INthe flow of music on a child in the womb.
According to a number of studies, even before birth, the child hears sounds and feels vibrations from the outside world. When parents sing and talk to the unborn child, it is believed that he is also communicating with them and with outside world. Children may respond to sounds, most often in the form of kicks. Some studies have found that children, even while in the womb, have their own preferences in music. If you listen to the lyric classical music Most likely, the child will calm down and stop kicking. And rock or metal music can provoke real dancing in the mother’s stomach.
Scientists studying scientific research about the influence of music on the physical development of children, they believe that listening to Mozart contributes to the development of children’s mental activity. Scientists call this phenomenon the “Mozart effect.” To feel beneficial influence music on a child, doctors often advise mothers to listen to lyrical music (especially classical) more often. Music is seen as a part of human nature, which slowly but effectively restores harmony in life and contributes to the further physical development of the child.
The influence of music on newborns.
Due to the calming effects of music, many scientists believe that it speeds up the development of premature babies. Music has a positive effect on normalizing breathing and heart rate, reducing pain and accelerating the growth of newborns. Israeli scientists claim that the “Mozart effect” normalizes the metabolism of premature babies, which helps them quickly reach the required weight.
The influence of music on older children.
It has long been observed that children fall asleep well listening to lullabies or reading a book. Sounds, especially those that are melodic, calm and put children to sleep. Music also promotes rapid speech development in preschool children. And for the children school age helps you learn faster foreign languages. After all, it is known that even small children easily remember songs in another language, even without knowing the meaning of the words. But this is their first step towards learning this language. Children remember and reproduce songs much more easily, rather than individual words and lyrics. Since singing is easier for children than talking, music is considered effective means treatment of stuttering in children. Music helps improve speech, and what children cannot say can be easily sung.
Music therapy.
According to US researchers, the healing power of music is needed to normalize blood pressure, help activate brain activity and strengthen the immune system. Rhythmic and energetic march-style music tones many muscles, which is extremely beneficial for the physical development of children. That's why many people do exercises accompanied by bravura music. For some children, music is a means of focusing. It makes children focused, helps them focus their thinking on a specific topic, and at the same time relieves stress and fatigue. If your baby falls asleep and wakes up with music, he will be much happier and healthier.
However, instead of listening to music, it is much more beneficial to sing yourself. Australian doctors even practice in medicinal purposes singing sessions. It's enough to hum the most a simple melody to make you feel better. Therefore, singing or music lessons are very useful for the physical development of children. She teaches love for life. Therefore, children who are passionate about music become more educated, attentive, honest in their relationships with other people, radiate calm and positive mood. “Musical” children develop intellectual development faster than their peers. Music develops children's creative abilities, aesthetics, culture of behavior, helps to build trusting relationships and make new friends.
Music can be expressed not only through musical instruments and sound-reproducing devices. The music is encoded in the sounds of nature - the sound of waves and the rustling of leaves in the wind, the singing of birds and crickets, the rustle of rain, and so on. Therefore, spend more time outside the city, in nature. Find the music that your child likes best and try to listen to it as often as possible.
Music has the potential to influence not only adults, but also very young children.
Moreover, and this has been proven, even the prenatal period is extremely important for the subsequent development of a person: the music that the expectant mother listens to has an impact on positive influence on the well-being of a developing child (maybe it shapes his tastes and preferences). Only by developing children’s emotions, interests, and tastes can they be introduced to musical culture and lay its foundations. Preschool age is important for a person’s subsequent mastery of musical culture. If in the process of children’s musical activity their musical and aesthetic consciousness is developed, this will not pass without leaving a mark on the subsequent development of a person, his general spiritual formation.
Music develops a child mentally as well. In addition to various information about music that has cognitive significance, a conversation about it includes a description of the emotional and figurative content. Children's vocabulary is enriched with figurative words and expressions that characterize moods and feelings conveyed in music. Musical activity involves mental operations: comparison, analysis, juxtaposition, memorization, and thus contributes not only to the musical, but also to the general development of the child.
It is very important to create conditions for the formation of foundations musical culture preschool children. In preschool pedagogy, music is considered as an irreplaceable means of developing children's emotional responsiveness to everything good and beautiful that they encounter in life.
Music for a child is a world of joyful experiences. In order to open the door to this world for him, it is necessary to develop his abilities, and above all his ear for music and emotional responsiveness. Otherwise, music will not fulfill its educational functions.
In the very early age The baby distinguishes music from the sounds and noises around him. He focuses his attention on the melody he hears, freezes for a while, listens, reacts with a smile, humming, individual movements, and exhibits a “revival complex.” Older children already have increased mental abilities. They comprehend certain connections between phenomena and are able to make the simplest generalizations - to determine, for example, the nature of the music, to name the characteristics of a played piece as cheerful, joyful, calm or sad. They also understand the requirements: how to sing a song of different character, how to move in a calm round dance or in an active dance. Musical interests also develop: there is a preference for one or another type of activity, genre of music.
By the age of six or seven, initial manifestations of artistic taste are observed - the ability to evaluate works and their execution. Singing voices at this age acquire sonority, melodiousness, and mobility. The range is leveled out, vocal intonation becomes more stable. If four-year-old children still need constant support from an adult, then with systematic training, most six-year-old children sing without instrumental accompaniment.
Children's actions on music lessons aimed at completing educational and creative tasks. They learn performing skills and improvise their own simple melodies, and when performing various dances they strive to convey various dance movements and musical and game images in their own way.
The diversified development of a child’s personality is ensured due to the close relationship between aesthetic education and moral, mental, and physical education. A properly developed program and works selected in accordance with the age capabilities of children help to implement ideological and moral influence. But the most important thing is a “school of feelings”, which are formed thanks to the special property of music - to evoke empathy in listeners.
During music lessons, cognitive and mental activity. Children learn a lot by listening carefully to a piece. However, they perceive only its most general features, the most vivid images. At the same time, emotional responsiveness does not lose its significance if the child is given the task of listening, distinguishing, comparing, and identifying expressive means. These mental actions enrich and expand the child’s sphere of feelings and experiences and give them meaning.
The harmony of musical and aesthetic education is achieved only when all types of musical activity, accessible to preschool age, all the creative possibilities of a growing person. At the same time, by complicating pedagogical tasks, one should not abuse children’s special sensitivity. The art of music itself and its features confront the teacher with the need to solve a number of specific problems:
1. Foster a love and interest in music. Only the development of emotional responsiveness and sensitivity makes it possible to widely use the educational influence of music.
2. Enrich children's impressions by introducing them, in a clearly organized system, to a variety of musical works and the means of expression used.
3. Introduce children to diversity different types musical activity, forming the perception of music and simple performing skills in the field of singing, rhythm, and playing children's instruments. Introduce the basic elements of musical literacy. All this will allow them to act consciously, naturally, and expressively.
4. To develop the general musicality of children (sensory abilities, pitch hearing, sense of rhythm), to form a singing voice and expressiveness of movements. If at this age a child is taught and introduced to active practical activities, then the formation and development of all his abilities occurs.
5. Promote the initial development of musical taste. Based on the impressions received and ideas about music, first a selective and then an evaluative attitude towards the performed works is manifested.
6. Develop a creative attitude towards music, primarily in such activities accessible to children as the transfer of images in musical games and round dances, the use of new combinations of familiar dance moves, improvisation of singing songs. This helps to identify independence, initiative, and the desire to use everyday life learned repertoire, play instruments, sing, dance. Of course, such manifestations are more typical for middle and older children. preschool age.
Music is an art that affects a child already in the first months of his life. Its direct influence on the emotional sphere contributes to the emergence of initial response actions, in which one can see the prerequisites for the further formation of basic musical abilities.
In order for children to develop successfully in this direction, it is necessary to organize work on musical education, taking into account the characteristics of music and the age capabilities of children.
Already in the first year of life, the teacher organizes children’s communication with music, accumulating their experience of listening to the simplest melodies (sung or performed on children’s musical instruments), encourages them to respond to them with their voice or movement, and creates the prerequisites for the child’s active musical activity at subsequent stages of development.
All musical abilities are united by a single concept - musicality. “Musicality is a complex of abilities developed on the basis of innate inclinations in musical activity, necessary for its successful implementation” (Radynova O.P. “Musical development of children”).
The core of musicality is three basic abilities that are necessary for the successful implementation of all types of musical activities: emotional responsiveness, musical ear, sense of rhythm.
Emotional responsiveness to music is the center of a child’s musicality, the basis of his musical activity, necessary for feeling and understanding the musical content and its expression in performing and creative activity.
An ear for music is necessary for clear intonation when singing, a sense of rhythm is necessary for movement, dancing and playing musical instruments.
Modern researchers have proven that forming the foundations of musical culture and developing musical abilities must begin as early as possible. The poverty of childhood musical impressions, their absence can hardly be made up for later, as an adult. To form the foundations of culture, an appropriate environment, which will give him the opportunity to get acquainted with a variety of music, learn to perceive and experience it.
The musical activity of preschoolers is a variety of ways and means for children to learn the art of music (and through it both the life around them and themselves), with the help of which their general development is carried out.
In the musical education of children, the following types of musical activities are distinguished: perception, performance, creativity, musical and educational activities. They all have their own varieties. Thus, the perception of music can exist as an independent type of activity, or it can precede and accompany other types. Performance and creativity are carried out in singing, musical-rhythmic movements and playing the musical instruments. Musical educational activities include general information about music as an art form, musical genres, composers, musical instruments, etc., as well as special knowledge about performance methods. Each type of musical activity, having its own characteristics, presupposes that children master those methods of activity without which it is not feasible, and has a specific impact on the musical development of preschool children. For this reason, it is important to use all types of musical activities.
Musical and educational activities do not exist in isolation from other types. Knowledge and information about music are not given to children on their own, but in the process of perceiving music, performance, creativity, along the way, to the point. Each type of musical activity requires certain knowledge. To develop performance and creativity, special knowledge about the methods, techniques of performance, and means of expression is needed. By learning to sing, children acquire the knowledge necessary to master singing skills (sound production, breathing, diction, etc.). In musical and rhythmic activities, preschoolers master various movements and methods of their execution, which also requires special knowledge: about the unity of the nature of music and movements, about the expressiveness of the playing image and its dependence on the nature of the music, on the means of musical expressiveness (tempo, dynamics, accents, register, pauses). Children learn the names of dance steps, learn the names of dances and round dances. While learning to play musical instruments, children also gain certain knowledge about the timbres, methods, and techniques of playing different instruments.
Thus, it must be remembered that musical development has a positive effect on the overall development of children. The child’s thinking improves and becomes enriched emotional sphere, and the ability to experience and feel music helps to cultivate a love of beauty in general, sensitivity in life. Mental operations, language, and memory also develop. Therefore, by developing a child musically, we contribute to the formation of a harmoniously developed personality, which is very important. The musical activity of preschoolers is a variety of ways and means for children to learn the art of music (and through it both the life around them and themselves), with the help of which their general development is carried out.
References:
- Vetlugina N.A. Musical education in kindergarten. –M.; Enlightenment, 1981
- Methods of music education in kindergarten / ed. Vetlugina N.A. – M, 1982
- Metlov N.A. Music for children - M.; Enlightenment, 1985
- Nazaykinsky E.V. On the psychology of musical education. – M.: 1972
- Tarasov G.S. Pedagogy in the system of music education. – M.; 1986
- Teplov B.M. Psychology musical abilities– M., L., 1977
- Khalabuzar P., Popov V., Dobrovolskaya N. Methods of musical education - M., 1989.
Researchers in the field of psychology have made significant contributions to the study of age-related changes in the human psyche, especially the psyche of preschool children. Ideas basic research A. N. Leontiev, A. V. Zaporozhets, A. A. Markosyan, V. V. Davydov and other scientists underlie the organization of the educational and educational process in school and preschool institutions. Physiologist A.A. Markosyan, for example, developed a detailed age classification, including eleven age periods. According to the researcher, it is they who create only the precondition for certain changes in the mental organization of the child; these changes are influenced social factors, which can no longer be identified using psychophysiology alone.
Thus, age is not only a physiological concept, but also a social one. This interpretation is contained in the very name of some age periods: “preschool”, “school”, etc. Certain functions are associated with each age in society, and one or another status is assigned to age groups. The socio-psychological meaning of age division should not be overlooked when it comes to age-related characteristics that manifest themselves in the sphere of human contact with art. Therefore, speaking about best age For the development of musicality, we have many conditions in mind.
It is necessary to mention one more significant pattern - mental functions develop unevenly. This idea was expressed by L. S. Vygotsky, B. G. Ananyev, L. I. Bozhovich. Thus, L. S. Vygotsky notes: “... the development of imagination and the development of reason are very different in childhood" Developing this idea, L. I. Bozhovich points out that age boundaries can shift depending on the child’s activities and the specific conditions in which he finds himself.
The framework can provide practical guidance if used with musical development children of different ages and their individuality.
But for this you need to know the age and individual characteristics musical development of children. Knowledge age characteristics preschool children allows the teacher to find more effective ways control of the child’s mental processes, including his musical development.
The concepts of “age” and “age stage of development” are interpreted differently. Some view the age stage only as a natural biological process. Hence the conclusion about the immutability of these stages. Others generally reject the concept of “age” and believe that at any stage of a child’s development, anything can be taught. Hence the complete disregard for taking into account age capabilities.
The early and bright successes of children in performing musical activities each time allow us to think that we are dealing with a rare, exceptional phenomenon. But there is reason to believe that the ability to perceive a piece of music is also not always directly dependent on age.
The opinion that there is no direct connection between musical abilities and age has two sides: negative and positive. Its negative side is that it denies the legitimacy of the development of musical abilities as a person grows older. In other words, a child can grow up, but his ability to perform musical activities may not progress (or, on the contrary, may even regress) if optimal opportunities for its development are not provided. The positive thing is that already at an early age a child can develop musical sensitivity.
The idea of the existence of the best age period for the development of musical abilities echoes L. S. Vygotsky’s position on the leading types of activities for children of different ages. But in the field of musical perception such a period has yet to be found. When we say “best,” we mean not so much that it is the only one (for example, the age of up to three years is the only time when a person can learn to speak), but rather that by missing this age, we create additional difficulties in musical development .
It should be emphasized that although age greatly characterizes the formation of an individual, his neuropsychic maturation is determined mainly by his entire life experience. A person at any stage of his development has a completely unique, unique property. In this sense, individual properties seem to overlap his age characteristics, which makes the age boundaries of perception extremely unstable, dynamic, changeable and at the same time very differentiated, subject to external influences.
What is the basis for establishing the boundaries of the age stages of children's development?
Soviet psychologists believe that these boundaries determine the child’s attitude to the world around him, his interests, needs for certain types activities. And in accordance with this, the following age stages of the entire preschool period can be noted:
infancy (first year of life);
early childhood (from 1 year to 3 years);
preschool childhood (from 3 to 7 years).
The timing of the beginning of musical development and education must be sought in the preconditions for the emergence of a certain attitude towards music, the emergence of emotional and auditory responsiveness.
In Soviet psychology and pedagogy, data were obtained about early stages manifestations of musicality. According to A.A. Lyublinskaya, babies develop reactions to sounds on the 10th-12th day of life.
At the beginning of the first months of life (the first age stage - infancy), musical sound affects the child purely impulsively, causing a reaction of revival or calm. Thus, children sitting calmly in the playpen, at the unexpected sound of a piano, turn around, rejoice and begin to crawl towards the sounding source.
This confirms the need for early musical education, and first of all, the development of perception, since children are not yet ready for other types of musical activity. In accordance with this, a program of music education in preschool institutions is being built, which outlines certain tasks for the musical development of children, starting from two months of age. Gradually, with age and with targeted upbringing, children begin to perceive music according to its emotional and semantic content, being happy or sad depending on the nature of the music, and only later perceive the expressiveness of the image.
The next age stage is early childhood (1-3 years). During this period, the child’s need to communicate not only with adults, but also with peers is most clearly manifested. He masters orienting actions with surrounding objects. The child develops a desire for musical activity, the baby experiences an interest in moving to music and singing. All this acts as a prerequisite for musical activity.
When perceiving music, children show emotional responsiveness: they are happy or listen to music calmly. Auditory sensations are more differentiated: the child distinguishes between high and low sounds, loud and quiet sounds, and the most contrasting timbres of children's musical instruments. Individual differences in auditory sensitivity are also noted, which allows some children to accurately reproduce a simple and short melody.
The first consciously reproduced singing intonations appear. And if in the second year of life a child, singing along with an adult, repeats the endings of musical phrases, then by the end of the third he can reproduce the melody of a small song himself (with the help of a teacher). During this period, children often at will hum, improvising some intonations they like. They willingly move to the music: clap, stomp, spin. The child’s muscle-motor system is noticeably strengthened, and moving to music helps him express his mood.
The next age stage is preschool childhood itself (3-7 years). The child shows a great desire for independence, for a variety of activities, including musical activity (if the necessary pedagogical conditions are created for this). Children develop musical interests, sometimes in some type of musical activity or even in a separate piece of music. At this time, the formation of all basic types of musical activity occurs: perception of music, singing, movement, and in older groups - playing children's musical instruments, musical creativity. In the preschool period, children of different ages differ significantly in their development. Children 3-4 years old are in a transitional period - from early childhood to preschool. The features characteristic of the previous age are still preserved. But a transition is already taking place from situational speech to coherent speech, from visual-effective thinking to visual-figurative thinking, the body is strengthened, and the functions of the musculoskeletal system are improved. Children develop a desire to play music and be active. They master basic singing skills and by the age of four can sing a small song on their own or with the help of an adult. The ability to perform simple movements to music gives the child the opportunity to move more independently. music games, dancing.
Children of middle preschool age already show greater independence and active curiosity. This is a period of questions. The child begins to comprehend the connection between phenomena, events, and make simple generalizations, including in relation to music. He understands that the lullaby must be sung quietly, “slowly. A child of this age is observant, he is already able to determine what kind of music is being played: cheerful, joyful, calm; sounds are high, low, loud, quiet; what instrument is being played (piano, violin , button accordion). He understands the requirements of how to sing a song, how to move in a dance.
The vocal apparatus of a child of middle preschool age is strengthened, so the voice acquires some ringing and mobility. The singing range is approximately within the D-B of the first octave. Vocal-auditory coordination is improved.
The motor system is significantly strengthened. Mastering the basic types of movements (walking, running, jumping) during physical education classes makes it possible to use them more widely in musical and rhythmic games and dancing. Children are able to remember the sequence of movements by listening to music. At this age, interests in different types of musical activities are more clearly identified.
Children 5-6 years old, against the background of their general development, achieve results that are new in quality. They are able to identify and compare the characteristics of individual phenomena, including musical ones, and establish connections between them. Perception is more targeted: interests, the ability to even motivate one’s musical preferences, and one’s assessment of works are more clearly manifested. So, after listening to two marches by S.S. Prokofiev and E. Parlov, the children were asked to say which of the marches they liked and why. Most of the children chose “March” by S. S. Prokofiev. But their motivations were very unique: “Strict music”, “This march is better, there are such brave soldiers”, “Music has character.” About E. Parlov’s march, the boy said: “I liked it better, we know him, he’s softer.” These statements revealed a desire to find life prototypes expressed musical means, to evaluate its general character (“strict music”, “music has character”, “it is softer”), an attempt is visible to compare it with one’s own experience (“we know it”). At this age, children not only prefer one or another type of musical activity, but are also selective about its various aspects. For example, they love to dance more than to dance in circles; they develop favorite songs, games, round dances, and dances. They can explain how a (for example, lyrical) song is performed: “You need to sing beautifully, drawlingly, affectionately, tenderly.” Based on the experience of listening to music, children are capable of making some generalizations of simple musical phenomena. So, about the musical introduction, the child says: “This is played at the beginning, when we have not yet started singing.”
The child’s vocal cords are significantly strengthened, vocal-auditory coordination is improved, and auditory sensations are differentiated. Most children are able to distinguish between high and low sounds in the intervals of fifths, fourths, and thirds. In some five-year-old children, the voice acquires a ringing, high-pitched sound, and a more defined timbre appears. The range of voices sounds better within the D-B of the first octave, although some children also have higher sounds - C, D - of the second octave.
Children aged 5-6 years show dexterity, speed, the ability to move in space, and navigate in a group. The children pay more attention to the sound of the music and better coordinate their movements with its character, shape, and dynamics. Thanks to their increased capabilities, children better master all types of musical activities: listening to music, singing, rhythmic movements. Gradually they master the skills of playing instruments. Learn basic information about musical literacy. All this is the basis for the versatile musical development of children.
Children 6-7 years old are brought up in a preparatory school group. The very name of the group seems to determine its social purpose. Are developing mental abilities children, their musical thinking is enriched. Here are some answers from 6-7 year old children to the question of why they like music: “When the music plays, we have fun” (they feel the emotional nature of music); “Music tells something”; “She tells you how to dance” (her vital and practical function is noted); “I love music when it sounds gentle”, “I love waltz - smooth music” (they feel and appreciate the character of the music). Children are able to note not only the general character of the music, but also its mood (cheerful, sad, affectionate, etc.). They already classify the works as belonging to a certain genre: cheerfully, clearly, menacingly, joyfully (about the march); affectionately, quietly a little sad (about a lullaby).
Of course, individual characteristics stand out clearly here too. If some children (including six-year-olds) give only short answers (such as “loud-quiet”, “fun-sad”), then others feel and understand the more essential signs of musical art: music can express a variety of feelings and human experiences. Consequently, individual manifestations often “overtake” age-related capabilities.
Differences in the level of musical development of those children who learned the music education program in kindergarten and those who did not have such training (some come to preparatory group from the family). The vocal apparatus of a 6-7 year old child is strengthened, however, singing sound formation occurs due to the tension of the edges of the ligaments, so protection singing voice should be the most active. It is necessary to ensure that children sing without tension, quietly, and the range should gradually expand (from the first octave to the second). This range is most comfortable for many children, but there may be individual differences. In the singing range of children of this age, the deviations are significant. The voices exhibit a melodious, sonorous quality, although a specifically childish, somewhat open sound is retained. In general, the choir of children aged 6-7 years does not sound stable and harmonious, although master teachers, working with children of this age, achieve good success.
Physical development improves in various directions and, above all, is expressed in mastering the basic types of movements and their coordination. There is an even greater opportunity to use movement as a means and way of developing musical perception. Using movement, the child is able to express himself creatively and quickly navigate search activities. The performance of songs, dances, and games sometimes becomes quite expressive and demonstrates attempts to convey one’s attitude towards music.
In addition to singing, listening to music, musical-rhythmic movements, great attention focuses on playing children's musical instruments (individually and in an ensemble). Children master the simplest techniques of playing drums (drums, tambourines, triangles, etc.), strings (zithers), and wind instruments (triol, Melody-26); They remember their structure and distinguish sounds by timbre.
A short review of the age-related characteristics of children's musical development can be completed by emphasizing their characteristic features.
Firstly, the level of musical development depends on the general development of the child, on the formation of his body at each age stage. At the same time, it is important to identify connections between the level of children’s aesthetic attitude to music (to musical activity) and the level of development of musical abilities.
Secondly, the level of musical development of children different ages depends on active learning of musical activities in accordance with the content of the program. (However, the musical information a child receives at home is broader than what is outlined in the program.)
The main thing, and this is emphasized in the music education program, is that children gain listening experience.
Not all children of the same age are the same in terms of musical development. There are significant deviations due to their individual characteristics. If we compare general structure musicality with manifestations of musicality in individual children, we will see that some of them are musical in all respects, while others are distinguished by a peculiar combination of individual musical abilities. Thus, with very high-quality musical perception, some children show themselves weaker in singing, dancing or good development musical ear is not always accompanied by a penchant for creativity. Therefore, it is necessary to take into account both the age and individual characteristics of children.
In general, we can formulate the level of development of musicality that should be strived for in the practice of musical education in kindergarten.
Let us give examples of the desired level of musical development of a child of middle, senior and preparatory school groups.
IN middle group children should:
respond emotionally to music, recognize all familiar works, mark favorites, recognize the melody, speak out about works, distinguish the contrasting nature of music, sounds in pitch within a sixth;
identify various dynamic shades: forte [f] -I loud, mezzo-forte - moderately loud, piano [p] - quiet: sound;
sing simple songs unaccompanied and with accompaniment;
move to unfamiliar music, conveying its basic mood, perform dance movements accurately and with pleasure, and clearly perceive a simple rhythmic pattern on percussion instruments.
Thus, we can conclude that identifying the supposedly existing musical abilities of preschool children is possible only when their development can already be diagnosed, that is, the level achieved is already noticeable.
Upbringing, training, education are basic pedagogical processes. Their interpretation differs depending on whether these processes are understood as formation or development. How are they different?
To form - to give a certain, necessary form, i.e. bring in from the outside. Formation mechanisms include conscious (or unconscious, spontaneous) influence on the child with the help of factors and means that did not initially determine his natural course of development. Development is the unfolding outward of properties initially present in the structure of a human being in accordance with the natural laws of their growth. You cannot develop something that is not yet inside, that has not become a component of the structure of a human being.
The tradition of understanding education as influencing a child is becoming obsolete. A. S. Makarenko in his “Book for Parents” gave an illustration of such upbringing, brilliant in its irony: “We take a child, secure him three meters away from us and ... begin to educate.” The humanitarian pedagogical tradition is always focused on the education of morality. The specificity of education lies in the reproduction, development, support of truly human
man, in the formation of the Image of Man, the development of his vocation to be a Man, the understanding of education as “caring for the spiritual life of a child” (M. Montessori).
Respectively, musical education — nutrition by music — is aimed, in the words of V.A. Sukhomlinsky, not at the education of a musician, but, first of all, at the education of Man, at “the education of a good mind and a wise heart.”
Musical training, as formation, it is aimed at the child mastering knowledge, skills, and abilities in the field of musical art. Musical training, as a development, is aimed at creating conditions for the formation musical thinking, musical consciousness, etc.
Music education is one of the traditional cultural values that determine the development of society and each individual. Child development in human culture there is a process that is organized by an adult, since the child does not know how to use cultural means. It is the adult who reveals to the child how to use them. Education in the Law of the Russian Federation is interpreted as “a purposeful process of education and training in the interests of an individual, society, and the state, accompanied by a statement of the achievement by a citizen (student) of educational levels established by the state” (Diagram 1).
Scheme 1
Musical education
It is education and training that create the content and semantic basis of development, becoming its factors and means.
Arts education, especially music education, has great potential.
Since ancient times, science has accumulated a huge amount of information about this. There are three main directions of musical influence on the human body: on the physical body; on spiritual essence; on intelligence.By the 20th century scientific data has accumulated confirming the knowledge of the ancients that music is a source of powerful influence on
person. For antiquity, for example, the deep connection between music and medicine is indicative. So, Aristotle emphasized not only the pedagogical, but also the therapeutic significance of music, believing that music relieves difficult mental experiences through catharsis. Hippocrates used the influence of music on patients in his medical practice. Great healer of antiquity Avicenna called melody a “non-medicinal” method of treatment (along with diet, smells and laughter) and the most powerful means of preventing neuropsychiatric disorders.
Since the 19th century. Science has accumulated a lot of information about the impact of music on humans and living organisms. In the 20th century interest in the influence of music on the formation spiritual world and the impact on the human psyche has increased throughout the world. Doctors, psychologists, teachers are trying to convey to people the importance music education For cultural life generally.
It has been proven that even the prenatal period is very important for the subsequent development of a person: the music that the expectant mother listens to influences child's well-being. Most medical and psychological studies confirm the positive impact of musical activity on respiratory and circulatory functions, immune processes, brain function and interaction of the hemispheres, mental performance, psi-homotorics, speech development, computing skills. As a result of musical influence:
■ the sensitivity of not only auditory, but also visual analyzers increases;
■ mental processes of attention, perception, and memory are improved;
■ metabolic processes are regulated;
■ the level of anxiety decreases.
Thanks to researchers who have studied the psychophysiological aspect of the effects of music, the following facts can be considered established: music has a noticeable effect on minute blood volume, pulse rate, blood pressure, blood sugar levels, as well as changes in muscle tone and the appearance of emotions.
Researchers articulate the “intellectual benefits” of music:
■ increasing the level of reading and speaking skills;
■ improving skills in solving temporal and spatial problems;
■ improvement of verbal and arithmetic abilities; improving concentration and memory; improvement of motor coordination.
Along with these “benefits” from music lessons, the main direction of methodological searches in music education is associated, as L. V. Shkolyar defines it, with bringing music closer to the child and him living his childhood in music.
ADDITIONAL READING
Anisimov V.P. Diagnosis of children's musical abilities: textbook. aid for students higher
textbook establishments. - M.: Vlados 2004.Theory and methods of music education for children: scientific method. manual / L. V. Shkolyar, M. S. Krasilnikova, E. D. Kritskaya and others - M.: Flinta: Nauka, 1998.
QUESTIONS AND TASKS
1. Describe the sources of setting goals for music education of preschoolers.
2. What is the ratio of musical development, music training, upbringing and education?
3. Describe the potential of music education for the development of a preschooler’s personality.
4. Answer Yu.B. Aliyev’s question: “Why do you need music, preschooler?”
5. Using the material from this textbook (parts II and III), make a table of tasks for the musical development of a preschooler at different age stages in one of the types of musical activity or in the development of his abilities.
6. Study the suggested literature. Write down the goals and objectives of music education, find what is common among different authors.
Aliev Yu.B. Methods of musical education of children (from kindergarten to elementary school). — Voronezh; NPO "MODEK", 1998.
Vetlugina N.A., Keneman A.V. Theory and methods of music education in kindergarten. - M.: Education, 1983.
Gogoberidze A. G., Derkunskaya V. A. Theory and methods of musical education of preschool children: textbook. aid for students higher textbook establishments. - M.: Academy, 2005.
Zimina A.N. Fundamentals of musical education and development of children younger age. - M.: Vlados, 2000.
Praslova G. A. Theory and methods of music education for preschool children. - St. Petersburg: Detstvo-Press, 2005.
Radynova O.P. and others. Musical education of preschool children. - M.: Academy, 1998.
Oksana Kudashova
From work experience “Music as one of the means of effective physical development of preschool children”
From work experience
musical head of MDOU kindergarten No. 4 "Rainbow" Urazovo village, Valuysky district, Belgorod region Oksana Gennadievna Kudashova
« Music - as one of the means of increasing the efficiency of physical
development of preschool children in accordance with the Federal State Educational Standard"
Introducing children to musical art begins with early childhood and therefore children's musical development- artistic creativity, the implementation of independent creative activity of children, we find satisfaction in self-expression in one from educational regions: "Artistic and aesthetic development» . Which implies development prerequisites for value-semantic perception and understanding of the world music, its perception and connection with other activities.
Singing develops the vocal apparatus, strengthens the vocal cords, improves speech (speech therapists use singing for stuttering, promotes production vocal-auditory coordination. Correct posture when singing regulates and deepens breathing.
Rhythmic activities based on connection music and movement, improve the child’s posture, coordination, develops clarity of walking and ease of running. Dynamics and tempo musical works require movements to change speed, degree of tension, amplitude, and direction accordingly. It is known that the sound musical works increases performance cardiovascular, muscular, motor, respiratory systems of the body.
When performing exercises with musical accompaniment improves lung ventilation and increases the amplitude of respiratory movements. At the same time, we can talk about development of musicality in children(emotional responsiveness, hearing).
Children learn to perceive music, move in accordance with her character, means of expression.
Tasks physical development are closely related to all sections of education in kindergarten. Educational program kindergarten provides work on movement development and musical development.
Musical games and dances are built mainly on the basic movements: walking, running, jumping, skipping.
Their improvement is proceeding as in musically-artistic activities and motor activities.
For example, conveying movements of a cheerful nature music contributes to the development correct posture , coordination of movements of the arms and legs, ease of step, and learning the correct step and running on the node physical culture , strengthens the leg muscles and thereby makes it easier to master dance movements.
The movements are based on a certain rhythm, correlated with the rhythmicity musical sound . Music increases interest in games and exercises, giving them a special emotionality. Between music and movement while simultaneously execution, close connections are established.
Plays a decisive role music. Accompanying music, movements express its figurative content.
Accents, simple rhythmic patterns are easily reproduced in running, steps, clapping, changes in tempo, dynamics musical works entail changes in the speed and degree of intensity of the movement. Between music and movements easily set the required relationships: movements force you to perceive more intensely and more fully piece of music, A music controls the rhythm of movements, gives them special expressiveness, and facilitates their implementation.
Music helps children at the same time start and finish this or that movement or the entire exercise, perform it at a certain pace. Pairs well with walking with music, running on toes in a column, by alone on the spot, running in all directions and some outdoor games, mainly round dance formation, Where musical accompaniment - a change of topics, parts - determines the transition to another action, the beginning or end of a certain sequence of actions. For example: in game "Who is faster" children run around the hall to the sound music, and at the end of it they quickly sit down on chairs.
In the organization physical development work I take an active part. Together with the instructor physical culture we conduct various exercises: in walking, running, formations and changes of formations, which ensures the speed and precision of their implementation.
Not accompanied such exercises with music: climbing, long and high jumps from a place and from a run, throwing, outdoor games containing competitive elements. Each child completes them at his own individual pace.
IN directly- educational activities I use music in a set of exercises previously learned without musical accompaniment.
IN development work movements great place takes morning exercises. Its main meaning is wellness: the musculoskeletal system is strengthened, all functions and systems of the body are improved. In addition, morning exercises allow you to organize a children's group.
An important task of gymnastics with music- creating a cheerful mood in children, which promotes their activity in work, games, and activities. Music evokes positive emotions in children and thereby facilitates the execution of movements.
Used during gymnastics piece of music , you cannot distort it - emphasize individual rhythmic figures, make arbitrary pauses in order to adapt it for more convenient execution of a particular movement.
Gymnastics after a nap is also important. In the bedroom the children are under music perform arbitrary musically-rhythmic exercises, exercises for the prevention of flat feet and poor posture. The complex ends breathing exercises. Throughout the year we use various options gymnastics
IN directly-organized activities physical education music sounds sporadically: while walking, running, jumping, changing lanes, some general developmental exercises. The main part of the lesson is usually carried out without music, however, some outdoor games include musical accompaniment.
Application musical support during the learning process physical exercises depends on the stages of their learning. When familiarizing yourself with the movement, showing it music makes it easier to understand. After demonstrating the exercise, a description is given. For example: Svetlana Aleksandrovna physical education instructor shows an exercise with a hoop accompanied by "Waltz" S. Asafieva, then speaks: « The music is calm, melodious, quiet and movements should be light, leisurely, smooth.”
We practice individual elements of movement without music, since its perception at this stage reduces the conscious control of motor skills and can lead to their mechanical reproduction.
As musical to accompany exercises in the main types of movements I use folk, classical music, essays contemporary composers. I accompany the exercises music then when they are trained in advance with a physical education instructor.
Our task is how musical managers to teach teachers to show all the movements of the exercises in accordance with the character, means expressiveness and form piece of music.
Learning the exercise should begin with the teacher explaining the rules of execution and the first one or two times should be carried out without music.
We immediately perform familiar exercises with musical accompaniment . The teacher must ensure a clear relationship music and movements. Function music is not limited to just the accompaniment or background for performing movements; it, first of all, should help children emotionally understand their movements.
Together with the instructor we physical education we plan work on the development of movements, trying to avoid too much variety of material, establish a known sequence in its passage. It promotes interaction musical and physical development of preschoolers.
Raising a child through music, we must understand its significance for comprehensive development personality and be its active guide in the lives of children.