"The role of the educator in the process musical education preschool children "
Description: This material is intended for music directors of preschool institutions to work with novice educators.
Goal: To improve the professional skills of the educator in the educational field "music".
Tasks:
To deepen the interaction of the teacher with the music director in the development of the musical abilities of preschoolers.
- to increase the teacher's competence in all sections of the preschooler's musical activity.
How active are the caregivers kindergarten participate in the musical education of children? Do they all understand the importance of such participation?
Often, the educator considers it his duty only to be present at a music lesson - in order to maintain discipline. Meanwhile, without the active help of the educator, the productivity of music lessons is much lower than possible. The implementation of the process of musical education requires a lot of activity from the teacher. Raising a child by means of music, preschool teachers should understand well its importance in the harmonious development of the personality. To do this, it is necessary to clearly and distinctly understand by what means, methodological methods, the development of musical abilities of children can be carried out.
The teacher-educator needs:
1. Know all the program requirements for musical education.
2. Know the musical material of your group, be an active assistant to the music director in music lessons.
3. To assist the musical director in mastering the program musical repertoire by children, to show samples of the exact execution of movements.
4. Conduct regular music lessons with the children of the group in the absence of a music director.
5. To learn movements with lagging children.
6. To deepen the musical experience of children by listening to musical pieces in a group using technical means.
7. To develop musical skills and abilities of children (melodic ear, sense of rhythm) in the process of conducting didactic games.
8. Possess elementary skills of playing children's musical instruments (metallophone, bells, tambourine, spoons, etc.).
9. To carry out the musical development of children, using all sections of the work: singing, listening to music, musical rhythmic movements, playing on DMI, musical didactic games.
10. Take into account the individual capabilities and abilities of each child.
11. To develop the independence, initiative of children in using familiar songs, round dances, musical games in the classroom, for a walk, morning exercises, in independent artistic activities.
12. To create problematic situations that activate children for independent creative manifestations.
13. Involve children in creative games that include familiar songs, movements, dances.
14. Use the children's musical skills and abilities in the classroom for other activities.
15. Include musical accompaniment in the organization of classes and regime moments.
16. To take a direct part in the diagnostic examination of their pupils to identify musical skills and abilities, the individual capabilities of each child.
17. Take an active part in celebrations, entertainment, musical entertainment, puppet shows.
18. Prepare poetry collections of poetic material for entertainment and musical holidays.
19. Provide assistance in making attributes, decorating a music hall for parties and entertainment.
The role of the educator in a music lesson
The role of the educator, the alternation of his passive and active participation, are different, depending on the parts of the lesson and tasks.
Listening to music:
1. By personal example, educates children to listen carefully to a piece of music, expresses interest;
2. Monitors discipline;
3. Assists the music director in using visual aids and other teaching material.
Singing, singing:
1. Does not participate in chanting
2. Sings with the children, practicing a new song, showing correct articulation
3. Supports singing while performing familiar songs, using means of mimic and pantomimic expressiveness.
4. When improving the song being learned, sings along in "difficult places".
5. Does not sing with children in case of independent emotionally expressive singing (an exception is singing with children of an early and younger age)
Musical-rhythmic movements and games:
1. Participates in the demonstration of all types of movements, giving appropriate recommendations to children.
2. Gives clear, precise, aesthetic standards of movements (with the exception of exercises for the development of children's creative activity).
3. Takes a direct part in the performance of dances, dances, round dances. At the senior preschool age, familiar dances, dances, children perform independently.
4. Corrects the performance of movements by individual children during dance, exercise, play.
5. Explains and monitors the fulfillment of the conditions of the game, contributing to the formation of behavioral skills during its implementation.
6. Takes one of the roles in the story game.
7. Supervises the discipline throughout the music session.
Consultation for educators.
(Training seminar)
“The role of the musical director in the preschool educational institution and his interaction with the educator, as a necessary condition for the development creativity children
The main goal of musical education in kindergarten is to prepare for school an aesthetically educated and developed child who is able to emotionally perceive the content of a musical work, imbued with his mood, thoughts, feelings.
Fostering artistic taste in children, emotional responsiveness to music are the main tasks of kindergarten teachers.
The music director of a preschool institution is equally a performer musician and a music teacher. Knowledge of psychological pedagogical features and the patterns of upbringing and educational work in kindergarten helps to effectively select innovative methods and techniques of teaching and development, to successfully form the child's musical abilities, to influence children's team from the standpoint of humane pedagogy. The main goal of a teacher-musician is not what and how much knowledge and skills he will give preschooler, but will he be able to become an accomplice and partner to the pupils, will he help them to make a trip to wonderful world music.
The activities of a music director in a preschool institution are diverse. This is, first of all, the organization and conduct of music lessons in accordance with the program selected by this preschool institution.
Performing educational functions, the music director must have organizational, communication and constructive abilities.
In addition to conducting music lessons, the duties of a music director include planning and conducting:
1. regular classes - workshops with educators of each of the age groups;
2. consultations on the organization of musical zones in groups, selection of musical and didactic games;
3. evenings of leisure and entertainment
4. festive matinees;
5. musical and didactic games (including the production of didactic games and manuals).
The musical director carries out work related to the fact that music is constantly present in the daily life of the kindergarten (in classes for visual activity, the development of speech, physical education, walking, etc.)
The contact of the musician - teacher with the parents is very important: consultations, assistance in organizing a home music library, recommendations on the selection and use of children's musical instruments, on listening to music, watching television, etc.
The music director is working on self-education, improving performance skills, acquiring new knowledge, and analytical perception of his own activities.
In kindergarten groups, the teacher is an active participant in the pedagogical process. He assists the music director in conducting classes. The functions of the educator in each age group are different, and the degree of activity in the lesson is determined by the age of the children and those specific tasks that are in this lesson. The teacher plays the greatest role in those parts of the lesson that are associated with musical and rhythmic activities: exercises, dances, games. He sings with the children, plays with them, leads round dances, helps them in performing various actions, the teacher is involved in showing movements in exercises and dances. The smaller one is in the process of listening to music. In his work, the educator acts only at the direction of the music director (when meeting with instrumental music, he conducts a conversation about the picture, while singing, he can perform a separate verse or phrase, when learning the game, he chooses a presenter, helps to distribute roles, i.e. does not participate, but only organizes ).
Only close pedagogical contact between the music director and the educator will give a positive result when conducting music lessons!
The skills and abilities acquired by children in the classroom must be consolidated, which means that the music should also sound during individual work, morning exercises, outdoor games, didactic games and entertainment, in the evening leisure hours, become an illustration for a story, a fairy tale and etc. The teacher must carry out continuity between musical studies and other links in the process of musical education and development of children. The tasks of the educator for the musical development of children outside of music lessons include: correction, consolidation of the skills and abilities acquired in a music lesson; expansion of musical performances, outlook, identification and formation of inclinations and musical interests of each child; development of musical abilities and independent modes of action. In individual work, the educator must take into account the characteristics of the child, his ability to music and movement, the degree of assimilation of musical material; activate passive children, contribute to the formation of musical interests. To solve these problems, an educator - teacher must have a certain amount of musical and aesthetic knowledge. And when choosing musical accompaniment for various activities, one should think over the content of the works and their emotional impact.
The role of the educator in guiding the independent activities of children is great. In their work, the educator must apply indirect methods of leadership and flexible creativity. He actively forms the artistic interests of the child, influences his musical impressions received in the classroom, holidays, in the family.
It is of great importance to create conditions conducive to the emergence of musical activity of children on their own initiative - a musical zone, attributes, manuals, etc.
Thus, the main issues of the musical and aesthetic development of preschoolers are decided by the musical director, and the teacher is assigned the role of his assistant, but these relations are characterized by the unity of purpose, which is the musical development of the child as the main object of pedagogical relations.
Music is a strong and bright means of developing a creative individuality, spiritual formation of a personality. It undeniably exerts a tremendous influence in the formation of individuality, the development of the spiritual formation of a person, starting from early childhood. In one of his works, the great Russian critic V.G. Belinsky wrote: “The influence of music on children is beneficial, and the sooner they begin to experience its influence on themselves, the better for them. They will not translate her unpronounceable verbs into their childish language, but they will imprint them in their hearts, they will not misinterpret them in their own way, they will not rant about her; but it will fill their young souls with harmony. " And we cannot but agree with this statement, especially since the foundation of personality development is laid in childhood.
A child is natural in his desire to live in a world of colors, sounds, and various forms. This world is an inexhaustible source of development of feelings and fantasy. What will become his guiding star in this world, what will attract and lead the kid with him, from which spring will he draw strength? Of course, this is the beauty of the world itself.
In the future, we all want to see our children as creative, spiritually rich, culturally educated people with a developed aesthetic taste. By their attitude to art - enthusiasm or indifference - the surrounding adults have a great influence on the formation of the foundations of the value orientations of children. The aesthetic development of the child will be much more harmonious if someone who is deeply passionate about himself is nearby fine arts, music, theater, who sees and feels the beauty of the surrounding world, nature, human relationships.
Music can also become the language of communication for a child in early childhood. Music has a special language that allows you to convey the most subtle shades of human states, experiences, relationships. “Music expresses everything for which there are no words, but what asks from the soul, and what wants to be expressed,” wrote PI Tchaikovsky.
As a result of communication with music, the child gets her moods and feelings: joy, sadness, anxiety and regret, determination and tenderness. This is the power of the psychological impact of music, thanks to music, receptivity and sensitivity develops. It is music, in our opinion, that can become an emotional and evaluative core that allows a child to form an aesthetic perception of other types of art and the world around him, develop imaginative thinking and imagination, aesthetic consciousness. Therefore, the formation of the foundations of the musical culture, and through it the artistic and aesthetic culture of the child, is the most urgent task of today, which makes it possible to realize the possibilities of musical art in the process of personality formation. There is no doubt that communication with music, primarily classical, as well as "singing" music in motion and in voice is of great importance for the development and formation of thinking from the day of birth and throughout life.
The main problem, reflecting the current state of upbringing, training and education, is the problem of the development of thinking. The study of personality (child, adolescent, youth), as a subject of educational and educational activities, is carried out on the basis of theoretical, methodological, psychological and pedagogical approaches.
One of the main principles that ensure the successful mastering by children of the basics of modern knowledge is the theoretical nature of their mental activity. The foundations of this type of thinking should be formed in children in early age, at primary school age, and at the middle and higher levels of education, their further development takes place.
In upbringing, we must proceed from the needs of the child himself. A child in general, and babies, especially for the proper development of the body, need to move a lot: walk, run, jump, climb, throw. This is a physiological feature of childhood, this expresses its activity, there is an increased metabolism, the muscular apparatus develops, the work of the nerve centers is improved. Than less child, the more he needs movement, and therefore systematized and musical movement must be introduced as a permanent discipline and the sooner the better. These movements should teach the child to freely control the individual organs of his body, develop coordination of movements, master himself (courage, determination, resourcefulness, ingenuity). Music, merging with movement, connects motor reactions with the laws of musical rhythm, motor centers are brought up through music, the activity of neuromuscular centers and hearing is combined, coordination of movements is developed, strength is saved.
Along with this, it should not be overlooked that the process of direct musical perception is ambiguous and it also affects the development and formation of a creative personality.
Perception is always affected by interests, relationships, all preliminary artistic and life experience of a person. And, as already noted, hearing, the ability to listen to the environment, feel, understand, appreciate the beauty of colors and forms, the harmony of sounds and enjoy it, play a special role in this process. After all, genuine aesthetic perception is always associated with emotional excitement, the experience of aesthetic pleasure, the experience of the beauty of the object.
The process of forming perception arises by the installation of the teacher-psychologist and educator on aesthetic perception, which anticipates impressions and experiences. After that, you can freely turn to its contemplation, immerse yourself in the sensual element. It is “immersion in the element of sounds, colors, forms, in the element of words of a poem or the plasticity of movement that is characteristic of the process of artistic perception” ... This desire to perceive sensual wealth, to feel it is an essential feature of artistic perception.
The next stage is an attempt to penetrate into what these sounds, colors, forms convey, reveal, and express. This new stage of cognition will be the perception of the artistic image.
In the course of further deepening of perception, not only the artistic image captured in the work begins to be perceived and comprehended, but also the work of art itself as a kind of significant phenomenon. The work becomes the embodiment and symbol of significant aspects of life, creativity, human knowledge. This is the highest level of cognition, since the entire human personality with its worldview, ideals, moral feelings, and attitude to life is included in the process of movement of perception.
Famous scientists, teachers paid attention to the requirements for the repertoire for listening to children, and highlighted the following common features and requirements for the repertoire for children:
selection from three sources: folk music, classical and contemporary music;
selection of works that foster kindness, imbued with humanism;
penetration into the world of children's feelings, reflection of their interests, imagery, accessibility;
brightness, memorability, reliance on the intonation-modal structure of the music of different nations;
reflection of different musical forms (including larger ones), different genres;
reflection of modern searches in the field of improvement, modernization of the musical language, while maintaining an artistic level that meets the requirements of great art.
However, in the practice of kindergarten work, the "children's repertoire" actually supplants classical music. It is used rather as an exception, sporadically and mainly in older age. An early age is not used for the accumulation of valuable musical impressions necessary for the formation of a "thesaurus", the experience of perceiving highly artistic samples of musical classics. Thus, depriving children at an early age of the opportunity to listen to classical music, we lose a favorable, "sensitive" age period for the development of the ability to perceive music, if we miss it, we create additional difficulties in the matter of musical development, perhaps, and irrevocably lose it.
Based on the analysis of psychological and pedagogical literature and the results of our own observations, one can draw preliminary conclusions that it is far from indifferent what kind of music a child hears, on what repertoire he is brought up. Therefore, it is important to contribute to the accumulation of the experience of perceiving musical classics by children, the formation of specific standards of perception, i.e. it is necessary to find not only a form of presenting music to children, but also to improve the very content of education.
The pedagogical conditions for the successful development of musical perception in early childhood are:
artistic perfection, brightness and emotional accessibility of musical works;
repetition of impressions (repetition of sounding);
creating an emotional mood corresponding to the nature of the music;
creating a positive emotional background for communication between a child and an adult, encouraging the baby's success.
encouraging children to motor activity, vocalizations.
Having studied the main positions of the influence of music on the development of individuality, we can summarize all of the above.
Music, being one of the most influential forms of art, has a huge impact on the subjective world of the individual.
Aesthetic feelings, needs and ideals stimulate socially useful activity, and this is, in our opinion, the main educational function of art and music in particular.
Communication with art is of great importance in the psychological formation of an individual, in the development of her universal human inclinations and personal qualities. Receiving a huge amount of impressions from works of art and music, the child processes them and implements them in his creative activity, thereby they play an invaluable role in the development of creative individuality.
The modern world is characterized by an extreme contradictory nature of the processes taking place in all spheres of the life of society and are not always realized in their entirety of ontologically positive creativity. The situation is complicated by the growth of a spiritual crisis, manifested in the triumph of utilitarianism, raising material needs to the rank of the highest human needs, material resources to the measure of the importance of individuals, and material interests to the criterion of justifying the actions of social subjects, which, in general, upset the balance: the material side of life society has developed much stronger than the spiritual. As a result, in the words of A. Schweitzer, civilization became like a ship without a helmsman, which loses its maneuverability and rushes uncontrollably towards disaster.
The search for ways and means of getting out of such a contradictory situation is seen in spirituality, in its “constant, momentary affirmation” (M. Coulet). According to I. A. Ilyin, “our time needs nothing more than spiritual evidence. For "we have gone astray," and we do not see a "trace". But the trail leading to spiritual renewal and rebirth is necessary and possible to find. " And all this is directly related to the system of education and upbringing of the people, the formation of high spirituality in them, which is an integral set of ideas, ideals, images and feelings, focused on the values \u200b\u200bof the sublime and beautiful, true and righteous creative. Therefore, it is very important to help each person in the formation of his personal spirituality, which gives human life a higher dimension, higher meaning and meaning.
The upbringing of spirituality is especially necessary in the preschool years, "since the charge of spirituality in these years is the most stable and persists for a long time, determining the spiritual and moral appearance of a person practically for the whole life"
Among the factors of upbringing the spirituality of preschoolers in the general education system, music occupies a special place. Being an ideal phenomenon in its essential nature, and in the ontological givenness a reflection of the authenticity of feelings and the intimacy of being, it has the potential of tremendous power of pedagogical influence on human spirituality. Her educational mission is to call for goodness and justice, in the enlightenment of a more perfect world. Through music, a strong, creative, viable personality is formed, it "allows you to more fully feel the value of life, to feel its pulse, flow: it ennobles the inner world of the individual and makes him a true" aristocrat of the spirit. " According to Confucius, music gives integrity and harmony to the personality, it is a means of educating the character of a "noble man", a distinctive feature of which was high spirituality.
On the other hand, music, as something that brings beauty to the earthly world, is a kind of contact between the ideal and the real, and this allows you to better understand the ways of affirming spirituality and awaken concern moral issues... According to G.V.F. Hegel, sensual images and sounds appear in art not only for the sake of themselves and their direct manifestation, but in order to satisfy higher spiritual interests in this form, since they have the ability to awaken and touch all the depths of consciousness and evoke their response in the soul. In the process of communicating with art, I. Kant saw an important point - a person exceeding his own capabilities. He drew attention to the stimulation of a work of art for the spiritual growth of a person, which arises as a result of a full-fledged perception of a piece of music and penetration into its essence. It should be noted that musical ability, on the whole, is directly and directly related to reason - the “legislator of morality” (I. Kant), helps to elevate a person and reveal his spiritual essence. The meaning generated by music is not to endlessly satisfy your empirical desires, but to reveal your potentials and, moreover, in a versatile way as possible.
The importance of music in the upbringing of the spiritual principle in a person was also recognized by the creators of musical art themselves. Thus, the Italian composer and musical theorist of the Renaissance G. Tsarlino argued that musical art is capable of expressing universal harmony, both world and human. In his treatise "Harmonious Institutions" in the chapter "For what purpose is it necessary to study music?" he wrote: "Music should be studied not as a necessary science, but as free and worthy, because through it we can achieve good and worthy behavior, leading along the path of good morals ...". G. Handel wanted his music not only to give pleasure, but to make people better under its influence. This is also in tune with L. Beethoven's dream "to strike fire from courageous souls."
The spiritual and moral impact of music, its ability to ennoble a person was written by experts in the field of musical pedagogy - L.A. Barenboim, A. B. Goldenveiser and G. G. Neigauz, theorists and methodologists in the field of musical education - B. V. Asafiev, O. A. Apraksina and B. L. Yavorsky. Thus, B.V. Asafiev called music an "eternally living" embodiment of everything that sounds in nature and in the human soul, and urged not only to entertain with music, but to convince and delight with it.
A moral view of music was also typical for many teachers of the past centuries. Ya. A. Komensky considered musical education as an effective means of forming the spirituality of a growing personality, pointed out the need to become familiar with national music already in the "Mother's School" and suggested that music must be included in the curriculum of all four levels of education. Sh. L. Montesquieu noted the ability of music to awaken all feelings and soften morals, thanks to the ability to evoke feelings of meekness, compassion, tenderness, etc. D. Hume emphasized the important role of art and especially music in the education of moral views and feelings.
Music in our life is a living knowledge and understanding of a person about himself, it is a path to himself and the discovery of himself in himself. It means a continuous process of self-creation and self-creation. Addressing it provides exceptional opportunities for "expanding" consciousness, "enriching the meaning of communication"; it creates the preconditions for the awareness of the process of reflection on one's own mental and spiritual potential. We can say that a person who feels music deeply and subtly feels the world, knows how to see the beautiful, majestic in the surrounding life and hear the world in all its diversity. V. A. Sukhomlinsky noted that “music opens people's eyes to the beauty of nature, moral relations, labor. Thanks to music, a person awakens the idea of \u200b\u200bthe sublime, majestic, beautiful not only in the world around him, but also in himself. " His words that “without music it is difficult to convince a person who enters the world that a person is beautiful”, concretize the thesis about musical education as human education, expressing the essence of the concept of D. B. Kabalevsky, who argued the need to educate the musical culture of preschoolers as part of their spiritual culture.
Music in the general education system is the basis of the process of upbringing spirituality. The knowledge, skills and abilities acquired in music lessons become a personal spiritual property, in its value given, turning into the basis of spiritual growth and self-affirmation.
Music as a school subject in the general education system can and should be used more widely in order to educate preschoolers' spirituality.
Aesthetic education is one of the problems on the solution of which the further development of human culture largely depends. In the second half of the XX century. the problem of aesthetic education is considered by many researchers in a new way: its humanistic orientation is sharply exacerbated in connection with the global task of preserving and developing culture. In modern society, the question of giving a new status to the task of forming a personality and, above all, its aesthetic education, contributing to the emergence, strengthening and development of new aesthetic, ethical, artistic values \u200b\u200band motivations of each person has arisen with particular urgency.
It is well known that the core and the main means of aesthetic education is art, which is characterized by the universality of influence on the personality in all directions. Each of the types of art specifically affects the formation of a person's inner world. Music occupies a special place in the system of arts due to its direct complex effect on a person. Centuries of experience and special studies have shown that music affects both the psyche and human physiology, that it can have a calming and stimulating effect, and cause various emotions. In this regard, the thesis about the importance of musical upbringing of the individual, its significance for the development of general mental properties (thinking, imagination, attention, memory, will), for the upbringing of emotional responsiveness, emotional sensitivity, moral and aesthetic ideals of the individual is increasingly being established in the system of aesthetic education. ... The participation of music in educational processes has acquired particular relevance at the present time. It is no secret that the differentiation of sciences and narrow professionalization create the danger of turning people into "one-sided", limited specialists.
In the modern sociocultural situation, music is increasingly coming to the fore in the structure of the artistic preferences of young people. It is ahead of other types of art in terms of the amount of consumption due to its immediate sensory characteristics of the impact. But behind such a picture are hidden complex contradictions of being, perception, value orientations in musical art. This is, for example, the one-sided bias of most people towards pop and entertainment music, towards that small part of the vast world of musical art that does not require great intellectual and moral efforts to comprehend. Modern means mass media created the possibility of "dissolving" music in the field of production, everyday life, and leisure. It becomes more and more difficult to perceive it as an artistic whole. On the contrary, it becomes habitual to listen to music as a background without fully perceiving it. This level of culture of perception forms a superficial consumer type of musical culture as a whole, when there is no complete subjectivization of the emotional, intellectual, moral and humanistic aspects of a musical work. The place of the absent culture of attitudes towards musical values \u200b\u200bis taken by superficial consumer needs dictated by fashion and prestige. Today, more and more often there is a special type of musical culture of the individual, characterized by the fact that behind an external addiction to music lies its separation from the content-humanistic layers. This type of musical culture, in which superficial contact with musical works for purely entertainment purposes prevails, is detrimental to the individual. It contradicts the potentially humanistic possibilities of all musical art.
The perception of music, of course, depends on the person in contact with this art. The formation of the musical and aesthetic culture of the individual - a kind of indicator of the development of the person himself - is one of the most important goals of aesthetic education. Recreating the emotional experience of humanity, music reveals the ability of each person to experience the most complex feelings, gives people moral strength, fosters courage, faith in life, beauty, enriches feeling and intellect. According to V.A. Sukhomlinsky: “Musical education is not the education of a musician, but above all the education of a person.
Specificity of perception and impact of musical art on personality
Reflections on the essence of art and its significance for the formation of personality have accompanied the history of mankind since ancient times. First of all, it was about the upbringing of a specific person, as evidenced by ancient Chinese treatises, and information about musical education and upbringing in Ancient Egypt and India, and the system of aesthetic education in Ancient Greece. Refining the soul and body, harmony of the external and internal (Hellenic ideal), impact on the ethical nature of man (Aristotle), development of a sense of citizenship and social community (John de Groheo), education of the spirit, intellect, emotions (as evidenced by the works of later philosophers , church leaders, scientists of various fields of humanitarian knowledge, teachers, etc.) are examples of how at all times the educational possibilities of music were comprehended and opened.
Another thing is also significant: throughout history, in various epochs, an objective connection between the nature of the world and the nature of man was established, characterized in the same aesthetic categories. The Pythagoreans, for example, considered it necessary to make their body and soul “musical”, but a well-organized state was “musical”, for it obeys the “correct harmony”, while the cosmos is “more musical” than anything else. One of the authors of the late Middle Ages builds a system of aesthetic laws, and its upper level - "divine music" - implies a universal world order. And a very modern researcher concludes that "the laws of life are musical, and musicality is the most important sign of beauty."
In fact, at all times there was nothing else but the development of aesthetic principles with the help of art in human life, the development of human culture and society - a task that retains and strengthens its relevance in the modern world.
The first and main feature of music, which generates all others, lies in the intonational nature of this art form. The music is close and understandable due to the similarity with the intonations of human speech. She is the same age as human speech.
Intonation in music as a manifestation of human speech, consciousness and thought is deeply revealed in the works of the famous Russian musicologist, academician B.V. Asafiev. Since the appearance of his theory of intonation, none of the aesthetic issues of musicology has been solved dialectically in art history without referring to this concept. Intonation began to be considered as a foundation, as a sound-expressed "musical thought" that underlies the musical image of a work, content and form, creative method and style, realism, nationality and other aspects of a musical work.
The second side of the specificity of the perception and understanding of the musical image consists in the peculiarities of its epistemological status.
The art of music has an objective basis. But it does not lie in the naturalistic reproduction of emotions, not in the recreation of sound pictures of the objective world, not in the transfer of acoustic phenomena to the field of musical thinking. A person intones about the world and about himself with the help of historically established means of musical expression, called musical language. Intonated musical thought appears in the form of a special language and thus turns into an artistic language - a special language of human communication.
Undoubtedly, music has much less substantive and conceptual concreteness than other forms of art.
But on the other hand, music is able to more vividly and variably convey a person's experiences, the inner world of his feelings and worries, emotional and psychological states, their dynamics and overflows. The inner, subtlest, innermost aspects of the human soul, that which is sometimes not conveyed in the usual language of human communication, becomes accessible to expression by musical sounds, acts as the basis of specific imagery in music. It is no coincidence that R. Schumann said that where the word ends, music begins. Musical sounds, specially processed, built into a certain modal, rhythmic system, manifested in a certain order in the music of Bach, Beethoven, Glinka, etc., seem to grow out of the composer's feelings, emotions, and mental states.
Thus, the area of \u200b\u200bhuman feelings and emotions is one of the main objects of reflection in a musical image. But they cannot be regarded as a purely subjective phenomenon, they, like other forms of human awareness of reality, are a subjective image of the objective world. Consequently, music depicts and expresses reality not directly, like the visual arts that create an image of any part of the objective world, but indirectly, recreating the world of feelings and sensory relationships. This point of view was substantiated in detail in the concept developed by S.Kh. Rappaport and explaining music as the art of reflecting life and a person by specific means.
The third, in importance one of the main features of music as an art, consists in the depth and tremendous emotional power of the psychological and physiological impact on a person. It is known that the ancient Greeks used music as a remedy for physical and mental ailments. Music is a temporary and sound art. The material, the physical basis for the construction of a musical image, is sound. And although out of the infinite variety of sounds of nature, only those specially possessing musical properties serve as material for music, the effect of sound waves on the organs of hearing is performed objectively. It is transmitted through the auditory nerve to the brain and produces the sensation of sound. Loudness, timbre, pitch, duration of a musical sound have not only a specific artistic and figurative meaning, but also physically affect a person, causing a certain physiological state in him.
Scientific observations show that sound serves as a stronger sensory stimulus to humans than light or color. Human hearing is able to perceive differences in height from 16 to 20,000 vibrations per second. Violation of the upper threshold causes serious changes in the human body. Music uses mainly sounds ranging from 16 to 4000 vibrations per second. This range is associated with the historical practice of human speech and singing. Modern technical means of reproducing music, which have significant sound power, do not provide control points for the loudness level. Unfortunately, today in the youth environment there is often an absolutely uncultured position of perceiving music, which sounds at a sound volume that exceeds any artistic measure.
Undoubtedly, the measure of the loudness of a musical sound is a historical value. Initially, it was given by the characteristics of the most ancient musical instrument - the human voice. Later, musical instruments appear to accompany singing. The favorite instruments of the ancient Greeks were lyre, cithara, Pan's flute, and avlos. During the Middle Ages in Europe, the lute became the instrument of home music making, and the organ predominated in concert, religious and ritual life. The 17th century is called the "Golden Age" of violins. Improving the mechanics of the harpsichord led to the development of the piano. Its universal nature has helped to increase the popularity of this "most intelligent instrument". Each instrument raised the ear for music of a generation in the appropriate volume range. With the development of the media, with the widespread use of electronic instruments, sound density has noticeably increased. The human ear is able to appreciate the merits of "technical" music in all cases where technology does not become an obstacle to the music itself, but, on the contrary, enriches it with new expressive possibilities. But, of course, live instrumental and vocal music-making, culture and richness of musical sound in the context of directly creative performance remain a real source of full-fledged perception of musical art.
Thus, the impact of music on a person has a pronounced not only artistic and figurative, but also physiological nature. The noted characteristic features of musical art - its intonational expressiveness, epistemological nature and specific sensory physiological impact on a person - allow us to approach the question of the influence that music has on the development of personality as a whole.
The socially functional nature of music:
aesthetic and educational influence on a person
The socializing functions of the influence of music on a person are diverse. Just as in society, it can serve for an individual person as a means of cognition, communication, education of certain emotions, feelings, etc. History knows no civilizations or individuals that would do without music. The world in which a person exists is filled with music, and it is objectively necessary for a person, since with its help a number of social needs of a person are satisfied.
If in aesthetic theory the question of the content and number of social functions of art as a whole has not yet been consistently resolved, then it has been developed in musicology to an even lesser extent. Although many eminent philosophers and musicians have written about the role of music in human upbringing, since antiquity, there is no generally accepted point of view in modern scientific research on this issue. The well-known musicologist A. Sokhor, understanding the function of a work of art as the real result of the entire system of its impact on the perceiver, singled out agitational and propaganda, educational, entertaining and decorating functions that educate, cognitive, disinterested pleasure, aesthetic, etc. Among all the studied influences of music The scientist put two superfunctions on people in a special place: educational and aesthetic, merging into educational and aesthetic. Due to the limitless possibilities of the emotional impact of music and the limit of cognitive capabilities, educational and aesthetic superfunction, according to the author, dominates over others, as it serves to form the entire spiritual world of a person.
A. Sokhor's theory of the polyfunctionality of music had its positive significance at a certain stage in the history of musical and aesthetic knowledge. The modern level of studying the musical culture of society dictates the need for a systematic approach to the problem.
Similar approaches are being developed in the research works of V. Matonis, R. Telcharova, M. Knyazeva, which have appeared recently. In principle, none of the functions of music named by A. Sokhor can be correctly understood outside the systemic connection, interrelationships and interdependence with others. A step towards creating an organized and dynamic system of functions of musical art can be the selection of the main one, which, as it were, includes and mediates all other functions. This is the aesthetic function. It captures the presence of a person's aesthetic attitude to the art of music. Here, the aesthetic acts as a type of influence of music on a person and her relationship to music, which is determined by aesthetic experience, need, and aesthetic ideal. All other functions of musical art are, as it were, involved and come from the aesthetic. Aesthetic impact removes in its content the rest of the functional meanings of music (cognitive, evaluative, cathartic, communicative, educational, hedonistic, etc.), which do not work outside the aesthetic impact on the personality. For example, the humanistic is manifested in music through the aesthetic impact on a person, and the aesthetic does not become such outside the moral and humanistic assessment of a musical work. Lack of musical upbringing prevents access to the humanistic ideals of musical art. On the contrary, ignoring the universal content of the musical language leads to empty aesthetics. In such cases, exceptional situations are possible when, in a professional musical culture, its aesthetic function does not find its continuation in the moral and humanistic one, and the latter does not become a prerequisite for mastering the depths of beauty in music. As a result, both in art and in life, a person loses the ideals of truth and beauty; in art, professional skills develop outside of an orientation towards moral ideals.
Like moral, all other functions of music, its impact on a person are actualized through the aesthetic status of the work, therefore the aesthetic function is decisive in the system of numerous others, providing their connection and unity.
Thus, objectively, due to its artistic and socially functional nature, music is one of the most “human” arts. Its beauty lies in the sincerity of a human expression or intonation. Borrowing from human speech the very mechanism of emotional infection, music awakens in a person the desire for beauty, goodness, truth. It may not directly affect human activity, but the emotions caused by it accumulate moral energy in a person, incentives for the upcoming activity (it is known that L.S.Vygotsky on this basis developed the theory of the delayed impact of art). Great composers - I.-S. Bach, L. Beethoven, W.-A. Mozart, F. Chopin, M.I. Glinka, M.P. Mussorgsky, P.I. Tchaikovsky, S.S. Prokofiev, D.D. Shostakovich and many others - in their best works they expressed the public consciousness of the era, in an excellent artistic form they raised and solved the most important issues of human existence. Due to the multifaceted aesthetic, humanistic nature in the art of music, humanity in ancient times saw a unique tool for influencing a person, introducing him to the experience of social relations.
Music contributes to the development of the emotional and intellectual sides of the individual, the development of his creative abilities, fantasy, imagination, orients value ideals, human behavior, thereby specifically educating him.
The main subject of art is man. The humanistic potential of artistic culture as much as possible contributes to the formation, transformation, socialization of the individual. Since the artistic culture of a society acts as a unique system of artistic values \u200b\u200bof different types of art, which have a variety of functional effects on the personality, art is to the greatest extent a factor in the holistic development of the personality. The expression of the artistic culture of a person himself at the level of a specific type of art - music - is his musical culture. In turn, the musical culture of a person as a subsystem in relation to artistic and aesthetic culture is the most important indicator of the level of aesthetic and artistic development of a person.
The world of music may or may not become the property of the individual. Only the spiritual and practical musical activity of the individual is the starting point and prerequisite for the musical and aesthetic being of the subject. Thanks to her, the existence of a musical culture of the individual and society is possible. Musical activity, which serves as a prerequisite, process and result of musical development, provides a key to the analysis of the processes of formation of human musical culture. Not only musical activity, but also musical consciousness takes the form of the musical culture of the individual. These are two defining components of human musical culture. In the system of qualities of a person's musical culture, the following indicators can be determined:
- participation in the creation of a musical work, musical and creative activity in all the variety of forms of musical behavior;
- a system of musical evaluative representations, formed on the basis of the experience of musical perception and creativity, manifested in musical and aesthetic evaluations, views, beliefs;
- volume, quality, consistency of artistic, aesthetic and musical knowledge of a practical and theoretical nature as the basis for the formation of an aesthetic attitude to the phenomena of musical art;
- the influence of developed forms of musical consciousness and activity on other types of material and spiritual activity, the degree of stimulation of the extra-musical spheres of human life.
The most important result of familiarization with musical values \u200b\u200bis the formation of musical and aesthetic tastes and ideals of a person, which appear as an indicator of the level of his musical development. Hence, the development of personal evaluative concepts appears as an object of special concern in the formation of a person's musical culture. Thus, participation in musical creativity through various forms of musical activity, the development of the moral and aesthetic sides of the individual under the influence of his musical and cultural potential, a high level of knowledge and evaluative ideas in music are all leading signs that determine the qualities of a person's musical culture, his level of musical -cultural development.
Consultation for teachers
Topic: "Organization of joint activities of the music director and educator for the musical development of preschoolers"
(term: December, 2015)
The main task of the music director is to introduce the child to the world of music, teach him to understand it, enjoy it, develop musical and creative abilities, form a moral and aesthetic attitude towards him, the desire to actively, creatively empathize with what is perceived.
Success in this work can be achieved only with close interaction of kindergarten teachers and families, since the knowledge that a child receives in kindergarten must be reinforced at home.
The teacher and the music director directly interact with the child in the process of organizing his communication with music. The quality of musical education of a preschool child largely depends on their level of competence. In the activities of the musical director of a preschool educational institution, one can distinguishthree main areas:
1) the music director is responsible for the correct formulation and implementation of the tasks of music education for children;
2) the list of duties of the music director includes the provision of methodological assistance to the teaching staff in organizing the musical education of children;
3) an important area of \u200b\u200bactivity of a music director is his interaction with educators and parents of children.
Interaction of the musical director with preschool teachers includes:
Familiarization of educators with theoretical issues of musical education of children;
Clarification of the content and methods of work on the musical education of children in each age group;
Discussion of scenarios of holidays and entertainment;
Participation in the production of festive decorations, decorations, costumes, in the decoration of the interior of a preschool educational institution for the holidays;
Participation in the organization of subject-spatial musical development preschool environment;
Providing methodological assistance to educators in solving the problems of musical education for children;
Participation in pedagogical councils of preschool educational institutions.
Among the many recent problems concerning preschool education, the problem of educators and specialists of preschool educational institutions stands out. The problem of pedagogical interaction between an educator and a music director in a preschool educational institution is one of the most important: the success of the process of musical development of preschoolers depends on its solution.
The pedagogical interaction between the educator and the music director should be based on the following principles:
1. The principle of dialogization.
It is associated with the transformation of the "superposition" of the musical director and the "subposition" of the educator in matters of the musical development of preschoolers into the personally equal position of cooperating subjects.
2. The principle of individualization.
It is based on the use of significant advantages by each participant in the interaction in the performance of certain types of activities. To implement this principle, each participant in the interaction must have strong musical skills.
A music director is a specialist who has a musical education, which presupposes the presence of professional and creative skills, the main of which are the performing and verbal interpretation of music (O. P. Radynova). The professionalism of a music director is inconceivable without constant maintenance of the level of his performing skills and its improvement. This level largely determines the degree of children's perception of musical works. The teacher should be able to perform simple children's songs, perform musical rhythmic movements, play children's musical instruments (metallophone, tambourine, rattle, pipe), organize musical and didactic games. The musical director and educator, complementing each other's efforts, create the effect that arises from the cooperation of labor.
3. The principle of problematization.
A musician with a special education does not teach an educator - he actualizes, stimulates his musical capabilities. To implement the principle of interaction "educator - musical director", it is necessary for both parties to understand such an important function of the teacher's pedagogical activity as ensuring the integrity of the educational process. The basis for this should be the teacher's readiness for the musical development of preschoolers, which he perceives as an important element of his professional readiness for raising children.
In the interaction of the musical director and the educator, it is necessary to exchange initiatives between them aimed at comparing their ideas and forming general meaning activities, which is expressed in the joint planning of work on the musical development of children. This is a very important circumstance, which is determined as follows. The teacher, being with children in constant contact, taking into account the opinion of a psychologist, knowing the peculiarities of the family upbringing of children, can give a psychological and pedagogical characteristic to each child and the group as a whole, put forward general developmental goals and objectives. The music director, as a bearer of specialized knowledge and abilities, sets specialized goals.
The form of interaction between the educator and the music director is the inclusion of a holistic program in the "blocks of the pedagogical process" (according to N.Ya. Mikhailenko), as well as coordination - the distribution of responsibilities among themselves for the implementation of this program, the definition of their areas of activity.
1. Block of specially organized training
(Gcd)
The leading role in music lessons belongs to muses. to the head, since he can convey to children the peculiarities of musical works.
However, the teacher's misunderstanding of the educational tasks of music can nullify all the efforts of the music director. Where the teacher loves music, he loves to sing there and the children are very interested in music lessons. In addition, in the section "Musical-rhythmic movements", the musical director is bound by the instrument, and here the teacher must show the movements.
The leading role of the music director in no way diminishes the teacher's activity.
Often, educators make the following mistakes in the classroom:
The teacher sits with a blank expression.
The teacher interrupts the performance.
They give verbal instructions along with muses. the leader (although there can be no two centers of attention).
Disrupts the course of the lesson (enters and leaves the hall).
The teacher's activity depends on three factors:
From the age of the children: the smaller the children, the more the teacher sings, dances and listens on a par with the children.
From the section of musical education: the greatest activity is manifested in the process of learning movements, somewhat less in singing, the lowest in listening.
From the program material: depending on the new or old material.
The teacher must be present at every musical lesson and actively participate in the learning process of children:
Sings with the children (without drowning out the children's singing). When singing, the teacher sits on a chair in front of the children in order to show, if necessary, movements, the pitch of sounds, beat the rhythm, etc.
When teaching children musical and rhythmic movements (especially in younger groups) - participates in all types of movements, thereby activating babies. In older groups - as needed (showing this or that movement, reminding the formation or giving separate instructions in dancing, playing)
Guides self-reliant musical activity, including music in games, walks, work process, using the material learned with the musical director.
The teacher must be able to play all the instruments that are used by children in music lessons, in order to be able to correctly show children how to play sound on each instrument.
She repeats the words of songs with children, and does not memorize like poetry, but sings with children.
Repeats dance movements, pre-recording music.
The more actively the teacher does this work, the more new things the children can learn in the music lessons, otherwise the music lessons turn into an endless repetition of the same thing, i.e. "Marking time"
2. Block of joint activities of teachers with children
Work within this block excludes specially organized classes. An educator or musical director engages children in musical activity; children's activity may result from the involvement of teachers in the already existing activity. The block of joint activities of teachers with children includes various types of musical activities: listening to a piece of music with further conversation about it, singing, musical-rhythmic games, familiarizing with playing musical instruments. It is advisable to build a joint activity with an "open end", i.e. so that the child, if desired, can continue it on his own. For example, a musical game started with adults can be continued by children, for which it is necessary to create a subject environment (musical and didactic aids, instruments).
3. Block of free independent activity of children
The child himself chooses an activity that meets his inclinations and interests, providing opportunities for self-development. Within the framework of this block, the creative activity of children develops in various types of activity, including music. The task of the educator and the music director is to create such a subject environment that provides the child with a choice of activities that correspond to his interests and has a developing character. These are musical instruments, books and albums, materials for didactic exercisesallowing children, if they wish, to continue what they are doing in the classroom and in free joint activities with teachers. Educators should provide opportunities for children to act both with peers and individually. In this block, the musical director deals mainly with the organization of the subject environment. The teacher connects to the activities of children in cases of situations that require his intervention.
The educator's success largely depends on the intensity of the music director's work with him. The less the educator is prepared, the more the music director has to deal directly with the children.
Educational tasks are most effectively solved if teachers take into account the principle of integrating educational areas, which implies the interaction of a music director and educators. The teacher needs:
1. Know the program requirements for musical education.
2. Know musical repertoire your group, be an active assistant to the music director in music lessons.
3. To assist the musical director in mastering the program musical repertoire by children, to show samples of the exact execution of movements.
4. Practice movements with children.
5. To deepen the musical experience of children by listening to musical works in a group using technical means.
6. To develop musical skills and abilities of children (melodic ear, sense of rhythm) in the process of conducting didactic games.
7. Possess elementary skills of playing children's musical instruments (metallophone, timbre bells, wooden spoons, etc.).
8. To carry out the musical development of children, using all sections of the work: singing, listening to music, musical and rhythmic movements, playing on the DMY, musical and didactic games.
9. Take into account the individual capabilities and abilities of each child.
10. To develop the independence, initiative of children in the use of familiar songs, round dances, musical games in the classroom, a walk, morning exercises, in independent artistic activities.
11. Create problem situations that activate children for independent creative manifestations.
12. Involve children in creative games that include familiar songs, movements, dances.
13. Use the children's musical skills and abilities in the classroom for other activities.
14. Include musical accompaniment in the organization of classes and regime moments.
15. Take an active part in the preparation and conduct of holidays, entertainment, musical entertainment, puppet shows.
16. Prepare thematic collections of poetic material for entertainment and musical matinees.
17. Provide assistance in making attributes, decorating a music hall for holidays and entertainment.
18. Be artistic, resourceful, emotionally mobile.
Educator interaction
and the musical director at the matinee
The work of the musical director with the presenter and educators in preparing the holiday is to maintain constant contact, discuss the details of the program, clarify the sequential course of the holiday and joint actions of all its participants.
All roles are carefully rehearsed and all the nuances of behavior at the holiday are clarified.
The performances and poems should be learned in a group with all children, so that, if necessary, the sick child can be replaced, or the role in the performance can be changed.
Children should not witness adults talking about New Year's gifts from Santa Claus, about inviting someone to play the role of fairy-tale characters. Otherwise, surprise is destroyed - the main component of the holiday.
On the eve of the holiday, the presenter, in the presence of the music director, organizes the readiness of the hall, attributes, elements of costumes and items for games, i.e. checks the readiness for the holiday.
The teacher must know the order of numbers by heart.
Monitor discipline, correct children correctly.
Know poems and children reading them, prompt the beginning of the poem in time.
Take on roles in performances. Do not give up on the accepted role.
The role of the leader is very responsible, this teacher must have musicality, artistry, be able to stay on stage, must be emotional, resourceful.
In younger groups, there should be a fast pace of the celebration without hesitation and pauses on the part of the leaders (since the attention of children is unstable).
Know exactly when to put children in. When to bring the equipment.
The relationship of the educator with the musical director by means of conditioned signals (look at the musical director).
If the child does not have a pair, the teacher replaces her.
The teacher must see every child at the holiday.
Try not to criticize or jerk children, to calm them down by stroking them on the shoulder.
There are 2 forms of work of a music director with an educator.
Individual consultations: held once every 2 weeks
Content of the consultation:
Acquaintance with the tasks of the upcoming classes;
Assimilation of the repertoire (it is checked how the teacher performs children's songs, dances);
Thinking over forms of individual work with children;
Thinking through the introduction of music into everyday life;
Conversations about the teacher's activity in music. classes.
Group consultations:
Acquaintance with new methodological issues (songwriting, motional creativity, learning to play instruments);
Drawing up the scenes of the holiday;
Thinking about surprises;
Discussion of various issues;
Learning songs for listening or for performing them at holidays (paying attention to the purity of intonation and diction);
Improving the culture of movement (in addition to children's games, dances, exercises, educators make more complex movements that contribute to the development of coordination of their movements and general musical development);
Performing independent tasks (compose a dance or exercise to a certain music);
Teaching teachers to use a tape recorder, improve knowledge in the field of musical literacy, so that he can perform a children's song on musical instruments from notes, sing it.
Practice shows that the teacher's readiness for the musical development of children in a preschool educational institution is manifested in all forms of organizing musical activity: educators are active in musical classes, conduct round dances with singing for a walk, musical and didactic games, use musical works in classes for the development of speech, familiarization with others ... Such activity contributes to the development of children's musicality, brings the teacher and the child closer together, allows the music director to concentrate on performing skills in the process of developing musical perception in preschoolers. All this is possible if the interaction between the educator and the musical director is successful.
Musical director E.Ya. Mokrodeeva
Consultation for teachers "Interaction between the musical director and the educator in the preschool educational institution".
Kurkina Irina Sergeevna, musical director of MADOU-kindergarten №106, Yekaterinburg.The material is addressed to teachers of preschool educational institutions (music directors, teachers). Contains methodological information, a questionnaire for educators, guidelines.
Goal: creating conditions for the successful musical development of preschool educational institutions.
Tasks:
- to improve the professional competence of teachers on the issue of musical development of preschool children;
- to acquaint educators with their functionality in different types of children's musical activities during music lessons;
-to provide methodological support (recommendations for educators and "Leaders" at children's parties and entertainment);
- to ensure the interaction of the teacher-educator and the music director.
Relevance of the problem:
How actively are kindergarten teachers involved in the musical education of children? Do they all understand the importance of such participation?
The teacher carries out basically all the pedagogical work in the kindergarten - therefore, he cannot stay away from the musical and pedagogical process.
The presence in the kindergarten of two teachers - muses. leader and educator does not always lead to the desired results. If all musical education is reduced only to conducting musical lessons, and the educator considers himself free from the musical development of children, then in this case musical education is not an organic part of the entire life of children: dancing, musical play is not part of the child's life. The teacher, underestimating the importance of musical education in pedagogical work, does not show interest in it and does not know how to arouse interest in children.
The leading role in music lessons belongs to muses. to the head, since he can convey to children the peculiarities of musical works. Failure to understand the educational tasks of music by an educator can nullify all the efforts of the music director. Where the teacher loves music, he loves to sing there and the children are very interested in music lessons. In addition, in the section "Movement", music. the leader is constrained by the tool and here the teacher must show the movements.
The leading role of the music director in no way diminishes the teacher's activity.
Often the educator considers it his duty to just attend a music lesson - in order to maintain discipline. And some do not even consider it necessary to be present, believing that during this time they will be able to do some business in the group. Meanwhile, without the active help of the educator, the productivity of music lessons is much lower than possible. The implementation of the process of musical education requires a lot of activity from the teacher. Raising a child by means of music, teachers should understand well its importance in the harmonious development of the individual. To do this, one must clearly and distinctly understand by what means, methodological methods, one can lay the foundations for the correct perception of music.
What is included in the RESPONSIBILITIES OF THE UPBRINGER in the field of musical education in the preschool educational institution:
1. Know all the program requirements for musical education.
2. Know the music repertoire of your group, be an active assistant to the music director in music lessons.
3. To assist the musical director in mastering the program musical repertoire by children, to show samples of the exact execution of movements.
4. Conduct regular music lessons with the children of the group in the absence of a music director.
5. To learn movements with lagging children.
6. To deepen the musical experience of children by listening to musical pieces in a group with the help of technical means.
7. To develop musical skills and abilities of children (melodic hearing, sense of rhythm) in the process of didactic games.
8. Possess elementary skills of playing children's musical instruments (metallophone, timbre bells, wooden spoons, etc.).
9. To carry out the musical development of children, using all sections of the work: singing, listening to music, musical rhythmic movements, playing on the DMY, musical and didactic games.
10. Consider the individual capabilities and abilities of each child.
11. To develop the independence, initiative of children in the use of familiar songs, round dances, musical games in the classroom, a walk, morning exercises, in independent artistic activity.
12. To create problematic situations that activate children for independent creative manifestations.
13. Involve children in creative games that include familiar songs, movements, dances.
14. Use the children's musical skills and abilities in the classroom for other activities.
15. Include musical accompaniment in the organization of classes and regime moments.
16. To take a direct part in the diagnostic examination of their pupils to identify musical skills and abilities, the individual capabilities of each child.
17. Take an active part in the preparation and conduct of holidays, entertainment, musical entertainment, puppet shows.
18. Prepare thematic collections of poetic material for entertainment and musical matinees.
19. Provide assistance in making attributes, decorating a music hall for parties and entertainment.
20. Be artistic, resourceful, emotionally mobile.
To assess the competence of the educator in relation to his role in the musical education of children, a questionnaire can be conducted.
Questionnaire for a teacher-educator
1. I know all the program requirements for musical education.
2. I know the music repertoire of my group
3. Can show examples of accurate movement performance / provide assistance.
4. I conduct regular music lessons with the children of the group in the absence of a music director.
5. I learn movements with lagging children.
6. I deepen the musical experience of children by listening to musical works in a group with the help of technical means.
7. I develop musical skills and abilities of children (melodic ear, sense of rhythm) in the process of didactic games.
8. I know the basic skills of playing children's musical instruments (metallophone, tambourine, triangle, drum, wooden spoons, etc.).
9. I develop the independence, initiative of children in using familiar songs, round dances, musical games in the classroom, for a walk, morning gymnastics, in independent artistic activities.
10. I create problem situations that activate children for independent creative manifestations.
11. I attract children to creative games that include familiar songs, movements, dances.
12. I use the children's musical skills and abilities in the classroom for other activities.
13. I include musical accompaniment in the organization of classes and regime moments.
14. I take a direct part in the diagnostic examination of my pupils to identify musical skills and abilities, the individual capabilities of each child.
15. Take an active part in the preparation and conduct of holidays, entertainment, musical entertainment, puppet shows.
16. Prepare thematic collections of poetic material for entertainment and musical matinees.
17. I provide assistance in making attributes, decorating a music hall for holidays and entertainment.
18. Show artistry, ingenuity, emotional adequacy
Music as part of the educational environment in kindergarten
Success in the musical development of children, their emotional perception of music is closely related to the work of the educator. It is the educator who has a broad outlook, a certain musical culture, who understands the tasks of musical education of children, who is the conductor of music into the daily life of a kindergarten. A good business relationship between a music director and educator has a beneficial effect on children, creating a healthy, friendly atmosphere, which is equally necessary for both adults and children.
The main form of musical education and training of a child in a preschool institution is music lessons. In the course of classes, children acquire knowledge, skills, skills in listening to music, singing, musical rhythmic movements, playing on the DMI. Music lessons are artistic and pedagogical process, contributing to the development of a child's musicality, the formation of his personality and the assimilation of reality through musical images.Music lessons play an important role in the development of endurance, will, attention, memory, in the education of collectivism, which contributes to the preparation for school. They carry out systematic upbringing of each child, taking into account his individual characteristics.
Conducting music lessons is not a monopoly of the music director, but is part of pedagogical workled by a teacher.
The life of a child becomes more colorful, fuller, more joyful, if not only in musical classes, but also in the rest of the time in kindergarten conditions are created for the manifestation of his musical inclinations, interests, abilities.
The skills obtained in the classroom must be consolidated and developed also outside them. In a variety of games, on walks, during the hours set aside for independent activities, children on their own initiative can sing songs, lead round dances, listen to music, and select the simplest melodies on a metallophone. Thus, music enters the child's life, musical activity becomes a favorite pastime.
In music lessons, new information about musical works is provided, singing and music-rhythmic skills are formed, consistent musical development of all children is provided according to a specific system. In the daily life of the kindergarten, the role of the environment for musical development is assigned to the educator. Taking into account the age of the children, it determines the forms of including music in the daily routine. Many aspects of kindergarten life allow a connection with music and from this acquire great emotional fulfillment.
Music can be used in role-playing creative games for children, morning exercises, during some water procedures, during a walk (in summer), entertainment evenings, before going to bed. It is allowed to include music in lessons on different types activities: visual, physical education, familiarization with the nature and development of speech.
Play, of course, is the main activity of the child outside of class. The inclusion of music in the game makes it more emotional, interesting, attractive. There are various ways to use music in games.
In some cases, it is, as it were, an illustration of the actions of the game. For example, while playing, children sing a lullaby, celebrate housewarming, and dance. In other cases, children reflect in games the impressions they received at music lessons and holidays. Role-playing games with music require very careful and flexible guidance from the educator. He, observing the course of the game, encourages children to sing, dance, play on the DMI. Many role-playing games arise only when children are given a toy TV, a piano, a theater screen. Children begin to play "music lessons", "theater", perform with concerts on "television", ie. it is necessary to create an environment that encourages the child to take action.
Music can be included as an integral part and in different activities. The aesthetic perception of nature gives children a love for the Motherland. Music, on the other hand, helps them to more deeply emotionally perceive the images of nature, its individual phenomena. At the same time, observing nature deepens the perception of music. It becomes more comprehensible and accessible. For example, if, going for a walk in a park or forest, children pay attention to a beautiful slender birch tree, then the teacher should invite the children to carefully consider it, remember a poem about it, or even better sing a song or lead a round dance. Thus, the educator consolidates children's impressions received from direct observation of nature with the help of a piece of music. In addition, the teacher can spend summer walks with singing games. This makes walks meaningful. Musical material, which has been learned in advance in musical lessons, related to the theme of nature, allows children to be more attentive when observing. Children begin to understand that every natural phenomenon, every season is beautiful in its own way. Music, depending on the tasks set by the teacher, either precedes observation, or reinforces children's impressions.
It is advisable to include music in speech development classes, for example, when telling a fairy tale. But at the same time, care must be taken that the music does not violate the integrity of the fairytale image, but on the contrary complements it. It is convenient to introduce music into such fairy tales, on the text of which operas or children's musical games have been written. ("The Tale of Tsar Saltan", "Teremok", "Geese-Swans"). Performing songs in the course of fairy tales gives them a special emotionality.
Music can also be used when conducting conversations on various topics. (About the seasons, the upcoming holiday, the Motherland, etc.)
Work on speech is closely related to musical education. Singing improves pronunciation of words and helps to eliminate speech defects.
It is also easy to establish a relationship between musical education and visual activity. On the one hand, music deepens the impressions that children expressed in drawing or modeling. On the other hand, it provides material for its implementation. The theme of drawings, sculpting, application can be the content of a well-known song or programmatic instrumental work. Thus, the combination of musical and visual activities helps the child in the perception of each type of art.
The music played by the educator at various moments in the daily life of children evokes positive emotions, joyful feelings in them, and creates an elated mood. It is recommended to use folk songs and jokes more often. Their subtle humor, vivid imagery have a much greater power to influence the behavior of a child than moralizing or direct instruction.
THE ROLE OF THE TRAINER IN MUSIC LESSONS
Music lesson is the main organizational form for the implementation of the tasks of musical education and development of children. Diversified development of children (mental, aesthetic, physical) is also carried out in music lessons. Caregiver involvement depends on age group, musical readiness of children and specific tasks of this lesson. Its role, the alternation of active and passive participation, is different depending on the parts of the lesson and their tasks.
The teacher's activity depends on three factors
1. From the age of the children: the smaller the children, the more the teacher sings, dances and listens on a par with the children.
2. From the section of musical education: the greatest activity is manifested in the process of learning movements, somewhat less in singing, the lowest in listening
3. From the program material: depending on the new or old material
The teacher must be present at every music lesson and actively participate in the learning process of children. The more actively the teacher does this work, the more new things the children can learn in the music lessons, otherwise the music lessons turn into an endless repetition of the same thing, i.e. "Marking time". It is necessary (desirable!) That both educators be present in the classroom in turn. Knowing the repertoire, they can include certain songs, games in the daily life of children.
Musical activities
The musical lesson consists of several sections:
1. Introductory part: movements in various formations (columns, ranks, links, pairs, in a circle), walking, running, dancing steps (jump, straight, lateral canter, fractional, round dance step, etc.). Movement to music creates a cheerful, cheerful mood, improves posture, coordination of hands and feet.
2. Listening to music
3. Singing and songwriting
4. Learning to play children's musical instruments (acquaintance with the sound of instruments performed by an adult, selection of familiar melodies on various instruments)
5. Dance
6. Game (play-dramatization)
Hearing - the main type of musical activity. This activity, being independent, at the same time is an obligatory component of any form of playing music, any kind of musical activity. For the aesthetic development of preschoolers, mainly 2 types of music are used: vocal, instrumental music. The vocal form of sounding is more accessible for young and young people. Older children listen to instrumental music ("Clowns", "Horse"). It is necessary not only to teach the child to listen to music, but also to emotionally speak about it (character), give some names (dance, march, lullaby), introduce the means of expression (tempo, dynamics, register) and the names of composers. Listening repeatedly to a work, children gradually memorize it, they develop a taste and a certain attitude towards this or that work, their favorite works appear
The functionality of the educator while listening to music:
· By personal example, educates children to listen carefully to a piece of music, expresses interest;
· During the performance, monitor how children perceive music;
· When children speak little about what they have heard, the teacher helps them with leading questions;
· Monitors discipline;
· Assists the music director in using visual aids and other teaching material.
Singing and songwriting - one of the most favorite types of muses by children. activities. Choral singing unites children, creates conditions for their emotional communication. At the first stage, children can only sing along and play onomatopoeia.
The functionality of the tutor during chanting and singing:
· Does not participate during rapid survey exercises;
· During the exercises, one of the methods of work: the first time is performed by the musical director, again by the teacher, then by the children.
· Sings with children, learning a new song, showing correct articulation;
The teacher monitors whether all children are actively singing, whether they correctly convey the melody of the song, pronounce the words, monitors the correct pronunciation of words in the song (since the music director is near the instrument, he is not always able to notice which of the children sang this or that word incorrectly;
· Supports singing while performing familiar songs, using means of mimic and pantomimic expressiveness;
Sings along in difficult places when improving song learning;
· Does not sing with children in case of independent emotionally expressive singing (the exception is singing with children of early and young age).
Musical rhythmic movements include dancing, dancing, musical games, round dances, exercises. Children learn to move in accordance with the nature of the music, with the means of musical expression. They develop a sense of rhythm, develop artistic and creative abilities. At the initial stage, when learning dances. Movements, you need to show the educator. In the future, only verbal instructions are given in the course of execution, errors are corrected. Children learn to convey various images (birds fly, horses jump, bunnies jump). The teacher verbally helps to more accurately convey the similarities with the characters. In older groups, we seek from children a conscious attitude to their role and high-quality performance in the performance of movements. Consequently, the creative activity of children develops through targeted learning, expanding musical experience, activating feelings, imagination, thinking. Staging songs is one of the simplest creative tasks.
The functionality of the educator during musical-rhythmic movement and game:
· Participates in the demonstration of all types of movements, giving appropriate recommendations to children;
Performs a dance with a child who does not have a pair,
· Monitors the correct posture;
· Monitors the quality of execution of all program material;
· Gives precise, clear, aesthetic standards of movements (with the exception of exercises for the development of children's creative activity);
· Takes a direct part in the performance of dances, dances, round dances. In older preschool age, familiar dances, dances, children perform independently;
· Corrects the performance of movements by individual children during a dance or dance;
· Explains and monitors the fulfillment of the conditions of the game, contributing to the formation of behavioral skills during its implementation;
· Takes one of the roles in the story game;
Learning to play children's musical instruments acquaintance with the sound of instruments performed by an adult, selection of familiar melodies on various instruments. In this type of activity, sensory musical abilities, a sense of rhythm, ear for music, musical thinking are developed. Playing in an orchestra contributes to the development of attention, independence, initiative, the ability to distinguish the sound of instruments
Educator functionality while playing on the WMI:
· Participates in displaying or modeling game techniques;
· Is directly involved in the performance of dances, dances, round dances; in creative (improvisational) tasks, children perform their parts independently, the teacher is an equal participant;
· Helps to “conduct” a subgroup of children (when playing from the score with different parts); children;
· Corrects performance with individual children in case of difficulties;
Assists in the distribution (collection) of tools, organizing children into subgroups
· Supervises the discipline throughout the musical lesson.
Often, educators make the following mistakes in the classroom:
1. The teacher sits blankly
2. The teacher interrupts the performance
3. Give verbal instructions on a par with muses. a leader (although there can be no two centers of attention)
4. Disrupts the course of the lesson (enters and leaves the hall)
The interaction of the music director and educator
THE ROLE OF THE TRAINER AND THE HOLIDAY HOST
The role of the facilitator is very responsible. The presenter is the person who leads the festive matinee, combines all the elements of the holiday into an organic whole, explains to the children what is happening, is a link between the audience and the performers. The mood of the children at the holiday, the interest of the performed program largely depends on the presenter.
The main task of the facilitator is to carefully prepare for the performance of his duties. The presenter must know the program of the matinee well, must know songs, dances, children's games and, if necessary, help children in performing a dance or staging.
Before the matinee, the leader must lay out all the attributes necessary for the script, check their number, put the required number of chairs.
At the matinee, the leader should be free, naturally. He shouldn't be verbose. What needs to be communicated to children should be stated simply and clearly. The speech of the presenter is very enlivened by a pertinent joke, a question for children, educators, guests (for example: Have you seen how our kids dance with handkerchiefs? ")
At the matinee, you need to speak loudly enough, clearly and expressively. The presenter not only informs what songs, dances will be performed, but also explains what is happening. The matinee should be held at a good pace. Lengthy performances and pauses make the guys tired
The host must be resourceful! At the matinee, unforeseen moments may arise (children did not have time to change their clothes, the cast of performers changed, a character appeared out of time, missed a musical number, etc.). In such cases, the presenter must quickly find a way out of a difficult situation (jokes, riddles, involving the audience in solving difficulties).
It is necessary for the leader to learn how to end the holiday in an organized manner! After the meal - to thank the guest (adult character), say goodbye to him, be sure to remind the reason why everyone gathered in the hall (once again congratulate everyone on the holiday), invite the children to leave the hall in an organized way (unless the scenario provides for another option) i.e. stand up one after another or in pairs and go out to the music, and not run to your parents.
A teacher who does not play any roles is with the children of his group. He sings and dances with the children. The teacher must also know the program and the entire course of the holiday well and be responsible for the area of \u200b\u200bwork assigned to him (prepares attributes, details of costumes, changes children in time, corrects costumes if necessary).
Great pleasure is given to children by solo and group performances of educators (songs, dance, character). Adult characters also participate in games and dances (pair up with children)
The costumes for the holiday are taken by the educators in advance so that they can check everything: wash, hem, make missing parts. If parents are instructed to sew or decorate a suit, prepare attributes, parents must bring them in advance so that educators can check them, otherwise it may happen at a holiday that the elastic bands on the parsley hats will break, the attributes will break, etc.
The holiday is over, but the festive impressions live on in the memory of children for a long time. They share them with their comrades, educators, parents, reflect them in their games, drawings, modeling. The teacher strives to consolidate the most colorful impressions associated with the theme of the holiday. Children repeat their favorite dances, songs, actions of individual characters. You can also conduct a reinforcing musical lesson (leave the decoration of the holiday, details of costumes, attributes for games and suggest remembering what they liked, exchange impressions. Some performances can be repeated 2-3 times with a change of performers). You can perform with holiday performances in front of children of younger groups.
Parents can also take part in the preparation of the holidays: help in decorating the room, decorating a wall newspaper, making costumes, performing small roles or reading poetry, performing musical numbers with their children. Cluster singing
Topic: "The role of the educator in the development of independent musical activity of children."
Independent musical activity of children contributes to the development of such personality traits as initiative, independence, creative activity. The role of the educator is to encourage children to apply the skills learned from music lessons in the daily life of the kindergarten.
For the development of independent musical activity of children, the group should be equipped with "musical corners", where children's musical instruments, didactic games, and fun toys are placed. Which can later be beaten by the teacher (the bear plays the balalaika, the hare jumps, the girl dances, etc.). To maintain children's interest in independent musical activity, the teacher once a month should update the manuals in the “musical corner”, replenish it with new attributes and didactic games.
An important role of the educator in the development of independent musical activity of children is the creation of problem situations, the encouragement of children to variable independent actions, the development of the ability to apply what has been learned in new conditions. In doing so, the decoration enhances the children's experience. Under the influence of the joyful sound of music, expressive words, elements of costumes, children will have bright positive emotions. All this will encourage them to express their feelings in singing, dancing, and playing, and also contribute to the formation of interest in music and musical activity in general.
Having thus created an environment in the kindergarten as full of musical intonations as possible, the teacher will be able to awaken interest and love for music in children, as well as contribute to the formation and development of independent musical activity of preschoolers.
Consider the various types of musical activities of children in a group:
1.Playing children's musical instruments. Children are very fond of playing the metallophone, accordion, button accordion, triplet, tambourine, drum and other instruments, they can perform tunes, rhythmic patterns learned in the classroom, or they come up with and perform their own melodies, showing creativity. Children are often attracted to the process of mastering a new instrument. In such cases, they teach each other: those who play this instrument well, show tricks to those who still cannot play. Such companionship is most often seen in senior and preparatory groups. Playing the instruments, children learn to distinguish between their sounds, begin to highlight the ones they like, organize an "orchestra" themselves, choose a conductor. The role of the educator is to encourage the creative activity of children, teach them to negotiate, make sure that the game does not turn into a quarrel.
2. One of the most striking forms of musical independent activity of children is musical play. Older preschoolers themselves create the conditions necessary for this game. The game can be expanded in nature: several types of activities are combined (playing on a metallophone and dancing, guessing a song by its melody and a round dance, etc.). In other role-playing games, children use songs that correspond to their play actions. For example, playing in the parade, boys sing "Drum" by M. Krasev, drum and march, girls, laying dolls, sing the song "Bayu - Bayu" M. Krasev. The song contributes to a more dynamic course of the game, organizes the actions of children.
In this type of independent activity of children, the educator continues to form in the pupils the ability to negotiate (who will do what), can suggest the plot of the plot for the game, support the activity of any child and help him organize a collective game.
3. Musical and didactic games used in independent musical activity develop in children the ability to perceive, distinguish between the basic properties of musical sound: "Musical Lotto", "Guess who is singing", "Two drums", "Hush - louder in a tambourine beat", "Name the song by the picture", etc.
To enrich the musical impressions of children and encourage them to use the skills acquired in musical lessons, the teacher must fill the regime moments with the sound of classical works known to children. For example, in morning gymnastics and during physical education (for kids), the teacher can use the following works: while running and walking at a fast pace, gallop "The Brave Rider" by R. Schumann, "Clowns" by D. Kabalevsky, "Round Dance of Dwarfs" F Liszt, "My Horse" by A. Grechaninov and others; in lung time running, scattering, flocking - "Moth" by S. Maikapar, "Butterflies" by F. Couperin, "Merry Walk" by B. Tchaikovsky; during the march - "Procession of Grasshoppers" by S. Prokofiev, a march from the cycle "Children's Music". General developmental exercises can be accompanied by music by I. Iordansky ("Ladies - Ladies"), PI Tchaikovsky (" New doll") other.
During the walk, you can play with the children the games learned in the music lessons: dance - the game "Bear", exercise "Hedgehog and the drum"; motor exercise "A cheerful dog was walking", the game "Where does the fish sleep?", the song "Ay, tuki - tuki - tuki", finger speech games.
You can also fill with music the time of the morning reception of the children and the evening when going home. Moreover, musical intonations in the morning hours should differ from musical intonations in the evening. In the morning - calm, light music in character. It is recommended to use works from the albums of piano pieces for children by P.I. Tchaikovsky, A.T. Grechaninov, E. Grieg, R. Schumann, S.M. Maykapara and others. This will create an atmosphere of benevolence and positive mood in the morning and throughout the day.
In the evening, the character of the music should be more mobile. This will dispose children to the manifestation of physical activity, coming up with images and their embodiment in dance. It is recommended to use fragments of symphonic works written for children ("Children's Symphony" by I. Haydn, orchestra suite "Children's Games" by J. Bizet, etc.)
Thus, the role of the educator in the development of the independent musical activity of children is that, imperceptibly for the child, he encourages him to be active in different types muses. activities, creating favorable pedagogical conditions: influence on the musical impressions of the child, the deployment of children's activities on their initiative. The teacher must be tactful, become, as it were, an accomplice in children's games. When planning management techniques, the teacher outlines the following points: what new equipment should be introduced for the musical activity of preschoolers (tools, manuals, amateur toys), in what order it is advisable to do this, who should be observed in order to find out the interests, inclinations of children, what type of activity children give preference and whether their interests are not one-sided. At an earlier age, it is better for the educator to use the explanatory-illustrative method. In turn, the child reproductively learns these methods. Later, the teacher must use an explanatory-motivating method, and the child is led to independent search methods of action. The demonstration method and detailed explanation are used when teaching children how to perform any element of dance or singing intonation. I would like to wish children to act not only on the direct instructions and display of the teacher, but also without his help. If the child learns to independently complete educational tasks, then he will also be able to act outside of class: organize musical games, on their own sing dance. The daily work of the educator with children, knowledge of their interests and abilities enables the educator to perform the task efficiently and responsibly. Independent musical activity in a group, being one of the indicators of the level of development of children, gives an idea of \u200b\u200bthe amount of skills, abilities, knowledge that children received as a result of the work carried out with them. There is a transfer of the methods of actions mastered in musical lessons into completely new conditions, situations; the child acts already on his own initiative, in accordance with his interests, desires, needs.
Preview:
Music director consultation for educators
Topic: "The role of the educator in music lessons."
The leading role in music lessons belongs to muses. to the head, since he can convey to children the peculiarities of musical works.
However, the teacher's misunderstanding of the educational tasks of music can nullify all the efforts of the music director. Where the teacher loves music, he loves to sing there and the children are very interested in music lessons. In addition, in the section "Movement", music. the leader is constrained by the tool and here the teacher must show the movements.
The leading role of the music director in no way diminishes the teacher's activity.
Often, educators make the following mistakes in the classroom:
- The teacher sits with an impassive look
- The teacher interrupts the performance
- They give verbal instructions along with muses. a leader (although there can be no two centers of attention)
- Disrupts the course of the class (enters and leaves the room)
The teacher's activity depends on three factors
- From the age of the children: the smaller the children, the more the teacher sings, dances and listens on a par with the children.
- From the section of musical education: the greatest activity is manifested in the process of learning movements, somewhat less in singing, the lowest in listening
- From program material: depending on new or old material
The teacher must be present at every musical lesson and actively participate in the learning process of children:
- Sings with the children (without drowning out the children's singing). When singing, the teacher sits on a chair in front of the children in order to show, if necessary, movements, the pitch of sounds, beat the rhythm, etc.
- When teaching children musical and rhythmic movements (especially in younger groups), it participates in all types of movements, thereby activating babies. In older groups - as needed (showing this or that movement, reminding the formation or giving separate instructions in dancing, playing)
- Directs independent musical activities, including music in games, walks, labor process, using the music learned from the muses. head material.
- The teacher must be able to play all the instruments that are used by children in music lessons in order to be able to correctly show children how to play sound on each instrument
- She repeats the words of songs with the children, and does not memorize like poems, but sings with the children
- Repeats the movements of dances, having previously recorded music on an audio tape.
The more actively the teacher does this work, the more new things the children can learn in the music lessons, otherwise the music lessons turn into an endless repetition of the same thing, i.e. "Marking time"
The success of the educator largely depends on the intensity of the work music director with him. The less the educator is prepared, the more the music director has to deal directly with the children.
There are 2 forms of work of a music director with an educator
- Individual consultations: are held once every 2 weeks
- Acquaintance with the tasks of the upcoming classes
- Mastering the repertoire (it is checked how the teacher performs children's songs, dances)
- Thinking over forms of individual work with children
- Thinking through the introduction of music into everyday life
- Conversations about the teacher's activity in music. occupations
- Group consultations:
- Acquaintance with new methodological issues (songwriting, movement creativity, learning to play instruments)
- Composing holiday scenes
- Pondering Surprise Moments
- Discussion of various issues
- Open music lessons (for young educators)
- Learning songs to listen to or to perform at holidays (paying attention to the purity of intonation and diction)
- Improving the culture of movement (in addition to children's games, dances, exercises, educators make more complex movements that contribute to the development of coordination of their movements and general musical development)
- Performing independent tasks (compose a dance or exercise to a certain music)
- Teaching educators to use a music center, tape recorder.
Preview:
Music director consultation for educators
Topic: "Background music in the life of a kindergarten."
The problem of coordinating the activities of all participants in the educational process in an educational institution and finding ways to solve it does not lose its relevance.
The implementation of dialogue relations in the educational space of the kindergarten provides children with a sense of psychological comfort, contributes to the creation of conditions for their all-round development, helps the effective work of the entire preschool educational institution as a whole.
The musical upbringing of a child as the most important component of his spiritual development can become a system-forming factor in the organization of children's life.
music is able to unite the educational efforts of kindergarten teachers in order to harmoniously influence the personality of the child.
One of the options for using the potential of musical art is associated with background music - music that sounds “second plan”, without setting for conscious perception in the classroom and in free activity. The saturation of children's life with music, the expansion and enrichment of the experience of its perception occur due to the involuntary accumulation of musical impressions. Studying the peculiarities of the development of musical perception, the teachers came to the conclusion: not only training is of great importance, but also the spontaneous accumulation of the experience of perception, intonation reserve.
The musical repertoire for sounding in the background is jointly selected by the music director, educator, teacher-psychologist, teacher-methodologist.
The use of background music is one of the available and effective methods psychological and pedagogical influence on a child in an educational institution and helps to solve many problems of the educational process:
Creation of a favorable emotional background, elimination of nervous tension and preservation of children's health;
Development of imagination in the process of creative activity, increasing creative activity;
Activation of mental activity, improving the quality of assimilation of knowledge;
Switching attention while studying difficult educational material, preventing tiredness and fatigue;
Psychological and physical relaxation after training load, during psychological breaks, physical culture minutes.
The teacher, including music in the classroom (speech development, mathematics, manual labor, design, drawing, etc.), can focus on the possibilities of active and passive perception of it by children. With active perception, he deliberately draws the child's attention to the sound of music, its figurative and emotional content, means of expression (melody, tempo, rhythm, etc.). with passive perception, music acts as a background to the main activity, it does not sound loud, as if in the background.
So, in the classroom in mathematics, in order to activate intellectual activity, increase concentration, concentration of attention, only the sound of music in the background is used. Through active perception and assessment of musical impressions in speech development classes, they enrich the "vocabulary of emotions", activate the evaluative vocabulary of children in everyday life. in the classroom for familiarization with the environment, the teacher can turn to music that characterizes the phenomena of nature, contributing to the manifestation of emotional responses, enrichment and deepening of ideas about the object under study. In the classroom on visual activity, in the process of drawing on presentation, you can use the sound of background music, and while drawing on a sample, offer musical works for active perception. Listening to music affects the expressiveness of the images created in the drawings, the originality of color solutions.
The sound of music in the background at regular moments (reception of children in the morning, mood for classes, getting ready for bed, getting up, etc.) creates an emotionally comfortable climate in the group.
The interaction of a psychologist with a medical professional will help to create an optimal repertoire for a musical background, corresponding to the physiological characteristics of children. The psychologist, taking into account the peculiarities of the mental, gender and age, individual development of the pupils, will indicate the expediency of using a particular piece of music during the day.
The involuntary auditory experience of children should be replenished based on the best examples of musical culture: classical music carries expressive images of eternal concepts - beauty, goodness, love, light, images of emotional states inherent in both the child and the adult.
Sample background music repertoire.
(for older preschool children)
Relaxing (relaxing): C. Debussy. "Clouds", A.P. Borodin. "Nocturne" from a string quartet, K.V. Glitch. "Melody".
Toning (increasing vitality, mood): E. Grieg. "Morning", I.S. Bach. "Joke", I. Strauss. Waltz "Voices of Spring", P.I. Chaikovsky. "Seasons" ("Snowdrop")
Energizing (exciting): V.A. Mozart. "Little Night Serenade" (finale), MI Glinka. "Kamarinskaya", V.A. Mozart. "Turkish Rondo", P.I. Chaikovsky. "Waltz of the Flowers" (from the ballet "The Nutcracker")
Calming (pacifying): M.I. Glinka. "Lark", A.K. Lyadov. The Musical Snuffbox, C. Saint-Saens. The Swan, F. Schubert. "Serenade".
Organizing (facilitating concentration of attention during organized activities) I.S. Bach. "Aria", A. Vivaldi. "Seasons" ("Spring", "Summer"), S.S. Prokofiev. March, F. Schubert. "Musical moment".
Some musical works have multifunctional applications, for example, P.I. Tchaikovsky and A. Vivaldi "The Seasons", ballet by P.I. Tchaikovsky's Nutcracker, works by V.A. Mozart, etc.
Music, by developing the ability to experience emotions and feelings arising in the process of perception, has an impact on improving the emotional responsiveness of children in real life. Musical and aesthetic impressions contribute to the development of the emotional centers of the brain, activating mental activity, which is important for the intellectual development of the pupil. By influencing the moral and aesthetic development of the child, music can be a valuable foundation of the educational system in the conditions of a preschool educational institution.
