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The article examines the problems of social and personal development of junior schoolchildren in the process of singing activity. The features of their psychophysiological and vocal development are determined. We have characterized the conditions necessary for the successful development of children in social, intellectual, artistic and health terms. The motives and conditions for the singing development of junior schoolchildren, the formation of their communication and social skills, the characteristics of the development of intelligence and spiritual and moral education are substantiated. It has been proven that the human voice acts as a kind of indicator of health. Singing strengthens the singing apparatus, develops breathing, forms a singing attitude, promotes good posture, which has a positive effect on general state health of students, positively organizes the child’s life, brings meaning and orderliness to it. This, to a certain extent, allows us to talk about the self-actualization of the student’s personality.

musical taste

imagination

musical image

Creative skills

social and personal development

singing activity

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6. Razhnikov V.G. Dialogues about music pedagogy. - M.: Classics - XXI, 2004. - 136 p.

7. Smolina E.A. Modern music lesson: creative techniques and tasks. - Yaroslavl: Academy of Development, 2006. - 128 p.

8. Usacheva V.O., Shkolyar L.V., Shkolyar V.A. Musical art. Toolkit for the teacher: 1st grade four-year primary school. - M.: Venta-na-Graf, 2002. - 176 p.

9. Yusfin A.G. Music is the power of life. - St. Petersburg. : Ayurveda Plus, 2006. - 260 p.

Singing activity is an art of unique performing and artistic possibilities. Being one of the most important components of domestic and world culture, an integral, historically proven means of shaping the spiritual, creative potential of society, choral singing with its centuries-old traditions, deep artistic and spiritual content has a huge potential impact on the emotional and moral structure of both performers and listeners.

Singing is the most accessible and favorite type of children's creativity, which does not require any additional costs, since the human voice is universal and publicly accessible, and is a proven means of musical education.

In the process of singing activity, the child is not only a consumer, but also a creator musical culture, creates certain artistic values. This circumstance determines the diverse functions of singing activity, among which cognitive and aesthetic ones stand out, ensuring the education of a comprehensively developed personality. The influence of singing on the activation of mental abilities, aesthetic, moral and physical development of children has been proven. Singing develops hearing, memory, sense of rhythm, attention, thinking, strengthens the lungs and the entire respiratory system.

Each person has his own special musical instrument - a voice, which can become the basis of his entire musical culture in the future, if he is taught to use this instrument correctly.

Singing activity at school is one of the important factors contributing to the successful personal and social development of primary schoolchildren. The student enters a new social environment, which includes the teacher, his peers and parents. It is this environment that forms the stereotypes of student behavior. At the same time, society places increased demands on the personal qualities and behavior of a student. The line of personal development at this stage is set by educational activities and its fruitfulness.

Junior school age is the age at which personality begins to form, the formation of new relationships with peers and adults, the time of laying the foundation of norms of behavior, values ​​and general culture, the formation of character and interests. Therefore, it is so important not to miss this period in the child’s development and to create optimal conditions for further development.

The development of the personality of a primary school student depends on his assessment by adults and on the level of performance at school. The main motive in learning is the motive for achieving success; it is this that is the main criterion for development. The child unconsciously compares himself with other children and their successes and strives to achieve the same success. Academic achievement status also affects a child's self-esteem, which is important to him. For the beneficial development of a primary school student, it is necessary to know distinctive features, characteristic for a given age. This period covers ages from 7 to 10-11 years. It is a sensitive (optimal) period for the development of functions such as attention, imagination, perception, memory, thinking and speech. If you miss this period in the development of a student, you can delay his personal development and maturation, which will create difficulties in the future.

At this stage, the child’s mental development occurs, memory acquires a cognitive character, perception is of a pronounced emotional nature, visual-figurative thinking and increased fatigue predominate. But first of all, the process of personal self-development occurs due to the need to form self-esteem, which also depends on the opinions of others. In the sphere of communication, communication with the teacher as an authority is manifested; gaming activity is the main way of communication.

As for vocal development at this stage, the voices of younger schoolchildren have a certain difference. High, head-like sound predominates. The timbre is characterized by a predominantly silvery and light tint with a predominance of moderate dynamic shades; the vocal range is limited. This is due to the growth of the child’s body and vocal apparatus, respectively. A child's vocal apparatus differs from an adult in its size; the larynx is two to two and a half times smaller, and the vocal cords are also smaller. Therefore, children's voices require careful treatment; the singing repertoire must be selected thoughtfully and in accordance with the characteristics of a given age.

Singing activity is a necessary condition for the successful social and personal development of a primary school student, because it ensures the inseparable unity of the social, intellectual, artistic and health-preserving aspects of the musical, educational and educational activities of children.

First of all, social factor- this is the child’s entry into environment. The beginning of schooling is a turning point, including expanding the circle of relationships and entering the world of adults. The process of socialization is not only the appropriation of human experience, existing norms, values ​​and attitudes, but also the accumulation of individual experience in the process of life and communication with the environment. In this situation, the main educator is not only adults, but also the teacher, who is the conductor of his own values, culture and norms of behavior. That is why the very status of a teacher as a professional and a person is so important.

At this stage, communication skills are also developed. It is singing activity that helps foster collectivism, improves communication skills, and comprehensively develops creative abilities and musical taste. Singing in a group teaches you to listen to yourself and hear others, which has a beneficial effect on the process of adaptation to a new environment, different from the gentle environment at home.

A sign of successful socialization is the manifestation of such personality qualities as independence, the manifestation of initiative and the assumption of certain responsibility for one’s actions and deeds. At this age, the student has the opportunity to regulate his behavior on the basis of established norms of behavior.

In social terms, the formation of communication skills in schoolchildren is of great importance.

The intellectual factor lies in the fact that it is music (musical classes) that is the most promising means (form) both in the development of the child’s intelligence and associative thinking, which promotes comprehension and memorization of information while reducing the expenditure of time and effort. Extremely important factors such as imagery, intuition, associativity, imagination characterize children's genetically determined creative mechanism of cognition of future life. Children's intuition as a form of anticipatory reflection is a unique way of perceiving integrity. Imaginative thinking promotes an active transition from the ordinary to the artistic. Associativity and imagination are phenomena of the same order. Associative thinking underlies flexibility, creative thinking and the formation of individual competence.

Thus, we can say that the involvement of children in the process of singing activity helps the development of their intellectual abilities and allows optimizing the learning process:

• music perception is aimed at developing associative, motor, auditory and logical memory;
• this in turn involves the formation of intuitive, logical, practical, theoretical and imaginative, associative thinking;
• due to which, in the process of perception, the work of the child’s imagination is stimulated.

No less important in the development of a primary school student is the artistic factor - introducing children to the art of music, where singing has a great impact on spiritual and moral education. It is an important aspect of the development of a child’s personality. At the moment, the most pressing problem is the moral education of schoolchildren, which is associated with universal computerization. It is at a young age that a child is most receptive to education, and this basis is the foundation for subsequent development.

The task of education is to educate the student through art, which influences the formation moral ideals and personality traits. It is through singing activity that this task can be accomplished.

Singing is most accessible and loved by children. The song contains deep content and meaning, which contributes to moral influence and gives rise to the ability to empathize. It is this path that shapes the child’s morality. Music addressed to the child’s sphere of feelings has a deeper influence on him than the influence of adults. Passion for music gives birth to harmony in a child’s soul and a sense of beauty. During the lessons, musical abilities and vocal skills are developed and the general level of cultural development increases.

The teacher’s task is to organize a favorable atmosphere for the child’s development, to create warm collective relationships that give the student a chance to express himself as an individual.

One of today's problems is that the schoolchild surpasses his predecessors in development, but lags behind in spiritual and moral education. Therefore, the teacher must be a conductor of spiritual and moral ideals, such as goodness, beauty and love of creativity.

The heritage of world musical culture is a rich source of such ideals, and the sooner the teacher introduces children to them, the more successful the child will be as a harmonious personality.

Caring for the health of schoolchildren is the most important task of society. This is why the health-saving factor is so important.

One of the conditions for the full social and personal development of children is their health, psychophysical and psychological state. Currently, due to the current socio-economic and environmental situation, a number of unfavorable hereditary factors, there is actually a tendency towards an increase in schoolchildren with certain deviations in health: maladaptation, hyperactivity, some psychosomatic and colds.

In this regard, the problem of preserving health and improving the health of the child’s body, in which singing activity is of great importance and can create optimal conditions for the comprehensive harmonious development of the child’s personality, becomes particularly relevant.

The impact of singing on the physical development of children is quite obvious: it affects the general condition of the child’s body, causes reactions associated with changes and improvement of blood circulation, and improvement of metabolism and breathing, due to which the incidence of diseases of the respiratory system and nasopharynx is significantly reduced.

The human voice also acts as a kind of indicator of health: the stronger the voice, the stronger the health, as a rule. In the process of singing, the singing apparatus is strengthened, breathing develops, and a singing attitude is formed, which contributes to the development of good posture, which has a positive effect on the general health of students. Particular emphasis should be placed on such a feature of singing as lower diaphragmatic breathing, which is natural and very beneficial for health, as it allows the lungs to function rationally, maximally enriches the blood with oxygen, activates the work of the abdominal cavity, and causes blood flow to the internal organs. With this technique, the process of singing involves not only the vocal cords, but also the entire body, in which, under the influence of resonant vibrations, each internal organ vibrates in a special way. Moreover, this happens to sick and healthy organs at different frequencies. The vibration caused by singing is an active massage that activates blood flow to the diseased organ and, thus, helps correct the existing deficiency.

The value of singing lies in the ability to create a positive emotional mood, relieving mental stress and pressure. Constant singing helps improve immunity and reduces the incidence of colds. Much depends on the rhythm and character of the music, which can have both positive effect, and negative with increased rhythm and loud sounds.

It seems advisable to use specific techniques in music lessons at school that help protect and maintain the health of children and correct some behavioral characteristics of schoolchildren.

Thus, logorhythmic gymnastics as a set of short exercises accompanied by music allows you to relieve various static and dynamic stresses. Rhythm therapy, combining gesture, dance and facial expressions, helps not only relaxation, but also the establishment of friendly relations between children. Music therapy as a method of listening to a certain type of music can have a certain healing effect and a relaxing effect. Smile therapy creates a positive emotional learning situation: by smiling, the sound itself brightens and becomes free, and at the same time a positive attitude appears. Folklore art therapy is aimed at getting rid of negative personality traits and developing the communication capabilities of children.

In the article we tried to show the adaptive capabilities of singing activity, which, under appropriate conditions, can serve as a pedagogical means of socialization and social adaptation of younger schoolchildren, since it affects the most important areas of human life:

1) social, ensuring the child’s painless entry into the environment and promoting the formation of children’s communication abilities and skills;

2) intellectual, thanks to which the process of development of thinking is activated, mental activity is stimulated, memory develops and strengthens;

3) artistic, aimed at introducing children to the art of music and determining the possibilities of spiritual and moral education;

4) health-saving, as an indicator of the natural rehabilitation of the child’s condition in the process of singing, restoration of his working capacity.

Thus, singing activity acts as a condition for the social and personal development of younger schoolchildren, because it contributes to the formation of distant goals (let’s call them meta-needs), which organize the child’s life, bring meaning, orderliness and spiritual freedom into it, that is, to a certain extent, they allow us to talk about self-actualization student's personality.

Reviewers:

Rapatskaya L.A., Doctor of Pedagogical Sciences, Professor, Dean of the Faculty of Culture and musical art FSBEI HPE "Moscow State Humanities University them. M.A. Sholokhov" Ministry of Education and Science of Russia, Moscow.

Kozmenko O.P., Doctor of Cultural Studies, Professor of the Department of Musical Performance, Moscow State Humanitarian University. M.A. Sholokhov" Ministry of Education and Science of Russia, Moscow.

Bibliographic link

Nemykina I.N., Sumarokova N.S. SINGING ACTIVITY AS A CONDITION FOR SOCIAL AND PERSONAL DEVELOPMENT OF CHILDREN IN PRIMARY SCHOOL // Contemporary issues science and education. – 2014. – No. 1.;
URL: http://science-education.ru/ru/article/view?id=11980 (access date: 02/01/2020). We bring to your attention magazines published by the publishing house "Academy of Natural Sciences"

Natalya Apanasova

« The importance of singing in preschool age.»

« Imaginative techniques for developing the singing skills of preschool children.»

Modern scientific research indicate that, What development of musical abilities, the formation of the foundations of musical culture must begin in preschool age. The lack of full-fledged musical impressions in childhood is difficult to make up for later. It is important that already in early childhood There was an adult next to the child who could reveal to him the beauty of music and give him the opportunity to feel it.

Musical development has an irreplaceable impact on the overall development: the emotional sphere is formed, thinking is improved, the child becomes sensitive to beauty in art and life.

IN singing, as in other types of performance, a child can actively show his attitude towards music. Singing plays an important role in musical and personal development.

Only through activity does perception, memory, thinking, imagination, sensations, knowledge is acquired, new needs, interests, emotions arise, abilities develop. Consciousness and purposefulness are necessary in any activity. The child's consciousness is formed in joint activities with peers and adults. This is how children gain experience, learn to know themselves and others, and evaluate actions.

Singing the voice is compared to a musical instrument that a child can use from an early age. Expressive performance of songs helps to more vividly and deeply experience their content, to evoke an aesthetic attitude towards music and the surrounding reality. IN singing the entire complex of musical abilities: emotional responsiveness to music, modal sense, musical-auditory perception, sense of rhythm. In addition, children receive various information about music, acquire skills and abilities. IN singing the child’s musical needs are realized, since he can perform familiar and favorite songs at his own discretion at any time.

« Singing is one of those types of musical activities in the process of which successfully develops aesthetic attitude to life, to music; the child’s experiences are enriched; musical-sensory systems are actively being formed capabilities and especially musical-auditory representations of pitch relations.” (Vetlugina N.A.)

Singing closely related to the general development child and the formation of his personal qualities. IN singing develops aesthetic and moral ideas, mental capabilities, a noticeable positive effect on physical development children.

Formation of musical abilities inextricably linked with mental processes. Perceiving music requires attention and observation. A child, listening to music, compares the sounds of its melody and accompaniment, comprehends their expressiveness meaning, understands the structure of the song, compares the music with the text.

The impact is clear singing for the physical development of children. Singing affects the general condition of the child’s body, causes reactions associated with changes blood circulation, breathing. The influence of music on the human body was established by physiologists V. M. Bekhterev and I. B. Pavlov.

Specifics singing preschoolers has been studied from various aspects. Back in 1940, N. A. Metlov in his dissertation "Education children singing senior groups s kindergarten» posed and resolved issues related to the protection of children's voices and the development of teaching methods children singing. They determined the ones that were convenient for everyone age groups of singing ranges, recommendations for mastering singing installation, vocal and choral skills ( sound production, breathing, diction, purity of intonation, ensemble). problem development purity of intonation in the elder preschool age was analyzed by A.D. Voinova. Peculiarities development of musical ear, teaching methods and techniques singing, the role of exercises and their systematization, development of independence, creativity in singing, the need for an individually differentiated approach was studied by N. A. Vetlugina and her students (A. Katinene, R. T. Zinich, T. V. Volchanskaya, A. I. Khodkova, M. Yu. Vikat, M. A. Medvedev).

Singing activity can be defined as one of the most important forms of manifestation of an active attitude children to songs and singing in the process of various life situations (A. Katinene).

TO singing can be treated differently. Children begin to learn singing from kindergarten. At school, music and rhythm are also given a lot of attention. meaning, although it is clear that the vast majority children, will not study music professionally after school. And yet, even children who do not show an inclination towards music are trying to instill the basics of musical literacy. Do ideas about the harmonious play a role here? personality development, or elementary musical education has practical significance in life? When thinking about this question, you need to weigh everything "behind" And "against". Anyway singing(drawing, dancing, any kind creative work) develop the child, allow him to say something more about himself than just giving his name, address and year of birth.

The main task of music classes in preschool age– teach unforced and expressive singing. Children able feel and convey the mood of the song. To do this, it is necessary to teach the simplest singing skills. Of course, at first, young children only pick up individual sounds and syllables, imitating adult singing, but gradually singing becomes more independent, and by school age(and often earlier) They able perform a simple melody correctly and harmoniously, start and finish it on time, observe the indicated tempo and its changes, accurately perform the rhythmic pattern and dynamic shades.

All these are general, long-known provisions that every teacher needs to know. But how can you make it interesting for your child so that he enjoys going to class!

For me, there is nothing more unpleasant than the realization that children are bored and uninteresting... And then it comes to the rescue figurative word and game, but most importantly imagery. Any, even the most boring, exercise can be presented in a fun and interesting way. Here are a few figurative techniques, from the practice of my work, which really help to interest the guys, to convey to them the information I need in an interesting way form:

"Balloon"- it is very difficult to explain even to 6-7 year old children that means breathing correctly! Moreover, it is impossible to pronounce such terrible words as lower costal diaphragmatic breathing! Familiar and understandable people come to the rescue images. All children love balloons, which are used in this case. Together with the children, we inflate balloons and see what happens to them when we release the air. Well, if you put a scribe on the ball, you’ll get an indispensable tool for learning breathing techniques! Next, we imagine that the balls are inside us. We take a deep breath, onto our shoulders "laying bricks"-so that they do not rise and slowly release the air...- “Warming an abandoned kitten in our hands”. The longer we blow warm air, the faster the kitten will warm up. That is, I try to turn every phrase, every exercise into a game so that it does not sound dry and boring.

"Sandwich with butter"- children really like it "spread butter on a sandwich". Well, oil is our voice! Singing legato is one of the most difficult types singing at this age, but thanks to such a simple comparison, children very quickly and easily understand how to sing.

"Glass vases"- sometimes difficult to explain singing in staccato. In that case, I ask children“take small vases in your hands - made of the thinnest glass and, very carefully, so as not to break, place each one on its own step.” Usage figurative movements helps children better coordinate the power of their voice, understand how to perform this reception.

Well, the most beloved by children reception -"Singing Ostrich" - reception, which invariably brings a smile to children! A singing ostrich is nothing more than an outstretched arm, depicting the head of an ostrich. The closed four fingers at the top and the thumb at the bottom are the beak of an ostrich, which loves to sing with children. This reception turned out to be very effective - and therefore, somehow it turned out by itself that the ostrich materialized into such an impressive Italian singer - Signor Forte! (doll show)

Of course, singing with him is very fun and interesting, which is exactly what was required! With the help of this wonderful assistant, I solve many pedagogical problems that are perceived by children very easily and fun!

So way, classes are easy, fun and stress-free children. Development of musical taste, emotional responsiveness in children age creates the foundation of a person’s musical culture as part of his general spiritual culture in the future. It seems to me that when working with a child, it is important to remember that the most favorable period for development of musical abilities than childhood, it’s hard to imagine.

2. Dobrovolskaya N., Orlova N. “What a teacher needs to know about a child’s voice”. Mo- squaw: Music, 1972

3. Makarova E. S. “ Development of the singing voice in children at the initial stage of training.” Moscow, 1990

4. Mikhailova M. A. « Development of children's musical abilities» . Yaroslavl, 1984

5. Radynova O. P., Katinene A. I. "Musical education preschoolers» . M.: Education, 1994

6. Sergeeva B. Specialty training program « Singing» . St. Petersburg, 2003

7. Khalabuzar P.V., Popov V.S. “Theory and methodology of music education”. St. Petersburg, 2000

Traditionally, in the domestic system of musical education, singing activity occupies a leading place. This is explained by a number of reasons (M. S. Osenneva, L. A. Bezborodova, etc.):

■ the song beginning of Russian musical culture: all folk holidays, rituals, all church services were accompanied by singing;

■ the adequacy of singing to the psychological and age characteristics of children, their desire for active forms of mastering art, their active nature;

■ special accessibility due to the synthesis of words and music;

■ the importance of nurturing feelings of human community in the modern world - singing unites people, creating conditions for emotional communication.

The importance of singing activity is difficult to overestimate in personal development of the child. Singing develops aesthetic perception, aesthetic feelings, artistic taste, musical and musical-sensory abilities and above all musical and auditory performances. It contributes to the formation aesthetic attitude towards the environment, enriching the child's experiences, his mental development. Expands one's horizons and knowledge about the environment. Enriches the child’s vocabulary, improves his articulation apparatus and speech.

Singing lessons help develop social and personal And communication skills, unite the children's team, cultivate will, organization, and endurance. The influence of singing on moral development is expressed in the fact that the songs convey a certain content and attitude towards it. Singing gives rise to the ability to experience the moods reflected in the songs.

Singing is seen as means of strengthening the body preschoolers. It forms correct breathing, strengthens the lungs and vocal apparatus. According to doctors, singing is the best form of breathing exercises. Singing activity contributes to the formation of correct posture.

In the field of music psychology, singing is considered as a form of music therapy that influences the emergence of various emotional states.

Traditionally, the following are identified as tasks for teaching singing to preschoolers (A. N. Zimina, O. P. Radynova, etc.):

■ to educate the foundations of singing and general musical culture: to form aesthetic emotions, interests and vocal and choral skills;

■ develop musical abilities and, above all, the distinction between intonationally accurate and inaccurate singing sounds in terms of pitch and duration;

■ promote the comprehensive spiritual and physical development of children.

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Introduction

Chapter 1. Theoretical foundations of singing activity

1.1 Singing as a type of children's musical performance

1.2 Characteristics of a child’s singing activity, its types

1.4 Educational value of singing in kindergarten

Chapter 2. Methods of teaching singing to preschoolers

2.1 Methods and techniques for teaching singing

2.2 Methods of teaching singing to children of primary preschool age

2.3 Methods of teaching singing to middle school children

2.4 Methods of teaching singing to older children

Conclusion

Bibliography

Introduction

Singing is the main means of musical education. It is closest and most accessible to children. When performing songs, they deeply perceive the music and actively express their feelings and experiences. A song is a bright and figurative form of an in-depth understanding of the surrounding reality. Performing a song evokes in a child a positive attitude towards everything beautiful and good, and convinces him more strongly than information received in another way. The process of learning to sing requires a lot of activity and mental stress from children. The child learns to compare his own singing with the singing of others, listen to the melody being played on the piano, compare the different nature of musical phrases and sentences, and evaluate the quality of performance. Singing has a beneficial effect on the child’s body, helps develop speech, deepen breathing, and strengthen the vocal apparatus.

The song teaches and educates a person. The song accompanies a person all his life and winged words A.V. Gogol’s “A Russian man is swaddled, married and buried to the tune of a song” is eternal proof of this. It is not without reason that psychologists claim that now many children suffer from emotional deafness, they are often cruel and indifferent, deafened by the media, which carries lack of spirituality and low culture. It is the song that plays the role of “spiritual catalyst”, “... in the song there is something that educates the soul and, in particular, the feeling,” said K.D. Ushinsky. Teaching children to sing is one of the most important tasks music director kindergarten. In addition, this is one of the most difficult tasks that requires us to be highly professional teachers. Unfortunately, in last years In kindergartens, little attention is paid to the development of children's voices. When preparing for the holidays, the main emphasis is on staging bright, spectacular numbers and learning spectacular, modern songs that correspond to the script, but not to the child’s capabilities, so the problem of forming a high-quality sound of a child’s voice while singing in preschool age is very relevant. The problem raised is also relevant because it is associated with the search for new ways of aesthetic education of a child through music through the most accessible and active type of musical activity, which is singing.

Musical and pedagogical activities in kindergarten are determined by the idea of ​​teaching a child to sing well, clearly, clearly, with love and mood, and most importantly, beautifully, with great dedication. Systematic work allows us to take into account the physiological and vocal characteristics of each child, i.e. We consider an individually differentiated approach to the abilities of each child to be a priority in our work.

The object of the study is the musical education of preschool children.

The subject of the study is the development of singing skills in preschool children.

The purpose of the study is to study and substantiate the importance of the development of singing skills and abilities in preschool children.

This goal is specified in the following tasks:

Consider singing as a type of musical activity for preschoolers.

Analyze the characteristics of the child’s singing activity.

Consider the educational value of singing in kindergarten.

Systematize methods and techniques for teaching singing in different age groups.

Chapter 1. Theoretical foundations of singing activity

1.1 Singing as a type of children's musical performance

Singing occupies a special place in children's creativity and belongs to that type of musical art that can be called the most widespread and accessible. Its educational impact is very great due to the unity of music and words in the song and due to the very nature of the natural singing sound, which evokes strong emotions.

Singing is the main type of musical art, which is consistently taught in nurseries, kindergartens, schools and various amateur and professional groups for adults. At any stage of education, children are taught correct sound formation, clear pronunciation, clean, harmonious singing (tuning) and unity of sound, equal in time, strength, character (ensemble); form singing breathing. Mastering these skills is the path to expressive performance and development of hearing and voice.

The development of melodic hearing occurs especially intensively in the context of learning to sing. Musical development is activated if the necessary interaction between hearing and singing voice is established. Hearing controls the quality of singing, and vocalization requires exercise in auditory attention. Singing occupies one of the leading places in a child’s activity, ensuring his versatile musical development.

Thanks to the lyrics, the song is more accessible to children in content than any other musical genre. Singing unites children and creates conditions for their emotional musical communication. Children love to sing. They sing willingly, with pleasure, which contributes to the development of their active perception of music, the ability to sincerely and deeply express their feelings and experiences. The song accompanies the life of a child from a very early age.

It influences the feelings of children, fills their leisure time, promotes the organization of play, and in a bright, imaginative, entertaining form deepens their ideas about the surrounding reality.

A good children's song is one of the means of raising a child. Meeting a song and communicating with it is colored with bright joy for children and evokes positive emotions. Folk songs, songs of classics and especially Russian composers are revealed to children the whole world new ideas and feelings. The child develops an interested attitude towards music and emotional responsiveness to it.

Songs are deeply perceived and understood by children thanks to the unity of the artistic word and music. Singing develops children's musical abilities, ear for music, memory and sense of rhythm, and expands their general musical horizons.

By accustoming children to joint actions in the process of singing, uniting them with a common mood, the teacher cultivates friendly relationships and a sense of collectivism in the children.

Singing not only develops aesthetic perception, aesthetic feelings, artistic and musical taste and the entire complex of musical and musical-sensory abilities, especially musical-auditory representations of pitch relationships. Singing contributes to the formation of an aesthetic attitude towards the surrounding reality, enriching the child’s experiences, and his mental development, as it reveals to him a whole world of ideas and feelings. It expands children's horizons, increases the amount of knowledge about the surrounding life, * events, and natural phenomena.

The importance of singing in the development of a child’s speech is great: it enriches his lexicon, the articulatory apparatus is improved, and children's speech improves.

Singing classes help develop social, personal and communication skills, help organize and unite the children's team. In the process of singing, important personality traits such as will, organization, and endurance are developed. The influence of singing on moral development is expressed, on the one hand, in the fact that songs convey a certain content and attitude towards it, on the other hand, singing gives rise to the ability to experience moods, state of mind another person, reflected in the songs.

Singing is considered as a means of strengthening the body of preschool children. It forms correct breathing, strengthens the lungs and vocal apparatus. According to doctors, singing is the best form of breathing exercises. Singing activity contributes to the formation of correct posture.

In the field of music psychology, singing is considered as a form of music therapy that affects the emergence of various emotional states.

A.N. Zimina, O.P. Radynova and others identify the following tasks in teaching singing to preschool children:

1. To educate the foundations of singing and general musical culture: to form aesthetic emotions and interests on the one hand and vocal and choral skills and abilities on the other.

2. Develop musical abilities, and, above all, the distinction between intonation accurate and inaccurate singing sounds in height, duration, listening to yourself when singing and correcting your mistakes.

3. Promote the comprehensive spiritual and physical development of children.

Singing has a greater emotional impact on children.

First of all, this is live, direct communication between the performer and children.

The expressive intonations of the human voice, accompanied by appropriate facial expressions, attract the attention of the youngest listeners. In singing, as in other types of performance, a child can actively demonstrate his attitude towards music. Without fully realizing the content of the text, children react to song intonations: they sing along, dance to cheerful music, fall asleep listening to the melody of a lullaby. Singing plays an important role in musical and personal development.

The singing voice is compared to a musical instrument that a child can use from an early age. Expressive performance of songs helps to more vividly and deeply experience their relationship to music and to the surrounding reality. In addition, children receive various information about music, acquire skills and abilities. Singing fulfills the child’s musical needs, since he can perform familiar and favorite songs at will at any time.

As the child develops - the formation of his thinking, the accumulation of new ideas and the development of speech - his emotional experiences become more complex, and his interest in the content of music increases. The lyrics help the child comprehend this content. Singing is closely related to the general development of the child and the formation of his personal qualities. Children, perceiving the character of a musical work in unity with the word, approach the understanding of the image more deeply and consciously. Singing not only has an impact on children, but also gives them the opportunity to express their feelings. Singing develops aesthetic and moral ideas, activates mental abilities, and has a noticeable, positive effect on the physical development of children. The influence of singing on the moral sphere is expressed in two aspects. On the one hand, the songs convey a certain content, an attitude towards it; on the other hand, singing gives rise to the ability to experience the mood and state of mind of another person, which are reflected in songs. The formation of musical abilities is inextricably linked with mental processes.

Systematic and systematic teaching of the simplest singing skills in kindergarten prepares children for classes at school, where singing is one of the training courses.

Singing folk songs introduces children to national traditions people, with its song past. Their systematic execution contributes to aesthetic education, develops artistic taste in children, awakens a feeling of love for the Motherland, native nature. Folk song enriches children's speech, helps improve diction and articulation, and has a beneficial effect on the expressiveness of speech.

The simplicity of the melody, bright imagery, and humor create a desire to sing even in the most shy and inactive children. Folk songs evoke positive emotions in a child. Sometimes, just by mentioning the name of a song, children's faces light up with smiles, and they sing it with pleasure.

Introducing children to modern song is of great importance for their mental and moral development. The impact of singing on the physical development of children is obvious. Singing affects the general condition of the child’s body, causing reactions associated with changes in blood circulation and breathing.

Aesthetic education is aimed at developing children’s abilities to perceive, feel and understand the beautiful, notice the good and the bad, act creatively independently, thereby becoming familiar with various types of artistic activity. One of the brightest means of aesthetic education is music.

In order for it to fulfill this important function, it is necessary to develop the child’s general musicality. What are the main signs of general musicality?

The first sign of musicality is the ability to feel the character and mood of the song, empathize with everything that is sung about in the song, show an emotional attitude, and understand the musical image of the song.

The second sign of musicality is the ability to listen,

compare and evaluate the most striking and understandable musical phenomena. This requires elementary musical-auditory culture, voluntary auditory attention aimed at certain means of expression. For example, children compare the simplest properties of musical sounds (high and low), when learning the melody of a song, they distinguish the simplest structure of a musical work (song lead and chorus), note the expressiveness of contrasting artistic images(affectionate, drawn-out nature of the chorus, energetic).

The third sign of musicality is the manifestation of a creative attitude to the song. When performing a song, the child represents the artistic image in his own way, conveying it in singing.

With the development of general musicality, children develop an emotional attitude towards music, their hearing improves, and their creative imagination is born.

During singing, mental abilities are activated.

Children listen to the sound of the melody of the song, compare similar and different sounds, become familiar with their expressive meaning, note the characteristic semantic features of artistic images, and learn to understand the structure of the song. Answering the teacher’s questions about the content after it has been played, the child makes the first generalizations and comparisons: he determines the general nature of the song, notices that the literary text of the song is clearly expressed through musical means.

While developing a child's aesthetic mentality, it is necessary to support minor creative manifestations that activate perception and presentation, awaken fantasy and imagination.

To a certain extent, the song also influences the physical development of children. Singing increases breathing amplitude, pulmonary ventilation, raises emotional tone and improves the body's performance. Songs of varied nature and complexity enrich the child’s musical experience, contribute to the development of emotional responsiveness to music, the development of auditory perceptions, and a sense of rhythm.

Singing activities contribute to general development child's personality. Emotional responsiveness and a developed ear for music allow children to respond to good feelings and actions in accessible forms and help to activate mental activity.

1.2 Characteristics of a child’s singing activity, its types

The development of singing abilities is one of the main tasks of musical education of children. The main goal of singing activity is to educate children in a singing culture and introduce them to music.

Singing activities must be carried out in the following types:

Singing for the development of musical perception:

Listening to songs not meant to be sung;

Listening to songs intended for subsequent performance;

Singing melodies and exercises to develop ideas about pitch, timbre, duration, strength of sounds (development of sensory abilities).

Songs performed:

Singing with and without accompaniment;

Singing with your own accompaniment on children's musical instruments;

Singing to accompany movements (round dances).

Singing in musical and educational activities:

Singing exercises to acquire singing skills and musical knowledge;

Pedagogical analysis of songs (the most striking means of expression, structure, character).

Song creativity:

Improvisation;

Composing melodies for given texts;

Various types of singing activities are closely related to each other and have a mutual influence: performing and listening to songs, and song creativity. The forms of their organization are also varied: classes (collective and individual), independent activities, holidays and entertainment.

Thus, singing activity is a bright, imaginative form of an in-depth understanding of the surrounding reality.

In all modern author's programs for the musical and aesthetic development of preschool children, much attention is paid to singing activity. For example, in the “Tuning Fork” program by E.P. Kostin. in singing activity the following tasks are distinguished:

1. Encourage children to perceive songs, causing a desire to listen to the mood, intonation of the song and the characteristic features of the musical image.

2. Encourage emotional responsiveness to the expressive (character, mood) and visual (means of musical expression) features of the song’s music.

3. Develop children’s musical-sensory hearing, encouraging them to perceive and distinguish between high and low, quiet and loud sounds of musical sounds.

4. Introduce expressive singing.

5. Introduce basic singing skills:

Melodious, drawn-out singing;

Correct singing diction;

Coordinated singing in accordance with the characteristics of musical sound;

The simultaneous beginning and end of a song.

6. Involve in solo and collective performance, in independent singing and together with adults, with or without accompaniment.

7. Encourage the development of initial musical and creative singing manifestations (sing a lullaby for a bear, a dance song for a bunny).

Tasks musical development a child at 3 years of age becomes more complicated. At this stage it is necessary:

Take care of creating a child’s stock of musical impressions and identify his musical preferences.

Consider the conditions for the child’s full musical development.

These tasks are solved on the basis of a specific song repertoire, the use of appropriate teaching methods and techniques, and various forms of organizing children's musical activities. Also, to solve the above problems, it is necessary to teach children skills and abilities, which include singing, vocal and choral skills.

The singing attitude is the correct posture. While singing, children should sit straight, without raising their shoulders, without hunching, leaning slightly on the back of a chair, which should correspond to the child’s height. Place your hands on your knees.

Vocal skills are the interaction of sound production, breathing and diction. The inhalation should be fast, deep and silent, and the exhalation should be slow. The words are pronounced clearly and clearly. It is important to monitor the correct position of the tongue, lips, and free movements of the lower jaw.

Choral skills are the interaction of the ensemble and the formation. Ensemble translated from French means “unity”, i.e. the correct relationship

strength and height of choral sound, development of unison and timbre. Tuning is precise, pure singing intonation.

Teaching vocal and choral skills to preschool children has a number of features.

Sound production with correct voice production should be ringing and light. However, one must take into account the imperfection of a child’s voice and its rapid fatigue. Children cannot sing long and loudly. Kids sing in a “talk”, they lack melodiousness. Older children can sing melodiously, but sometimes become loud and tense. Preschoolers' breathing is shallow and short. Therefore, they often take a breath in the middle of a word or musical phrase, thereby disrupting the melody of the song.

Diction (clear pronunciation layer) is formed gradually. Many children have speech defects: burr, lisp, which take a long time to eliminate. The lack of clear and precise diction makes singing sluggish and weak.

It is difficult for children to sing in an ensemble. Often they are ahead of the general sound or behind it, trying to outshout others. Babies, for example, only sing last words phrases

It is even more difficult for children to master the skill of harmonious singing - pure intonation. Individual differences are especially noticeable. Only a few intonate easily and accurately, while the majority sing imprecisely, choosing intonation arbitrarily. You need to work on developing this skill.

Vocal and choral skills are acquired in the process of learning songs. Skills become more complex and modified as more and more complex pieces are learned.

1. 3 Age-related characteristics of a child’s hearing and voice

Singing is a complex process of sound production, in which coordination of hearing and voice is very important, i.e. interaction of singing intonation (unfalse sound) and auditory, muscle sensation. Noting that a person not only experiences, remembering a musical sound, but always sings these sounds “to himself” with muscle tension, the Russian physiologist I.M. Sechenov also emphasizes the instinctive onomatopoeia characteristic of a child: “A sound or series of sounds identified in consciousness serves to a child with a standard to which he adjusts his own sounds and does not seem to calm down until the standard and its likeness become identical.”

Children imitate the speech and singing intonation of adults and try to reproduce the sounds made by domestic animals and birds. At the same time, hearing controls the correctness of onomatopoeia.

Research into the relationship between hearing and voice is being conducted by many scientists. Doctor E.I. Almazov, who studies the nature of the child’s voice, emphasizes special meaning developed hearing for correct vocal intonation. Analyzing the imperfect quality of children's singing, he names the reasons (hearing defects, sore throat, lack of connection between hearing and voice) and talks about the need for timely medical examinations and treatment of these diseases.

Hearing improves if training is delivered correctly. IN junior groups In kindergarten, the children's attention is drawn to the exact reproduction of the melody: singing simple, small melodies, songs built on two or three notes. An example is always the expressive, correct singing of the teacher and the sound of a well-tuned instrument. The child listens, then sings along with the adult, as if “matching” the vocal intonation. Gradually, stability of auditory attention is developed and subsequently, pitch hearing develops.

In older preschool age, children become familiar with some initial pitch and rhythmic concepts, which are formed during constant exercises that develop melodic hearing, determine movement, up-and-down melodies, compare sounds of different heights, durations, sing, intervals, and melodies. The child’s hearing constantly monitors the correctness of the sound.

The singing sound, due to incomplete closure of the vocal cords and vibration of only their edges, is characterized by lightness, insufficient sonority and requires careful handling.

Studying the sound range of a child’s voice helps to make the right choice of repertoire. Singing range is the volume of sounds that

determined by the interval (distance) from the highest to the lowest sound within which the voice sounds good.

Range table:

god mi-la,

years re - la,

4-5 years re - si,

5-6 years re - si (before),

6-7 years (before) - re - before).

The range in children is formed with age, so that by older preschool age, the singing range in children is expanded only from “D” of the first octave to “C” of the second octave, and the “working” range, where children achieve the easiest sound, is limited to the sounds “E - B” "first octave.

When teaching preschoolers to sing, you should first determine the range of each child's voice and strive to systematically strengthen it so that most children can freely control their voice. Along with this, it is important to create a favorable “sound atmosphere” that helps protect the child’s voice and hearing. It is necessary to constantly ensure that children sing and talk without tension, without imitating the excessively loud singing of adults, to explain to parents the harmfulness of loud singing and talking in children, and not to allow them to sing outside in cold and damp weather.

To protect singing voices in classes, it is necessary to use some health-improving exercises: first of all, various breathing exercises, a combination of singing and passive movement, chanting, rhythmic reading - alternating short and long syllables along the hand (“a Christmas tree was born in the forest” , “a f-tree gave birth in the forest”), a combination of speech intonation with musical intonation, etc.) This greatly helps children with weak speech abilities.

In a simple, accessible form, children are explained how to protect their voices and how to breathe. During classes, breathing exercises are always performed, special exercises are done for the vocal cords and larynx, interesting poems and songs are selected, the content of which reflects the importance of proper breathing for the child.

1.4 Educational value of singing in kindergarten

From the first day of birth, the child receives a number of impressions, including musical ones. This is primarily the mother's voice with soothing or animated intonations, the sounds of children's musical toys. Music has the ability to evoke active actions in a child. He distinguishes music from all the impressions he receives, distinguishes it from noise, focuses his attention on it, becomes animated, listens, rejoices, and sometimes begins to sing along with an adult early. Consequently, if music has such a positive effect on a child already in the first years of his life, then it is naturally necessary to use it as a means of pedagogical influence. In addition, music provides rich opportunities for communication between an adult and a child and creates the basis for emotional contact between them.

A child's voice is a natural instrument that he possesses with early years. Therefore, singing is always present in a child’s life, fills his leisure time, and helps organize creative, story-based games. Singing is often accompanied by other types of musical activities: dancing, round dancing, playing children's musical instruments.

A song is a bright, figurative form of an in-depth understanding of the surrounding reality. Performing a song evokes in a child a positive attitude towards everything beautiful and good and sometimes convinces him more than information received in another way.

Modern music education programs for preschool educational institutions note that the goal of music classes is to educate preschoolers with a musical culture as part of their spiritual life. By instilling in children a love of music and developing their musical abilities, the music director promotes a conscious attitude towards it.

Music has long been called the “language of feelings”; no other form of art is capable of such deep penetration into the spiritual world of people, or such a subtle transfer of the entire diverse range of human feelings in their movement and development.

A piece of music embodies a person’s thoughts, feelings, and moods. The musical image conveys the general character of the phenomena of reality through the expression of the emotions of specific people, a specific nation, conveyed by these phenomena. Therefore, the music of each nation has its own distinctive qualities associated with the socio-historical conditions of life, with the peculiarities artistic thinking of this people.

The work of educating a child musically and teaching him to sing is a responsible undertaking. To teach children solo ensemble and choral folk singing and teach them to overcome difficulties in performing folk songs, a system is needed.

In music classes, singing skills are taught to children gradually, according to a well-known principle - from simple to complex. The basis of the repertoire for teaching children should be works of children's musical folklore, since they are well known to children.

Game and dance songs are figuratively bright, melodious, poetic. By performing these songs with children, you can organize impromptu round dances and round dances, highlighting, first of all, a pronounced playful element. The desire to play and act is inherent in children. The game brings them joy. Therefore, elements of the game can be introduced to one degree or another into almost any song. Then the singing can be accompanied by acting out an action based on the plot of the song. In other words, the elements of folk drama contained in many play and dance songs are played out.

Singing is the most accessible performing type of musical activity for preschool children. They love to sing. They sing willingly and with pleasure, which contributes to the development of their active perception of music and the ability to sincerely and deeply express their feelings and experiences.

Meeting a song and communicating with it is colored with bright joy for children and evokes positive emotions. The child develops an interested attitude towards music and emotional responsiveness to it. Singing develops children's musical abilities, ear for music, memory and sense of rhythm, and expands their general musical horizons. By accustoming children to joint actions in the process of singing, uniting them with a common mood, the teacher cultivates friendly relationships and a sense of collectivism in the children.

Singing introduces children to the national traditions of the people, to their song past. Their systematic execution contributes to aesthetic education, the development of artistic taste in children, and encourages a feeling of love for the Motherland, for their native nature.

The song enriches children's speech, helps improve diction and articulation, and has a beneficial effect on the expressiveness of speech.

The simplicity of the melody, bright imagery, and humor create a desire to sing even in the most shy and inactive children. Folk songs evoke positive emotions in a child. Sometimes, just by mentioning the name of a song, children's faces light up with smiles, and they sing it with pleasure. In working on the lingering sound, what could be better than a folk song, because a wide melodiousness is characteristic of all genres of songs - from drawn-out to dance.

It is necessary to expand the repertoire through modern songs, the availability of music and lyrics of which contributes to the rapid assimilation of melody and develop musicality. Introducing children to modern song is of great importance for their mental and moral development.

An important task when teaching children to sing is to reveal the life content of the song to each child, teach him to rejoice, receive aesthetic pleasure from his singing, and also to please others with his performance. In order for the impact of songs to become effective and children to fall in love with them, it is necessary to conduct the first meeting with the song in a bright, emotional form, pay special attention to the content of the song, to the means of expression and its expressiveness literary text.

When learning songs, it is important to remember that the quality of the song performed plays a big role in the process of introducing children to a piece of music and developing aesthetic taste. But a child will only feel the charm of a song when he has developed an ear for music and acquired the skills of pure intonation, when he realizes that his voice merges with other children, when he has a desire to sing not only in class, but also in everyday life.

The rich song traditions that we have inherited, unique traditions, the loss of which is irreplaceable, need to be protected and restored. Only a child with his pure soul, virgin hearing and creative thinking can master the great musical culture - the song tradition of his people, and develop such talent in himself.

One of current problems pedagogy is the problem of developing the creative qualities of an individual, song creativity is no exception. Since it is one of the most widespread and essential components of traditional culture, it is determined by the need to preserve it in the conditions of globalization and the onslaught of the so-called “mass culture”. It is during childhood that it is important to realize the child’s creative potential, develop vocal and choral skills, and introduce children to the art of singing, which contributes to the development of creative imagination.

Modern scientific research in the field of music pedagogy and the experience of many preschool institutions, as well as historical experience, indicate that vocal education has an impact on the comprehensive development of the child’s personality. Education of hearing and voice affects the formation of speech, and speech, as is known, is the basis of thinking. Obviously, the effect, with systematic vocal education, is a beneficial effect on the physical development of children, on the general condition of the child’s body, causes reactions associated with changes in blood circulation, the respiratory system, is closely related to the cardiovascular vascular system Therefore, children, unwittingly doing breathing exercises, improve their health. Proper singing organizes the activity of the vocal apparatus, strengthens the vocal cords, and develops a pleasant timbre of the voice.

Chapter 2. Methods of teaching singing to preschoolers

2.1 Methods and techniques for teaching singing

In the methodology of teaching singing, preliminary preparation of the teacher is important. He analyzes the song, determines its artistic qualities, considers learning techniques and the sequence of educational tasks. The teacher should interest the content of the song - both its literary text and musical design, and evoke a desire to sing it.

The learning process, in turn, has two stages: the initial familiarization of children with the song and subsequent learning, when the main work on teaching singing skills is carried out. It should be remembered that a learned song also requires repeated repetition, consolidation of expressive performance, and most importantly, the ability to independently apply it in practice.

The methods of musical education and training are uniform in their pedagogical orientation. Therefore, training is both educational and developmental. The knowledge and skills acquired by children in the learning process help them actively express themselves in singing, dancing, playing instruments and, thus, successfully solve educational problems of general and musical-aesthetic development.

Well-known teachers in the field of theory of general and preschool pedagogy B.P. Esipov, M.A. Danilov, M.N. Skatkin, A.P. Usova, A.M. Leushina et al. emphasized that methods depend on educational tasks, on the content of the subject, and on the age of the students.

This also applies to music education, where the methods of educational tasks used depend on specific types of musical activity, methods of information, and age characteristics of children.

Let's consider an approximate diagram by which you can compare educational tasks and teaching methods.

Table 2.1

Training assignments	Teaching methods
Initial acquaintance with a piece of music in the process of listening to music, singing, musical-rhythmic movement	Expressive performance by adults; explanation of the content of the nature of the work, information about the music; conversation with children; use of visual artistic means
Consistent learning of songs, round dances, dances, dances, exercises and assimilation of knowledge, skills, abilities	Showing adults how to perform songs and dances; explanations and instructions for children during their performance - exercises for children in mastering skills (individual, group)
Consolidation of knowledge, skills, abilities; practicing the expressiveness of performing songs, dances, games	Repeated repetitions of individual “difficult” passages and the entire work; assessment of the expressiveness of children's performance by adults and the children themselves; final conversation and evaluation of the performance of the learned piece
Checking the learned repertoire and the quality of assimilation of knowledge, skills and abilities	Systematic observation of each participant in the process of collective action; individual survey during learning; selective testing of acquired knowledge and skills for a certain school period(month, quarter); performance of learned works at holidays, entertainment, observation of children’s independent activities in order to identify their interests and the correctness of the methods of creative action they have acquired

In the proposed scheme, only general outline Methods are outlined that allow you to complete educational tasks. Academic assignments are not an end in themselves. This is only a means of instilling in children a moral and aesthetic attitude towards music, the development of creative actions, the ability to respond emotionally to music, and express their own assessment. In practice, the educational process is complicated by the fact that each song, game, dance is at a different stage of their assimilation by children. Consequently, in the classroom you need to simultaneously monitor many aspects, especially how the tasks of education and development are solved in the learning process.

Despite the conditional separation of the tasks of training and development, it is possible to draw up another approximate scheme, according to which it is easy to trace the tasks of developing musical abilities and teaching methods that promote general musical development.

Table 2.2

Tasks for the development of musical abilities	Teaching methods
Developing an emotional response to music	Expressive performance of works of various genres and themes; comparison musical works with works of literature and fine art;
Development of musical and sensory abilities	Explanation and illustration of the sensory properties of music (pitch, rhythmic, timbre and dynamic), their graphic representation; exercises in distinguishing these properties; application of information in the process of practical exercises; independent use of musical and didactic games with sensory tasks.
Development of modal and melodic hearing, sense of melodic intonations	Exercises in identifying two musical sounds of different heights, the movement of the melody (up and down); familiarization with graphic representation melodic line; systematic performance of singing exercises; singing without accompaniment after tuning in a given key.
Development of a sense of rhythm	Exercises in performing metrorhythmic tasks during movement (games, dancing);
Development of musical memory	Exercises in sequential alternation of singing out loud and silently; exercises in determining the names of works from their fragments; exercises in independent performance by ear of the simplest melodies on children's musical instruments.
Development of musical creativity	Exercises to acquire independent skills in singing, playing children's instruments and movement; exercises in independently inventing variants of games, round dances, dances; teaching children search actions in exercises to develop sensory abilities; creative tasks as a method of developing song, music, play, and dance creativity.

Thus, teaching methods develop musical abilities and awaken the desire for independent creativity in any type of musical activity.

It should be noted that musical abilities are manifested unevenly in children. Studying them allows the teacher to come up with tasks of varying difficulty.

Methods depend on many pedagogical conditions. Some of them at first glance contradict each other. For example, repeated repetitions of a task, which are often based on demonstration, are important for musical development. At the same time, it is important for children to develop independence of action.

The relationship and opposition can also be seen in other methods:

The teacher’s word (explanation, instructions) and a visual display of works of art and methods of their execution;

The teacher’s words and actions aimed at developing a conscious attitude towards music, the ability to analyze and at the same time developing in children the desire for emotional experiences;

Showing examples to follow and developing the ability to act independently;

Exercises that consolidate acquired skills and develop inclinations to independently solve creative problems.

Teaching methods are closely related to teaching techniques. The technique is part of the method and plays a supporting role in it. There are many techniques, and each teacher chooses the most effective ones.

The techniques differ depending on what the teacher teaches - singing, listening, playing, dancing and who teaches - younger or older children. For example, when performing the work “Clowns” by D. Kabalevsky for listening in an older group, the teacher can first talk about cheerful clowns who are always in motion. But, performing the Russian folk melody “Don’t Be Late” to the same children for subsequent play, the teacher invites them to find out when to change the nature of the movement. The accents that appear in the second part tell the children when to clap. Thus, the children distinguish changes in the nature of the music and independently determine the corresponding movements. They are ready to play.

Teaching methods vary depending on the age of the children. Let's take learning a song as an example. Kids need to be interested in concrete images that they understand. Before performing the song “Bird” by M. Rauchwerger, the teacher shows a toy bird and says: “A bird flew in, sat on the window and chirped. The children began to ask - wait, don’t fly away! And the bird flew away (hides the bird) - ah! Children, do you want the bird to fly? I’ll call her and sing a song.” The teacher places the toy on the piano and sings. Thus, this methodological technique acquires a playful character, the image of the bird becomes accessible, visual and

complements the expressive performance of the song. In older groups there is no need to use this technique.

Preschool didactics emphasizes the importance of methodological techniques that contribute to the development of independent activity. These techniques are also used in listening to music, when the teacher encourages children to speak about music, to make correct, interesting comments. Children’s independence can also manifest themselves in performing tasks, in search of ways to solve them. Techniques aimed at developing auditory self-control and assessing the quality of performance by other children are advisable.

Children's independent actions do not exclude the demonstration of performance techniques. Even when teaching music to adults, along with explanations, demonstration of individual techniques is sometimes used. This is especially necessary in the process of teaching preschoolers - to compare the sound of a melodious or moving song, to help correctly reproduce a difficult melody, to show individual movements in a dance, characteristic feature musical and gaming image.

Teaching methods and methodological techniques are closely related to each other. Methods indicate the ways in which the teacher conveys and the child learns musical material, the necessary performing skills, and acquires the ability to act independently. Methodological techniques complement and specify methods. Using them, the teacher has the opportunity to demonstrate his teaching skills, invention and creative initiative.

2.2 Methods of teaching singing to children of primary preschool age

The development of initial manifestations of singing in the first year of a child’s life begins with the fact that the baby is taught to listen to the singing of an adult and respond to it with the sounds of his own voice, humming.

In the second year of life, children already begin to sing along with the teacher individual sounds, the endings of a musical phrase.

In the third year of life, the child’s singing voice begins to form - there is no singing sound yet, breathing is short. But at the same time, children willingly join in the adult’s singing, singing along with the endings of musical phrases and intoning individual sounds. The child cannot yet sing the entire song correctly, but one should strive to correctly intonate individual motives.

In the fourth year of life, children's singing voice becomes stronger and they can sing a simple song. Some children even develop loudness. When forming a singing sound, it is necessary to ensure that children sing in a natural voice, without tension in the range (D-E-A of the first octave).

Much attention is given to working on diction in younger groups. Children often mispronounce words without understanding their meaning. It is necessary to explain the meaning of individual, incomprehensible words, to teach correct pronunciation.

Children of this age find it difficult to sing at a general tempo: some sing slowly, others sing too quickly. The teacher must constantly monitor this, teaching them to sing collectively.

By the end of the year, a child of the first junior group can sing simple songs together with an adult. By the end of the fourth year of life, they should sing in a natural voice, without tension, drawlingly, clearly pronouncing the words, keep up and not get ahead of each other, correctly convey the melody in chants and songs, sing songs with the help of a teacher, with or without musical accompaniment.

These tasks are solved with the help of a song repertoire, including simple, melodic, easy-to-breathe songs of a short range.

Children of the third year in the songs “Cat” Ln. Alexandrova, “Sleep, my bear” by V. Tilicheeva, they sing along only the final phrase, which is most convenient for the initial intonation. Russian folk song They can sing “Bunny” in its entirety, since it is built on a repeating motif.

In the second younger group, the tasks gradually become more complicated, songs of a larger range are performed (D-A, E-B of the first octave). The construction of songs, including the repetition of individual phrases, contributes to their better memorization and assimilation. Most songs for children of this age are performed slowly, at a moderate tempo. But there are also more active ones (“Father Frost” by JI. Filippenko, “Playing with a Horse” by I. Kishko).

The main technique used in singing with children of the younger group is the emotional expressive performance of the song by the teacher. To do this, you need to carefully think through and convey the features of the song, its character, and mood.

When performing a song for the first time, the teacher uses toys and pictures that help children understand the content of the song. Gaming techniques are used.

While learning a song with children (as a rule, without piano accompaniment), the teacher approves of the most active ones, and with his participation helps the more timid ones.

Once the song is learned, you can use different playing techniques. “A bear came to us, let him sit and listen to how well we sing,” says the teacher. While singing the song “Christmas Tree” by T. Popatenko, the children clap to the words “yes, yes, yes,” and when singing the song “Holiday” by T. Lomova (in the second verse), they show how they “play the trumpet.”

In the second younger group, teaching techniques are used more often. For example, drawing attention to the melody, the teacher sings a song 2-3 times, playing only the melody on the instrument, and invites the children to sing along with him. The most active ones begin to sing immediately. Gradually everyone turns on.

Working on drawn-out singing requires special attention, since many children sing in a patois. The teacher sings long sounds expressively. Children follow this example.

In the process of learning to sing, it is necessary to hear each child and note his performance. Those who sing well are encouraged to sing in a group for all the children; those who intonate poorly should be taught separately to teach them to “adapt” to the singing of an adult.

If a song contains an interval that is difficult to perform, it can be sung on any syllable. The lyrics of the song are absorbed along with the melody, only the most difficult words are repeated separately.

At the end of the year, it is noted whether the children will be able to sing some songs with or without musical accompaniment with the help of the teacher. When forming collective (choral) singing, you need to train children to start and finish the song at the same time, not to lag behind in singing and not to get ahead of each other, to draw their attention to joint friendly singing.

2.3 Methods of teaching singing to middle school children

In the fifth year of life, children have a certain general musical training. Their voices became stronger, their range (D-B of the first octave) increased somewhat, their breathing became more organized, and their pronunciation of individual sounds and words became more accurate. This allows you to expand the range of singing skills.

First of all, it is necessary to teach children to sing naturally and without tension. The teacher constantly works on this skill, showing an example of a soft, relaxed melodious sound. At the same time, the skill of correct, timely breathing and the ability to sing a musical phrase to the end develops. Attention is also paid to correct pronunciation: the content of the song, the meaning of unclear words are explained, and the expressiveness of the literary text is emphasized. At the same time, articulation is developed in classes; children are taught to actively open their mouths while singing. The development of the skill of harmonious collective singing, which is expressed in the ability to simultaneously begin and end a song, requires great attention. At this age, children still have a tendency to get ahead of the singers or lag behind them. The teacher teaches how to maintain a general tempo in singing and perform simple musical shades in accordance with the content of the work.

Experience from best practice has shown the need for training in unaccompanied singing, which should be mastered as early as possible. The easiest songs that are easy to sing become the property of children, and they successfully use them in their independent activities.

The program provides for the development of children's musical hearing. The child is taught to listen to the vocal intonation of the teacher and his comrades, which will subsequently help everyone sing in harmony in a common choir. When teaching singing, educators systematically work on developing children’s sensory abilities, since they can already distinguish sounds in pitch located at a fairly wide distance (octave, sixth).

By the end of the year, five-year-old children should master the following program skills: sing expressively, with a natural sound, without tension, sing long, take a breath between short musical phrases, pronounce words clearly, correctly, start and finish a song together, correctly convey a simple melody. Sing consistently within the D of the first octave, listen to the voices of others, distinguish sounds by their pitch, sing with and without instrumental accompaniment.

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Age characteristics of preschool children. Development of cognitive activity and interests of older preschoolers. Principles of classes with preschool children. Basic teaching aids. Features of the learning process for preschool children.

Singing for the development of musical perception:

listening to songs not meant to be sung;

listening to songs intended for subsequent performance;

singing melodies and exercises to develop ideas about pitch, timbre, duration, strength of sounds (development of sensory abilities).

Songs performed:

singing with and without accompaniment;

singing with your own accompaniment on children's musical instruments;

singing to accompany movements (round dances).

Singing in musical and educational activities:

singing exercises to acquire singing skills and musical knowledge;

pedagogical analysis of songs (the most striking means of expression, structure, character, etc.).

Song creativity:

improvisation;

composing melodies for given texts;

composing round dances.

Various types of singing activities are closely related to each other and have a mutual influence: performing and listening to songs, singing and exercises, listening to songs and song creativity, etc. The forms of their organization are also varied: classes (collective and individual), independent activities, holidays and entertainment.

The purpose and objectives of singing activity. The main goal is to educate children in a singing culture and introduce them to music. The tasks of singing activity follow from the general tasks of musical education and are inextricably linked with them. They are as follows:

1. Develop musical abilities (emotional responsiveness to music, modal sense, musical-auditory perception, sense of rhythm).

2. To form the foundations of singing and general musical culture (aesthetic emotions, interests, assessments, vocal and choral skills).

3. Promote the comprehensive spiritual and physical development of children.

These tasks are solved on the basis of a specific song repertoire, the use of appropriate teaching methods and techniques, and various forms of organizing children's musical activities.

Song repertoire includes:

songs for various types musical activities (listening, choral and solo singing, singing with movements, playing musical instruments with singing, musical literacy, creativity).

The repertoire must be selected so that it matches the physical, mental characteristics child, performed aesthetic and general educational tasks. Both music and lyrics play an important role here.

Singing exercises must be used in a specific system. Their main goal is the development of singing technique and musical ear. Each exercise has some basic narrow task: the development of breathing, diction, range, etc., but it is solved against the backdrop of the entire complex of skills. In order for work on basic skills to be systematic, the sequence of exercises is important. The following order of development of singing skills can be recommended (conditionally): diction and articulation, breathing, sound production, range expansion, sound management.

At the beginning of the school year, all age groups are encouraged to sing exercises to develop diction and articulation. (This is especially important for younger groups, since they include children with speech defects.) Many teachers believe that good diction contributes to the purity of intonation and the beauty of the sound of the voice. First, children sing exercises to help overcome speech defects, then - to align vowels and syllables with consonants.

Next, exercises are taken to develop singing breathing. The quality of sound, the singing of phrases, and the purity of intonation depend on the correct inhalation (calm, but active). Inhalation is recommended to be done simultaneously through the nose and mouth. The exhalation should be calm and slow so that there is enough breathing until the end of the phrase. To develop breathing, all exercises are given in the following sequence: first, singing two-bar chants, songs at an average tempo in 2/4 time, then the phrases are lengthened. There are also exercises with pauses to take proper breathing.

Exercises for correct sound formation (natural singing, relaxed, melodious, light) also take into account the importance of developing in children a “soft attack” of sound (the initial moment of sound formation). Children should be able to sing calmly, without jolts. A “hard attack” harms a child’s voice and the correct singing sound: it is rarely allowed, only as a performing technique. Among the exercises for children 3-6 years old, there should be no “impact” on the vocal cords. We need to teach the kids to sing in a drawn-out, melodious manner.

To develop singing ranges, the same exercises are used, but transposed into other keys.

Vocal skills (sound production, breathing, diction) are acquired simultaneously with choral skills (purity of intonation, ensemble

Clean intonation is the most difficult singing skill. It is associated with the development of hearing (modal sense and musical-auditory ideas), the feeling of the gravitational pull of a melody towards stable sounds, and the representation of a melodic pitch pattern. Impure intonation in singing is often the result of a small vocal range. In such cases, it is useful for the child to sing in a comfortable range so that he can grasp the melodic pattern and reproduce it.

The feeling of the ensemble also requires auditory attention, the ability to listen to each other. In order for children to be able to listen to singing, it is important to sing quietly, at an average tempo.

Unaccompanied songs. From the age of 3, children sing without instrumental accompaniment in small groups and individually with the support of an adult’s voice. These are onomatopoeias, folk songs, little songs. The melodic moves and rhythm are very simple and easy to intonate. The melody consists of one or two repeating motifs. Children 4-6 years old sing songs that are more difficult, with a wider range, interesting rhythm, and melody. The main goal of unaccompanied singing is to develop purity of intonation; Therefore, it is necessary that the technical side of performance does not require much effort and children can focus on pure intonation.

Songs with accompaniment. At the beginning of the school year, preschoolers sing simple, uncomplicated songs to restore skills that were forgotten over the summer. The melody of the song is accurately duplicated by the instrument; melodic moves are convenient for intonation, written in medium tessitura, with a narrow range.

At the next stage of training, songs with a more complex rhythm and melodic structure are offered. In older groups, instrumental accompaniment can only partially duplicate the melody and sound in a different register. Songs with an introduction, conclusion, pauses, chorus, chorus of various types are used, which requires melodious or moving singing, the use of all singing skills.

Another group of songs, more difficult, is designed for children 5-6 years old. These are songs of two-part or three-part form (the parts may have different characters). Here we already encounter unexpected pauses, short durations, chants (two notes on one syllable), wide ranges (septima, octave), and long phrases. These songs are performed by more capable children (soloists or small groups) with and without instrumental accompaniment.

Songs to accompany movements. When selecting a repertoire for this type of activity, it is necessary to take into account that singing is incompatible with fast, sudden movements; therefore, the songs should be of a calm, smooth nature.

Movements activate the emotional manifestations of children. The guys always sing songs with movements willingly. Such songs are already learned in younger groups.

Songs to accompany movements (round dances) have a simple melody, they are lighter than those offered in the “Songs with Accompaniment” section. Combining singing and movement requires a lot of physical effort, concentration and distribution of attention from children. At the beginning of the school year, songs with short phrases, uncomplicated, of a small range are used, then more developed ones (two-part or three-part form), of a different nature, with varied but calm movements. It is important to remember that sudden movements lead to increased breathing, and singing becomes intermittent and inexpressive.

Songs for playing musical instruments. This repertoire is intended for middle and senior groups. At the beginning of the year, children improvise on a given theme (“Bells”, “Rain”, “Stream”, etc.). The purpose of these exercises is to introduce the instrument and let you play with it like a toy. Then children play rhythmic exercises on one or two notes and hum. Gradually, the children learn to select by ear melodies from a familiar repertoire (songs of several sounds).

Song samples for teaching children the basics of musical literacy. The repertoire for various types of singing activities can be used in teaching the basics of musical literacy. Drawing children's attention to the direction of movement of the sounds of the melody, their length, the nature of the song, the teacher gives the children some information about the pitch and duration of sounds, timbre, tempo, rhythm, dynamics, etc. To develop ideas about the pitch and duration of sounds, characteristic rhythmic patterns are selected or melodic turns from already familiar works. Children reproduce them as exercises, for example, clapping, tapping with a stick or playing a rhythmic pattern of a melody on one plate of a metallophone, singing melodic turns on syllables la-la, doo-doo, mi-mi, mo-mo etc., so that the text does not distract from the reproduction of the pitch of sounds.

Methods of teaching singing. The singing capabilities of preschoolers (singing ranges, features of singing breathing, articulatory apparatus) are different in each age group.

Three age periods can be distinguished in accordance with the general and musical development of children: up to 3 years, from 3 to 5 and from 5 to 6 (7) years. In the first age period, children accumulate experience in the perception of music, initial musical impressions, experience in sensory-auditory and rhythmic representations, and intonation of a melody with their voice. In the second age period, coordination of hearing and voice, music and movements, and the combination of knowledge and skills occur. At the age of 5 to 6 (7) years, practical actions are supported by knowledge about music, enriched by it, elements of an aesthetic attitude towards singing and music in general are formed and visibly manifested.

In classes with the youngest children, chants and small songs of an imitative nature are used (voices of birds, animals, sounds of the environment, repeated intonations). With their help, hearing develops, diction and articulation are formed. It is desirable that the text contains sounds f, w, h, r. Melodies should be simple, built on 2-4 sounds, in the range of fourths (re- salt), the rhythmic pattern should consist of quarter and eighth durations, the tempo and strength of the sound are average, the breathing is short.

Children aged 3-4 years usually have a singing range re- la first octave, breathing is still uneven, short, not everyone has developed articulation and diction, some have difficulty pronouncing individual sounds. At 4-5 years old the range of singing expands: re- si first octave, breathing becomes more stable, children can sing longer phrases (two measures at a medium tempo), and pronounce words better. In this age period, songs and round dances are selected about nature and the surrounding reality, singing exercises are based on texts that are feasible for the children. They help develop diction, articulation, singing breathing, and ensemble. To develop coordination of hearing and voice, and singing breathing, it is important to choose songs that have not only uniform, but also drawn-out sounds. By the age of 5, children already use different types of breathing (clavicular, thoracic, lower costal, and mixed). The melodies are sung more complex, at a slow and medium tempo, the dynamics are quiet and moderately loud.

At 5-6 (7) years the range is even wider: re first octave - before second octave (sometimes even re first octave - re second octave). Children have better control of singing breathing - they can sing phrases of two measures at a slow tempo. During these years, musically gifted children emerge; they are noticeably ahead of their peers. This is revealed in the following: purity of intonation, ringing voice, artistically expressive singing, artistry, interest in music.

At the age of 5 to 6 (7) years, a more varied song repertoire is used, tempo from slow to active, dynamics from quiet to moderately loud. Singing loudly is not recommended. The sound strength of children's voices is moderate, since the vocal cords are not yet formed.

The most suitable material for classes with children of all ages is folk chants, songs, and round dances. Their melodies are simple and accessible to preschoolers. They are often performed unaccompanied, contribute to the development of hearing, shape taste, and can be used in various life situations.

Work on a song can be divided into several stages, each of which has its own methods and techniques.

At the first stage of working on a song (familiarization, perception), visual and verbal methods are used. With the help of an expressive performance of a song, figurative words, and a conversation about the nature of music, the teacher seeks to awaken interest in it and a desire to learn it. It is important that children feel the mood conveyed in the music, speak out about the nature of the song as a whole, and the change of mood in its parts. Only a bright, expressive performance by a teacher can evoke positive emotions in children and experience the content of the music. A conversation about the emotional and figurative content of the song helps to set the children up for expressive performance, choosing sound production, diction, and breathing that matches the character of the song. So, if children have determined the nature of the music as affectionate, gentle, calm, they are explained that it must be sung in a melodious, drawn-out manner.

At the second stage, the actual learning of the song begins (over 3-5 lessons). In addition to visual and verbal methods, it is of great importance practical method. Children master the necessary singing skills, remember and reproduce the melody, rhythm of the song, and expressive nuances. At this stage, exercise plays a big role. At first, children learn by imitation, so showing the teacher techniques and reinforcing them in exercises is very important. The exercises are given as chanting before singing songs. With their help, difficult melodic moves found in the song are learned. For example, before singing the song “Herringbone” by L. Beckman, which begins with a move up to the sixth, you can use the song from “Musical Primer” by N. A. Vetlugina “Echo” to prepare children for playing this complex interval.

Working on difficult melodies using the material of the song itself requires repeated repetitions, which inevitably reduces children's interest in the song. The exercise, given in a playful form, helps to overcome difficulties and acquire singing skills.

Exercises that are playful in nature allow children to sing with pleasure not only in class, but also in independent activities and at home. The kids like songs related to the world close to them. These are melodies from folklore, imitation of the voices of birds, animals, tongue twisters, nursery rhymes, counting rhymes.

When performing singing exercises, children constantly train their singing voice, develop an ear for music, coordination of hearing and voice, and purity of intonation.

Very simple exercises based on one or two intervals are also used. For example, the “cuckoo” exercise is built on a minor third. Children come up with their own words for this interval. This is how auditory ideas are formed, which are important for the development of modal sense. (The interval of the minor third is included in the tonic triad, which forms the basis of the mode.) Other exercises can be created in a similar way: imitation of the voice of a lapwing (a fifth down), the caw of a crow (on one sound), etc.

Learning to sing requires considerable willpower from a child. To maintain interest in the song and focus children’s attention, it is important to be able to create game situations, use musical and didactic games, and problem tasks. On average, a song is learned in 8-9 lessons. Children show the greatest interest in the first three lessons, but then interest may decline. It is necessary to support it with the help of various pedagogical techniques, to connect singing with other types of musical activities: movements, playing musical instruments.

At the second stage of working on a song, children master the skills of sound production, breathing, diction, purity of intonation, and ensemble.

To develop the skill of correct sound production, methods and techniques such as figurative words, conversation about the nature of music, and demonstration of performance techniques are used. Melodiousness is associated with sound production. From a young age, it is important to teach children to draw out vowels, the ends of musical phrases, and learn songs at a slow tempo. Singing melodies without words, on a consonant, helps melodiousness m or l combined with vowels u, o. In older groups, exercises in which syllables dominate are useful coo-coo, mo-mo. Moving, light sound production is facilitated by exercises that begin and end with consonants (ding-ding, knock-knock). The technique of comparing sound with musical instruments(smooth sound of a pipe, abrupt and light sound of a bell).

To help children master proper breathing, they are explained and shown where and how to take their breath, and how to spend it in musical phrases. For proper breathing, a singing attitude is important - sitting straight, without lifting

To develop correct diction, the following techniques are used: expressive reading of the text, clarification of the meaning of some unfamiliar words, their correct and clear pronunciation, reading the text in a whisper, with clear articulation. It is important to develop the mobility of the articulatory apparatus (lips, tongue, palate, lower jaw) in children through exercises. Meaningful pronunciation of the text makes singing more expressive. This is facilitated by the clear sound of consonants, soft endings of phrases, semantic accents, etc.

Purity of intonation in singing requires constant work on improving hearing starting from an early age: from the development of auditory concentration to distinguishing and reproducing sounds in pitch, reproducing the direction of movement of the melody. So that children can easily determine the direction of movement of the melody, modeling is used (showing the movement of sounds by hand, didactic games, demonstrating the sounds of a melody on a flannelgraph, etc.).

The following techniques help to obtain purity of intonation in singing: tuning on the first sound of the song; singing of one melody by the teacher (children’s perception of the melody from the voice); playing melody on piano and other instruments; learning a melody in parts, phrases, at a slow pace. They usually start learning a song with simpler, memorable fragments, for example, the chorus. In addition, children's auditory attention is necessary. They should sing quietly, expressively, listening to themselves and others. It is useful to sing in small groups and solo.

It is important for the teacher to understand the reasons for unclean intonation. These may be underdeveloped hearing, articulation deficiencies, or a diseased vocal apparatus. It is recommended to work with children who intonate impurely individually.

One of the reasons for incorrect intonation is the low range of the voice. In this case, transposing the melody into a key that is comfortable for the child helps. If he manages to grasp the pattern of the melody and reproduce it in a comfortable tessitura, he can begin to sing correctly and together with other children, in a higher pitch. Gradually, the range expands, starting with primary (i.e., convenient for humans) sounds.

Along with this technique, the opposite also helps - “opening” the sounds of the upper register of a child’s voice (la, si first octave before, re second octave). First, children do onomatopoeia exercises. (coo-coo, doo-doo) then they sing jokes. Moreover, it is desirable that the melody goes from top to bottom: this immediately tunes the vocal apparatus to a high sound. The third way - along with strengthening low sounds - is to immediately expand the upper register of the child's voice, accustoming it to high sounds (R. T. Zinich).

N.A. Metlov advised seating children for singing so that children with poor intonation sat in the first row, behind them were those with average intonation, and in the third row were children who sang well. At the same time, children with poor intonation are better adjusted to the correct intonation: in front they hear the sound of the instrument and the singing of the teacher, and behind them - children who are clearly intoning. The systematic repetition of learned songs, both with and without accompaniment, and listening to songs performed well by adults and children helps to improve the purity of intonation in singing.

A sense of ensemble (from the French ensemble - together) is also necessary for choral singing. The teacher shows the children the moment of introduction, encourages auditory attention and coherence of sound. One should strive not only for the simultaneity of singing, but also for its expressiveness: soft endings of phrases, dynamic shades, semantic accents, quality of sound design corresponding to the nature of the music. Therefore, the teacher’s vivid performance of the song and figurative words are also important at the second stage of working on the work, when learning it.

In the third stage, the songs are repeated. Children have already mastered singing skills and can freely perform the learned repertoire. If a song is liked, the children sing it at will, not only in class. They remember it for a long time, include it in games, and “perform” in front of the audience with pleasure.

Questions and tasks

1. Describe singing activity as a way to develop a child’s musicality.

2. Tell us about the structure of the singing activity of preschool children and the functions of its component elements.

4. Give a description of singing activity and determine its educational value.

§ 2. RHYTHMICS (MUSICAL-RHYTHMIC MOVEMENTS)

General characteristics. Rhythm is one of the types of musical activity in which the content of music, its character, and images are conveyed in movements. The basis is music, and various physical exercises, dances, and plot-shaped movements are used as a means of deeper perception and understanding of it.

Movements to music have long been used in raising children ( Ancient India, China, Greece). But it was the Swiss teacher and composer Emile Jacques-Dalcroze (1865-1950) who first considered rhythm and substantiated it as a method of musical education. Before rhythm, he first of all set the task of developing musical abilities, as well as plasticity and expressiveness of movements.

The special value and viability of his system of musical and rhythmic education lies in its humane nature. E. Jacques-Dalcroze was convinced that it was necessary to teach rhythm to all children. He developed in them a deep “feeling”, insight into music, creative imagination, and formed the ability to express themselves in movements.

E. Jacques-Dalcroze created a system of rhythmic exercises, which he taught his students for decades; in it, musical-rhythmic tasks were combined with rhythmic exercises (with a ball, ribbon) and games.

The musical and rhythmic education of children and youth in our country was built on the basis of the leading provisions of the system of E. Jacques-Dalcroze. Domestic rhythmic specialists N. G. Aleksandrova, V. A. Griner, M. A. Rumer, E. V. Konorova and others paid special attention to the selection of highly artistic repertoire for rhythm classes: along with classical music, they widely used folk songs and melodies, works modern composers, bright and dynamic in their images.

Already in the 20s. in our country, systems of rhythmic education specific to kindergartens have begun to be developed, music schools, theater schools and institutes, conservatories, as well as medical institutions, etc.

M. A. Rumer, T. S. Babajan, N. A. Metlov, Yu. A. Dvoskina, and later N. A. Vetlugina, A. V. Keneman, participated in the creation of a rhythmic system designed for preschool children. S. D. Rudneva and others. In kindergarten, instead of the term “rhythm”, the terms “rhythmic movements”, “musical-motor education”, then “movement to music”, “musical movement”, “musical-rhythmic movements” were first used. There has been debate over the years about the most precise formulation. However, there is no fundamental difference between all these terms, since most specialists in musical and rhythmic education in preschool institutions rightly considered music the “starting point” in rhythm, and movement as a means of its assimilation 1 . Thus, T. S. Babajan absolutely correctly determines rhythmic studies as the “musical core”; he considers movement as the identification of emotions associated with a musical image 2. These provisions are confirmed by the research of B. M. Teplov, where he writes that the center of rhythm classes should be music: “As soon as they turn into education classes rhythmic movements in general, as soon as the music retreats to the position of accompaniment to movements, the whole meaning, at least the whole musical meaning, of these activities disappears.”

So, the question of the relationship between music and movement in rhythm was resolved unambiguously: music was given the leading role, movement - a secondary one. At the same time, experts made important conclusion: only the organic connection between music and movement ensures the full musical and rhythmic education of children.

In the world practice of musical education, the term “rhythm” is still used, so it is possible and advisable to recognize it in preschool education.

The purpose and objectives of rhythmics. The purpose of rhythm is to deepen and differentiate the perception of music (highlighting means of expressiveness, form), its images and the formation of expressive movement skills on this basis.

Rhythmic tasks:

To teach children to perceive the development of musical images and express them in movements, to coordinate movements with the nature of music, the most striking means of expressiveness;

Develop the foundations of musical culture;

Develop musical abilities (emotional responsiveness to music, auditory perception, sense of rhythm);

Learn to identify musical genres(march, song, dance), types of rhythm (game, dance, exercise), distinguish the simplest musical concepts (high and low sounds, fast, medium and slow tempo, loud, moderately loud and quiet music, etc.);

Form beautiful posture, teach expressive, plastic movements in games, dances, round dances and exercises;

Develop creative abilities: learn to evaluate one’s own movement and a friend’s, come up with “your own” game image, character and “your own” dance, combining various elements of physical education exercises, dance and plot-shaped movements.

These problems can be successfully solved only if they are used authentically. works of art. The repertoire can be very diverse (folklore, classical music all eras, modern music).

Let us consider the dynamics of the development of musical, rhythmic and motor skills in children of early and preschool age.

Types of rhythms are closely related to the area of ​​movements from which they are borrowed. The sources of movements for rhythm are considered to be physical exercises, dance and plot-shaped movements.

Rhythmic physical exercises include basic movements (walking, running, jumping), general developmental exercises (without objects and with objects) and drill exercises (formation, formation and movement).

The rhythm uses simple elements of folk dances, round dances, and ballroom dances, which form the basis of modern children's compositions.

Plot-shaped movements include imitation of the habits of animals and birds, the movement of various vehicles, actions characteristic of certain professions, etc.

Based on the sources of movements, the following types of musical-rhythmic and motor skills are distinguished:

Development in young children:

The nature of music, means of expression, movement, musical-rhythmic and motor skills	Group
First early age	second early age	first youngest
General character of the music, register changes	Respond with general animation, rhythmically move your arms and legs. Respond to dance music; independently clap your hands, wave your arms, dance, hit the tambourine, step your feet, holding the hands of an adult, listening to the melody of the march	Convey the cheerful character of a dance melody: stamp your feet, step from foot to foot, clap your hands, turn your hands, spin in place	Convey the cheerful and calm nature of the music in your movements
Dynamic shades		Mark the quiet and loud sound of music by clapping, imitating an adult	Clapping to celebrate loud and quiet music
Tempo changes
Metrorhythm		Ring a rattle to the music, hit a tambourine while an adult sings	Mark different, uniform rhythms in movements
Form of musical work			When changing parts of the march, change walking to bouncing
Physical education: basic movements (walking, running, jumping) general developmental exercises		Convey the rhythm of walking and running, do rhythmic half-squats Walk with a flag	Walk to the singing of an adult, walk and run to the music Move with objects - a tambourine, a rattle, perform exercises with objects

Types of rhythm: 1) musical-rhythmic exercises; 2) dances, dances, round dances; 3) musical games.

Musical-rhythmic exercises can be divided into preparatory And independent. The first include exercises in which certain types of movements are first learned. Thus, children learn to rhythmically and naturally perform a “spring”, jumping from one foot to another, a straight gallop, jumping on two legs, etc. Later, these movements are included in games, dances and round dances, and they serve as a means of expressive transmission of musical images , characters (bunnies, horses, parsley, etc.). For example, in the middle group, the exercises “Spring” (Russian folk melody), “Funny balls” (music by M. Satulina), “Boots galloping along the path” (music by A. Filippenko) help children learn the game “Horses in the stable” (music by M . Rauchwerger): the guys begin easily, rhythmically, with the mood to “jump” to dynamic, fast-paced music.

There are few independent musical and rhythmic exercises. These include “Riders” (music by V. Vitlin), “Turnts” (Ukrainian folk melody), “Exercise with Ribbons” (music by W. A. ​​Mozart), “Mocking Cuckoo” (Austrian folk melody). This type of exercise has a more complete form compared to the previous ones; at the same time, it does not yet contain that combination of different images and moods that is characteristic of games, round dances and dances.

The next type of rhythm is dancing, dancing, round dances. They are usually divided into two groups: recorded And free.

Fixed ones include those that have an original composition of movements, and the teacher strictly follows it when teaching. This is where the dancing meets different genres: with elements of folk, ballroom dances, round dance formations. These are, for example, “Dance with Handkerchiefs” and “Circle Dance” (Russian folk melodies), “Pair Dance” (Czech folk melody “Annushka”) and “Friendly Troikas” (“Polka” by I. Strauss), round dances “Herringbone” (music by M. Krasev) and “Vesnyanka” (Ukrainian folk melody), etc. A special place in this group is occupied by a characteristic dance - dance elements in it correspond to the movements of various characters in their characteristic manner (clowns, snowflakes, kittens, bears, penguins and etc.).

Free dances include all those dances and round dances that the children themselves come up with. They use familiar dance elements. At first, the teacher actively helps, advises the children which movements are best to choose for this or that music in accordance with its character and form. Then the children try their hand on their own and, without an adult’s prompting, create “their own” dance. These are “Mirror” (Russian folk melody), “Dance like me” (music by V. Zolotarev), “We are cheerful nesting dolls” (music by Yu. Slonov), etc.

Musical play (the third type of rhythm) as a type of play activity in kindergarten is an important method of musical development. Music enhances the emotional side of the game, immerses the child in the world of fairy-tale characters, introduces folk traditions - all this deepens the perception and understanding of a musical work, helps to develop musical-rhythmic and motor skills.

Musical games are divided into games accompanied by instrumental music (plot and non-plot) and games accompanied by singing (round dances and dramatizations). In story games, you need to expressively convey the images of music, and in non-story games, you need to complete a task related to the general mood of the music, its expressive means (tempo, dynamic shades, meter rhythm, form of the work). For example, in the story-based musical game “Hares and the Fox” (music by S. Maikapara), children must figuratively perform movements characteristic of these characters: the insinuating, light running of the fox and the high, soft running with stops and circling (while bouncing) of the hare, etc. d. In the non-plot game “Playing with Tambourines” (Polish folk melody), the children change movements to low-contrast parts of the play and dynamic shades; In addition, the smooth nature of the melody is conveyed in a leisurely run of a dance nature.

In games with singing, the composition of movements depends on the character, images of the music, and text. It uses elements of folk dances and various round dance formations (in pairs, ranks, circles with a change of direction). For example, in the game “Raven” (Russian folk joke), the main task is to convey the fairy-tale image of a raven “in red boots, gilded earrings,” whose dance includes elements of Russian folk dance: circling in fractional steps, putting the foot on the heel. The game also uses formation in a circle (shrinking and expanding): children go to the center and return to their places in fractional steps. When learning this game, the children’s attention is also paid to the increase in sound dynamics and the variation form in the accompaniment of the piece. (The piano part should be played separately.) To feel the rhythmic pattern repeated many times (with a slight change in the last variation), children are asked to clap and walk to the music. All the work on individual means of expression helps to deepen the perception of the image of the raven in the joke and vividly convey it in movements.

Rhythmic repertoire. The selection of repertoire according to rhythm has always been given great importance. It largely depends on what practical material children are taught on whether the goals and objectives set for rhythmics will be achieved.

In the history of domestic musical and rhythmic education in kindergarten, there are several trends in the selection of musical works for games, dances, dances, round dances and exercises. In the 20-40s, when the Dalcroze school of rhythmics manifested itself to a greater extent, excerpts from the works of Western European composers, mainly dance music (K. M. Weber, I. Strauss, F. Suppe, J. Offenbach and etc.), as well as arrangements and improvisations of the teachers themselves. In the 50-60s, when the modern system of musical education in kindergarten gradually took shape (under the leadership of N. A. Vetlugina, I. L. Dzerzhinskaya, A. V. Keneman, etc.), a new tendency emerged - to create works Composers are specially recruited for musical and rhythmic movements. This focus has especially intensified in the last two decades. Composers take into account the capabilities of children and the skills that need to be developed. In the repertoire they created, music and movement find unity.

Thus, the rhythmic repertoire for kindergarten has undergone an evolution - from adapting music to movements or movements to music to creating musical-rhythmic works.

The main principles for selecting repertoire based on rhythm are the following:

The artistry of musical works, the brightness and dynamism of their images;

The motor character of a musical composition, encouraging movement (“dancy”);

A variety of topics, genres, and character of musical works using examples of folk, classical and modern music;

Correspondence of movements to the character and images of the music;

A variety of movements (dance, plot-shaped, physical exercises).

A repertoire of musical and rhythmic movements for all age groups was recommended by the program. It takes into account the basic principles of selection. However, the teacher in each group should select the repertoire depending on the specific conditions. This is the level of general, musical and physical development children, the material and technical base of the kindergarten, the level of qualifications of the music director and teachers, the size of the group, etc.

To this day, in kindergartens there is still a seasonal-holiday principle for selecting repertoire. Of course, it is absurd to learn a winter song for the summer or a New Year's round dance for the May holiday. But, in addition to this rule, the teacher must remember the development of each child, and therefore select practical material with great attention, also taking into account the sequence of complication of the musical-figurative content of music, its expressive means. Since each musical composition includes a combination of all means, the repertoire should be systematized on the basis of the dominant means to which the composer has assigned a particularly prominent expressive role. For example, children more easily perceive and reproduce complication in dynamics in movements in the following sequence: sudden changes in forte piano, strengthening and weakening of sonority, sudden accents.