different. And the paths of musical, as well as any other education, are different. Therefore, it would be wrong to evaluate pedagogical systems, of which there are many in the world, on a qualitative scale: “good”, “better”, “even better”. There are no bad ones. They don't stand the test of time. It would be more correct to say: this one is more suitable for such and such children (for example, overly excitable ones), and this one is more suitable for such and such children. A universal, optimal system that is ideal for all children has not yet been invented. In the context of family education, fathers and mothers can also, taking into account the individual characteristics of their child, adhere to certain principles. Corresponding to one or another system. Let's talk about this...

Dmitry Kabalevsky's system

The outstanding musician and composer of the 20th century had a brilliant teaching talent and the gift of a seer. He was able to discern the future in the present. Back in the sixties, being the honorary president of the International Society of Musical Education ISME, Dmitry Borisovich was one of the first to sense the approaching danger. He warned of the approaching era of commercialization of music. The time is approaching when great art will become show business, young people will fall under the influence, we would even say, dependency, on low-quality, entertaining mass culture.

Something similar happened today. Let's not lie. Classical music causes rejection and discomfort among the majority of the younger generation, as music is boring and useless to anyone.

How to turn the situation around? Is it possible?

Kabalevsky was well aware of the deplorable state of music lessons in secondary schools. These lessons, composed of parts mixed in arbitrary proportions (singing, listening to music, notation), were, with rare exceptions, boring and uninteresting. And, most importantly, they are cut off from real musical art, from life. Lessons and musical art existed as two parallel worlds and practically did not intersect.

Kabalevsky tried to combine lessons and music. And he succeeded. What is its essence? Kabalevsky said that music rests on three pillars, on three main components - song, dance, march. This is the thread connecting the two worlds. Because, on the one hand, the most complex works of musical culture are based on song, dance and march, and, on the other hand, they are part of the musical experience of all children from preschool age. Now “March of the Wooden Soldiers” from P. Tchaikovsky’s “Children’s Album” becomes not just a specific march, but one of many marches. If a child understands this, he will happily recognize the march as something already familiar to him, say, in the third movement of P. Tchaikovsky’s sixth symphony or in the finale of D. Kabalevsky’s piano concerto. The same thing happens with song and dance.

“The movement of musical thought,” writes the composer, “receiving food from the environment, will continue and will increasingly gain strength.”

We would call another important direction of D. Kabalevsky’s system the Socratic method. Children, according to Dmitry Borisovich, come to certain conclusions not as a result of lectures or stories that make them fall asleep, but themselves. Thinking and talking about music. With the help of leading questions from the teacher. In our case, dad or mom. Well, for example:

— What is needed to make a song? — Composer. - And what else?

The child thought. Sing him some famous song without words.

-What is missing here? - Words. - Right. So who else is writing the song? - Poet. — Who is needed to sing the song? - Singer. Musician. - Right. What kind of songs are there?

You are singing a children's song.

- What song is this - an adult or a children's song? - Children's room. — What other songs are there? - Adults. - And what else? What is the name of the song that is sung to small children before bed? - Lullabies. — And songs about war? - Military.

Etc. and so on. Conversations like this about music, when questions from adults help children find the answer themselves, miraculously make conversations about music interesting and exciting.

Dmitry Kabalevsky's approach

The technique involves the use of three main components: dance, song and march. These parts of learning are familiar to the child from birth and are perceived by him as something understandable and pleasant. The clear rhythm of the march is perfectly reflected in the dance movements and allows you to sing it without difficulty.

Conversation with the student also plays an important role in Kabalevsky’s method. Proponents of this approach believe that children accept and understand music if they have independently appreciated and experienced it. Long and incomprehensible explanations about musical harmony, composition, etc. cause boredom and do not produce results. The child must independently understand all the nuances of a particular composition. Only if a child understands the essence of the march will he be able to recognize it in all classical works.

Carl Orff system

The German composer Carl Orff, a contemporary of D. Kabalevsky, came up with a system of musical education, which, like the Russian composer’s system, is designed not for a select few, not for those with special musical training, but for all children. Its essence is in the development of creative imagination, in elementary music-making. In playing the simplest, mainly percussion, noise musical instruments. Moving to the music. In dramatizing children's songs and fairy tales. That is, what children especially love and do with pleasure. Moreover, such dances and movements are accompanied not only by playing percussion musical instruments (drums, spoons, xylophone, etc.), but also by “sounding gestures” - clapping, slaps on the hips, stamping feet, snapping fingers, clicking the tongue and so on.

All this not only turns music-making into a joyful, exciting activity, but also forms creative imagination, instills a love of singing, and develops a sense of rhythm. To understand how exactly you can use K. Orff’s method, let’s give a specific example.

Song-game “Good Beetle”

All of you have known this song from childhood to the music of E. Schwartz from the movie “Cinderella,” but just in case, let’s recall the words:

Stand up children, stand in a circle, Stand in a circle, stand in a circle. Once upon a time there lived an old beetle, a good old friend! He never grumbled, screamed, or squeaked. He crackled his wings loudly and forbade quarrels.

Stand up children, stand in a circle, Stand in a circle, stand in a circle. You are my friend and I am your friend, Old faithful friend. We fell in love with a beetle, an old man, a good man, That beetle has a very light soul.

Stand up children, stand in a circle, Stand in a circle, stand in a circle. You are my friend and I am your friend, good old friend!

Carl Orff's system is designed for the participation of several children, but by showing some imagination, we can easily apply its elements in classes with one child - your son or daughter. What is needed for this?

Come up with dance moves together (we emphasize - together) with your child. For example: a step to the side - a stampede. A step in the other direction is a flood. At the chorus there is clapping of hands. Movements imitating a beetle. For example, you jump, hunched over, on bent legs, with your toes raised like horns.
Accompanying dancing and singing by playing any noise instruments and (or) some “sounding gestures” that we have already talked about.
Try to play with the plot. For example, to the words “stand in a circle,” move in a circle.

Fathers and mothers (grandmothers, grandfathers) also “fall into childhood,” which is sometimes pleasant - they dance and sing along with the child. Move like this, and real fun will come to the house.

Modern technologies of musical education of preschool children in the context of the implementation of the Federal State Educational Standard

Inna Bagdasaryan

Modern technologies of musical education of preschool children in the context of the implementation of the Federal State Educational Standard

Bagdasaryan Inna Eduardovna, music director

«MODERN TECHNOLOGIES FOR MUSICAL EDUCATION OF PRESCHOOL CHILDREN IN THE CONDITIONS OF IMPLEMENTATION OF THE FSES DO»

Music occupies a special , unique place in the education of preschool children . This is explained by the specifics of this type of art, and the psychological characteristics of preschoolers .

One of the requirements of the Federal State Educational Standard is the development of a program.

If previously musical education and upbringing was carried out according to a single state program ( Upbringing and Training Program ”

edited by M. Vasilyeva, then currently
the preschool institution and the music director are given the right to develop their own program, which is approved by the organization independently, in accordance with this standard and taking into account the Model Programs.
Currently, the process of creating educational programs continues. In the field of modern preschool music education, a large number of different partial programs and proprietary methods are also appearing, based on the existing world experience in music education ( “ Musical Masterpieces ”

O. Radynova,
“Harmony”
by K. L. Tarasova, T. V. Nesterenko, T. G. Ruban,
“Tuning Fork”
by E. Kostina,
“Child in the World of
Music ” by A. G. Gogoberidze and G. V. Kurilo,
“Every child
is a musician ” by T. A. Rokityanskaya,
“In the world of beauty”
by L. V. Kutsaeva, S. I. Merzlyakova, etc.).

Music is a source of special children’s joy, and the use of various pedagogical methods music musical education of children - the formation of the leading component of musicality - the development of emotional responsiveness to music . To solve the main problem of developing musical education for preschoolers technologies in various types of musical activities in my work . When creating a subject-development environment in the educational field " Music "

various factors are taken into account: the age of the children, their needs and hobbies, the requirements of the
education and training , SanPiN standards, and methodological developments. But what is often not taken into account is the fact that today’s children differ in many ways from their peers who were raised in kindergartens 10–20 years ago. Modern have perceive the world around them differently , which, in turn, has also undergone significant changes. The modern musical development environment should be problematic in nature.
All this allows children to fantasize, create, compare, model, reflect, and solve problem situations. In my work I use some modern technologies .

Let's look at them.

The use of ICT is the introduction of information and educational technologies in education - a logical and necessary step in the development of the modern information world as a whole. The use of multimedia technologies in music classes is a universal means of visualization, which helps broaden the horizons of pupils , encourage children to independently obtain information, develop interest in the subject, making learning bright, memorable, and interesting. use ICT in music classes in various ways: use animations, demonstrate presentations, show video clips, make virtual trips, use musical and didactic games . ICT provides the greatest opportunities for successful joint creativity between educators , teachers and preschoolers , which has a positive effect on the emotional atmosphere and makes the creative process exciting and effective.

With the use of ICT in musical educational activities, in my opinion, the cognitive interest of preschoolers in music , children's attention intensified, as new motives for mastering the proposed material appeared, children became more active in joint discussion of a musical work . Musical activity has become more meaningful, harmonious and productive.

Using the computer allows me to enliven joint educational activities with children. Computer technologies expand the possibility of presenting musical and didactic material provided for in the educational program of a preschool institution .

Health-saving technologies : their main goal is to create conditions for the formation of pupils’ ideas about a healthy lifestyle, as well as the formation and development of knowledge, skills and abilities necessary to maintain their own health.

The forms of work are sports holidays, physical education minutes between classes, morning exercises, eye exercises, breathing exercises, finger and dynamic exercises, relaxation, walks not only on the territory of the kindergarten, but also in forested areas, sports games, hardening, water procedures.

Basic methods of work in health-saving technology :

- chant songs. Used to prepare the vocal cords for singing and to practice pure intonation at certain intervals;

-breathing exercises. Teaches children to breathe through their nose to prevent respiratory diseases, trains the respiratory muscles, improves lung ventilation, increases blood oxygen saturation, trains the cardiovascular system, increases resistance to hypoxia (lack of oxygen)

— singing with breathing exercises preceding it has a psychotherapeutic, healing effect on children: it has a positive effect on metabolic processes, helps restore the central nervous system, and restores nasal breathing.

-articulation gymnastics – development of high-quality movements of the organs of articulation, preparation for the correct pronunciation of phonemes, training of the muscles of the speech apparatus, development of musical memory , sense of rhythm. As a result, indicators of the level of development of children's speech, singing skills, musical memory , and attention improve.

— finger games ( musical and speech )

develop fine motor skills of the hands, which affects the development of speech, prepares the child for drawing and writing. Recommended for all children, especially those with speech problems.

-speech games relieve stress, increase the ability to involuntary attention, and sharpen powers of observation. Musical hearing develops in close connection with speech hearing. The teacher adds musical instruments , sounding gestures, movements (pantomimic and theatrical possibilities)

-music therapy is a method of psychotherapy based on the emotional perception of music . Listening to properly selected music improves children's immunity, relieves irritability and tension, and restores breathing.

-musical physical education sessions help strengthen the child’s body, allow active changes in activities, and increase performance.

Work on health-saving technology is carried out taking into account programs and teaching aids such as “A Holiday Every Day”

I. Kaplunova,
“
Musical education in kindergarten ” by M. Zatsepina, elementary music-making by T. Tyutyunnikova,
“Rhythmic mosaic”
by Burenina,
“
Musical education of children in the art therapy system” by S. A. Korotkova, O. V. Katser.

The basis of innovative technologies for musical education of children is collective activity, combining: singing, rhythmic speech, playing children's musical instruments , dancing, improvised movement to music .

musicality development that I use in practice are:

Communicative dances.

Involving a child in the process of playing music lies through creating an atmosphere of acceptance of each other and emotional and mental emancipation. Here, communicative dances are indispensable assistants, the use of which solves the following problems:

• development of communication skills,

• work on the sense of form,

• development of motor coordination,

• developing a sense of rhythm.

In musical activities with children, I consider it necessary to use children's musical instruments , primarily noise ones, since these instruments are simple and most accessible to children of this age. Communication between children and musical instruments develops: musicality , timbre hearing, subtlety of perception , associativity, and artistry.

Particular attention in musical education in preschool educational institutions is given to entertainment, themed leisure time and holidays. These are bright events in the life of preschool . Combining various types of art, they have a great influence on the feelings and consciousness of children. One of the innovative forms in the practice of preschool education in organizing leisure and entertainment can be considered a quest. Quest is an adventure game in which you need to solve problems to advance through the plot. The point is that, as a rule, there is a certain chain that you can reach. Consistently solving riddles. Each solution is the key to the next point and the next task. And tasks can be both creative and intellectual. Quests can be held both indoors and on the site. Each child becomes a direct participant in the events being played out. Any scenario can be taken as a basis. The use of a quest solves a number of problems: instilling tolerance , personal responsibility for completing a particular task, developing creativity, imagination, search activity, developing research skills, striving for novelty; involving each child in an active creative process. The possibility of implementing educational tasks in the quest format is quite real in a preschool setting with children of senior preschool age in organizing holidays and entertainment.

in my musical and pedagogical activities. The advantage of such dances is that there is no need for special preparation; children do everything as shown and they really like it. Almost all children love dancing with elements of cheerleading and sports dancing with pompoms. It combines elements of gymnastics, choreography and dance show. The accessibility of this dance is based on simple steps, jumps and dances that involve different muscle groups. The music must be incendiary, so that not only the dance, but also the melody sets the dancers in a positive mood. It is important to choose simple movements (jumping, turning, clapping, etc.)

. The main thing is that it is fun and that all participants can complete them. The difficulty is to teach children to perform movements synchronously, without delay, but this will develop their coordination and attention.

When conducting educational activities, children develop the ability to perceive , feel, understand the beauty in life, art, and become involved in artistic and creative life. Therefore, I consider the goal of my work to be to ensure that every child develops musical communication and creative abilities, and strengthens mental and physical health.

Changing life around us dictates that modern teachers need to choose more effective means of teaching and education based on modern methods and new integrated technologies . The use of innovative methods, forms and technologies in music education under the conditions of the introduction of the Federal State Educational Standard became the goal of my work.

I implement the goal in tasks that meet the urgent needs of the child:

• creating conditions that provide opportunities for each child to demonstrate their individual abilities when interacting with music ;

• creative development of the child's natural musicality ;

• creating conditions for spontaneous creative manifestations.

The main principle that guides my work is attention to each child: taking into account his age, speech, individual musical characteristics and needs. There are a number of other principles that I adhere to in music classes :

• The musical director is an equal partner. He knows how to play interestingly and show creativity.

• Gives children the right to choose a musical repertoire , knowledge, abilities, skills,

• Focuses on the individual capabilities and abilities of children.

The success of work on the musical development and education of children is impossible without the joint work of the music director and educators , whose work is aimed primarily at preserving the health of children. Health preservation is becoming a priority in the work of our preschool educational institution and many others. Science has proven that musical development is inextricably linked with the physical well-being of a child. Singing develops the vocal apparatus, speech, strengthens the vocal cords, and regulates children's breathing. Rhythm improves a child’s posture, coordination, confidence and plasticity of movements. Playing instruments develops a sense of rhythm, the ability to play alone and in an ensemble. All types of educational activities contribute to solving the following tasks:

1. Preservation and promotion of children’s health;

2. Development of sensory and motor functions.

3. Formation of the need for physical activity;

4. Acquiring the skill of proper breathing;

5. Development of intellectual functions (thinking, memory, imagination, attention, perception , spatial orientation, etc.);

6. Development of the emotional-volitional sphere and gaming activity;

7. Formation of a harmonious personality.

The process aimed at searching, developing and implementing new technologies will be successful if the following pedagogical conditions :

— provision of software and didactic material;

— creating an emotionally comfortable atmosphere when raising and teaching children ;

— development of new gaming technologies that help a child develop musical abilities ;

— study of theoretical and practical literature on this problem;

— determination of criteria and diagnostic mechanisms, taking into account new standards of preschool education; identification of children’s creative activity as a means of artistic and aesthetic education and development .

The use of these innovative technologies and methodological forms in practice allows us to achieve the following results:

an atmosphere of joyful communication and high spirits during music Children are active and relaxed. They master basic musical knowledge , develop musical and creative abilities , get to know themselves and the world around them in the process of playful communication with music .

In conclusion, I would like to quote E. Stepanenkova, Candidate of Medical Sciences, Professor of the Department of Preschool Education : “We may not tell the child something in the field of mathematics, we may not have time to introduce him to the computer in time. It's bad, but fixable. But if we do not increase attention to the health of preschoolers , we will cause irreparable damage to an entire generation of children...”

Maria Montessori system

Just a few words about the wonderful Italian teacher Maria Montessori (1870-1952). Maria was the first female doctor in Catholic Italy. She was not a musician, but for many years she ran a kindergarten, worked with children with disabilities, had a keen sense of child psychology and understood that music was an important component of education. Its main pedagogical principles are the interest of children and their free choice. In her kindergarten, Maria turned to the system of musical education that was closest to her. Towards the Carl Orff system. At the same time, she introduced some original features into the Orff system. This always happens when two viable systems come into contact: one feeds the other. Montessori considered the most important task of parents to be to organize a developing space for the child . So that everything he needs is at hand. Next, the baby will make his choice. In our case, the musical instruments recommended by Carl Orff were laid in front of the child, and he himself chose the one he liked best. At the right time for him.

In addition, Mary was a believer and believed that children most accurately and adequately express the plan of God, the plan of the Creator, and they are able to find their own path. Parents are more observers than educators.

Education of preschool children through music

Music is a special form of artistic reflection of the real world. It affects people’s feelings, can have a beneficial effect on their activities, and influence the formation of personality in the process of development. Music helps relieve stress after a working day and corrects a person’s emotional state. Most people feel the need to listen to musical compositions; they are actively present in their lives. Undoubtedly, the educational value of music determines its social significance, its purpose in the system of cultural and spiritual values. The child is familiar with this type of activity from birth. He begins to receive targeted musical education in kindergarten, then at school. Musical education is one of the main means of shaping the personality of a growing person. Preschool age is the period when abilities are formed that contribute to the child’s involvement in various types of activities. It is in the field of aesthetic education that there are examples of early manifestations of musicality. The task of a preschool teacher is to promote the development of a child’s musical abilities, to interest him, to present the material so that every lesson related to music brings him only positive emotions and a desire to explore the world around him.

Musical works have properties that can cause active actions in a child. He singles out music from all sounds and focuses special attention on it. In addition, music provides enormous opportunities for communication between an adult and a child and creates the foundation for emotional contact between them. From early childhood, a child begins to recognize familiar melodies and sounds, moves in accordance with the character and rhythm of the music, and is able to perform simple movements accompanied by various pieces of music.

Introduction to music in a preschool educational institution is carried out by music directors and educators during music classes, holidays and entertainment, morning exercises, physical education classes, even when showing fairy tales, the teacher can use musical works [1, p. 54]. A child of primary preschool age takes an example from an adult. Sings along individual sounds, repeats the ends of phrases, and then simple songs. Later, the child develops his own singing activity. At this stage, the main task of the teacher is the desire to develop children’s singing sound and increase the available volume of vocal skills. For preschool children, it is necessary that in their singing they are able to reflect their attitude to the work they are listening to. It is necessary to explain that all works are sung in different ways, for example, some need to be sung cheerfully, cheerfully and cheerfully, while others need to be sung calmly, gently and affectionately. All this contributes to the main task of musical education - the development of emotional responsiveness, instilling interest and love for music. The emotional desire for music is the main component of a child’s musicality, the basis of his musical and creative activity, necessary for comprehension and understanding of musical content, its expression in performing and creative activities [2, p. 34]. Thus, it is necessary to remember and understand that musical development has a positive impact on the overall development of children. Their thinking improves, their emotional sphere is enriched, and sensory development occurs. The ability to feel and experience musical works contributes to the development of a sense of beauty. In addition, the child’s speech development is activated. Therefore, by teaching a child music, the teacher contributes to the harmonious development of the child. Musical education of a preschooler is the basis for the formation of an individual’s aesthetic culture.

Zoltán Kodály system

The remarkable Hungarian composer, like D. Kabalevsky, attached great importance to the musical education of children.
Here are some of the main provisions of his system. There are no non-musical children. Non-musical adults are those whose musicality was not noticed or developed in childhood. Therefore, Kodaly, who enjoyed great authority in Hungary, managed to achieve something that had never happened in any country in the world - music lessons in a regular, comprehensive school became daily and took more hours than all other subjects.

The main thing in musical education is singing and recording melody by ear. This is what was mainly taught in the Hungarian school. The best and most accessible instrument is the voice, Kodály believed. Therefore, singing is more important than playing an instrument.

A person's education cannot be complete without musical education. Cultivating good musical taste, according to Kodai, is not only a family matter, but the most important social and state task.

As a method of early musical education, Zoltan Kodaly suggested that educators, especially fathers and mothers, teach children to walk and clap to the rhythm of a song.

Zoltan Kodai identified four elements that distinguish a musical person from a non-musical person: developed hearing, developed intellect, developed feelings and developed hands.

Zoltán Kodály's Four Element System

The author believed that a musical person is distinguished by his developed hearing, feelings, intellect and hands. At the same time, he believed that there are no children without musical abilities. Non-musical adults are learning-deprived babies. Hearing development takes place through recording a melody by ear and singing. Voice production is considered the main tool for developing abilities. A person may not be able to play an instrument, but he must be able to sing, believe supporters of this approach.

Singing with your voice, clapping your hands, beating the rhythm is the main task of such education, which, according to Zoltan Kodai, is not only the task of parents, but also of society as a whole. A musically developed child grows into a good person.

Waldorf school

This pedagogical system, which emerged at the beginning of the last century under the leadership of the German teacher Rudolf Steiner, has been the subject of controversy for many years. Some believe that this system keeps children in greenhouse conditions. And it will be difficult for them when they later get into real life. Others, on the contrary, are convinced that thanks to precisely this kind of upbringing, devoid of violence against the child’s personality, truly free, harmoniously developed people grow up. For us, within the framework of the topic of musical education in the family, it is obvious that much can be borrowed from this education system. What exactly?

First emotional education - then intellectual.

In other words, music that speaks the language of emotions becomes an important basis for the early development of a child. Moreover, in Waldorf kindergartens and schools they do not specifically develop rhythm, hearing, or musical memory, but they sing a lot and move to music. In addition, all teachers working in this direction play one or another musical instrument. The simple instruments themselves (percussion, toy, noise), as we have already mentioned, lie openly and every child can play them.

Training without grades and exams.

There are children for whom grades and, especially, exams cause a negative attitude towards the learning process itself. Including music. Perhaps it is precisely the absence of an evaluative factor in the Waldorf system that contributes to the important advantage of this school: children willingly attend a school working according to the Steiner system. Unlike the usual one, which they go to without much enthusiasm. It is possible that this phenomenon (learning without grades and exams) could spread to Waldorf music schools. If only such people appeared.

Movement to music.

This is also the discovery of Rudolf Steiner. Music of a very different nature is turned on, not necessarily dance music, and the children, independently (or imitating their parents), move to it. As a rule, children do not need to be taught such movements. They come up with them themselves. The character of the music changes, the movements change. One of the authors observed this happening in a Waldorf kindergarten in Israel.

Classes took place outside in the summer. A group of children took part - 10 boys and girls from 3 to 7 years old. Here, making up the play space according to the Steiner system, stood old, discarded real things: a refrigerator, a small car, a gas stove, etc. The music turns on, and the teacher begins to move to its rhythm. Children join him. Not everyone, but only those who want to move to the music. They are the majority. The rest continue to play, joining in with the dancers from time to time. Sometimes children imitate their teacher. Sometimes to each other. The author also took part in the dance. An amazing, friendly, immediate atmosphere of communication is created. An atmosphere that is generally characteristic of a Waldorf school.

This principle of free movement to music, of course, is quite possible to apply at home.

Lots of holidays.

This is also the specificity of the Steiner School, which we recommend for every family. In Waldorf schools and kindergartens, something is constantly celebrated: the beginning and end of the season - spring, summer, winter, autumn. All kinds of national holidays are celebrated. And especially, bright and fun - birthdays. The program includes games, songs, playing musical instruments, presenting gifts, reading poetry and much more. Preparation for the holidays becomes an important part of the pedagogical process.

Musical education of preschool children. Article

Kharinova Galina Stepanovna

Musical education of preschool children. Article

Musical education of preschool children.

Musical art , which directly and strongly influences a person already in the first years of his life, occupies an important place in his overall cultural development. Music is a constant companion of a person throughout his life. It, as Stendhal put it, is the only art that penetrates the human heart so deeply that it can even depict the experiences of his thoughts. Many writers, composers, and musicologists have repeatedly emphasized that work on musical and aesthetic education must be carried out systematically, that it must be an integral part of the activities that teachers conduct to educate a harmoniously developed person. , musical work with children is especially important . This is the foundation without which musical propaganda among the masses will never produce full results. The level of musical culture of the younger generation currently largely depends on solving the problems of aesthetic and moral upbringing and education .

Music is the greatest source of aesthetic and spiritual pleasure. It accompanies a person throughout his entire life, it can inspire, ignite a person, instill in him a spirit of cheerfulness and energy, but it can also lead to a state of melancholy, sorrow or quiet sadness.

Joyful, cheerful, heroic music lifts the mood, excites, and increases performance. Calm, lyrical - relieves tension, calms, eliminates oppressive emotional response, anxiety, desire and fatigue.

Musical art is a bright and irreplaceable means of developing a child’s holistic personality. music influences . Music has its own “language”

, with his
“speech”
.
It is important not just to teach a child to sing expressively, sing clearly, and move to music . Music and activities related to it can create in a child a special need, a desire to communicate with it, and, if possible, to “reason”
in it
(the term of D. B. Kabalevsky)
.
This is the aesthetic aspect of musical education , and only in the conditions of creating an aesthetic atmosphere is the comprehensive development of the child’s personality successfully achieved. Thus, musical and aesthetic education is not an end in itself , but a means of comprehensive, harmonious development of the individual.
In the process of musical education, the moral character of a child is especially successfully formed. Musical works are diverse in their social and imaginative content. It is difficult to convey in words the entire gamut of human experiences expressed in various musical works . Already at preschool age, children feel the expressiveness of melodic intonations, the richness of musical texture in works of a heroic nature, conveying a feeling of love for the Motherland. Children also respond to the lyrical nature of music , imbued with it, they empathize with those events and feelings that are conveyed in music . At an older age, they are able to distinguish shades of lyrical music , clearly perceive the variety of dance genres, feel and recognize the smooth character of the waltz and the lively character of the polka. The kindergarten repertoire includes folk, classical and modern music , varying in style and emotional content.

Raising children through music created on a folk basis develops in them an interest in songs, games, and round dances of other peoples. Suffice it to remember how children happily dance Russian round dances around a birch tree, dance the perky Ukrainian hopak, and sing Belarusian or Lithuanian songs. Round dances, games, songs, dances, as well as bright national costumes arouse interest in the creativity of their people and other peoples.

The peculiarity of children's performing activities is that music take place in a group of children. K. D. Ushinsky noted that choral singing especially brings all the singers together and unites them with a common experience into “one strongly feeling heart”

.
In conditions of joint singing and movement to music , even insecure children feel good.
They are inspired by the common example. In conditions of collective performance, you can always offer children tasks of varying degrees of difficulty. This creates optimal conditions for everyone’s development. Musical lessons have a good effect on the general culture of a child’s behavior. Works of different moods are performed, types of activities change, and educational tasks alternate. When a group of children moves during a game or other activities, each child must maintain a certain order, organization, speed of reaction, give in to someone, help someone. All this fosters a culture of communication , behavior, collectivism, that is, it creates conditions for the formation of moral qualities of the child’s personality.

Children's activities related to music are always emotional. At the same time, it activates the child’s mental development. In musicological literature you can find the term “ musical thinking ”

.
This term emphasizes the conscious nature of musical experience and the specificity of mental processes.
In modern psychology of a preschooler, three forms of thinking are noted: visual-effective, visual-figurative and conceptual. These forms of thinking are manifested in any practical activity of the child, including musical activity . They enrich children with ideas about society, nature, life and traditions. Relationships between musical-aesthetic and physical education . Music influences the process of physical improvement of a child. Musical education is one of the ways of moral, aesthetic, mental and physical improvement.

Shinichi Suzuki Method

His absolutely unique method of early musical education (Dr. Suzuki began teaching children the violin at the age of two or three!) can also be said to be an established, time-tested method, because everything he did could be seen and listened to. The world was amazed by his amazing ensembles of 4-5 year old violinists from 100-200 children, who performed the music of Vivaldi, Mozart, Beethoven cleanly and synchronously.

The wonderful teacher died in 1998, and so far there are no those who could fully repeat Suzuki’s feat. Apparently, the point here is not only the uniqueness of the method, but also the uniqueness of the teacher. What is the Suzuki method? Three points can be highlighted with confidence.

All children are musical. According to the Japanese teacher (however, this is the opinion of most authors of music education systems) all children are musical. Without exception. You just need to recognize and develop their abilities in time.
The path to success is love for children. Dr. Suzuki was sure that it was impossible to succeed in musical (or in any other) education if it was not built on love for children. You can be strict and demanding, but you must love the student. It is impossible to pretend and play at love. Children subtly sense falsehood and activities that are not built on love for the child are doomed to failure. Hence the third condition.
The main teachers are parents. Because no one loves their children more than parents. Fathers and mothers became the main assistants and sometimes the main teachers for Suzuki’s students. They attended the classes. They studied at home with the children. They themselves learned to play the violin together with the children.

The purpose of music lessons with the little ones was determined by the brilliant teacher himself: “My task is not to raise a musician, but through music to raise a good, noble person.”

Nikitin method

The system of early education of Boris and Lena Nikitin, who raised seven healthy, harmoniously developed, and, what is important for us, music-loving children, has been one of the most popular in Russia for more than 50 years. Here are some of its main provisions.

The first year is very important. As the Nikitins themselves said, “the year of launch.”

From birth to one year, the Nikitins “launched” all directions and, so to speak, the mechanisms of the educational process. The usual attitude among moms and dads, “Well, he’ll grow up a little bit (as a rule, this “a little bit” drags on for many years)” was excluded for Boris and Lena. Their principle is that everything starts as early as possible. What is not done today will be too late tomorrow.

Don’t push, don’t interfere, but help. This fundamental principle is quite optimistic. The main task of parents, according to Nikitin, is to create opportunities (in scientific terms, to organize a developmental environment). And then the children will move on their own.

Active physical development. Hardening, plenty of sports equipment in the house, walking barefoot, cold treatment. We stopped at this position of the Nikitin family, which seems to have no direct relation to musical education, in order to emphasize: physical education is the main thing. All other areas, including music, make sense if they do not interfere with raising a healthy child.

Parental interest. One of the most important, in the opinion of Boris and Lena, is the moment that explains why no teacher or educator can fully replace mom and dad. In other words, the higher the level of interest of elders and their love for children, the higher the result.

Pavel Tyulenev's method

Suzuki and Nikitin have followers. Including in Russia. They try to start teaching a child to play notes very early, at 2-3 years old. “Know the notes before you walk.” This is the name of the book by Pavel Tyulenev, the author of “WORLD” - a method of intellectual development, as if continuing the idea of the book by Masaru Ibuka, who describes the Suzuki method “After Three It’s Too Late.”

Unfortunately, we cannot see the results of Tyulenev’s method as clearly as in the case of Suzuki, and therefore cannot claim that his method has been time-tested. Let us highlight the basic principles on which this method is built.

Start musical education from birth. Tyulenev is based on the research of Glen Doman, director of the Institute for the Development of Human Potential (Philadelphia, USA), and other physiologists. Doman believed that “...in the period from birth to 3 years, the brain develops very quickly, and mental capabilities at this age are unique.” According to Doman and Tyulenev, what children master through play before the age of three (learning foreign languages, reading, playing musical instruments), later on they master with difficulty.

There should be a musical instrument next to the baby's crib. The best thing is a synthesizer that a small musician can reach with his hands. According to Tyulenev, such early acquaintance with musical sounds will have a positive effect on the baby.

Cards with notes and keyboard. Such cards, on which not only notes would be written, but also parts of the keyboard showing where these notes are played, should, according to the author of the method, be in the baby’s field of vision from seven to six months. Thus, early playing with notes will become as common for him as early reading.

The time of classes and their duration are determined by the child himself. Parents create conditions for the child’s development by selecting the right educational games for him. And when to use these games and for how long, the child decides independently. In general, the direct participation of parents in the educational process, according to Tyulenev, is less significant than in other pedagogical systems.

Nothing extra. Anything distracting must be carefully avoided around the child. P. Tyulenev especially warns against unnecessary toys and other things that are not related to the development of the baby.

Encourage your child to compose music. Everything that the child plays, inventing music himself, must be listened to carefully and positively assessed. This is a child's path to creativity.

Methods of musical education of preschool children

Methods of musical education of preschool children

1. Musical abilities of children, diagnosis and their development.

2. Methods and techniques of musical education, training and development of children.

3. Types of musical activities in preschool educational institutions.

4. Perception of music is the basis of children’s musical activity.

5. Methods of teaching children to play children's musical instruments.

6. The role of musical and didactic games in the development of children’s musical abilities.

7. Music education classes, their types. Create a music lesson plan for any age group.

8. Holidays at the preschool educational institution. The role of music in their implementation.

9. Organization of independent musical activities of children in preschool educational institutions.

10. Interaction of preschool teachers with families in musical education and development of children.

11. The functions of preschool teachers in music education, training and development of children.

METHODOLOGY OF MUSICAL EDUCATION IN PRESENTER HOUSE

Lecture 1. Musical abilities of children,

Diagnostics and their development

Psychologists and teachers such as B. M. Teplov, V. D. Shadrikov, K. V. Tarasova, N. A. Vetlugina, O. P. Radynova, A. N. Zimina and etc.

B. M. Teplov defines abilities as individual psychological characteristics of a person that are related to the success of performing any one activity or many. The basis of abilities is the anatomical and physiological inclinations of a person. Scientist V.D. Shadrikov calls productivity, quality and reliability of a person’s performance of activities as indicators of the manifestation of abilities.

The complex of musical abilities required to carry out musical activities is united by the concept of musicality. Psychologist B. M. Teplov argued that the main sign of musicality is musical responsiveness to music. According to B. M. Teplov, the main musical abilities are :

1) modal sense - the ability to distinguish the mode of a melody, to emotionally perceive music;

2) musical-auditory perceptions - the ability to remember a piece of music, reproduce the melody from memory;

3) sense of rhythm - the ability to distinguish and perceive by ear the expressiveness of rhythm and accurately reproduce it in movement.

Non-basic musical abilities include : dynamic and timbre hearing, musical thinking, musical imagination, musical memory.

The development of children's musical abilities must be constantly monitored and diagnostic studies carried out. Diagnostic methods for studying the musicality of preschool children were developed by N. A. Vetlugina, O. P. Radynova, K. V. Tarasova, A. N. Zimina. They developed criteria for the development of children's basic musical abilities, specific diagnostic tasks for children of younger, middle and older age. For example, A. N. Zimina suggests that in order to establish the level of development of the modal sense, she suggests asking the child: 1) to recognize by the melody a previously performed song, instrumental piece, dance; 2) determine the correctness of the melody sung or played on the instrument by the teacher (“Do you know this melody? Does it sound correct?”); 3) finish the melody on the tonic (“I’ll start, and you finish”) and other tasks.

To determine the level of development of musical and auditory perceptions, you can ask the child: 1) to sing a song without musical accompaniment; 2) pick up the melody of a familiar song on a metallophone; 3) repeat after the teacher the sounds played on the instrument and other tasks.

To determine the level of development of the sense of rhythm, the child is asked to: 1) clap the metrical beat of a familiar song; 2) clap the rhythmic pattern of a familiar song while the teacher sings or sings himself (“Sing the song with your hands”); 3) reproduce the rhythmic pattern of the melody in steps in place, and then moving forward.

Diagnostics are carried out in individual lessons and in small subgroups in a playful way. The teacher addresses the child: “You and I will play a very interesting game. I’ll start familiar songs, and you’ll finish.” Rating: high level – the child completes all tasks correctly; intermediate level - the child coped with the help of the teacher; low level - the child did not cope with most of the tasks.

Based on the results of diagnostic studies, correctional work is carried out to develop children’s musical abilities in various types of musical activities. Modal feeling - emotional responsiveness to music develops in children when listening to music, performing, and creativity, since the basis of any musical activity is the need to feel the mood of the music.

Musical-auditory concepts develop in those types of activities that require distinguishing and reproducing melody by ear (singing, playing high-pitched musical instruments). For example, before playing a melody on a metallophone, you must first hear it repeatedly and remember it. The sense of rhythm develops in musical and rhythmic movements, as well as in singing and playing musical instruments.

Thus, musical abilities are developed in all types of musical activities, taking into account an individual approach to children based on the diagnosis carried out by the teacher.

Plan of thematic educational activities for the musical development of children

in the middle group:

“Autumn has come to us again”

1. Musical and rhythmic exercises. Walking and running to the music of M. Krasev. Dance exercises with leaves: fly, spin, fall to the ground, fly again.

2. Listening. "Leaves are falling" music. M. Kraseva.

3. Singing. "Autumn" music. I. Kishko, “Harvest” music. A. Filippenko, “Falling Leaves” by T. Popatenko.

4. Game. “Find your vegetable” p. n. m. “Like under an apple tree.”

Thus, when organizing and conducting direct educational activities for children on musical development, the teacher must use different types of classes: standard, thematic, dominant, complex, integrated, etc., as well as different types of organization of children: frontal, and in joint activities: subgroup and individual.