Tatyana Shegerdyukova
The problem of selecting a song repertoire for preschoolers

The main requirement for children's repertoire, including the song, remains ideologically focused, high artistic merit and accessibility for perception and performance. An important means of musical education and teaching in kindergarten is song.

“The children will sing, the people will sing”, wrote K.D. Ushinsky. Whether our students love singing or not depends on us, teachers. In order for singing to be one of your favorite activities, we will get acquainted with the methodological techniques that you need to use in your work, instilling vocal and choral skills in children. The task of a kindergarten music teacher is to teach a child to love singing and not to be embarrassed if something doesn’t work out.

When choosing a song, one must proceed not only from the availability of the literary text, but also take into account the character, structure of the melody, its correspondence to the characteristics of a given group of children, their vocal capabilities, and general level musical development. According to the diagnostic results, in most cases it turns out that no knowledge about song children do not have a heritage and the possibilities of their voice; many do not have favorite children’s songs. When choosing song repertoire It is necessary to take into account the basic principles of teaching children to sing.

The principle of educational training. Fosters in them a love for the beautiful in life and art, causes a negative attitude towards the bad, enriches spiritual world child.

Accessibility principle: the content and volume of knowledge about music, the volume of vocal skills, teaching methods and their assimilation by children corresponds to the age and level of musical development of children of each age group.

Selected available song repertoire should be given to children in a language they understand.

The principle of gradualism, consistency and systematicity

gradually move from the learned, familiar to the new, unfamiliar. The principle of visibility. In the process of learning to sing main role The so-called sound visualization plays - this is the performance of the song by the teacher, the specific auditory perception of various sound relationships. Other organs feelings: vision, muscle feeling, or "tentacles"(in the words of I.M. Sechenov, they complement and enhance auditory perception.

Visualization in teaching singing increases children’s interest in musical lessons, promotes the development of consciousness, ease and strength of learning songs.

The principle of consciousness.

The music director strives to instill in the children a conscious attitude towards the content of the song, the conveyance of the musical image, and singing technique.

The principle of strength. Songs children learned after a while

are forgotten if they are not systematically repeat: vocal skills

are lost if children do not practice singing for a long time. Therefore, you should not rush to learn new songs. It is better to repeat what you have learned more often.

To repeat The children didn't get bored with the songs, it is necessary to diversify this process by introducing elements of the new.

Repertoire for each age group is selected in a certain sequence. However, this sequence is very relative. In one song or another there may be certain "difficult" places, for example, unusual interval movement, dotted rhythm, etc. Additional exercises are needed to master these tasks that are difficult for children.

The music director, before learning a song with children, needs to carefully analyze it according to an approximate scheme:

1. Educational value: the main idea and nature of the musical embodiment.

2. Literary text: general assessment of artistic qualities, features of the text - the presence of appeals, dialogues, the most significant words in terms of expression.

3. Melody: character of the melody, intonation expressiveness, intervals, mode, size, rhythm, tessitura and range.

4. Piano accompaniment: artistic merit, expressiveness, accessibility for children's perception.

5. Structure (form) songs: one-part, two-part (single, chorus, verse.

Preliminary acquaintance with the musical repertoire helps the teacher understand its content, achieve expressive performance, and think through the sequence of learning with children.

The skills that need to be taught to the children are also determined, the necessary exercises for sound production, breathing, diction, expressive, correct intonation, and unified singing are thought through. The characteristics of each song give these exercises a unique character.

Song repertoire included in the program, meets the objectives of comprehensive musical education and development preschooler, is available for assimilation and further independent use in kindergarten and family.

Selecting a musical repertoire, the teacher provides for the possibility of their further use in games, round dances, and marching. You can also learn an additional repertoire in preparation for the holidays. For this purpose, songs on a specific topic are selected.

If previously the music director was obliged to work exclusively according to the program, now he has the opportunity to independently select repertoire for their pupils. A number of difficulties arise here. The first of them is the ability to choose from the abundance of children's song repertoire, accessible and convenient to perform. In recent years, many songs for preschoolers created by both professional musicians and practicing teachers themselves. Authors do not always take into account the capabilities of a child’s voice, including wide leaps in the melodic line, too high or low tessitura, and text that is difficult for children to reproduce and understand. And the teacher is often guided by the fact that he personally likes the song, and begins to teach it to the children, not paying attention to the fact that the children are physically unable to perform it well.

Second problem– aesthetic value songs performed in kindergarten. Due to the decline in the general cultural level of our society, some music directors to please the undemanding taste of many parents, they force their children to sing adult songs repertoire, forgetting that variety love songs often of very low quality musically and far removed from the children's life experiences in meaning. Words about love and passion from the lips of 6-year-old children sound vulgar and inappropriate. Everything has its time. Children will grow up, and then such songs will sound natural. And while they are little, let them sing children's songs.

Wonderful repertoire collections are issues "Teach children to sing", compiled by T. M. Orlova and S. I. Bekina. In them, methodological recommendations are developed for each song, exercises for developing hearing and voice are presented, and examples are given for singing improvisation. Some music directors believe that the songs from them are outdated. Of course, some songs no longer correspond to our reality. But how much poorer will the spiritual world of our children be if they do not know the works included in the golden fund of children's songs, such as "Raspberry", "On the bridge", "Good Soldiers" A, Filippenko, "Blue Sled" M. Jordansky, "Winter has passed" N. Metlov and many others.

IN repertoire of preschool children age should include songs by classical composers, modern authors, Russian folk songs, as well as songs of other peoples. Over the past decades, the world around us has changed a lot. Thanks to the Internet, children now know that you can easily correspond with any person on earth, sitting in a snowy Siberian town or a tropical hut in distant Africa. And everything that happens far away can instantly appear on the TV screen. Our children already live today in a world that is united, despite borders and different languages. They need not just the ability to respect other countries and peoples, they need the ability to hear and see beauty in a foreign culture. And therefore it is quite appropriate to introduce songs of other countries and peoples.

Submitting your good work to the knowledge base is easy. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Posted on http://www.allbest.ru/

Children'srepertoireHowmeansdevelopmentvocalabilitieschildrenjuniorschoolage

singingschool vocal ability

Introduction

We all love songs, “Songs are the soul of the people,” we hear from musicians. And indeed, a song accompanies a person always and everywhere, in all occasions of life. When a baby is born, the mother sings lullabies to him. The child grows up a little and begins to sing various children's jokes, songs, and rhymes. And in adult life there are even more songs. Children also sing in kindergarten and school. And on music lessons, and on holidays, and on a walk, and while playing.

Without song there would be no music. As composer Dmitry Borisovich Kabalevsky said, it is one of the three “pillars” on which music rests.

Great importance is attached to the song, since it is difficult to overestimate the impact a good song has on a person, especially when sung among friends, relatives, and close people. Today this is becoming very relevant, because if earlier many good songs became “folk”, there was large repertoire children's songs, now the content level of songs is often extremely primitive, and good songs Little is written for children. But children today love and want to sing! Question about musical repertoire, on which the development of children is built, is very important and acute.

Having studied the necessary literature on this issue, it was revealed contradiction between the existing requirements of the educational standard of primary and basic general education for the development of vocal abilities of younger children school age and the lack of criteria for selecting a song repertoire for vocal lessons. During theoretical research, a problematic question arose: what are the criteria for selecting a song repertoire for the development of vocal abilities in children of primary school age.

To solve this problem, the object and subject of the course research have been determined:

Object - the process of development of vocal abilities in children of primary school age.

Item - children's repertoire as a means of developing the vocal abilities of children of primary school age.

Target course research: to determine the features of selecting a song repertoire, taking into account the development of vocal abilities of children of primary school age.

To achieve this goal, the following tasks have been identified:

1) To study the characteristics of the vocal abilities of children of primary school age

2) Determine the criteria for selecting a song repertoire for children of primary school age

Course research methods:

by search stages:

· material selection method

· method of directed transformation according to the level of penetration into the essence:

empirical:

· theoretical literature study:

· analysis and synthesis

by function:

· explanation

1 . Peculiaritiesdevelopedand Iabilitieschildrenjuniorwstakeage

1.1 Educational meaning singing , his role V musical development junior schoolchildren

Singing is the performance of music using a singing voice. Differing from spoken speech in the precision of pitch intonation, singing is one of the most striking and expressive means of musical art.

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

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

Expressive performance of songs helps to experience their content more vividly and deeply, to evoke an aesthetic attitude towards music and the surrounding reality. By becoming familiar with the cultural musical heritage, the child learns the standards of beauty and appropriates the valuable cultural experience of generations. Repeated perception of works gradually guides the child in identifying thoughts, feelings, and moods that are important to him, expressed in artistic images, in content that is meaningful to him.

In singing, the entire complex of musical abilities is successfully formed: emotional responsiveness to music, modal sense, musical-auditory perception, sense of rhythm. In addition, children receive various information about music and acquire skills. Singing fulfills the child’s musical needs, since he can perform familiar and favorite songs at will at any time.

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

The influence of singing on the moral sphere is expressed in two aspects. On the one hand, the songs convey a certain content, an attitude towards it; on the other hand, singing gives rise to the ability to experience the moods and mental state of another person, which are reflected in songs.

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

The impact on the physical development of children is obvious. Singing affects the general condition of the child’s body, causing reactions associated with changes in blood circulation and breathing. Physiologists have established the influence of music on the human body.

PC. Anokhin, studying the influence of major and minor scale on the listener, came to the conclusion that the skillful use of melody, rhythm and other expressive means of music can regulate a person’s state during work and rest, stimulate or calm him. Correct posture affects uniform and more deep breathing. Singing develops coordination of voice and hearing, improves children's speech. Correctly performed singing organizes the activity of the vocal apparatus, strengthens the vocal cords, and develops a pleasant timbre of the voice.

1.2 Peculiarities musical hearing And vote children junior school age

Musical hearing is a person’s ability to perceive and reproduce sounds, as well as internal fixation of them in consciousness, that is, their reproduction.

Under "musical ear" in broad meaning This term is understood as pitch hearing, in its manifestation in relation to a single-voice melody it is called melodic. It “has at least two bases - modal feeling and musical auditory perceptions. In this regard, we can talk about two components of melodic hearing. The first of these can be called the perceptual, or emotional, component... The second component can be called the reproductive, or auditory"

The perceptual component, according to P.M. Teplov, is necessary for full perception and recognition of the melody, which arises on the basis of an emotional criterion. Thanks to the reproductive component, the melody is reproduced, indicating the presence of more or less developed auditory ideas.

The basis of melodic hearing is a feeling, which is the ability to distinguish the modal functions of melody sounds, their stability, and their attraction to each other.

Many years of musical and pedagogical practice have confirmed that children’s ear for melody develops mainly through singing and playing musical instruments. It is in singing that the level of development of the reproductive component of melodic hearing is diagnosed.

Modern research (K.V. Tarasova) allows us to identify six stages in the formation and development of a child’s ability to intonate a melody with his voice.

First stage, the initial stage, is characterized by the fact that intonation in the generally accepted meaning of this word is practically absent: the child simply pronounces the words of the song in a certain rhythm, more or less coinciding with the rhythm of the song sample offered to him.

On second stage You can already recognize the intonation of one or two sounds of the melody, based on which the entire song is sung.

On third stage the general direction of movement of the melody is intoned.

Fourth stage differs from the previous one in that, against the background of the reproduction of the general direction of the melody, a fairly “pure” intonation of its individual segments appears.

On fifth stage The entire melody is intonated “purely”. These five stages were identified in conditions of singing with piano accompaniment.

On sixth stage There is no need for accompaniment: the child intones the melodic pattern relatively correctly without accompaniment.

Reproductive The component of melodic hearing in question, which can be interpreted as the ability to actively and relatively number (“correctly”) reproduce a melodic pattern in the voice, is formed in most children between four and seven years of age. Significant progress in the development of this ability in the fourth year of life leads to a smoother course of this process in the future.

In general, assessing the situation according to its generalized, summary indicators, we have to state that in most children, the purity of intonation (i.e., the development of reproductive hearing) remains very low today, and this despite quite large number time devoted to singing in music classes in schools. Perhaps one of the reasons here is the absence in the practice of mass musical education of special and targeted work on developing children's singing voice. Voice production, significantly facilitating the process of vocalization for children and relieving the difficulties of auditory-vocal coordination, can help increase the range of a child’s singing voice and the development of his melodic ear.

Regarding perceptive component of melodic hearing, then its elementary manifestations, preceding the formation of a modal sense, can be diagnosed by the following signs: recognition by the child of a familiar melody; identification of the presented melodic image with the original; revealing, with more or less obviousness, a feeling of tonic; understanding the pitch and interval relationships between the degrees of the scale.

The perceptual component of melodic hearing in its elementary manifestations is intensively formed until the fifth year of life, and it is in the fourth year that a significant leap in its development occurs. In subsequent years, at further stages of ontogenesis, it develops less actively. It must be added to this that the perceptual component in its own meaning- as the ability to distinguish modal functions of melody sounds - is formed only in the conditions of specially directed and appropriately organized musical classes.

Of fundamental importance is the age stage (junior school), when qualitative leaps in the child’s development of both the perceptual and reproductive components of melodic hearing occur over time. This can be explained by the fact that at the indicated age, a new formation arises in the system of musical hearing based on the intonation of a melody with the voice - actually pitch hearing. Its appearance serves as the basis for the formation and further development of the so-called hearing. The latter, in turn, can serve as the basis for the lifetime formation of absolute pitch.

So, melodic hearing develops in ontogenesis as a single integrative system, which is characterized by interaction perceptual and reproductive components; their formation proceeds from elementary to increasingly complex components.

The development of musical hearing in children, and above all its main, pitch “component,” largely depends on the direction and organization of those types musical activity, which in in this case are priority. These, as already noted, primarily include singing - one of the main and most natural types of musical activity of schoolchildren.

A.E. Varlamov, an outstanding composer and teacher, one of the founders of the Russian vocal school, once spoke about the need for early initiation into correct vocalization. He believed that if you teach a child to sing from childhood (naturally, while observing all the necessary precautions), his voice acquires flexibility and strength, which are difficult for an adult. This idea is confirmed by modern pedagogy. Interesting techniques were proposed that could facilitate the formation of a singing sound, develop correct breathing, purity of intonation of a singing sound, develop correct breathing, purity of intonation, clarity of diction (N.A. Metrov, E.S. Markova, E.M. Dubyanskaya, etc.) . A number of studies have been conducted in preschool music pedagogy that have revealed internal relationships in the process of developing musical ear and singing voice, which have proven significant role auditory-vocal coordination in the development of musicality in children.

However, despite the apparent interest in these issues, the method of forming a singing voice in children remained generally undeveloped, which negatively affected their musical development. Experts have repeatedly noted the low level of auditory-vocal coordination in younger schoolchildren, pointing to the dull sound of children's singing voices and unsatisfactory intonation.

Noting this gap in the system of children's musical education, researcher K.V. Tarasova came to the conclusion that it was necessary to develop a special technique for staging a children's singing voice. It should be based on the consistent development of the two leading parts of the singing process, as a result of which the sound becomes positionally high, resonant and flowing with the breath (“flight”).

The position on the need to identify leading links arose in connection with the great complexity of managing the singing process, which, as is known, requires the mandatory coordination of many systems participating in it, thereby placing high demands on the organization of attention and control over singing actions. In childhood, which is characterized by a low level of voluntariness and a small amount of attention, tasks associated with self-regulation of the singing process become practically unresolved if the leading links of this process are not found.

In addition, the author came to the conclusion that the voices of children already at primary school age are divided into at least three natural types - high and low; each of them has a characteristic timbre coloring, as well as its own pitch and primary ranges . Division children's choir to certain groups corresponding to the specified types of voices, as well as carrying out singing work adequate to the specifics of these voices, leads to significantly higher results in the musical-auditory, vocal and general musical development of children.

This provision is of particular importance for the system of mass musical education of children, since in most choral groups of kindergartens up to the present day there is no difference between the voices of the singers. As a result, for some children the tonality, tessitura and range of the songs performed are suitable, but for others - not . The quality of music performance suffers and, even worse, children's voices suffer.

No less important is the statement about the need to carry out initial stage work on staging a child's singing voice within the primary range in singing practice, the voice most often goes down, only then up. The desire of some teachers and choirmasters to artificially expand the range, in particular to increase its upper “segment,” can lead to negative consequences (including diseases of the child’s singing apparatus).

The rule for teachers, kindergarten teachers and parents should be: refusal from formation sound own vote in communication with children. Preschoolers and primary schoolchildren are known to be prone to imitation, and if an adult speaks or sings loudly, children also begin to force the sound of their voices, which is extremely undesirable in all respects.

The quiet, flowing, silvery sound of a child's voice can be considered as a kind of aesthetic standard. It is necessary to strive for its achievement in the real practice of musical, and including singing, education of children.

The voices of children are significantly different from the voices of adults. This difference is especially noticeable between the voices of boys and men. Children's voices have a high, head-like sound. In terms of the content of overtones, they are poorer than the voices of adults, especially at primary school age, but they have a special silveriness and lightness. Although the voices of children are inferior in strength to the voices of adults, they are distinguished by great sonority and “flight”. Timbre properties such as silveriness and sonority give children's voices a special charm. The qualitative differences between children's voices are associated with the anatomical and physiological characteristics of the vocal apparatus and the entire growing child's body.

The larynx in children is located high. It is approximately 2 - 2.5 times smaller than the larynx of adults. The cartilages of the larynx are flexible, soft, and not fully formed. Therefore, the children's larynx is elastic and highly mobile. The muscles of the larynx are poorly developed. Children's vocal folds are short, narrow and thin. In the thickness of the vocal folds in a child under five years of age there are no vocal muscles; their place is taken by loose connective tissue and glands; there are only muscles that bring the vocal folds together. By the age of five, individual muscle bundles of the vocal muscles are noticeable. From this time on, their gradual development begins.

In most children seven to eight years old, the voice is still insignificant, so there is no reason to specifically work on its development; it develops as the correct skills are acquired with an easy, quiet sound, calm breathing, clear words and well-pronounced vowels and consonants.

In children of primary school age, when singing, the vocal folds vibrate only with their elastic edges and do not completely close; voice formation throughout the entire range follows the falsetto type, the voice consists of only one register - the head. The vocal muscles are underdeveloped and the vocal range is limited. At this age, children's voices have approximately the same range within the first octave. Children have difficulty playing the extreme notes of the range, especially “C”.

In general, falsetto voice formation is typical for younger schoolchildren. Their respiratory muscles are still weak, their lung capacity is small, and therefore their voices are smaller than those of older children.

The vocal mechanism of children is very elastic and pliable. The sooner healthy sound production skills are instilled in a child, the sooner the relationship between voice and hearing is established.

HygieneAndsecuritychildren'svotes

The development of a child's voice depends on how correctly the singer uses it. In this regard, it is necessary on the basic principles that disrupt the normal functioning of the vocal organs. Often, beginning singers sing in a tessitura that is unusual for their voice: high or low. Those with high voices adapt to low voices and sing works for these voices. It also happens the other way around. Very often, beginning singers, trying to increase their range, practice the upper notes on their own, without knowing how to use it. Children are especially guilty of this.

During singing, all organs involved in voice formation are involved in active work. They bear a significant neuromuscular load. The situation is aggravated by the fact that at first there is still no clear coordination in the work of individual bodies. Insufficient or excessive activity of some organs can lead to overstrain or disruption of the functioning of other organs. This, for example, happens in the absence of breathing support, when the normal functioning of the muscles of the larynx and, in particular, the vocal folds is disrupted, they become overstrained and fatigue sets in.

Fatigue is common among beginning singers. Therefore, the training regimen with them should be built taking into account this feature. First individual lessons should not exceed 20 minutes with a short break after 5 - 10 minutes of singing. Natural endurance varies from person to person, and each individual case must be approached individually. At the first sign of fatigue (by the feeling of the singer or by the sound of his voice), the lesson must be stopped. As endurance develops, individual lessons are gradually lengthened to 30 - 45 minutes with 2 - 3 breaks of 5 - 10 minutes each during this time.

All changes that occur in a singer’s body affect his voice in one way or another. General health sometimes determines the ability to practice singing. For all chronic diseases that cause general weakness, malaise and lethargy, singing lessons will not be effective. The voice sounds good only when the singer is healthy, cheerful and in a good mood.

Thus, successful operation and accuracy of sound reproduction when singing is possible with full coordination of musical ear and voice, and protection of the child’s voice.

1.3 Psychological peculiarities junior schoolboy

Junior schoolchild age...corresponds to years of study in primary school. Preschool childhood is over. By the time a child enters school, as a rule, he is already both physics and psychologically ready for learning, prepared for a new important period of his life, to fulfill the diverse demands that the school places on him. Psychological readiness is also considered from the subjective side. The child is psychologically ready for school education, first of all, objectively, that is, he has the level of psychological development necessary to begin learning. The sharpness and freshness of his perception, curiosity, and vividness of imagination are well known. His attention is already relatively long and stable, and this clearly appears in games, in drawing, modeling, and elementary design. The child has acquired some experience in managing his attention and organizing it independently. His memory is also quite developed - he easily and simply remembers what particularly amazes him, which is directly related to his interests. Now not only adults, but also he himself is able to set a mnemonic task for himself. He already knows from experience: in order to remember something well, you need to repeat it several times, i.e. empirically masters some techniques of rational memorization and memorization. The child’s visual and figurative memory is relatively well developed, but all the prerequisites for the development of verbal and logical memory are already there. The efficiency of meaningful memorization increases. By the time a child enters school, his speech is already quite developed. It is to a certain extent grammatically correct and expressive.

As we see, the capabilities of children by the time they enter school are great enough to begin their systematic education. Elementary personal manifestations are also formed: by the time they enter school, children already have a certain perseverance, can set more distant goals and achieve them (although more often they do not complete things), make their first attempts to evaluate actions from the standpoint of their social significance, they are characterized by the first manifestations of a sense of duty and responsibility.

Everything said concerned the child’s objective psychological readiness for schooling. But the other side should also be emphasized - subjective psychological readiness, desire and desire to study at school, a kind of readiness for new forms of relationships with adults. Of course, here too there are very large individual differences.

When a child enters school, his entire way of life changes dramatically, his social status, position in the team, in the family. His main activity now becomes teaching, the most important public duty- the duty to study, to acquire knowledge. And teaching is serious work that requires a certain amount of organization, discipline, and considerable volitional efforts from the child's side. More and more often you have to do what you need, and not what you want. The student joins a new team in which he will live, study, develop and grow up.

From the first days of school, a basic contradiction arises, which is driving force development at primary school age. This is the contradiction between the ever-increasing demands that declare academic work, the collective in the child’s personality, to his attention, memory, thinking, and the current level of psychological development, the development of personality traits. Requirements increase over time, and the current level of psychological development is constantly being brought up to their level.

Many years of research by psychologists have shown that old programs and textbooks clearly underestimated the cognitive capabilities of younger schoolchildren, and that it was not rational to stretch the already meager educational material over four years. The slow pace of progress and endless monotonous repetition led not only to an unjustified loss of time, but also had a very negative impact on mental development schoolchildren. New programs and textbooks, much more meaningful and in-depth, place significantly greater demands on the psychological development of primary schoolchildren and actively stimulate this development.

Educational activities in the primary grades stimulate, first of all, the development of mental processes of direct cognition of the surrounding world - sensations and perceptions.

The possibilities of volitional regulation of attention and its management at primary school age are limited. In addition, the production attention of a junior schoolchild requires short, in other words, close, motivation.

Involuntary attention is much better developed at primary school age. The beginning of schooling stimulates its further development. Everything new, unexpected, bright, interesting attracts the attention of students by itself, without any effort on their part.

An age-related feature of attention is its relatively low stability (this mainly characterizes students in the 1st and 2nd grades). The instability of the attention of younger schoolchildren is a consequence of age-related weakness of the inhibitory process. First-graders, and sometimes second-graders, do not know how to concentrate on work for a long time; their attention is easily distracted.

Memory in primary school age develops under the fusion of learning in two directions - the role and specific weight of verbal-psychological, semantic memorization (compared to visual-figurative) increases, and the child masters the ability to consciously manage his memory and regulate its occurrence (memorization, reproduction, recollection).

The child begins school with concrete thinking. Under the influence of learning, there is a gradual transition from knowledge of the external side of phenomena to knowledge of their essence, reflection of essential properties and characteristics in thinking, which will make it possible to make new generalizations, the first conclusions, give the first analogies, and build elementary conclusions. On this basis, the child gradually begins to form concepts that, following L.S. We call Vysotsky scientific (in contrast to everyday concepts that a child develops on the basis of his experience in non-targeted learning).

At primary school age, the foundation of moral behavior is laid, moral norms and rules of behavior are learned, and the social orientation of the individual begins to form.

Thus, when working with children, you need to take into account their psychological characteristics: memory, attention, thinking, etc.

1.4 Vocal-choral skills , principles And methods vocal training

A skill is a partially automated way of performing an action that is a component of the act of singing.

PJewish installation. The term singing attitude is understood as a set of mandatory requirements that contribute to proper sound production. The singing attitude consists of many external techniques and skills. In choral singing, it is usually recommended to stand (or sit) straight, but not tensely, without slouching, and smartly. A straight and collected position of the body, even support on both legs, freely lowered arms, an expanded chest, the head held straight, not tense, is considered the correct position of the body. When sitting, you should not cross your legs, as this restricts breathing. The mouth in singing serves as a “bell” through which the vocal sound receives its direction, so the main position of the mouth should be wide and open. The palate serves as an important resonator. Thanks to the raised palate, a rounded sound is formed (the palate is a kind of specific “dome”). Most of the initial exercises for developing a singing attitude (especially with younger children) are aimed at organizing the correct position of the body and vocal apparatus. This is important in the rehearsal work of the choir, as it sets young singers up for work and strict discipline.

Singing attitude is directly related to skill singing breathing. Vocal pedagogy considers abdominal breathing as the most appropriate for singing, as well as options for shifting thoracic and abdominal breathing depending on individual characteristics singer Thoracic breathing involves, when inhaling, an expansion of the chest in the middle and lower parts of it with a simultaneous decrease in the dome of the diaphragm, accompanied by an expansion of the anterior wall of the abdomen. When developing correct breathing skills in children, it is necessary to ensure that the shoulders do not rise when inhaling, which would indicate that the children are using shallow, so-called clavicular breathing.

Breathing is usually considered in its three constituent elements: inhalation, momentary breath-holding and exhalation. Inhalation should be done without making noise. Holding your breath directly mobilizes the vocal apparatus to begin singing. The exhalation should be completely calm, without any hint of forceful “pushing” of the air taken into the lungs.

Do not overfill the chest with air. When working with a choir, it is appropriate to recommend taking a breath, as if feeling delicate aroma flower, and exhale so that the flame of a candle located near the mouth does not move. It is extremely important to develop in young singers the ability to use their breath economically, “in order to obtain a large supply of sound and, moreover, the best quality with the least amount of air.”

The concept associated with singing breathing is singing supports, which is the result of the correct organization of breathing, sound production and resonance of the voice, and the interaction of all components. The support provides the best quality of singing sound, its energy, composure, elasticity, accuracy, flexibility, flight.

The nature of singing breathing is reflected in the nature of the sound of the singer's voice. Smooth, calm, light breathing helps achieve a beautiful, light sound. Hard, tense breathing gives rise to a hard and tense sound. When excessive breathing pressure is applied to the ligaments, they lose their elasticity. With all the freedom of breathing, it should maintain a feeling of muscle elasticity and energetic movement. Teachers usually closely monitor the breathing process of singers and if, due to excessive effort, children interpret the concept of “breathing support” as actually hard breathing, they are sure to correct the incorrect execution of the respiratory process, sometimes even changing the terminology. The pedagogical position in finding the correct musculoskeletal sensations is important here. An economical and uniform exhalation is necessary for performing smooth, widely sung melodies. Singing in the lower range requires the largest number air. When performing the upper sounds, the least amount of breath is consumed. It should be remembered that the pressure of the air column cannot be increased. This leads to harshness and loudness, and also causes the sound to be too high. When performing fast passages and technical, moving melodies, breathing should be light, but very active. In choral singing, simultaneous breathing is the basis for the simultaneity of sound attack and introduction. Equally necessary is uniformity in the supply of breathing and its volume. Resumption of breathing by all singers should be carried out at the moments established and noted in the parts. Usually they coincide with the boundaries of constructions, phrases, and caesuras in musical and poetic texts. In cases where the duration of a phrase exceeds the physical capabilities of the singing voice, chain breath. Basic recommendations for chain breathing:

· Do not inhale at the same time as the person sitting next to you;

· Do not inhale at the junction of musical phrases, but only, if possible, in the interior of long notes;

· Take breath quickly and imperceptibly;

· Blend into the overall sound without accent, with a soft attack (beginning) of the sound, intonationally accurate;

· Listen sensitively to the singing of your neighbors and the general sound;

No less important in singing is skill sound processing, the main requirements for the formation of which should be the following:

· Before its occurrence, sound must be formed in the mental auditory representations of schoolchildren;

· The sound during an attack is carried out with intonation precision, without glissando.

Of the three types of sound attack, the main one is considered to be soft, creating conditions for the elastic work of the ligaments. A solid attack, in which the glottis closes tightly before the exit begins, and an aspirated attack, in which the vocal cords close after the exit begins, are extremely rare in the singing of younger schoolchildren. As a rule, a firm attack can be recommended for a child prone to lethargy and inertia, and conversely, an aspirated attack is better for an overly active student.

Formation skill articulation involves the formation of a timbre relationship between vowels, the main condition of which is the desire to maintain a stable position of the larynx when singing different vowels.

Children of primary school age have an uneven timbre. This is mainly due to the “variegation” of vowels. In order for them to sound smooth, children must constantly strive to maintain a high pitch (position) across all sounds of the singing range. For this purpose, singing and vowel exercises are used. U, Yu, as well as songs with a descending melody movement, great attention Vocal education focuses on vowel sounds ABOUT. Singing exercises and melodies for vowels ABOUT,Yo Helps produce a round, beautiful sound. Sounds require special rounding AND(he is brought closer to the sound Y),A(closer to sound ABOUT), E(closer to sound E).

The correct formation of the singing sound is also facilitated by the manner of pronouncing words - diction. In this case, pronunciation in singing is based on the general rules of orthoepy.

The basis of singing is vowel sounds. They develop all the vocal qualities of the voice. The beauty of timbre depends on the correct formation of vowels.

One of specific features singing diction is the “transfer” of the last consonant sound in a syllable to the beginning of the following syllable, which ultimately contributes to the length of the vowel sound in the syllable. At the same time, the role of consonants should not be diminished at all, since otherwise careless pronunciation will complicate the listener’s perception.

Concept ensemble means artistic unity, consistency of all components of performance. Due to the specificity of tasks in singing, ensembles are distinguished between dynamic, rhythmic and timbre. A prominent master of choral singing, P.G. Chesnokov, determining the conditions for singing in an ensemble, believing that the singer needs to be as balanced in sound strength as possible and merge in timbre with his party, the parties need to be balanced in the choir, and the conductor needs to regulate the strength and color of the sound as individual singers and entire parties.

Work on the ensemble in choral singing of junior schoolchildren is made difficult by a lack of attention and endurance. Thus, V.S. Popov noted: “There will definitely be a boy or girl in the group who suddenly starts singing louder than others, or speeding up the tempo, or, finally, just looking away, disconnecting from the creative process.”

Singing in an ensemble is closely related to choral structure - precise intonation in single-voice singing (horizontal structure) and polyphonic singing (vertical structure).

When working on tuning difficulties, you should adhere to the rules of intonation of the scale degrees.

The method of vocal training is based on general didactic and special teaching principles inherent in music pedagogy. The leading ones among the general pedagogical principles of teaching are: the principle of educational teaching, scientific character, consciousness, connection with life (with practice).

Principle educating training is very important, its goal is the comprehensive development of the individual. The educational nature of vocal training is associated with the principle of its scientific nature, which comes from objectively existing phenomena of the singing process, from the patterns of their interrelation. In vocal pedagogy, the scientific principle is especially important. Until recently, singing training was carried out in a purely empirical way (“sing as I sing”). This has led to a subjective, scientifically unsubstantiated interpretation various phenomena singing voice formation (as, for example, the dogmatic requirement for all singers to have a low larynx position, regardless of the type and nature of the voice, which has been refuted by scientific data). Compliance principle scientific character in vocal training at the Faculty of Music and Pedagogy, it acquires special significance. If the vocal values ​​and skills of the future music teacher do not correspond to objective data, he will not be able to successfully teach singing to schoolchildren and correctly influence the development of their vocal apparatus. Modern scientific information about the singing voice and the process of voice formation ensures the implementation of the scientific principle of vocal training.

As a future music teacher, it is necessary to acquire scientifically proven practical vocal knowledge and skills as consciously as possible. To this end, the student must have a good understanding of the essence of each vocal phenomenon (singing register, attack, breathing, etc.) and the practical value of the skills being acquired. So, when mastering a singing breath, he must know how such a breath differs from the usual one, what qualities it is characterized by, how it is performed, and what its effect on singing phonation is.

Consciousness in vocal training is inextricably linked with understanding the reasons for the formation of various sound qualities. It is important to know what the correct sound is and be able to reproduce it, while having a good idea of ​​what needs to be done to form the desired meaning. The future teacher also needs to understand the reasons for the formation of undesirable sound qualities (throat, nasal, hoarse sounds) and ways to eliminate them. The discovery of cause-and-effect relationships between the phenomena of the singing process is based on the analysis of the reproduced sound (effect) and the technology of voice formation (cause), which in its essence constitutes the Vocal-methodological training of the future singing teacher.

Knowing how to form various qualities of a singing sound, the characteristics of the sound of schoolchildren’s voices, and the operation of their vocal apparatus helps the student master the ability to bring the sound of his voice closer to the sound of children’s voices. Deeply conscious mastery of one’s voice allows the student to quickly master the techniques of bringing his voice closer to the voices of children by removing chest resonance, lightening the voice, reducing the strength of the sound, and switching to folds. The connection between individual vocal training at the music pedagogical faculty with practice and with school is also expressed in the formation of such special skills in future music teachers as performing a song to one’s own accompaniment and singing without accompaniment.

On principle scientific character learning is based on the principle of feasible difficulty. Without knowledge of the process of voice formation, methods of acting on it, without a clear understanding of the level of musical, vocal-technical and artistic development It is impossible for a student to determine what is feasible for him in each specific period of study. The correctness of determining the level of development of a student depends on relying on the necessary objective scientific data.

The principle of feasible difficulty is closely related to the principle of gradualness and consistency legitimized in vocal pedagogy. Graduality and consistency presuppose a mandatory progression from simple to complex, from easy to difficult when developing singing skills and mastering educational material(exercises, vocalizations, works of art with text). The feasible difficulty in vocal training gradually rises steadily as the student learns and develops his abilities. And the optimality of increasing its level is ensured by strict adherence to the rule of gradual complication of Vocal-technical and artistic skills and their competition.

Principle feasible difficulties replaced didactics with the principle of accessibility of education, which is quite natural. The principle of feasible difficulty includes the accessibility of learning; it clarifies the meaning of this concept. In Soviet didactics, accessibility is understood not as ease, but as a measure of the feasible difficulty of learning.

The personality of each student is purely individual: each has its own special psychological make-up, character, volitional qualities, expressed to one degree or another musical abilities. General position pedagogy about an individual approach to the student becomes important in individual vocal training. Among other things, in a solo singing class, the need to take into account the peculiarities of the sound of each student’s voice and voice formation, which are determined by the peculiarities of the structure and operation of his vocal apparatus, comes to the fore. Each new student for a teacher-vocalist turns out to be a unique task, which he has to solve, flexibly refracting and combining methods and techniques of pedagogical influence.

In Soviet music pedagogy, it is fundamental principle unity artistic and technical aspects of training. This principle, special to music pedagogy, is extremely important when teaching solo singing. For a singer, unlike other instrumental musicians, his instrument is located within himself, it is part of his body. When learning to sing, the organs of the vocal apparatus are specially adapted to perform singing tasks and have their own function. Functional connections are established between them, dynamic stereotypes are created, that is, a “singing instrument” is formed and tuned. It should be taken into account that a significant part of the vocal apparatus and, above all, the larynx, is not directly subordinate to our consciousness. Many organs of the vocal apparatus are controlled indirectly through the idea of ​​sound, through the auditory organs, which influence the motor centers associated with singing. The idea of ​​a singing sound, the nature of the sound is determined by its emotional content, musical and semantic expressiveness, which significantly influence the functioning of the vocal apparatus and the establishment of its function.

The method of teaching singing is based on general didactic and special vocal methods. In the solo singing class at the Faculty of Music and Pedagogy, it is extremely important not only to have a highly qualified application of these teaching methods, but also to familiarize future secondary school music teachers with them, taking into account the specifics of their use when working with children.

The explanatory and illustrative method consists of providing teachers with ready-made information about singing sound and voice formation. It includes traditional methods: explaining through spoken word and demonstrating (demonstration) professional vocal sound and the way the vocal apparatus works to create that sound. The explanatory and demonstrative method is aimed at conscious perception, comprehension and memorization of the reported information.

The explanatory and illustrative method in vocal teaching is closely combined with the reproductive method, which consists of students reproducing and repeating the singing sound and methods of operation of the vocal apparatus in accordance with the explanation and demonstration of the teacher. Such reproduction and repetition is specially organized by the teacher and turns into an activity aimed at improving the actions performed with the help of educational material: a system of exercises. Vocalizations, vocal works. As a result, students form and develop vocal skills. Thus, the use of both described methods is a necessary condition for the formation of vocal skills and knowledge in the field of singing voice formation.

But both of these methods contribute little to the development of the student’s creative abilities. In this regard, the use of partially search, or heuristic, as well as research methods is of great importance, and the first of them is the initial stage of the second.

The heuristic method is introduced as vocal, technical and artistic skills are mastered. It consists in the fact that the teacher outlines and organizes the students’ implementation of individual search steps. Often this is a task to find the character of the sound that corresponds to the vocal work being mastered. The teacher guides the student to complete the task, helping him to clearly determine the emotional and semantic content of the vocal work. Based on the identified content, the student attracts, updating his existing knowledge and skills, forms the desired sound, motivates its qualities.

The research method is considered as a way of organizing search, creative activity student. In the context of teaching solo singing, this method is used at later stages of training and mainly comes down to students’ independent analysis of the musical and poetic text, the emotional content of the material being mastered. work of art, search vocal means expressiveness. To create your own performance, interpretation of the work. Considering the specifics of music learning, it would obviously be more correct to call this method creative.

Thus, the basis of expressive singing, the formation of hearing and voice are vocal and choral skills. A prerequisite for successful work is their strict observance and implementation. With the help of the principles and methods of vocal training, the student not only acquires knowledge about singing voice formation and develops and improves vocal-technical and artistic skills, but also develops his voice, performing abilities, musical and aesthetic taste, mental abilities: memory, observation, thinking, imagination, speech, moral feelings,

2 Peculiaritiesselectionsongrepertoire

2.1 General methodological provisions By organizations vocal-choral work With juniors schoolchildren

The purpose of organizing vocal and singing work at the first stage of introducing children to musical art is the development of physiological and psychological basis performer's singing culture. A.N. Karasev believed that “the first way to get acquainted with musical material there is listening to others, and this listening, depending on how they sing in front of the child, should have an influence on the future musical development of the child.” The basis of such mastery of culture is children's predisposition to imitation. Therefore, it is pedagogically appropriate for children to listen to the teacher’s voice. Listening to the teacher's voice gradually develops stability of auditory attention in children. Already at the first acquaintance with children, the teacher should game form to diagnose the level of development of musical hearing and singing abilities of students. Based on the data obtained, children should be taught in parallel in three intonation groups. The first group consists of children with a range of at least a sixth, intoning a melody without the support of an instrument, singing calls, with a natural sound. The second is children with a somewhat limited range, unstable intonation. The third group includes “Gudoshnikov”.

The cause of poor intonation may be the following: dislike of singing, shyness, general apathy or excessive activity, lack of coordination of hearing and voice, diseases of the vocal cords, physiological disorders of the auditory system, weakness of auditory attention, muscle tightness. If the cause of poor intonation is not related to physical pathology, for many students the problem of pure intonation, as a rule, is solvable provided that classes are systematic and constant pedagogical control.

Similar documents

Physiological and psychological characteristics of junior schoolchildren and their impact on educational activities. Basic vocal skills developed in the singing of children of primary school age. Vocal exercises as a means of developing vocal skills.

course work, added 01/19/2011


Features of socialization of children of primary school age. Implementation of social and pedagogical conditions for the development of children’s creative abilities in institutions additional education. Visual activities as a means of developing abilities.

course work, added 10/09/2014


Forms of manifestation of power abilities. Factors that determine the level of development of strength abilities. Sensitive periods for the development of strength abilities. Features of the cardiovascular and respiratory systems in children of primary school age.

course work, added 12/08/2013


Features of the development of children of primary school age, in particular movement coordination. Types and methods of developing coordination abilities. Analysis of the influence of physical and gymnastic exercises on the level of coordination abilities of children 7-9 years old.

thesis, added 02/17/2010


Age-related features of the development of children of primary school age. The problem of forming the concept of set in children of primary school age in the scientific literature. Lesson development and didactic games on teaching children of primary school age.

thesis, added 09/08/2017


Characteristics of primary school age. Basic exercises that develop the accuracy of differentiation of muscle efforts. The use of outdoor games in physical education lessons to increase the level of coordination abilities of school-age children.

course work, added 04/23/2015


Features of the process of developing creative abilities in the system of additional education for children. A program for the development of creative abilities and cognitive activity of children of primary school age in the Almaty Palace of Schoolchildren.

thesis, added 12/13/2011


Principles of development of creative abilities in children of primary school age. The purpose of musical and aesthetic education in secondary schools. Development of creative abilities of schoolchildren in music lessons. Exploring their creative potential.

course work, added 01/16/2015


Peculiarities physical education children with poor health. Specifics of perception, development of memory and attention of children of primary school age with speech impairments. Results of a survey of cognitive abilities in children with speech impairments.

thesis, added 09/14/2012


Objectives of physical education of school-age children. The importance of coordination abilities in movement control. Anatomical and physiological features of the development of children of primary school age. Basic techniques for developing coordination abilities.

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

Therefore, the basis of the methodological techniques of musical education is the impact of expressive singing intonation, the warmth and sincerity of which evokes an emotional response in children.

The teacher, humming a song, leans towards the child and thereby attracts his attention, evokes imitative intonations and creates a joyful mood in him. When working with older children, showing toys is used to identify interest in singing.

On second year in life, children are already beginning to pronounce and

Page 98

chant sing along with the teacher individual sounds, endings of a musical phrase. The education and training program in kindergarten sets the teacher the task of encouraging the child to sing along with an adult, reproducing individual intonations.

Songs that reflect images that are close and understandable to children (birds, dolls, etc.) help solve this problem. Their correct selection makes it possible to gradually complicate tasks. If in the song “Bird” by M. Rauchwerger children can mark the end of the song with the exclamation “Ay,” then in the song “Yes-da-da” by E. Tilicheeva they sing along with a short musical phrase on the repeating syllable “da-da-da.”

While teaching children, the teacher invites one or the other child to join in singing, repeat a separate sound exclamation, intonation. The main method of developing children’s singing expressions at this stage is to imitate the singing of an adult.

Arousing interest in the song and a desire to sing it, the teacher uses play techniques and uses a toy. For example, in the song “Vodichka” by E. Tilicheeva, children, together with an adult, perform movements according to the text of the song. An expressive performance of a song evokes an emotional response in children and a desire to sing.

Repeating the song several times, the teacher invites the most active children to sing along with him. Their example has a positive influence on the more timid.

Individual singing with each child is of great importance for musical development at this age. This allows you to identify the more active ones and unite them into a small group.

Song repertoire

The song repertoire for children of the first junior group is small. However, it reflects holidays (“To the Parade” by Y. Slonov, “Holiday” by T. Lomova, “Christmas Tree” by T. Popatenko), images close to children (“Bird” by T. Popatenko, “Bug” by V. Karaseva), songs about children (“That’s how big we are,” “Yes, yes, yes” by E. Tilicheeva). In songs, children sing along with short musical phrases.

Stimulating onomatopoeia is one of the prerequisites for the development of singing intonations in children.

Methods of teaching singing to children of primary preschool age

Objectives and content of training

On third year In life, the child’s singing voice begins to form - there is no singing sound yet, breathing is short. But at the same time, children willingly join in the adult’s singing, singing along with the endings of musical phrases and intoning individual sounds.

The goal is to develop and strengthen children’s initial singing intonations. The child cannot yet sing the entire song correctly, but one should strive to correctly intonate individual motives.

Page 99

On fourth year In life, children's singing voice sounds stronger; they can sing a simple song. Some children even develop loudness.

When forming a singing sound, the teacher makes sure that children sing in a natural voice, without tension in the range re-mi-la first octave.

Great place in younger groups, work on diction is given. Children often mispronounce words without understanding their meaning. It is necessary to explain the meaning of individual unclear words, teach correct pronunciation.

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

By the end of the year, a child in the first junior group can sing simple songs together with an adult.

Towards the end fourth year in life, they must sing in a natural voice, without tension, drawlingly, clearly pronouncing the words, keep up and not get ahead of each other, correctly convey the melody in chants and songs, sing songs with the help of a teacher, with musical accompaniment and without it.

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

Children of the third year in the songs “Cat” an. Alexandrova, “Bird” by T. Popatenko sing along only the final phrase, which is most convenient for initial intonation:

[Slow] [Moderate]

Russian folk song They can sing “Bunny” in its entirety, since it is built on a repeating motif:

[Lively]

In the second younger group, the tasks gradually become more complicated, songs are performed greater range (re-la, mi-si first octave). The construction of songs, including the repetition of individual phrases, contributes to their better memorization and assimilation:

[At the pace of a march]

Page 100

[Slowly]

Most songs for children of this age are performed slowly, at a moderate tempo. But there are also more active ones (“Father Frost” by A. Filippenko, “Playing with a Horse” by I. Kishko).

Song repertoire

In the second younger group, the song repertoire expands significantly. Social themes are more represented here (“Machine” by T. Popatenko, “Planes” by M. Magidenko, “Young Soldier” by V. Karaseva) natural phenomena(“Winter” by V. Karaseva, “Rain” - Russian folk song, arrangement by T. Popatenko), songs for March 8th (“Pies” by A. Filippenko, “We love mother” by Y. Slonov). The small range and short musical phrases allow children to sing the entire song.

Methodical techniques

Let's consider methodological techniques, used in singing work with children of the third year of life. The main thing is emotional, expressive

performance of a song by a teacher. To do this, you need to carefully think through and convey the features of the song, its character, and mood. When performing a song for the first time, the teacher uses toys and pictures that help children understand the content of the song.

In addition, gaming techniques are used. For example, introducing the children to the song “Cat” by An. Alexandrova, the teacher shows the toy and after singing says: “The cat is asking for milk.” “Meow, meow,” he hums and asks: “How does a cat ask for milk?” This encourages the children to sing the last phrase with him.

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

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

In the second younger group, teaching techniques are used more often. For example, drawing attention to the melody, the teacher sings the song 2-3 times, playing only the melody on the instrument, and invites the children to sing along with him.

Page 101

The most active ones begin to sing immediately. Gradually everyone turns on.

Special attention requires work on long-drawn singing, as many children sing in a tongue-in-cheek manner. The teacher sings long sounds expressively. Children follow this example.

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

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

At the end of the year, it is noted whether the children will be able to sing some songs with or without musical accompaniment with the help of the teacher.

When forming collective (choral) singing, you need to train children to start and finish the song at the same time, not to lag behind in singing and not to get ahead of each other, to draw their attention to joint friendly singing.

Objectives and content of training

On third year In life, the child’s singing voice begins to form - there is no singing sound yet, breathing is short. But at the same time, children willingly join in the singing of an adult, singing along with the endings of musical phrases and intoning individual sounds.
The goal is to develop and strengthen children’s initial singing intonations. The child cannot yet sing the entire song correctly, but one should strive to correctly intonate individual motives.
On fourth year In life, children's singing voice sounds stronger, they can sing a simple song. Some children even develop loudness.
When forming a singing sound, the teacher makes sure that children sing in a natural voice, without tension in the range re-mi-la first octave.
A large place in the younger groups is given to working on diction. Children often mispronounce words without understanding their meaning. It is necessary to explain the meaning of individual incomprehensible words and teach correct pronunciation.
Children of this age find it difficult to sing at a general tempo: some sing slowly, others sing too quickly. The teacher must constantly monitor this, teaching them to sing collectively.
By the end of the year, a child of the first junior group can sing simple songs together with an adult.
By the end of the fourth year of life, they should sing in a natural voice, without tension, drawlingly, clearly pronouncing the words, keep up and not get ahead of each other, correctly convey the melody in chants and songs, sing songs with the help of a teacher, with or without musical accompaniment .
These tasks are solved with the help of a song repertoire, including simple, melodic, easy-to-breathe songs of a short range.
Children of the third year in the songs “Cat” an. Alexandrova, “Bird” by T. Popatenko sing along only the final phrase, which is most convenient for initial intonation:
[Slow] [Moderate]

They can sing the Russian folk song “Bunny” in its entirety, since it is built on a repeating motif:
[Lively]

In the second younger group, the tasks gradually become more complicated, and songs of a wider range are performed. (re-la, mi-si first octave). The construction of songs, including the repetition of individual phrases, contributes to their better memorization and assimilation:

[At the pace of a march]

[Slowly]

Most songs for children of this age are performed slowly, at a moderate tempo. But there are also more active ones (“Father Frost” by A. Filippenko, “Playing with a Horse” by I. Kishko).

Song repertoire

In the second younger group, the song repertoire expands significantly. Here, social themes are more represented (“Machine” by T. Popatenko, “Planes” by M. Magidenko, “Young Soldier” by V. Karaseva), natural phenomena (“Winter” by V. Karaseva, “Rain” - Russian folk song, adaptation of T . Popatenko), songs for the Day of March 8th (“Pies” by A. Filippenko, “We Love Mom” by Y. Slonov). The small range and short musical phrases allow children to sing the entire song.

Methodical techniques

Let us consider the methodological techniques used in singing work with children of the third year of life. The main thing is emotional, expressive
performance of a song by a teacher. To do this, you need to think carefully and convey the features of the song, its character, and mood. When performing a song for the first time, the teacher uses toys and pictures that help children understand the content of the song.
In addition, gaming techniques are used. For example, I know the guys with the song “Cat” by An. Alexandrova, the teacher shows the toy and after singing says: “The cat is asking for milk.” “Meow, meow,” he hums and asks: “How does a cat ask for milk?” This encourages the children to sing the last phrase with him.
While learning a song with children (as a rule, without piano accompaniment), the teacher approves of the most active ones and helps the more timid ones with his participation.
Once the song is learned, you can use different playing techniques. “A bear came to us, let him sit and listen to how well we sing,” says the teacher. While singing the song “Christmas Tree” by T. Popatenko, the children clap to the words “yes-yes-yes,” and when singing the song “Holiday” by T. Lomova (in the second verse), they show how they “play the trumpet.”
In the second younger group, teaching techniques are used more often. For example, drawing attention to the melody, the teacher sings the song 2-3 times, playing only the melody on the instrument, and invites the children to sing along with him.

The most active ones begin to sing immediately. Gradually everyone turns on.
Working on drawn-out singing requires special attention, since many children sing in a patois. The teacher sings long sounds expressively. Children follow this example.
In the process of learning to sing, it is necessary to hear each child and note his performance. Those who sing well are encouraged to sing in a group for all the children; those who intonate poorly should be taught separately to teach them to “adapt” to the singing of an adult.
If a song contains an interval that is difficult to perform, it can be sung on any syllable. The lyrics of the song are absorbed along with the melody, only the most difficult words are repeated separately.
At the end of the year, it is noted whether the children will be able to sing some songs with or without musical accompaniment with the help of the teacher.
When forming collective (choral) singing, you need to train children to start and finish the song at the same time, not to lag behind in singing and not to get ahead of each other, to draw their attention to joint friendly singing.

Methods of music education in kindergarten: “Preschool. education”/ N.A. Vetlugina, I.L. Dzerzhinskaya, L.N. Komissarova and others; Ed. N.A. Vetlugina. - 3rd ed., rev. and additional - M.: Education, 1989. - 270 p.: notes.