unity of content and musical form;
suits all types of children's musical activity;
accessibility of perception and performance by preschool children various groups kindergarten.
Unity of content and form of a musical work
Children's music, whether created by composers or folk music, should always be bright, imaginative, as close as possible to the experiences and interests of the child in order to enrich him cognitively and emotionally. Entering the world of music means learning to understand a special “musical language” (melodic intonations, harmonic combinations, modal coloring), which in modern conditions takes on a new, unique sound. At the same time, the form of the works (understood in a broad sense as a complex of all musical means) should not be cumbersome or complex.
The child perceives music and its images in unity with the means musical expressiveness. So, if you perform only the piano accompaniment (without singing) of the song “Border Guards” by V. Vitlin, then children are able to feel the expressiveness of the musical introduction, sounding a little mysterious, wary - pauses and low register enhance this feeling. Then the tensely restrained nature of the chorus (“A detachment of border guards is lurking at the border”) is replaced by the confident, dynamic nature of the chorus (“They are guarding our sea, our land, our sky”). In the unity of form and content, a memorable musical image was created, and high artistry of the work was achieved, which is the main requirement when selecting works for children.
Correspondence of the repertoire to the types of musical activities
program musical education in listening to music, singing, and rhythm, the repertoire must correspond.
Vocal and instrumental music, most often programmatic (having a specific program, theme, often defined in the title, for example, P. Tchaikovsky’s plays “The Doll’s Disease”, “The New Doll”). Works are provided that vary in theme, genre, and character.
Lullabies, games, round dances, comic songs and dances are selected from folk songwriting. They are simple, expressive, varied - affectionate and melodious, cheerful and lively. Such works (Russian, Ukrainian, Belarusian, Lithuanian, Estonian, Armenian, Georgian, Azerbaijani, Tatar, etc.) are included in collections and published for children in all republics of our country.
Children's music includes highly artistic works of Russian and Western European classics, listening to which enriches spiritual world child. Let's name "Children's Album" by P. Tchaikovsky, polkas M. Glinka, S. Rachmaninov, individual fragments from the ballet " Swan Lake"P. Tchaikovsky, from the opera "The Tale of Tsar Saltan" by N. Rimsky-Korsakov, some works by E. Grieg, F. Schubert, R. Schumann.
Many works for children were created and are being created by Soviet composers: S. Prokofiev, D. Kabalevsky, an. Alexandrov, A. Ostrovsky, E. Tilicheeva, M. Rauchwerger, M. Iordansky, T. Popatenko, A. Filippenko, Z. Levina, V. Gerchik, N. Levi and others.
In their work, composers often encounter difficulties: when creating music for children, they must use very limited means in song melody, harmony, texture of presentation and form of the work.
The theme of all works intended for listening is devoted to phenomena that children are introduced to in the process of all general educational work, but life impressions expressed in musical images are colored in a new way and deepened. Listening, for example, to the song “Border Guards” by V. Vitlin with lyrics by S. Marshak, children not only learn that soldiers guard the borders of our Motherland. They feel well the tension and restless intonations of the melody to the words “border guards do not sleep at their native border”:
[Leisurely]
And at the same time, they feel determination, firmness, expressed by the melody, dotted rhythm and pauses when the words “our sea, our land, our sky are guarded” are sung:
The songs that children learn and sing should have their own peculiarity - a bright melody. To perform a song expressively, you need not only to feel its character, but also to sing it correctly. For example, in the song “Drum” by E. Tilicheeva to the words of N. Naydenova, the melody is performed slowly, clearly, with moderate sonority. In this case, it is important to accurately perform a more complex section of the song:
[Clearly]
Here you need to correctly convey the rhythmic pattern, accurately intonate the ascending interval (salt— before), note the amplification and emphasis on the upper sound before second octave.
Therefore, when selecting songs, you need to clearly imagine which skills you need to work on especially. Working in senior group kindergarten on the formation of a light, moving sound, you can choose from the repertoire of “Blue Sleds” by M. Iordansky, and to develop a melodious sound - the Russian folk joke “Bai, kachi-kachi”, arranged by M. Magidenko.
The repertoire for various musical games, exercises, round dances and dances is a means of teaching musical-rhythmic skills and expressive movement skills. Each type performs its own functions. For example, story games and round dances allow children to convey the characteristic movements of various characters; exercises make it possible to master various elements of dance, etc. But whatever form the movements are put in, they fulfill their function - they teach the development of program skills.
Accessibility of the repertoire for perception and performance
The last requirement for the works included in the program is to be accessible to children’s perception and performance.
Artistic images, expressing feelings and thoughts close to children, understandable topics correspond to the scope of those ideas about life phenomena that a child of a given age has. However, the language of music varies in degree of complexity. Let's compare two piano pieces of a dance nature. One is the Russian folk melody “Ah, you, canopy”, arranged by V. Gerchik, mobile, dancing, with simple harmonization. The other is “Kamarinskaya” by P. Tchaikovsky from “Children’s Album”. The Russian folk melody here is also bright and imaginative, but is presented by the composer in variation form. Each variation has its own character and dynamics (at first the sound is quiet, it gradually increases and subsides again).
The degree of complexity in songs is no less important for children's performance. If we compare the melodies of songs taken from the repertoire for various kindergarten groups, we can see that these songs differ in range, originality of interval moves, duration of musical phrases and difficulty in pronouncing words in the text.
Works for games, exercises, and dances are also distinguished by the development of musical images, construction, harmonic accompaniment, tempo and dynamic changes, as well as the gradual complexity of movements. All this must be taken into account when selecting a program repertoire that helps develop the musical and rhythmic skills of children of different age groups.
In addition to the songs, games, dances, round dances, and exercises recommended in the program, you can use others. The musical repertoire is constantly replenished with newly created works, sometimes very interesting, modern conditions. And we must welcome the fact that “these works are played at children’s holiday matinees and evenings of entertainment. However, it must be remembered that such additional material may occur if songs and games meet program requirements and are used taking into account the specific conditions of working with children.
We must not forget that a stable repertoire has a number of advantages. A song or any other piece of music, often heard and performed by children, becomes their property and can be used by them in independent activities. This
in turn leads to strong assimilation, correct and natural execution. Children will come to school musically prepared.
The program repertoire is distributed throughout the year by quarter, taking into account the following:
selected in a certain complication, taking into account the characteristics of each game, song, round dance;
unlearned in accordance with the general educational tasks of current life, the modern needs of a preschool child. Therefore, the themes of songs, games, and round dances should reflect social events, holidays, seasonal phenomena and related activities of children, etc.
Musical literature
The repertoire performs an important function in the musical education of preschool children. Systematically implementing the tasks of aesthetic design
For children, kindergarten teachers successfully use musical literature published by publishing houses in our country. Let's name some of these benefits: “October”, “Our Lenin”, “May Day”, “I Love Mom”, etc.; teaching aid“Music in kindergarten” edited by N. A. Vetlugina, in which the musical material corresponds to the “Program of education and training in kindergarten.”
There are a variety of thematic collections about the seasons and children’s activities: “There’s Always Something to Do,” “Bird Housewarming,” etc. Works for young children are included in the “We Love Music” series. Children's operas, musical fairy tales, music games and dances, songs of foreign authors.
Most of the manuals and collections are compiled and compiled by scientists, experienced methodologists, leading music directors of kindergartens: N. A. Vetlugina, I. L. Dzerzhinskaya, E. N. Sokovnina, T. P. Lomova, V. K. Kolosova, S. I. Bekina, E. N. Kvitnitskaya, E. P. Novaya and others.
To the publication musical literature for children are given great attention creative unions composers and writers, Ministry of Education, Academy pedagogical sciences.
Musical works that are designed to carry out the tasks of education, training and development of preschool children must meet the requirements of artistry, accessibility and meet pedagogical objectives.
QUESTIONS AND TASKS
1. Describe the basic principles of constructing a music education program.
2. Reveal the features various types musical activities, their general and specific features.
3. What is the relationship between musical-practical skills and musical-educational information?
4. List the main artistic and pedagogical requirements for musical repertoire.
5. What are the features song repertoire depending on the age of the children?
6. Name the various forms of organizing children's musical activities.
7. What are the similarities and differences music lessons and the child’s independent musical activity?
8 What are the specifics of the work of a music director and teacher?
9. Analyze the consistent complication of the tasks of music education (see Table 1) and give a specific example.
10. Complete musical analysis a familiar children's song.
11. Tell us about the structure of the collection “Music in Kindergarten”.
12. Take for example a song or dance specified in the program and reveal its compliance with the program requirements.
13. Tell us about the forms of organizing the musical activities of children that you observed in kindergarten.
Methods of music education in kindergarten: “Preschool. education”/ N.A. Vetlugina, I.L. Dzerzhinskaya, L.N. Komissarova and others; Ed. ON THE. Vetlugina. - 3rd ed., rev. and additional - M.: Education, 1989. - 270 p.: notes.
Singing – the most accessible performing type of musical activity for preschool children. Children love to sing. The song accompanies the life of a child from a very early age. It affects the feelings of children, fills their leisure time, promotes the organization of play, and in a bright, entertaining form deepens their ideas about the surrounding reality.
Vocal and choral singing has great potential for bringing people together, uniting them, it creates conditions for emotional musical communication. That is why choral singing has always been given worthy attention in the musical and aesthetic education of children. The main purpose of vocal-choral singing– education of children’s singing and general musical culture. Tasks singing activity stems from common tasks musical education and are inextricably linked with them and consist in the development of musical and creative activities, singing communication skills, musical abilities, in the formation of a sustainable interest in singing, to promote the comprehensive spiritual and physical development of children. These tasks are proposed to be solved on the basis of a specific song repertoire, the use of appropriate teaching methods and techniques, various forms organization of musical activities. The formation of singing skills is one of the most complex and important sections of the musical education of preschool children. First, work is underway to develop a melodious sound based on elementary mastery singing breath, which significantly affects the purity and beauty of sound and the expressiveness of performance. Sound formation with proper voice production it should be natural, sonorous and light, children should sing without screaming or straining. Working on diction begins with the formation of rounded vowels and distinct pronunciation of consonants. It is recommended to use: articulatory gymnastics exercises, tongue twisters, tongue twisters, speech exercises, rhythmic recitations. Slender, clear singing in unison lays ensemble basics– integrity, unity of sound. When singing in a choir, children must be taught to listen to themselves and others, to blend in with the general singing, and to make sure that no voice stands out. When teaching vocals to children, it should be taken into account that the child’s vocal apparatus is fragile, delicate, and continuously grows in accordance with the development of the child’s entire body. Therefore, it is necessary not only to master the methodology of teaching singing, but also protect the child's voice. It is important to prevent children from loudly singing, screaming, or singing outside in cold and damp weather.
It is advisable to carefully consider the entire vocal and choral repertoire that will be used in working with preschoolers. The song repertoire should consist of highly artistic works, having educational and cognitive significance.
It is necessary to expand the repertoire primarily through folk songs, since folk song has artistic and educational value, it never ceases to amaze with its deep content and perfect form.
It is necessary to use melodies from classical works that are convenient for children to play for singing.
When selecting songs for children to listen to and learn, we must rely on vivid examples of highly artistic children's songs that are time-tested and of great educational value: songs about friendship, careful attitude to nature, love of animals. These are songs from cartoons written by composers A. Ostrovsky, V. Shainsky, Yu. Chichkov, G. Gladkov, E. Krylatov, A. Struve, A. Pakhmutova and others.
The question is content accessibility music should be considered in terms of the possibility of perceiving emotional content, matching the feelings that children are able to experience in this moment.
Practice shows that some teachers formally approaching work on the song. They learn songs with the aim of performing them at a festive matinee. The theme of the songs and the effectiveness of their sound are mainly taken into account. At the same time, software tasks are not solved consistently this species musical activity of children. Ultimately, children do not acquire sustainable singing skills. It is necessary that work on each song has a positive effect on children's singing skills.
We must not forget that stable repertoire has a number of advantages. A song or any other piece of music, often heard and performed by children, becomes their property and can be used by them in independent activities. This, in turn, leads to strong assimilation and correct and natural execution. Children will come to school musically prepared.
Analyzing the main educational programs of preschool education: “Childhood”, “Kindergarten 2100”, “From birth to school”, “Origins”, we can conclude that in all programs in the section “Musical development” there is a vocal-choral direction, There are also some peculiarities. Features of the “Kindergarten 2100” program - synthesis of arts. Children master the skills of primary analysis of works of art in the context of other types of art, become familiar with the means artistic expression various types of art. Content educational program “From birth to school”(authors N.E. Veraksa, T.S. Komarova, M.A. Vasilyeva) is presented in thematic blocks, within which the material is presented by age groups.
Comprehensive program “Childhood” by O. V. Akulova, T. I. Babaeva contains three parts dedicated to different age periods of children. The goal of the program is to develop the musical culture of preschoolers. Each section is further divided into two components: musical perception and musical performance.
Complex program “Origins” by L. A. Paramonova, T. I. Alieva is aimed at the comprehensive education and development of a child up to seven years old. The musical repertoire includes classical music, folklore, and modern music. The main factor in this program is the dialogue between the teacher and the child, between children and teachers.
But the repertoire this direction in these programs is not sufficiently rich and varied. As a result, it is necessary to use additional, partial programs for music education.
Program "Harmony" for senior preschool age K. L. Tarasova, T. V. Nesterenko, T. G. Ruban, under the general editorship of K. L. Tarasova. The central place in the program is given to the formation musical creativity in children and the improvisational nature of classes. The musical repertoire of the program is selected based on a combination of highly artistic and accessible works of classical, modern and folk music for children different eras and styles and is organized into blocks of topics that are accessible and interesting to children.
“Baby” program by V. A. Petrova provides for the development of musical abilities in children of only early age in all types of musical activities available to them, helping to introduce children to the world of musical culture. The program is based on works from the classical repertoire, the rich range of which presupposes the teacher’s freedom to choose one or another piece of music, taking into account the level of preparation and development of a particular child. The program has significantly updated the repertoire of musical games.
Program "Synthesis""K.V. Tarasova, M.L. Petrova, T.G. Ruban, etc. is interesting because it aims to develop the musical perception of children from four to seven years old. The program is based on the principle of an integrated approach, in which musical works are considered in a single complex with works visual arts And fiction. At the same time, the core art form in the program is music. The program included works of classical art and folklore accessible to children.
Program "Tuning Fork" E.P. Kostina aimed at comprehensive musical education. It characterizes seven years of a child’s life with seven steps of the scale. Musical education and training are the first, second and third stages, and the stages music training, education and development from fourth to seventh. The main place is given to such activity as the perception of music. The authors designed a model of the pedagogical process, so the program does not contain samples or methodically developed musical lessons.
Many teachers use in practice a partial program for music education of preschool children "Okay"(authors I. Kaplunova, I. Novoskoltseva). The program includes the development of activities for four age groups for children from 3 to 7 years old. The presence of musical material eliminates the problem of finding sheet music material. The program is developed in detail, adequate to the capabilities of children, which allows them to successfully master all the material. The uniqueness of the program is the non-standard approach to conducting classes. The vocal and choral repertoire meets all the requirements of musical education.
For each age group, interesting and accessible material has been selected, with which you can solve various problems in the development of vocal skills. The vocal and choral repertoire becomes more complex with each age stage, new forms and techniques are added. The slide presents areas of work in vocal and choral singing by age groups:
For children 3-4 years old . Folklore is primarily used. Chants and songs are included as exercises, chanting and singing along; they are built on simple melodic lines, simple in rhythm and text.
The songs used are “Cockerel”, “Ladushki”, “Bird”, “Bucket Sun”, music by V. Karaseva, and many others; Exercises for the development of rhythmic hearing: “Who is walking?”, “Cockerel, hen and chick”; for the development of timbre and dynamic hearing “Loud-quiet”, “Merry pipes”.
D For children 4-5 years old. As exercises for the development of hearing and voice at this age, song improvisations of melodies to a given text are used. For example: “What is your name”, “What do you want, kitty?”, “Where are you”;
Games with singing “Garden round dance”, music. B. Mozhzhevelova, “Geese-swans and wolves”, music. E. Tilicheeva.
Song creativity: “Kitten-Kitten”, r.n.p.; “Horse”, “March”, music. A. Grechaninova.
Songs: “Like on thin ice”, “Spider”, “Kitsonka-murysonka”, r.n. songs.
To work with older preschoolers, you can take more complex, longer melodies. Exercises to develop hearing and voice: Russian folk songs “Andrey-Sparrow”, “Bunny”.
Exercises to develop pitch hearing: “Where are my kids?”, “Steps”.
Exercises for the development of diatonic hearing: “Loud, quiet binge”, “Ringing bells”.
Songs: “Drum”, music. E. Tilicheeva; “Guests have come to us,” music by A. Alexandrov; "Blue Sled", music. M. Iordansky.
Games with singing: “Raven”, r.n.m; "Vaska the Cat", music. G. Lobacheva.
Round dances: “How our girlfriends went”, “I walk with the vine”, r.n.p.
Cartoon songs Soviet composers Yu. Chichkov, V. Shainsky, B. Savelyev.
For children 6-7 years old. Exercises for the development of hearing and voice: Russian folk songs “Skok-skok”, “And I’m in the meadow”.
Exercises to develop pitch hearing: “There are different sounds”, “Think, guess.”
Songs: “Falling Leaves”, “There Will Be a Hill in the Yard” music. T. Popatenko; “Victory Holiday”, “Brother Soldier” music. M. Partskhaladze;
Games with singing: “Wicket fence”, “Teremok”, r.n.p; "Game with flags", music. Yu. Chichkova. Round dances: “There is a viburnum on the mountain”, r.n.p.; "He comes to us New Year", music V. Gerchik.
Songs from cartoons by Soviet composers. With children of this age you can work on dramatizations and musical performances. For example, “Like ours at the gate”, “Where was Ivanushka?”, r.n.m.; “Cinderella”, “The Cluttering Fly”, music. M. Kraseva.
The correct selection of song material (including folk songs, works of classics, Soviet and foreign, as well as modern composers), the use of appropriate teaching methods and techniques, and various forms of organizing children’s musical activities helps to instill in them feelings of patriotism and broadens their horizons.
Working in this direction, students can prove themselves in singing competitions at various levels.
To develop the ability to play along on children's percussion musical instruments.
Hearing
“Sad Rain”, “Waltz”, music. D. Kabalevsky; "Falling Leaves", music. T. Popatenko; “In Autumn”, music. S. Maikapara; "March", music. M, Zhurbina; “Plyasovaya”, Russian. adv. melody; “Tender song”, music. M. Rauchwerger, lyrics. T. Miraji. "Lullaby", music. S. Razarenova; “Crybaby”, “Evil” and “Frolic”, music. D. Kabalevsky; "Soldier's March", music. R. Schumann; “Herringbone”, music. M. Kraseva; “A bear and a doll are dancing a dance,” music. M. Kachurbina; "March", music. Yu. Chichkova; "In Spring", music. S. Maikapara; "Snowdrops", music. V. Kalinnikova; "Bunny", music. L. Lyadovoy; "Bear", music. E. Tilicheeva; “Frolic” and “Capriculia”, music. V. Volkova; "Rain", music. N. Lyubarsky; "Sparrow", music. A. Rubbach; "Game of Horses", music. P. Tchaikovsky; "March", music. D. Shostakovich; "Rain and Rainbow", music. S. Prokofiev; “I walk with the loach”, Russian. adv. song; “The sun has friends”, music. E. Tilicheeva, lyrics. E. Karganova; “Forest Pictures”, music. Yu. Slonova; rus. dance melodies at the discretion of the music director; lullabies.
Singing
Exercises to develop hearing and voice. “Lu-lyu , bai", Russian, Nar. lullaby; "Lullaby", music. M. Rauchwerger; "I'm walking with flowers", music. E. Tilicheeva, lyrics. L. Dymova; “We Smile at Mom”, music. V. Agafonnikova, lyrics. 3. Petrova; singing of the folk nursery rhyme “Bucket Sun”, music. V. Karaseva, lyrics. folk; "Sun", Ukrainian. adv. melody, arrangement N. Metlova, lyrics. E. Perepletchikova; "Rain", Russian. adv. nickname; “Hush, hush”, music. M. Srebkova, lyrics. O. Vysotskaya.
Songs.“Cockerel” and “Ladushki” Russian. adv. songs; "Bunny", Russian. adv. song, arr. N. Lobacheva; “Autumn”, Ukrainian adv. melody, arr. N. Metlova, lyrics. N. Placides; "Autumn Song", music. An. Alexandrova, lyrics. N. Frenkel; "Winter", music. V. Karaseva, lyrics. N. Frenkel; “Our Christmas tree”, music. M. Kraseva, lyrics. M. Klokova; “The cat is crying”, music. M. Parkhaladze; “Take us for a ride, horse,” music. V. Agafonnikova and K. Kozyreva, lyrics. I. Mikhailova; “To Mom on March 8th”, music. E . Tilicheeva, lyrics. M. Evensen; “I sing a song to mom,” chuz. T. Popatenko, lyrics. E. Avdienko; "Geese", Russian. adv. song, arrangement N. Metlova; “Winter has passed”, music. N. Metlova, lyrics. M. Klokova; "Machine", music. T. Popatenko, lyrics. N. Naydenova; "Chickens", music. A. Filippenko, lyrics. T. Volgina; "Game with a Horse", music. I. Kishko, lyrics. V. Kuklovskaya; “We know how to wash ourselves clean,” music. M. Jordansky, lyrics. O. Vysotskaya; "The Shepherd", music. N. Preobrazhensky; "Bird", music. M. Rauchwerger, lyrics. A. Barto; "The Cheerful Musician", music. A. Filippenko, lyrics. T. Volgina.
Song creativity.
“Bye-bye, bye-bye”, “Liu-lyu, bye”, Russian. adv. lullabies; “A Man Walks”, music. M. Lazarev, lyrics. L. Dymova; “What is your name?”, “Sing a lullaby”, “Ahtykotenka-kotok”, Russian folk lullaby; “Call of the Sun”, lyrics. .;r., processing I. Lazareva and M. Lazareva; "The Rooster and the Cuckoo", music. M. Lazareva, .:. L. Dymova; inventing a lullaby and dance melody.
Game exercises.“Ladushki”, music. N. Rimsky-Korsakov; March", music. E. Parlova; “Who wants to run?”, lit. adv. melody, arrangement L. Vishkareva; walking and running to the music “March and Running” by An. Alexandrova; “Horses are galloping”, music. T. Popatenko; “We walk like athletes,” music. T. Lomovoy; “Topatushki”, music. M. Rauchwerger; “Birds are flying”, music. L. Bannikova; rolling the ball to the music of D. Shostakovich (waltz joke); running with clapping to the music of R. Schumann (playing blind man's buff); "Train", "knot" L. Bannikova; “Exercise with flowers”, music. A. Zilina “Waltz”.
Sketches of dramatization.“Boldly go and hide”, music. I. Berkovich-Marsh"); "Hares and Fox", music. E. Vikhareva; "Bear Cubs", music. M. Kraseva, lyrics. N. Frenkel; “Birds are flying”, music. L. Bannikova; -Birds", music. L. Bannikova, “Beetles”, Hungarian. adv. melody, arrangement L. Vishkareva; "Mice", music. N. Sushena.
Games.“Sun and Rain”, music. M. Rauchwerger, lyrics. A. Barto; "Blind Man's Bluff: Teddy Bear", music. F. Flotova; “Where are the rattles?”, music. An. Alexandrova; “Hide and Seek”, Russian. adv. melody; “Zainka, come out”, music. E. Tilicheeva; “Game of Lukla”, music. V. Karaseva; “Vanya is walking”, Russian. adv. song, arr. N. Metlova; Lgra with rattles", Finnish vernacular. melody; "Zainka", music. A. Lyadova; Lrogulka", music. I. Pachelbel and G. Sviridov; “Game with colored flags”, rus. adv. melody; "Tambourine", music. M. Kraseva, lyrics. N. Frenkel.
Round dances and round dances.“Dance with Rattles”, music. etc. V. Antonova; “Fingers and Hands”, Russian. adv. melody, arrangement M. Rauchwerger; dance with a teacher under Russian. adv. Melody “Will I go, will I go out”, arranged. T. Popatenko; dance with leaves to Russian adv. A dance melody; “Dance: leaves”, music. N. Kitaeva, lyrics. A. Anufrieva, “Dance near the Christmas tree”, music. R. Ravina, lyrics. P. Granitsyna; dance with handkerchiefs to Russian adv. melody; “On the pavement street”, Russian. adv. melody, arr. T. Lomovoy; dance with dolls to Ukrainian adv. melody, arrangement N. Lysenko; "Little Dance", music. N. Alexandrova; “The sun is warming warmer”, music. T. Vilkoreiskaya, lyrics. O. Vysotskaya; “We made peace”, music. T. Vilkoreiskaya; “Oh, you little pipe-
Duda", music. M. Kraseva, lyrics. M. Charnoy; "Train", music. N. Metlova, lyrics. I. Placides; "Dancing", music. L. Birnova, lyrics. A. Kuznetsova; “Pair dance”, Russian. adv. melody "Arkhangelsk Melody".
Characteristic dances."Dance of Snowflakes", music. Beckman; "Lanterns", music. R. Rustamova; “Parsley Dance”, Latvian. adv. polka; “Bunny Dance”, Russian. adv. melody; “The dolls came out to dance”, music. V. Vitlina; repetition of all dances learned during the school year.
"Dance", music. R Rustamova; "Hares", music. E. Tilicheeva; “Happy Legs”, Russian. adv. melody, arrangement V. Agafonnikova; “Magic handkerchiefs”, Russian. adv. melody, arrangement R. Rustamova.
Development of pitch hearing. “Birds and Chicks”, “Merry Dolls”, “Three Bears”.
Development of rhythmic hearing. “Who’s going well?”, “Merry pipes.”
Development of timbre and dynamic hearing, “Loud-quiet”, “Find out your
instrument", "Bells".
Genre identification and memory development. “What is the doll doing?”, “Find out and layer the song from the picture.”
Playing along with children's percussion musical instruments. Folk melodies.
Middle group
Hearing
Continue to develop children's interest in music and the desire to listen to it. Consolidate knowledge about genres in music (song, dance, march).
Enrich musical impressions, contribute to the further development of the foundations of musical culture, a conscious attitude towards music.
Develop skills in the culture of listening to music (don’t get distracted, listen to the piece to the end).
Develop the ability to feel the character of music, recognize familiar works, express your impressions of what you listened to.
To develop the ability to notice the expressive means of a musical work (quiet, loud, slow, fast). Develop the ability to distinguish sounds by pitch (high, low within a sixth, seventh).
Singing.
To develop expressive singing skills, the ability to sing in a drawn-out, agile manner, in a coordinated manner (within re - si first octave). Develop the ability to take breath between short musical phrases. Encourage you to sing the melody clearly, soften the ends of phrases, pronounce words clearly, sing expressively, conveying the character of the music. Develop singing skills with and without instrumental accompaniment (with the help of a teacher).
Song creativity.
Encourage children to independently compose the melody of a lullaby and answer musical questions (“What is your name?” “What do you want, kitty?” “Where are you?”).
Develop the ability to improvise melodies to a given text.
Musically- rhythmic movements.
Continue to develop in children the skill of rhythmic movement in accordance with the nature of the music, independently change movements in accordance with the two- and three-part form of music.
Improve dance movements: straight gallop, spring, circling alone and in pairs.
Develop the ability to move in pairs in a circle in dances and round dances, put your foot on your toe and heel, clap your hands rhythmically, perform simple formation changes (from the circle scattered and back), and jumps.
Continue to improve basic movement skills (walking)
Development of dance and gaming creativity
To promote the development of emotional and imaginative performance of musical and playful exercises (leaves spinning, snowflakes falling) and skits using facial expressions and pantomime (happy and sad bunny, cunning fox, angry wolf, etc.).
Develop the ability to stage songs and stage small musical performances.
Playing children's musical instruments
To develop the ability to play along with simple melodies on wooden spoons, rattles, drums, and metallophones.
Approximate musical repertoire
Hearing
"Lullaby", music. A. Grechaninova; "March", music. L. Shulgina, “Oh you. birch", Russian Nar. song; "Autumn Song", music. D. Vasilyeva-Buglaya, lyrics. A. Pleshcheeva; "Bunny", music. Yu.Matveeva, lyrics. A. Blok; “Mom’s las muses. A. Grechaninova; “Music Box” (from “Album plays for children” by G. Sviridov); “Waltz of Snow Flakes” from the ballet “The Nutcracker” by P. Tchaikovsky; “Italian polka”, music. S. Rachmaninov; “The cat was lying”, “The cat has recovered”, music. A. Grechaninova; “Like ours at the gate”, nar, melody; "Mama", music. P. Tchaikovsky; “Vesnyanka”, Ukrainian. adv. song . processing G. Lobachev, lyrics. O..Vysotskaya; "Butterfly", music. E. Griga; “The Brave Rider” (from “Album for Youth”) by R. Schumann; "Lark", music. M. Glinka;
"March", music. S. Prokofiev; “New Doll”, “Doll’s Disease” (from “Children’s Album” by P. Tchaikovsky); “Piece” from R. Schumann’s “Album for Youth”; as well as the children’s favorite works that they listened to throughout the year.
Singing
"Two Grouse", music. M. Shcheglova, lyrics. folk; "Beetle", music. N. Potolovsky, lyrics. folk; “Lullaby of the Bunny”, music. V. Karaseva, lyrics. N. Frenkel; "Chicks", music. E. Tilicheeva, lyrics. M. Dolinova; “Confusion” is a joke song; music E. Tilicheeva, lyrics. K. Chukovsky; "Cuckoo", Russian. adv. song, arrangement I. Arseeva; “Spider” and “Kitsonka-murysonka”, Russian. adv. songs; chants: “Oh, waders! Spring is singing! and “Larks, come”; “Where was Ivanushka”, Russian. adv. song; “Geese”, Russian, Nar. song; "The Shepherd", music. N. Preobrazhenskaya, lyrics. folk.
Songs."Autumn", music. Yu. Chichkova, lyrics. I. Maznina; "Bay-bye", music. M. Krasin, lyrics. M. Chernoy; "Autumn", music. I. Kishko, lyrics. T. Volgina; “In Autumn”, Russian. adv. melody, arrangement I. Kishko, lyrics. I. Placides; "Kitty", music. V. Vitlina, lyrics. N. Naydenova; "Snowflakes", music. O. Bertha, arr. N. Metlova, lyrics. V. Antonova; "Sledge", music. M. Kraseva, lyrics. O. Vysogskaya; “Winter has passed”, music. N. Metlova, lyrics. M. Klokova; “Gift for Mom”, music. A. Filippenko, lyrics. T. Volgina; carols: “Hello”, “Happy New Year”; "Sparrow", music. V. Gerchik, lyrics. A. Cheltsova; "Vesnyanka", Ukrainian. folk song; "Rain", music. M. Kraseva, lyrics. N. Frenkel; "Bunny", music by M. Starokadomsky, lyrics. M. Klokova; "Horse", music. T. Lomova, lyricist M. Evensen; "Steam Locomotive", music. 3. Company, lyrics. O. Vysotskaya.
Songs from children's cartoons."Smile", music. V. Shainsky, lyrics. M. Plyatskovsky (cartoon “Little Raccoon”); “Song about a grasshopper”, music. V. Shainsky, lyrics. N. Nosova (cartoon “The Adventures of the Grasshopper”); “If you are kind”, music. B. Savelyeva, lyrics. M. Plyatskovsky (cartoon “The Birthday of Leopold the Cat”); as well as favorite songs learned earlier.
Musical and rhythmic movements
Game exercises.“Springs” under Russian. adv. melody; walking to "March", music. I. Berkovich; “Funny balls” (bouncing and running), music. M. Satulina; “Swinging arms with ribbons”, Polish. adv. melody, arrangement, L. Vishkareva; jumping in English adv. Melody "Polly" easy running under latv. "Polka", music. A. Zhilinsky; "March", music. E. Tilicheeva; "The Fox and the Hares" to the music. A. Maykapara “In the kindergarten”; “A bear walks” to the music. “Etude” by K. Czerny; jumping to the music “Polka”, music. M. Glinka; "Riders", music. B. Vitlina; let's stomp, circle around in Russian. adv. melodies. “Rooster”, music by T. Lomovoy; "Doll", music. M. Starokadomsky; “Exercises with flowers” half-music. “Waltz” by A. Zhilin; “Beetles”, Hungarian. adv. melody, arrangement L. Vishkareva.
Sketches of dramatization."Drummer", music. M. Kraseva; “Dance of autumn leaves”, music. A. Filippenko, lyrics. E. Makshantseva; "Drummers", music. D. Kabalevsky and S. Levidov; “Counting table”, “The apple was rolling”, music. V. Agafonnikova; “Boots are jumping along the path”, music. A. Filippenko, lyrics. T. Volgina; "Happy Walk", music. P. Tchaikovsky; “What do you want, kitty?”, music. G. Singer, lyrics. A. Shibitskaya; "Hot Horse", music. T. Lomovoy; “Snowdrops” from the cycle “Seasons” by P. Tchaikovsky “April”; “A hare ran through the swamp”, music. V. Gerchik; “Picking berries” in Russian. adv. the song “Oh, you birch”; “The Cuckoo Is Dancing”, music. E. Siegmeister; “The Mother Hen and the Chicks”, music. T. Lomovoy.
Round dances and round dances.“Dance of the Larami”, Latvian, Nar. melody; “On the pavement street”, Russian. adv. melody, arrangement T. Lomovoy; “Top and Clap”, music. T. Nazarova-Medtner, lyrics. E. Karganova; “Show your palms”, lat. adv. melody “Dance with Spoons” to Russian. adv. melody; “Dance with handkerchiefs”, Russian. adv. melody; “Invitation”, Ukrainian. adv. melody, arrangement G. Teplitsky; “Dance with the Sultans”, Ukrainian. adv. melody, arrangement M. Rauchwerger; “Who is our good guy?”, music. An. Alexandrova, lyrics. folk; “Show your palm”, Latvian, adv. melody; Dance "Goodbye", Czech. adv. melody; “Handkerchief”, Russian. adv. melody in arrangement L. Revutsky; “Dudochka-duda”, music. Yu. Slonova, lyrics. folk; “Clap-clap-clap”, z. adv. melody, arrangement A. Roomer; New Year's round dances at the choice of the musical director.
Characteristic dances."Snowflakes", music. O. Bertha, arr. N. Metlova; "Petrushka's Dance", music. A. Serov from the opera Rogneda (excerpt); “Dance of the Hare” from “Polka” by J. Strauss; "Snowflakes", music. T. Lomovoy; “Beads” from “Gallop” by I. Dunaevsky; repetition of dances learned during the year, as well as dramatizations and musical games: “Little Kittens”, music. E. Tilicheeva, lyrics. M. Evensen; “Goat-dereza”, lyrics. folk, music M. Magidenko.
Music games
Games.“The Hen and the Cockerel”, music. G. Frida; "Blind Man's Bluff", music. F. Flotova; “The Bear and the Hare”, music. V. Rebikova; "Planes", music. M. Magidenko; “Game of Santa Claus with snowballs”, music. P. Tchaikovsky from the ballet “The Sleeping Beauty”); "Blind Man's Bluff", music. F. Flotova. "Funny Balls", music. M. Satulina; “Find yourself a mate”, music. T. Lomovoy; “Occupy the House”, music, M. Magidenko; “Who is more likely to take a toy?”, Latv. adv. melody; "Merry Carousel", Russian. adv. melody, arrangement E. Tilicheeva; “Traps”, Russian. adv. melody, arrangement A. Sidelnikova; games learned during the year.
Singing games.“Garden round dance”, music. B, Mozhzhevelova, lyrics. I, Passovoy; “Doll”, music, Starokadomsky, lyrics. O. Vysotskaya; "Santa Claus and Children", music. I. Kishko, lyrics. M. Evensen; "Zainka", music. M. Kraseva, lyrics. L . Nekrasova; “Bunny, come out”, “Geese, swans and wolf”, music. E. Tilicheeva, lyrics. M. Bulatova; “We went to the meadow”, music. A. Filippenko, lyrics. N. Kuklovskaya; “Fish”, music, M. Kraseva. “Handkerchief”, Ukrainian. adv. song, arr. N. Metlova; “Merry girl Tanya”, music. A. Filippenko, lyrics. N. Kuklovskaya and R. Borisova.
Song creativity
"What is your name?"; “What do you want, kitty”; "March", music. N. Bogoslovsky; “Bear”, “Bull”, “Horse”, music. A. Grechaninova, lyrics. A. Barto; “Our song is simple”, music. An. Alexandrova, lyrics. M. Evensen; “Rabushechka Hen”, music. G. Lobachev, lyrics. folk; “Kitten-Kitten”, Russian. adv. song.
Development of dance and gaming creativity
"Horse", music. N. Potolovsky; “Bunnies”, “Hen and Chicks”. "Sparrow", music. T. Lomovoy; “Oh, my hop, my hop,” Russian. adv. melody, arr. M. Rauchwerger; "Doll", music. M. Starokadomsky; “Jumping along the path”, music. A. Filippenko; come up with the Petrushka dance to the music “Petrushka” by I. Brahms; "Bear Cubs", music. M. Kraseva, lyrics. N. Frenkel.
Musical and didactic games
Development of pitch hearing.“Birds and Chicks”, “Swing”.
Development of rhythmic hearing.“Cockerel, hen and chick”, “Kts how is it going?”, “Merry pipes”, “Play like me”.
Development of timbre and dynamic hearing.“Loud-quiet”, “Find out your instrument”, “Guess what I’m playing.”
Genre identification and memory development.“What is the doll doing?”, “Find out and sing a song from the picture,” “Music store.”
“We are marching with flags”, “Accordion”, “Blue Sky”, “Andrew the Sparrow”, music. E. Tilicheeva, lyrics. M. Dolinova; “Soroka-soroka”, Russian. adv. joke, arr. T. Popatenkos “Drip-drip-drip...”, Romanian, Nar. song, arr. T. Popatenko; "Fox", Russian. Nar joke, arr. V. Popova; playing along Russian adv. melodies.
Senior group
Development of musical and artistic activities, introduction to the art of music.
Hearing
Continue to develop interest and love for music, musical responsiveness to it. Shape musical culture based on familiarity with classical, folk and modern music; with the structure of a 2- and 3-part musical work, with the construction of a song. Continue to introduce composers. Foster a culture of behavior when visiting concert halls, theaters (do not make noise, do not disturb other spectators enjoying music or watching performances).
Continue to introduce genres of musical works (march, dance, song). Develop musical memory through recognizing melodies from individual fragments of a work (introduction, conclusion, musical phrase). Improve the skill of distinguishing sounds in pitch within fifths, the sound of musical instruments (keyboards, percussion and strings: piano, violin, cello, balalaika).
Singing.
Develop singing skills, the ability to sing with a light sound in the range from “D” of the first octave to “C” of the second octave, take a breath before the start of a song, between musical phrases, pronounce words clearly, start and end a song in a timely manner, emotionally convey the character of the melody, sing moderately , loud and quiet. Promote the development of solo singing skills with musical accompaniment and without it. Promote the manifestation of independence, creative performance of songs of different nature. Develop song and musical taste.
Song creativity
Develop the skill of improvising a melody to a given text, composing melodies of a different nature: a tender lullaby, a perky or cheerful march, a smooth waltz, a cheerful dance song.
Musical and rhythmic movements.
Develop a sense of rhythm, the ability to convey through movements the character of music, its emotional and figurative content; the ability to freely navigate in space, perform simple changes, independently move from moderate to fast or slow tempo, change movements in accordance with musical phrases. To promote the formation of skills in performing dance movements (alternately throwing legs forward in a jump; side step with a squat, with moving forward, spinning; squatting with putting the leg forward).
Introduce children to Russian round dances, dances, as well as dances of other nations. Continue to develop song dramatization skills; the ability to depict fabulous animals and birds (horse, goat, fox, bear, hare, crane, raven, etc.) in different game situations.
Development of dance and gaming creativity.
Develop dance creativity; to develop the ability to invent movements for dances, dances, to compose a dance composition, showing independence in creativity. Improve the ability to independently come up with movements that reflect the content of the song. Encourage them to dramatize the content of songs and round dances.
Playing children's musical instruments.
Develop the ability to perform simple melodies on children's musical instruments; familiar songs individually and in small groups, while maintaining overall dynamics and tempo.
Develop creativity, encourage children to take active independent action.
Approximate musical repertoire
Hearing
"March", music. D. Shostakovich; “Lullaby”, “Guy with an accordion”, music. G. Sviridova; "Falling Leaves", music. T. Popatenko, lyrics. E. Avdienko; “March” from the opera “The Love for Three Oranges”, music. S. Prokofiev; "Winter", music. P . Tchaikovsky, lyrics. A. Pleshcheeva; “Autumn Song” (from the cycle “Seasons” P . Tchaikovsky). "Polka", music. D. Lvov-Kompaneyts, lyrics. 3. Petrova; "Mom's Holiday", music. E. Tilicheeva, lyrics. L. Rumarchuk; “My Russia”, music. G. Struve, lyrics. N. Solovyova; “Who came up with the song?”, music. D. Lvov-Kompaneyts, lyrics. L. Dymova; "Children's polka", music. M. Glinka; "Santa Claus", chuz. N. Eliseeva, lyrics. 3. Alexandrova. “Morning Prayer”, “In Church” (from “Children’s Album” by P. Tchaikovsky); "Music", music. G. Struve; "Lark", music. M. Glinka; "Moth", music. S. Maikapara; “Bird Dance”, “Lullaby”, music by N. Rimsky-Korsakov; Finale of Piano Concerto No. 5 (fragments) by L. Beethoven. “Anxious Minute” (from the album “Spillies” by S. Maikapar); “Repentance” , “Morning”, “Evening” (from the collection “Children’s Music” by S. Prokofiev); “First Loss” (from “Album for Youth”) by R. Schumann Eleventh Sonata for Piano, 1st movement (fragments), Prelude; in A major, Op. 28, No. 7 by F. Chopin.
Singing.
Exercises to develop hearing and voice."Bunny", music. V. Karaseva, lyrics. N. Frenkel; “We sewed boots for the cat for the holiday,” children's song; "Raven", Russian. adv. song, arrangement E. Tilicheeva; "Andrey the Sparrow", Russian. adv. song, arr. Yu. Slonova; “Jingle Bells”, “Accordion”, music. E. Tilicheeva; "Counting", music. I. Arseeva; "Snow-Pearls", music. M. Parkha-ladze, lyrics. M. Plyatskovsky; “Where do finches spend the winter?”, music. E. Zaritskaya, lyrics. L. Kuklina. “Steam Locomotive”, “Petrushka”, music. V. Karaseva, lyrics. N. Frenkel; “Drums, music. E. Tilicheeva, lyrics. N. Naydenova; “Cloud”, nickname; "Lullaby", music. E. Tilicheeva, lyrics. N. Naydenova; rus. adv. songs and chants.
Songs."Cranes", music. A. Livshits, lyrics. M. Poznanskaya; “Guests have come to us,” music. An. Alexandrova, lyrics. M. Evensen; “Garden round dance”, music. B. Mozhzhevelova, lyrics. N. Passova; "Blue Sled", music. M. Jordansky, lyrics. M. Klokova; "Geese the goose", music. An. Alexandrova, lyrics. G. Boyko; "Fish", music. M. Kraseva, lyrics. M. Klokova. "Chicken", music. E. Tilicheeva, lyrics. M. Dolinova; "Birch", music. E. Tilicheeva, lyrics. P. Voronko; "Lily of the Valley", music. M. Kraseva, lyrics. N. Frenkel; "Spring Song", music. A. Filippenko, lyrics. G Boyko; “Yap-yap”, music. In Gerchik, lyrics. Y. Razumovsky, “Bird House”, music. Yu. Slonova, lyrics. O. Vysotskaya; "Pea", music. V. Karaseva, lyrics. N. Frenkel; "Geese", music. A. Filippenko, lyrics. T. Volgina.
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The development of children's musical perception is carried out through all types of musical activities. The musical repertoire studied by children in to a large extent defines the content music education. That's why quality assessment musical works used in working with children is the most important issue of methodology.
The musical repertoire used in working with children must simultaneously satisfy two requirements - artistry and accessibility.
The kindergarten's repertoire includes folk music, children's classics and modern music, but the overwhelming majority consists of works specially created by domestic composers for children. Many of these works do not meet the high standards of artistry. They are written in a simplified, unimaginative manner. musical language, include primitive cliches of intonation turns and harmonizations, are boring and uninteresting.
Communication has a great influence on children’s learning of musical experience. What is valuable for the people around him acquires value for the child himself. In the family, children, as a rule, hear mainly entertaining music. Classical music has no value in the minds of many parents who themselves grew up without it.
The music director develops an interest in music based on the repertoire that is traditionally used in kindergarten work. Children perceive the teacher’s positive attitude towards these works, and, thus, their standards of beauty are formed on works of little artistic value. As a result of activity and communication, children are brought up with a repertoire that is far from perfect. The repertoire used in working with children should include works classical music of all eras.
In this regard, it is necessary to consider the requirement that is imposed on musical works - the requirement of accessibility. It is considered, as a rule, in two aspects: accessibility of the content of musical works and accessibility for children to play.
"Content availability is sometimes understood as programmatic use - figurative images, close to children, providing support for external object images. The issue of accessibility of music content is much broader. It should be considered in terms of the possibility of perceiving emotional content, matching the feelings that children are able to experience at the moment.”
Share fine music in the general musical cultural heritage is negligibly small, therefore children should not be taught when perceiving music to necessarily look for support in object images. It is useful for children to listen to non-program music, to distinguish the moods expressed in it, and to empathize with feelings. At the same time, emotional experience is important - the ability to empathize with the feelings expressed in the work.
Children, from an early age, are able to perceive images that express calmness, joy, tenderness, enlightenment, and slight sadness. Works with pronounced anxiety or gloomy sound should not be offered for listening. After all, music affects a person physiologically - it calms or excites. This fact was proven by his experimental work by the largest physiologist V.M. Bekhterev. Based on his experiments, he concluded that the child reacts to the sounds of music long before the development of speech. V.M. Bekhterev points out the advisability of using works that evoke in children positive emotions: “Young children generally react vividly to musical works, some of which cause them to cry and irritate, others – joyful emotion and calm. These reactions should guide the choice of musical pieces for raising a child.”
Observations indicate that young children enjoy listening to ancient music by J. S. Bach, A. Vivaldi, music by W. A. Mozart, F. Schubert and other composers - calm, cheerful, affectionate, playful, joyful. They react to rhythmic music with involuntary movements. Children perceive folk music well with the same emotions.
The accumulation of musical impressions is the most important stage for the subsequent development of children's musical perception. Children need to be introduced to the sound of various musical instruments - folk instruments, symphony orchestra, a miracle instrument - an organ, with its expressive capabilities.
Thus, the range of musical works available to preschoolers in terms of content is quite wide. Another aspect of the accessibility of the repertoire is the possibility of the children themselves performing the works.
Singing as a type of children's performance has features that limit the involvement of any repertoire that is accessible to children in terms of emotional and figurative content and that satisfies the requirement of artistry. This is a small range of children's voices, the difficulty of children reproducing a complex rhythmic pattern of a melody, and modest phonetic and lexical capabilities for speech development.
Therefore, the repertoire selected by the teacher for singing must meet the following accessibility requirements: have a range of melody that is convenient for children to reproduce, an uncomplicated rhythm, and a text that is understandable and easy to pronounce.
These requirements, of course, limit the choice of means of musical expression when composers create songs for children.
The organic combination of the requirements of artistry and accessibility of the song repertoire is primarily met by folklore - children's songs and songs. Many of them are written in the quart range, built on simple melodic moves, uncomplicated in rhythm and text, for example: “Cockerel”, “Cornflower”, “Bunny, you, bunny”, “The nightingale sings, sings” and many others. These chants and songs are successfully used in working with younger preschoolers, in older groups they are included as exercises and chants. To work with older preschoolers, you can take more complex, longer melodies.
Folklore should take its rightful place in the repertoire for children. Folk art organically combines singing, movement, and play, thereby helping children express their creativity. Folk songs are convenient for singing, many of them are close to speech intonations. The teacher needs to use this feature in his work: starting with expressive reading of the text in a chant, gradually leading children to vocalizations, and then to singing. The accumulation of intonation experience in folk music greatly facilitates the assimilation of the language of classical music, including its turns.
Unlike singing, the use of the classical repertoire in musical and rhythmic movements is not limited to the same extent by the requirement of accessibility. Through movements, children more easily learn the language of music; its empathy is accompanied by involuntary motor reactions.
In order to expressively convey a musical image in dance, play, or pantomime, children must master a certain stock of dance and figurative movements. To master these musical and rhythmic skills and abilities, the repertoire of folk, classical and modern music. The share of folk and classical music in this type of children's activity can be significantly increased. Dance music has been created by composers for many years historical eras, it is diverse in genres, styles and is quite accessible to children even at an early age.
The quality of the repertoire that is selected for musical and rhythmic movements has a decisive impact on the formation of children's taste and experience of musical perception. The ability to empathize with music should be developed on highly artistic examples of the musical repertoire - folk and classical music.
The availability of melodies for children to perform on musical instruments is determined by the brightness of the musical image, small range, and short duration. To play a melody on a musical instrument, a child must remember it; Therefore, it is important to choose simple but expressive melodies, primarily folk ones. Bright melodies from classical works are also used, easy to play, as well as specially created by modern composers (songs “Andrey the Sparrow”, “Accordion”).
Thus, the requirement for accessibility should not conflict with the requirement for the artistry of the repertoire used in working with preschoolers. Musical works written specifically for children should be colored with feeling, have a bright melody, varied harmonization, and be different. artistic originality. Many foreign and domestic classical composers wrote music specifically for children.
“In addition to “children’s” music, it is very important to listen with children to fragments of classical works from different times - ancient music by A. Vivaldi, G. F. Handel, J. S. Bach, S. V. Rachmaninov and other foreign and domestic composers- classics, to form standards of beauty in children.”
Requirements for the musical repertoire.
When using music in kindergarten classes, teachers should strive to make the process of children communicating with music joyful and exciting. Considering different level musical and general development of children, their natural capabilities, teachers of preschool institutions Special attention should pay attention to the selection of musical material for working with children - music for listening, songs, dance tunes and so on. This music should be attractive to children and evoke an emotional response in them. Individual work through play preschool institutions, a fairy-tale play image should constantly bring a charge of joyful, kind emotions and energy to the preschooler for his normal development and active creative activity. Only under this condition can the maximum pedagogical effect in the development of children's musical perception be achieved.
Let us consider in more detail one of the most important requirements for the repertoire for the development of children’s musical perception - the requirement of artistry. There are three main directions in the use of the repertoire for the development of musical perception of children, who must meet this requirement. The first direction is to introduce them to the world of classical music. It is very important to form the musical perception of children, relying on highly artistic examples of world musical classics, expanding their knowledge of musical styles different eras. Observations show that children enjoy listening to ancient music by J.S. Bach, works of Viennese composers classical school– I. Haydn, V.A. Mozart, L. Beethoven, music of representatives of romanticism - F. Schubert, R. Schumann. When developing musical perception and forming standards of beauty, it is important to listen with children to the works of Russian classical composers of the 19th century - M.I. Glinka, P.I. Tchaikovsky, M.P. Mussorgsky, N.A. Rimsky-Korsakov, the greatest composers of the 20th century - S.S. Prokofieva, D.D. Shostakovich, A.I. Khachaturyan, D.B. Kabalevsky, and others.
Many teachers believe that classical music is difficult for children to understand and when organizing the musical education of preschoolers, it is easier to focus on folk music. This opinion is not justified. folk music is rightfully considered an excellent material for the formation aesthetic tastes children, but we significantly impoverish the child’s musical development if early years We don’t introduce him to musical classics. The musical and aesthetic education of children is much fuller and richer if they are consistently introduced to folk musical art and high examples of musical classics. The perception of classical music has beneficial influence for the development of high moral qualities and the child's creative abilities.
The second direction is the use of musical folklore, which should form the basis in the early stages musical development child and meet high artistic requirements. Folklore ( folk songs, dances and instrumental music) has received universal recognition as one of the most important means of aesthetic and moral education children. Mastering folklore significantly expands children's understanding of the culture, traditions and customs of the peoples of the world. Introduction to musical folklore is valuable at any age, but its serious and full development should begin from an early age. This is a period of intensive development and extraordinary mobility of the child, when the most effective method working with children is a game. Thanks to the constant connection of folklore with play methods, children with great desire learn song material. Folk melodies are the most accessible and understandable to children and are the natural artistic soil necessary for the full musical development of a child.
The third direction in using the repertoire to develop children's musical perception is songs written by composers specifically for children. But children are very demanding listeners and not every song finds its way to a child’s heart. When selecting songs for children to listen to and learn, teachers should rely on vivid examples of highly artistic children's songs that are time-tested and of great educational value: songs about friendship, respect for nature, love for animals.
Another requirement for the musical repertoire is the requirement of accessibility for children. An important criterion for accessibility is familiarity to children. musical genres. When comprehending genre features music should be based on the so-called “three pillars” - song, dance and march, using the method of musical education of children by D.B. Kabalevsky. Preschoolers identify these genres without much difficulty. When giving children examples of various musical genres, the teacher should strive for them not only to feel their character, but also to understand the characteristics of each genre.
Songs are especially close and accessible to preschoolers. Singing improves perception, memory, thinking, imagination, acquires knowledge and develops abilities. Songs for children should have a small range of melody, easy to perform, simple rhythm, clear and easy-to-pronounce text. Dance and marching genres can be used for children to listen to, constantly connecting them with movement. In order to expressively convey a musical image in dance, play, and pantomime, children must learn musical rhythmic skills and dance movements. For this purpose, you can use the repertoire of folk, classical and modern music. When working with children to develop musical and rhythmic movements, a wide variety of dance techniques can be used. musical classics: dance pieces by I.S. Bach and V.A. Mozart, waltzes by F. Schubert and J. Strauss, ballet music by P.I. Tchaikovsky.
The next criterion for the accessibility of music for children is based on the use of programmatic visual images that are close to children (images of nature, fairy tale characters, images of animals and birds, etc.). Programmatic visual music “draws” specific images that are especially closely related to the real life surrounding children. Children understand music that embodies images of nature (cycles “The Seasons” by A. Vivaldi and P. Tchaikovsky). The very name of the plays in these cycles reveals their content. Listening to such music, children perfectly feel what the composer wanted to express in it, and draw pictures of nature in their imagination.
The accessibility of the musical repertoire is directly related to the age characteristics of children and the volume of their auditory attention. In junior preschool age(from 3 to 5 years old) the volume of auditory attention is small and children are not yet ready to perceive long-sounding musical works. For this age category it is advisable to choose small works ( musical folklore– folk songs and dances, works of classical music of a dance nature (minuet, ecosaise, polka, mazurka, waltz, etc.)), constantly connecting music with movement.
As children grow older, the musical repertoire to listen to gradually becomes more complex. In older preschool age (from 5 to 6-7 years), the repertoire for listening to music can include bright works of classical music - fragments from operas and ballets, famous piano and symphonic works.