Albina Shakirova
Singing as the main form musical activity preschoolers
METHODOLOGICAL MESSAGE on topic:
«»
IN Lately many teachers preschool institutions pay a lot of attention to staging dances and theatrical performances, but there is almost no time left for developing the skills of correct sound production in the classroom. In many kindergartens, the repertoire of songs for holidays and entertainment is chosen to be complex and beyond the range of a child’s voice. Often children singing loudly, fake. This, in turn, harms development children's musical hearing, development aesthetic taste. It is very important that children sing in a natural voice, with pure intonation, expressively and emotionally conveying the character and mood of the songs.
Singing is the most accessible type of children's performance, i.e. every child from birth has a ready-made « musical instrument» , namely, in a singing voice. Further improvement of a child’s singing skills contributes to his overall development, the formation of his personal qualities, such as responsiveness and the ability to empathize with the feelings conveyed by songs, and also helps the formation of an aesthetic attitude towards music, and through it – to the surrounding reality.
SINGING AS THE MAIN TYPE OF MUSICAL ACTIVITY OF PRESCHOOL CHILDREN.
Huge role in training singing Perceptual skills play music. Therefore, first of all, musical in children's classes, it is necessary to develop emotional responsiveness to music.
Singing is the main means musical education . It is closest and most accessible to children. Children love to sing. By performing songs, they perceive more deeply music actively express their experiences and feelings.
Singing promotes speech development. Words are pronounced in a drawn-out, sing-song manner, which helps to clearly pronounce individual sounds and syllables. In progress singing children develop musical abilities :
Ear for music
Sense of rhythm
The lyrics help them understand the content music and makes it easier to learn the melody.
SLIDE 2 and 3
TASKS MUSICAL EDUCATION:
SINGING TASKS ACTIVITIES: Methodology of work in mainly aimed at in order to develop independence, activity, initiative, and awareness in children’s perception and execution as best as possible piece of music. Songs are sung by the whole group, subgroups, individually, by role, by musical phrases, verses in turn, each bribe, etc. Achieving intonationally and rhythmically accurate execution of the melody, the teacher always pays attention to difficult motives, phrases and works on them. Often before performing a song, he gives the root note on the instrument for fret tuning. During the learning process, he uses conductor's gestures.
Therefore, from the earliest preschool age, it is necessary to take into account the specifics of the child’s voice in order to avoid mistakes in the work on developing singing skills. A child's voice is very fragile and vulnerable, the vocal cords are short and thin. The larynx and lungs of children are small. The muscles of the vocal apparatus are also weak, resulting in a child's voice being high-pitched and not very strong. The range of a child's voice is small, which, with proper organization of the singing voice, activities are expanding. Work on developing children's singing skills will be more effective if these features of the children's voice are taken into account.
This is largely due to thoughtful selection musical material - a REPERTOIRE corresponding to the singing age capabilities of children.
When choosing song repertoire It is necessary to take into account that the content of the songs reflects the range of interests of the child. Suitable repertoire for all ages – folk chants, songs, round dances. Their melodies and content are simple and accessible, forming musical taste and can be used in various life situations. The lyrics of the songs must be understandable for children. If the content of the songs contains words that are difficult for children to understand, they must be explained to the child.
The songs that are offered to children in all groups must be highly artistic and educational in relation to the content of the text. The themes of the songs are varied, but close and understandable children: songs about nature, children’s work, kindergarten, school, seasons; comic, playful, festive, songs on social topics.
The melodies of the songs should be simple, bright and varied in character. They must also correspond to the vocal capabilities of children in terms of range, which should not exceed that specified in the education program in kindergarten.
The range of songs should not exceed the singing range of a child's voice. The phrases of the songs should be short, since the volume of children's breathing is small. In the melody of songs, it is important to note simple intonation and rhythmic moves.
SONG REPERTOIRE AND REQUIREMENTS FOR IT SELECTION:
When choosing songs you need to proceed from:
plan of pedagogical work and the interests of children in which they live at a given time.
After all, children must understand the content of the text and the requirements for performing the song, and be able to perform the songs independently - solo and in choir.
The songs must also meet didactic requirements, i.e.
accessibility,
systematic and consistent
consciousness,
activity.
Therefore, the gradual complication of songs should go from easier to more difficult in melody, harmonization, and structure.
Singing is rightfully considered the primary of all types musical performance, one of the first manifestations child's musicality. Singing is a psychophysiological process associated with the work of vital systems, such as breathing, blood circulation, and the endocrine system. Therefore, it is important that the child singing I felt comfortable, sang easily and with pleasure. It is ease that is the most important physiological criterion for the functioning of the vocal apparatus. But a child's voice is very different from the voice of adults. In children preschool age, the voice is not yet formed and is weak, so the sound of a child’s voice is soft, "silver", head sound and limited sound power.
Children imitate the speech and singing intonation of adults and try to reproduce the sounds made by domestic animals and birds. At the same time, hearing controls the correctness of onomatopoeia.
Hearing improves if training is carried out correctly. IN junior groups Kindergarten children's attention is drawn to accurate reproduction melodies: sing simple songs, songs built on two or three notes. The child listens, then sings along with the adult. Gradually, stability of auditory attention is developed and pitch hearing develops.
Teaching children singing skills involves the task of very carefully developing the child’s voice and preserving its natural sound. Therefore you need to pay attention to basics physiology of the child's voice to eliminate errors.
A child's voice has special qualities that distinguish it from the voice of adults. Children's vocal cords are short compared to those of adults - hence the special sound of children's voices, especially in younger groups. The larynx with vocal cords is several times smaller than that of an adult. The sound produced in the larynx is very weak, but it intensifies resonators: upper head (nasal cavity, mouth and pharynx) and lower thoracic (trachea, bronchi, chest). The lightness and sonority of a child's voice depends on underdevelopment chest resonator, since in children head resonators predominate.
Singing range is the volume of sounds, which is determined by the interval (by distance) from the highest to the lowest sound within which the voice sounds good. Age characteristics Children's singing ranges have been studied by many researchers. N.D. Orlova defines the working range as the “sounding zone”, within the limits of “mi I oct – si I oct”, although many guys can reproduce higher sounds.
Important before starting training preschoolers Determine each child's voice range (diagnostic examinations) and in the classroom strive to systematically strengthen it with the help of various exercises so that children can freely control their voice.
Vocal-articulation exercises actively used in music lessons, are specially organized exercises aimed at developing and mastering the skills of singing diction and articulation, and are also health-protecting technologies:
Songs and chants. The purpose of the chants is to prepare the vocal cords for singing and practice pure intonation at certain intervals.
Breathing exercises – promotes the development and strengthening of the lungs and diaphragm.
We perform breathing exercises standing or sitting, depending on the condition and mood of the children, but be sure to maintain posture (shoulders turned, back straight, belly tucked in).
Speech therapy gymnastics and speech games An irreplaceable material in the work is "Speech therapy chants". They based on singing pure sayings and chants aimed at mastering various sounds. T. S. Ovchinnikova advised, “When mastering the articulation of vowels, it is useful to show each sound with your hands and sing them with articulatory gestures. The movements are performed simultaneously with both hands.” Singing and pronouncing tongue twisters at different tempos and characters also leads to remarkable results, improving children’s diction.
- "Finger games" is a dramatization of some rhymed stories or fairy tales using the fingers.
Valeological songs chants These are texts of chants that are understandable and playable (authors M. L. Lazarev, M. Yu. Kartushina) and a pleasant melody (major scale) lift your spirits and create a positive tone. Improves the emotional climate in class, prepares the vocal apparatus for singing.
Articulatory gymnastics promotes the active use of facial muscles and their warming up.
Rhythmic declamation and tongue twisters. "Rhythmdeclamation" emphasizes the rhythmization of the text with expressive speech intonation. To develop flexibility and mobility of the articulatory apparatus, tongue twisters are used.
The development of a child’s voice and its improvement depends not only on a variety of methodological techniques, but also from the knowledge that is given to children in classes music. But this knowledge alone cannot provide beautiful sound vote. Special and long-term exercises are needed for knowledge to be transferred into required skills, which after repeated repetitions become skills. The simplest singing skills include: How:
1. singing installation,
2. sound formation,
3. correct breathing,
4. good diction,
5. purity of intonation,
6. sense of rhythm,
7. coherence of the ensemble.
All singing skills are closely related and must be developed in children in the system.
Vocal work done on the song (above its elements) makes it brighter, more interesting. And most importantly, the child’s vocal apparatus becomes stronger, and he himself becomes more musical. The quiet silvery sound of a child's voice characterizes its aesthetic standard. And one must strive to achieve it in singing practice.
A good song develops and educates a child; it is a source of interest in musical activity, in which vocal and singing skills and abilities are formed.
In one lesson, in addition to the song being learned, previously learned songs should be played. When performing them, children should achieve accurate intonation, expressiveness, natural sound, singing without adult support. In total, each lesson can perform 1-2 exercises, 1 song to learn, 1 song to repeat. The exception is classes held immediately before the holiday matinee, when 3-4 songs are repeated.
Work on a song can be divided into three stages - familiarization, learning and consolidation.
Stage 1 – familiarization with the new piece of music.
At the first stage, it is important to interest children, to awaken in children the desire to learn and perform the song.
Start learning from preschoolers Any song should be perceived as a whole, i.e. the first time it should sound expressively, with an introduction, with full accompaniment. It is important to draw children’s attention to the content of the song, its character, and imagery. In the first lessons, it is better not to use accompaniment, but to play only the melody or offer to memorize it from the voice of an adult. You cannot learn the entire text in chorus at once, otherwise the children will have poor intonation and singing "recitative".
Brief introduction about this work (title of song, authors music and text) ;
Explanation of unclear words;
Reading poems and mini-stories that set children up for deeper perception musical image;
Solving riddles, puzzles;
Involving children in dialogue when discussing a song image.
The task of this stage is to create an atmosphere of empathy for this work. It is very important when perceived by children music, develop their imagination, emotional response, thinking, judgment. It is necessary to sing so beautifully and emotionally in order to interest children in a new song.
The second stage is related to its learning. Work is also underway here on the formation and development of vocal and singing skills. Before singing is necessary"to warm" child's voice, using small chants with words or per syllable (for 2-3 sounds.)
When learning a song, it is important to focus the child’s attention on the melody, which is better to start mastering without lyrics per syllable. This way the child’s attention will be focused on the pitch and rhythmic features of the melody. You can learn the melody without piano accompaniment. Fragments of the song that have a complex rhythmic pattern must be taught separately. You can clap a rhythmic pattern, then simultaneously clap and sing a syllable. When working on diction, pay attention to the expressive execution of the text in accordance with its meaning. When working on breathing, it is necessary to explain that you need to breathe calmly, without raising your shoulders, without taking noisy breaths before phrases, and maintaining air until the end of phrases. The teacher needs to remember that singing skills and abilities are formed more successfully if they are emotionally colored. Therefore, from the very beginning of learning a song, it is necessary to look for an expressive sound that corresponds to its character; it is necessary that the phrasing is logical, and that the stroke, dynamics and tempo deviations correspond to the emotional and figurative content of the song.
Conversation - analysis of the work
Exercises to develop singing skills
Songs - chants and songs - chants
Learning difficult melodic moves
Learning complex rhythmic patterns
Working on song intros
Working on the text
Each song requires its own stage embodiment. At the third stage, the song is consolidated. Children have already mastered singing skills and can freely perform the learned material. Here it is possible and important to check how each child has mastered the song. To do this, you can sing in subgroups, individually, "chain". Singing with accompaniment can be alternated with performance without an instrument.
An indicator of the mastery of a song will be its performance by children in independent activities, V free time, By own initiative. If a song is liked, children sing it of their own free will, not only in class. They remember it for a long time, include it in games, and have fun "perform" in front of the audience. criterion musical development in this case will not be the number of songs learned, but a beautiful, expressive singing, love for songs and need for it.
Natalya Apanasova
« The importance of singing in preschool age.»
« Imaginative techniques for developing children's singing skills preschool age .»
Modern Scientific research indicate that, What development of musical abilities, formation of foundations musical culture need to start at preschool age. The lack of full-fledged musical impressions in childhood is difficult to make up for later. It is important that already in early childhood There was an adult next to the child who could reveal to him the beauty of music and give him the opportunity to feel it.
Musical development has an irreplaceable impact on the overall development: being formed emotional sphere, thinking improves, the child becomes sensitive to beauty in art and life.
IN singing, as in other types of performance, a child can actively show his attitude towards music. Singing plays an important role in musical and personal development.
Only through activity does perception, memory, thinking, imagination, sensations, knowledge is acquired, new needs, interests, emotions arise, abilities develop. Consciousness and purposefulness are necessary in any activity. The child's consciousness is formed in joint activities with peers and adults. This is how children gain experience, learn to know themselves and others, and evaluate actions.
Singing the voice is compared to a musical instrument that a child can use from an early age. Expressive performance of songs helps to more vividly and deeply experience their content, to evoke an aesthetic attitude towards music and the surrounding reality. IN singing the entire complex of musical abilities: emotional responsiveness to music, modal sense, musical-auditory perception, sense of rhythm. In addition, children receive various information about music, acquire skills and abilities. IN singing the child’s musical needs are realized, since he can perform familiar and favorite songs at his own discretion at any time.
« Singing is one of those types of musical activities in the process of which successfully develops aesthetic attitude to life, to music; the child’s experiences are enriched; musical-sensory systems are actively being formed capabilities and especially musical-auditory representations of pitch relations.” (Vetlugina N.A.)
Singing closely related to the general development child and the formation of his personal qualities. IN singing develops aesthetic and moral ideas, mental capabilities, noticeably positive influence for physical development children.
Formation of musical abilities inextricably linked with mental processes. Perceiving music requires attention and observation. A child, listening to music, compares the sounds of its melody and accompaniment, comprehends their expressiveness meaning, understands the structure of the song, compares the music with the text.
The impact is clear singing for the physical development of children. Singing affects the general condition of the child’s body, causes reactions associated with changes blood circulation, breathing. The influence of music on the human body was established by physiologists V. M. Bekhterev and I. B. Pavlov.
Specifics singing preschoolers has been studied from various aspects. Back in 1940, N. A. Metlov in his dissertation "Education children singing senior group kindergarten" posed and resolved issues related to the protection of children's voices and the development of teaching methods children singing. They determined the ones that were convenient for everyone age groups of singing ranges, recommendations for mastering singing installation, vocal and choral skills ( sound production, breathing, diction, purity of intonation, ensemble). problem development purity of intonation in the elder preschool age was analyzed by A.D. Voinova. Peculiarities development of musical ear, teaching methods and techniques singing, the role of exercises and their systematization, development of independence, creativity in singing, the need for an individually differentiated approach was studied by N. A. Vetlugina and her students (A. Katinene, R. T. Zinich, T. V. Volchanskaya, A. I. Khodkova, M. Yu. Vikat, M. A. Medvedev).
Singing activity can be defined as one of the most important forms of manifestation of an active attitude children to songs and singing in the process of various life situations (A. Katinene).
TO singing can be treated differently. Children begin to learn singing from kindergarten. At school, music and rhythm are also given a lot of attention. meaning, although it is clear that the vast majority children, will not study music professionally after school. And yet, even children who do not show a penchant for music are trying to instill the basics musical literacy. Do ideas about the harmonious play a role here? personality development, or elementary musical education has practical significance in life? When thinking about this question, you need to weigh everything "behind" And "against". Anyway singing(drawing, dancing, any kind creative work) develop the child, allow him to say something more about himself than just giving his name, address and year of birth.
The main task music lessons V preschool age– teach unforced and expressive singing. Children able feel and convey the mood of the song. To do this, it is necessary to teach the simplest singing skills. Of course, at first, small children only catch up individual sounds, syllables, imitating adult singing, but gradually singing becomes more independent, and by school age(and often earlier) They able perform a simple melody correctly and harmoniously, start and finish it on time, observe the indicated tempo and its changes, accurately perform the rhythmic pattern and dynamic shades.
All these are general, long-known provisions that every teacher needs to know. But how can you make it interesting for your child so that he enjoys going to class?
For me, there is nothing more unpleasant than the realization that children are bored and uninteresting... And then it comes to the rescue figurative word and game, but most importantly imagery. Any, even the most boring, exercise can be presented in a fun and interesting way. Here are a few figurative techniques, from the practice of my work, which really help to interest the guys, to convey to them the information I need in an interesting way form:
"Balloon"- it is very difficult to explain even to 6-7 year old children that means breathing correctly! Moreover, it is impossible to pronounce such scary words like lower costal diaphragmatic breathing! Familiar and understandable people come to the rescue images. All children love air balloons, which are used in in this case. Together with the children we inflate Balloons and see what happens to them if the air is released. Well, if you put a scribe on the ball, you’ll get an indispensable tool for learning breathing techniques! Next, we imagine that the balls are inside us. We take a deep breath, onto our shoulders "laying bricks"-so that they do not rise and slowly release the air...- “Warming an abandoned kitten in our hands”. The longer we blow warm air, the faster the kitten will warm up. That is, I try to turn every phrase, every exercise into a game so that it does not sound dry and boring.
"Sandwich with butter"- children really like it "spread butter on a sandwich". Well, oil is our voice! Singing legato one of the most complex species singing at this age, but thanks to such a simple comparison, children very quickly and easily understand how to sing.
"Glass vases"- sometimes difficult to explain singing in staccato. In that case, I ask children“take small vases in your hands - made of the thinnest glass and, very carefully, so as not to break, place each one on its own step.” Usage figurative movements helps children better coordinate the power of their voice, understand how to perform this reception.
Well, and the most beloved by children reception -"Singing Ostrich" - reception, which invariably brings a smile to children! A singing ostrich is nothing more than an outstretched arm, depicting the head of an ostrich. The closed four fingers at the top and the thumb at the bottom are the beak of an ostrich, which loves to sing with children. This reception turned out to be very effective - and therefore, somehow it turned out by itself that the ostrich materialized into such an impressive Italian singer- Signora Forte! (doll show)
Of course, singing with him is very fun and interesting, which is what was required! With the help of this wonderful assistant, I solve many pedagogical problems that are perceived by children very easily and fun!
So way, classes are easy, fun and stress-free children. Development of musical taste, emotional responsiveness in children age creates the foundation of a person’s musical culture as part of his general spiritual culture in the future. It seems to me that when working with a child, it is important to remember that the most favorable period for development of musical abilities than childhood, it’s hard to imagine.
2. Dobrovolskaya N., Orlova N. “What a teacher needs to know about a child’s voice”. Mo- squaw: Music, 1972
3. Makarova E. S. “ Development of the singing voice in children on initial stage training." Moscow, 1990
4. Mikhailova M. A. « Development of children's musical abilities» . Yaroslavl, 1984
5. Radynova O. P., Katinene A. I. "Musical education preschoolers» . M.: Education, 1994
6. Sergeeva B. Specialty training program « Singing» . St. Petersburg, 2003
7. Khalabuzar P.V., Popov V.S. “Theory and methodology of music education”. St. Petersburg, 2000
Tasks:
· work on meaningful and emotional performance of the song;
· learn and voice in elementary musical instruments rhythmic accompaniment score;
· holistically embody the musical image of the song, realizing the idea of performance development.
U: Let's return from France to Russia and try to come up with options for the choral performance of the Russian folk song "Kalinka".
First, let's sing the first verse.
We build the first sound. I strive for a rounded sound, a good cantilena in the chorus, I ask you to sing gently, smoothly, beautifully, so that the melody resembles a lullaby. Special attention I spend some time working on phrasing. I repeat the viola part with the children. I combine the parts, work on the structure and ensemble in two voices, listen to the combination of voices, work on the ensemble and structure. Then we perform the entire verse and chorus.
U: Now offer me your version of the second verse!
D: Let the soloist sing the chorus, and in the chorus we will play our musical instruments.
I distribute tools to students. We learn the rhythmic accompaniment score for the chorus part by part, based on the writing on the board. I appoint soloists. I ask the children to stand up.
Concert performance of the entire song.
VI. GENERALIZATION.
Tasks:
· generalize children’s understanding of the variant-variation principle of music development;
· Summarize the lesson.
U: What concepts that determine the development of music have we met today?
D: Option, variations.
U: Absolutely right!
OPTIONS
Slide: TOPIC
VARIATIONS
U: Who understood what our lesson was like?
D: On to the variations!
NOTES
Presented is a transcript of a video recording of examples of improvisation on the theme of the French folk song “The Shepherd’s Song” and “Variations on a Theme of Pacini” by Ch. Dunkle (a fragment of Pacini’s theme) at a lesson held as part of the second round of the international competition “Music Teacher of the 21st Century”.
E.A. GOLOVANOV
graduate
"The teacher-musician in the context modern culture».
Scientific adviser:
Honored Teacher of the Russian Federation, Associate Professor Rachina B.S.
MUSIC OF OUR MOTHERLAND
CLASS: 3.
LESSON TOPIC: Music of our Motherland.
TARGET: to form children’s attitude towards the Motherland in the process of emotional perception of the beauty and diversity of images of Russian music.
Planned learning outcomes:
Students must :
Know: genres of Russian folk songs;
Features of the style of Russian music:
Be able to:
· determine the mode by ear (major, minor, alternating).
· METAPUBJECT:
· cultivate a love of music and the need for communication with art based on the perception of the music of M. Mussorgsky and A. Borodin;
· in the course of comparative analysis, identify intonation and other features of the national style of Russian music;
· based on the information available to children, draw a conclusion about the essential features of Russian folk songwriting;
· evaluate one’s own and collective musical activity.
SUBJECT:
· embody a musical image in meaningful and emotional intonation during the performance of songs being learned;
· stimulate the creative expression of children during the improvisation of a melody in the style of Russian songwriting;
· to form a culture of children's plastic activity by mastering the elements of Russian folk dance.
TYPE OF LESSON: combined.
BASIC CONCEPTS: types (genres) of Russian folk songs (dance song, lingering song); features of the style of Russian music (chants, gradualism, variable mode, “smallness”, variant development); intonation; two-voice; major; minor.
MUSICAL MATERIAL:
· M. Mussorgsky. "Bogatyr Gate";
· A. Borodin. "In the monastery";
· Russian folk song “Like Along the Sea”;
· Russian folk song “I am with a mosquito.”
METHODS:
· method of emotional dramaturgy;
· comparison method;
· method of establishing the relationship between artistic and technical on an intonation basis;
· auditory visualization method;
· method of visual clarity;
· verbal methods(conversation, story, explanation, clarification);
· practical methods(singing exercises, plastic intonation).
TASKS FOR STUDENTS:
· listen carefully to the music, empathizing with the emotional content of the musical image;
· in the process of analysis, identify the content of the musical image of A. Borodin’s play “In the Monastery”;
· identify the features of the style of Russian music in new musical material;
· reveal in a musical-plastic sketch your understanding of the genre of Russian dance song;
· reveal the beauty and melody of a Russian song, expressively performing it a capella;
· master the two-voice structure in singing;
· compose a melody in the style of a Russian folk song.
EQUIPMENT: piano, computer, projector, portraits of composers, prepared presentations.
LESSON PLAN:
| № | Kind of activity | Musical material | Time (min.) | |
| I. | Organizing time. | M. Mussorgsky. "Bogatyr Gate" | ||
| II. | Musical listening activity. | A. Borodin. "In the monastery." | ||
| III. | Singing activity. | 1. Chanting. | Exercise “Sun - Cloud”. | |
| 2. Working on a song. | Russian folk song “Like Along the Sea.” | |||
| IV. | Musical and plastic activities. | Musical and plastic sketch based on the Russian folk song “I am with a mosquito.” | ||
| V. | Singing activity. | Russian folk song “I am with a mosquito.” | ||
| VI. | Musical and creative activities. | Vocal improvisation in the style of Russian folk song. | ||
| VII. | Generalization. | Lesson material. |
Singing is one of children's favorite types of musical activities. Thanks to the verbal text, the song is more accessible to children in content than any other musical genre. Singing in a choir unites children and creates conditions for their musical emotional communication. Expressive performance of songs helps to experience their content most vividly and deeply and evokes an aesthetic attitude towards the surrounding reality. In singing, the entire complex of musical abilities is successfully formed: emotional responsiveness to music, modal sense, musical-auditory perception, sense of rhythm. In addition, children receive various information about music. Singing fulfills the child’s musical needs, because he can perform familiar and favorite songs at will at any time.
Vetlugina N.A. believes that “singing is one of those types of musical activities, in the process of which an aesthetic attitude towards life and music successfully develops, the child’s experiences are enriched, and musical-sensory and, especially, musical-auditory representations of pitch relations are actively formed” 1 .
Singing is closely related to the general development of the child and the formation of his personal qualities. In the process of singing they become more active mental capacity children. Perceiving music requires attention and observation. A child, listening to music, compares the sounds of its melody and accompaniment, comprehends their expressive meaning, understands the structure of the song, and compares the music with the text.
The impact of singing on the physical development of children is obvious. Singing affects the general condition of the child’s body, causing reactions associated with changes in blood circulation and breathing.
Correctly performed singing organizes the activity of the vocal apparatus, strengthens the vocal cords, and develops a pleasant timbre of the voice. Correct posture affects uniform and more deep breathing. Singing, developing coordination of voice and hearing, improves children's speech. Metlov N.A. in his book “Music for Children” he writes about the main qualities of a child’s voice, that “the vocal apparatus is very fragile, delicate, continuously growing in accordance with the development of the child’s whole body... The vocal cords are thin, short, so the sound of a child’s voice is high and very weak . It is amplified by resonators. There is an upper cephalic resonator (the cavities of the pharynx, mouth and paranasal cavities) and a lower thoracic one (the cavities of the trachea and bronchi)... In children, the thoracic resonator is poorly developed, the head one predominates. Therefore, the voice is not strong, but ringing. Resonators give the sound different colors. When the sound is forced while singing, children develop an unpleasant, unusual low sound.” 3 .
The problem of staging the singing voice of a preschool child is one of the most complex and least developed in music pedagogical theory and practice. At the same time, this is one of the most important problems in the practice of musical education of preschoolers.
Its importance is determined by the sensitivity of this age in relation to the development of singing skills, the connection with the child’s health, the importance of vocalization for the development of musical ear, and the influence of singing activity on the formation of the child’s musicality system as a whole.
Based on the research and experience of leading musicians, theorists and practitioners, making extensive use of the latest achievements music pedagogy, built a system for developing the singing skills of preschool children.
I begin this work with three-year-old children. I pay special attention to sound formation: I teach to sing in a drawn-out, natural, light sound without tension or shouting.
In middle, high and preparatory groups work on singing skills continues.
I conduct more in-depth work in this direction in vocal classes, which are attended by children aged 5-7 years.
My classes are based on the ideas of children's musical education by Carl Orff, Ogorodnov D.E. and Emelyanova V.V.
Conventionally, classes can be divided into 4 sections, which are interconnected and interact with each other:
1. Phonopedic exercises Emelyanova V.V. For proper sound production, the clear functioning of the vocal apparatus (lower jaw, lips, soft palate with a small tongue) is of great importance, therefore, to achieve this goal, at each lesson I conduct a warm-up - articulatory gymnastics according to the system of V.V. Emelyanov. These exercises not only develop singing voice, but also contribute to its protection and strengthen the child’s health.
Articulation gymnastics includes:
working with the tongue (bite the tip of the tongue, chew the tongue alternately with the left and right lateral teeth, click the tongue in different positions, stretch out the tongue, roll it into a tube, etc.);
with lips (bite the lower and upper lips with your teeth, stick out the lower lip, giving your face an offended expression, raise the upper lip, opening your upper teeth, giving your face a smiling expression), facial massage from the roots of the hair to the neck with your own fingers.
Articulation exercises for children are interesting and accessible, because... I spend them in a playful way.
Play is a child’s favorite activity. In the game he asserts himself as a person, his imagination develops. Without noticing it themselves, preschoolers decide in the game complex tasks on the development of diction and articulation.
After articulation gymnastics, I use intonation and phonetic exercises that help overcome speech defects and align vowel and consonant sounds. When singing exercises from a series of vowels in order to align them, one vowel sound should be poured into another smoothly, without a push (uuuuuaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa) Singing vowels in one order or another serves a specific purpose, depending on what timbre sound you need to tune your voice to. To form the sound of a child's voice closer to a falsetto sound, the vowel sounds [u], [o], [a] should be used (among which the vowel [u] is most preferable). IN practical work With children, the position of the lips in a half-smile is taken as the basis for singing articulation. With this arrangement, the larynx rises, the vocal cords work in a more subtle mode, the voice sounds light and light. The placement of the lips in a half-smile helps to find a close vocal position, which characterizes correct sound production. Particular attention should be paid to loosening the chin. “Checking” is carried out by opening the mouth with hands placed on the cheeks (fingers through the cheeks lie on the lower teeth), while the vowel sound [u] is heard.
2. Games with sound are an indispensable condition in our classes. The child must get a completely accurate idea of it. We are talking about the fact that sound has certain properties. You can't touch it, you can only hear it. The sound can be flat, round, high, low, angry, affectionate, gentle. The material for sound can be anything: elementary instruments, threads, balloons, hoops, balls, soap bubbles - in general, everything that the teacher’s imagination suggests. I often play the game “Magic Box”
Children love to pull the string from the box. They see how the thread stretches, and with it the sound. They understand that sound has a beginning and an end. Children pull a string on any vowel sound; you can sing along it from top to bottom and vice versa. The thread is smooth, silky and the sound should also be smooth. If the thread makes wavy movements, then the sound can be wavy, etc.
3. Working with hands – required condition in class. The hands are “responsible” for certain areas of the cerebral cortex. They help to carry out musical activities in a more meaningful, aesthetic, expressive and varied way, which allows you to achieve success even with the weakest children. In my classes I create situations where the child necessarily begins to work with his hands. Hands below - low sound, above - high, hands make jerky movements - sound jerky on staccato, soft hand movements - smooth sound. This technique helps children consciously control the process of sound production. (Picture 1 ).
In vocal work I use exercises with vocal gestures. With the help of gestures, children learn to sing stable steps from any sound. (Figure 2 ).
In my classes I like to use a technique called expressive reading of a poem. I work on poems in this way: the group reads a poem under my conducting (as if musical composition). Each child repeats these movements, which offer several options for contrasting images (kind, angry, whiny, joyful, etc.). For classes, I select poems containing a vivid playful image or dialogue.
Beautiful, flexible hand movements, high-quality conducting, active, wide movements, positive emotions- all this has an impact beneficial influence on the psychological and physical health of children.
Finger games are another necessary technique in vocal classes. They develop fine motor skills, are responsible for speech, develop creativity, imagination, and develop expressive speech. Sometimes fast, sometimes measuredly unhurried, sometimes sing-song tempo of rhymed lines fosters smoothness, regularity, rhythm of speech, and develops breathing.
4. Great importance To strengthen singing skills, they have singing games. The game situation enhances children's interest in singing activities and makes the perception and content of the song more conscious.
For the formation of a modal tonal sound, tasks for the development of song creativity “What do you want, kitty” by G. Singer, “Bunny, bunny, where have you been?” are indispensable. etc. I suggest the children play musical questions and answers. The question-and-answer form of the exercise or the task of finishing a melody, the beginning of which the teacher sang, helps to activate the inner ear and develop creative initiative.
Fantasy, imagination, and elements of creative expression accompany every game, and the ability to play unaccompanied, accompanied by one’s own singing, makes these games the most valuable musical material. In singing games, children practice singing a cappella. Under the influence of emotions caused by the game, the child tries to accurately convey the melody, text, and, most importantly, the mood that it carries within itself. this song. The general enthusiasm in the game, the joy of performance, activate timid, indecisive children. It is important to maintain interest in every child, to help children gain faith in themselves, to free themselves from tension and embarrassment.
Thus, the use of a system of special exercises of various games, individual and group work with children - all this made it possible to achieve positive results in the development of singing skills in children of senior preschool age. Music has firmly entered into the children's everyday life. They sing in a group, at home for their parents and together with their parents, not only accompanied by an instrument, but also independently without any help.
List of used literature
Vetlugina N.A. “Methods of musical education in kindergarten”, M., “Prosveshchenie”, 1989.
Emelyanov V.V. “Phonopedic method of voice development”, 1999
Metlov N.A. “Music for Children”, M., “Enlightenment”, 1985.
Orlova T.M., Bekina S.M. “Teach children to sing. Songs and exercises for voice development in children 5–6 years old,” M., “Prosveshcheniye,” 1987.
Orlova T.M., Bekina S.M. “Teach children to sing. Songs and exercises for voice development in children 6–7 years old” M., 1988.
Traditionally, in the domestic system of musical education, singing activity occupies leading place. This is explained by a number of reasons (M. S. Osenneva, L. A. Bezborodova, etc.):.
■ the song beginning of Russian musical culture: all folk holidays, rituals, all church services were accompanied by singing;
■ the adequacy of singing to the psychological and age characteristics of children, their desire for active forms of mastering art, their active nature;
■ special accessibility due to the synthesis of words and music;
■ the importance of nurturing feelings of human community in the modern world - singing unites people, creating conditions for emotional communication.
The importance of singing activity is difficult to overestimate in personal development of the child. Singing develops aesthetic perception, aesthetic feelings, artistic taste, musical and musical-sensory abilities and above all musical and auditory performances. It contributes to the formation aesthetic attitude towards the environment, enriching the child's experiences, his mental development. Expands one's horizons and knowledge about the environment. Enriches the child's vocabulary, improves his articulation apparatus and speech.
Singing lessons help develop social and personal And communication skills, unite the children's team, cultivate will, organization, and endurance. The influence of singing on moral development is expressed in the fact that the songs convey a certain content and attitude towards it. Singing gives rise to the ability to experience the moods reflected in the songs.
Singing is seen as means of strengthening the body preschoolers. It forms correct breathing, strengthens the lungs and vocal apparatus. According to doctors, singing is best shape breathing exercises. Singing activity contributes to the formation of correct posture.
In the field of music psychology, singing is considered as a form of music therapy that influences the emergence of various emotional states.
Traditionally, the following are identified as tasks for teaching singing to preschoolers (A. N. Zimina, O. P. Radynova, etc.):
■ to educate the foundations of singing and general musical culture: to form aesthetic emotions, interests and vocal and choral skills;
■ develop musical abilities and, above all, the distinction between intonationally accurate and inaccurate singing sounds in pitch and duration;
■ promote the comprehensive spiritual and physical development of children.