For students of preschool education faculties of secondary and higher pedagogical educational institutions
Asyayet"d
1998
BBK 74.100.5ya 723 R 15
Publishing program “Textbooks and teaching aids for teacher training schools and colleges” Program Manager 3. A. Nefedova
Reviewers: Ph.D. ped. sciences E. A. Dubrovskaya, Ph.D. ped. sciences M. A. Medvedeva
Radynova O. P. et al.
R 15 Musical education of preschool children: Textbook. aid for students fak-ov doshk. will educate higher and Wednesday ped. textbook establishments. - M.: Publishing center "Academy", 1998. - 240 p. ISBN 5-7695-0182-0
The manual contains theoretical, musicological, and methodological material that reveals the basics of working with children preschool age.
Particular attention is paid to various types of musical activities of preschool children and forms of their organization, taking into account the level of development of the abilities of each child.
BBK 74.1 00.5 723
© Radynova O. P., Katinene A. I.,
UDC 373.21:78(075.32)
Palavandishvili M. L., 1991! © Publishing center "Academy", 1998
FROM THE AUTHORS
Modern scientific research indicates that the development of musical abilities and the formation of the foundations of musical culture should begin in preschool age. The lack of full-fledged musical impressions in childhood is difficult to make up for later. It is important that already in early childhood there is an adult next to the child who could reveal to him the beauty of music and give him the opportunity to experience it.
Musical development has an irreplaceable effect on overall development: the emotional sphere is formed, thinking is improved, the child becomes sensitive to beauty in art and life.
In preschool institutions, the musical director is directly involved in the musical education of children. The level of musical development of his students largely depends on the level of his musical culture, abilities, and pedagogical skills. But ultimately, the success of the business depends on the entire teaching staff of the preschool institution and on the parents, since outside of music classes there are other opportunities for enriching children with musical impressions, other various forms of carrying out musical activities in Everyday life kindergarten and in the family.
Music has an intonation nature similar to speech. Similar to the process of mastering speech, which requires a speech environment, in order to fall in love with music, a child must have experience in perceiving musical works of different eras and styles, get used to its intonations, and empathize with moods.
It is important to use music that is artistically valuable when working with children: this is primarily classics and folk works. But for this, the teacher himself must know it well, love it, be able to present it to children, and talk about it.
As a parting word, I would like to wish readers to use the recommended material creatively and boldly look for new ways to expose children to the beauty of music.
We hope that the book will help future teachers prepare to work with children, and music directors and educators to find answers to questions that arise in practice.
THE IMPORTANCE OF MUSIC IN CHILDREN'S EDUCATION
§ 1. MUSIC AS A KIND OF ART AND TASKS OF CHILDREN’S MUSICAL EDUCATION
Music originated in ancient times. This is evidenced by the many found objects with images of musical instruments and performers, although the musical works themselves from distant eras have not reached us.
Music has long been recognized as an important and indispensable means of shaping a person’s personal qualities and his spiritual world. In Ancient Greece there was even a doctrine that substantiated the impact of music on human emotions. It has been proven that some melodies strengthen courage and perseverance, while others, on the contrary, pamper.
What is unique about music as an art? Let's compare it with painting, sculpture, literature.
Music cannot depict or describe life phenomena with the same degree of concreteness as these types of art (although it does have some visual capabilities).
Is it possible to convey certain content using sounds? What do we call the content of music?
Prominent psychologist B.M. Teplov wrote: “In the most direct and immediate sense, the content of music is feelings, emotions, moods.” (Psychology of musical abilities. - M.; L., 1947. - P. 7.)
The peculiarity of music is that it can convey with great spontaneity and power the emotional state of a person, all the richness of feelings and shades that exist in real life.
Due to the fact that music is a temporary form of art (unlike painting and sculpture), it has the ability to convey changes in moods, experiences, and the dynamics of emotional and psychological states. Each piece of music thus has a certain “sensory program” (the term of the psychologist V.G. Razhnikov), unfolding in time.
Music can also depict any specific phenomena of reality - the sound of waves, the howling of the wind, the splashing of a stream, the singing of birds - through onomatopoeia.
There is a so-called program music, in which the composer either indicates the title of the work, i.e., implies the presence of some generalized program, or writes music to a specific literary text. In program music, various kinds of pictorial moments are more common, but it is important to note that even brightly pictorial works always have an emotional overtones: the chirping of a bird can be friendly, cheerful, or it can be alarmed; the sound of waves - peaceful or menacing.
Therefore, expressiveness is always inherent in music, and visualization has an auxiliary meaning. Figurativeness is not present in every work, but even vividly visual music always expresses moods, emotional and psychological states.
Music, including music not associated with words, also expresses certain thoughts and evokes generalizations. But they arise through the emotional perception of sounds and melodies, when the listener traces the development, the clash of characters, themes, and compares various images in parts of the work.
Another feature of music compared to painting and sculpture is the need for an intermediary to reproduce it.
A prominent musicologist and composer B.V. Asafiev noted that music exists in the trinity of processes of its creation by the composer, reproduction by the performer and perception by the listener.
The performer, being an intermediary of the composer, must revive, voice the musical work, creatively comprehend it and express those thoughts and feelings that the author sought to convey.
In general, the expressive possibilities of music have sufficient consistency. So, for example, mourning music is perceived by all people as mournful, and gentle music - as gentle. But listening to music is creative process, since the same work gives rise to different musical and extra-musical ideas in different people, depending on their life experience and experience of perceiving music.
What was the expressiveness of the language of music based on? What are the remedies musical expressiveness?
These include dynamics, register, tone, rhythm, harmony, mode, melody, intonation, etc.
A musical image is created by a certain combination of means of musical expression. For example, a formidable character can be conveyed by fairly loud dynamics, a low register combined with a restrained tempo. Gentle character - calm tempo, soft dynamics and measured rhythm The role of individual musical means in creating an image is not the same. In each musical image, certain means of expressiveness dominate
The expressiveness of the language of music is in many ways similar to the expressiveness of speech. There is a hypothesis about the origin of music from speech intonations that are always emotionally charged.
Music and speech have a lot in common. Musical sounds, like speech, are perceived by the ear. The emotional states of a person are conveyed with the help of the voice: laughter, crying, anxiety, tenderness, etc. Intonation coloring in speech is conveyed using timbre, pitch, strength of the voice, tempo of speech, accents, pauses. Musical intonation has the same expressive capabilities
B V Asafiev scientifically substantiated the view of musical art as an intonational art, the specificity of which lies in the fact. “then it embodies the emotional and semantic content of the language, just as the internal state of a person is embodied in the intonations of re | t and Speech intonation expresses, first of all, the feelings of mood, the thoughts of the speaker, like musical Thus, the excited speech of a person is distinguished by a fast pace, continuity of flow the presence of small pauses, an increase in height, the presence of accents. Music that conveys confusion usually has the same features of a person's mournful speech as grief in music (quiet slow), interrupt" with pauses, exclamations B V Asafiev used the term intonation in two meanings The first is the smallest expressive-semantic particle, “grain-intonation”, “cell” of the image. For example, the intonation of two descending sounds with an accent on the first (interval of a small second) usually expresses pain, sigh, pchach, and an ascending jump in the melody by four sounds (per fourth) with an emphasis on the second sound - an active beginning.
The second meaning of the term is used in in a broad sense: as intonation equal to the length of a musical work. In this sense, music does not exist outside the process of intoning. Musical form is a process of changing intonation.
Musical form in a broad sense is the totality of all musical means expressing content. In a narrower sense, structure piece of music, the relationship of its individual parts and sections within the part, i.e. the structure of the work.
Temporary I The nature of music makes it possible to convey development processes and all kinds of changes. To understand the meaning of the work, to feel it. It is necessary to follow the development of musical images.
In creating a form, three principles of repetition, contrast, development (variation) are important.
The repetition can be different. A musical phrase repeated twice in a row replaces the stop, this helps to listen more deeply and remember the melody. In another case, a contrasting theme is heard between repetitions. The role of such phrases is very great: they form the basis of musical dramaturgy, since they allow you to confirm the primacy of the image.
If there is a contrasting episode between repeated sections, a simple three-part form is formed. It can be schematically depicted as AR A.
The expressive value of the repetition of the theme increases if it itself changes after the appearance of a new image (B). Conventionally, its second appearance is designated as A. 1 In this case, the tripartite form can be represented by the scheme A B A."
Repetition is associated with another principle - contrast, which allows you to highlight the repetition. Contrast helps to express a change of mood in music; it can sound like opposition. So, for example, if the first part was full of hopelessness and sadness, the middle part introduces a contrasting image (anxiety, evil, etc.). In the third part, depending on whether the repetition is exact or modified, one can follow the development of the oraz, the musical D1 amaturgy.
Contrast related With Another principle of formation is development. If the topic itself consists of two (or more) contrasting elements, or a farm section consists of several topics, this gives rise to conflict, the possibility of their collision and development. This principle has a variety - variational development, which originates from folk improvisations.
These three principles of formation are often found in combination. More complex musical forms are formed with the power of these same principles
Let us characterize some types of music - musical genres.
Music can be broadly divided into vocal and instrumental Vocal music associated with the word, according to the ethical text. Its varieties are solo, ensemble and choral music. In instrumental music, the content is expressed more generally. Its varieties include solo, ensemble and orchestral music.
But dividing music only into vocal and instrumental is very arbitrary. There is a wide variety of folk and classical music.
The word “genre” itself comes from the Latin genus - genus and from the French genre - genus, type, manner, taste, custom. A genre is a type of artistic creativity that is in a certain way connected with the historical reality that gave rise to it, with life and everyday life.
In the early stages of its development, music was closely connected with the work of people. This is where labor songs originate. Military campaigns gave rise to marching music. There were also lullabies, round dances, wedding songs, calendar songs, ritual songs, etc. These so-called primary genres, which are associated with the life of people, are of an applied nature.
Secondary genres arose with the advent and development of professional musical art created by composers. Each historical era gives birth to new genres of music, which are formed under the influence of tastes, customs, historical situation, and national traditions.
Genres gradually emerged choral music (chorale, mass, cantata, oratorio), chamber-non-church, secular music for home music playing (trio, quartet, quintet, romance, prelude, nocturne, impromptu, waltz, etc.), symphonic - written for orchestra (symphony, overture, fantasy, concerto), theatrical-dramatic(opera, ballet, operetta).
Primary genres (song, dance, march) do not disappear in professional music. This feature was used by D.B. Kabalevsky when building his music program for a secondary school. Starting with simple primary genres by D.B. Kabalevsky leads children into the world of more complex musical works.
The music of each era not only creates new genres. It carries within itself a favorite range of musical intonations and themes in tune with the times. Music by I.S. Bach, largely associated with cult customs, differs significantly in language from the romantic, agitated music of F. Chopin from the pointed, conflicting modern classical music.
B.V. Asafiev called the range of intonations that exist in music of different eras and styles “the intonation dictionary of the era.”
Listening to music written in different time, people get an idea of the different ways of expressing feelings and thoughts that existed in each era. Therefore, we can talk about its great cognitive significance. So, for example, the music of French harpsichordists of the late 17th - early 18th centuries. (music music of the Rococo style) is distinguished by gallantry, sophistication, I (high restraint in the expression of feelings. This feature of music, which contributed to the emergence of works of small / worlds - miniatures, also required a certain manner of performance. Francois Couperin gives interesting advice to performers and his treatise “The Art of Playing the Harpsichord” (1716), he recommends sitting half-turned, facing the audience, “getting rid of I rimas on the face... with the help of a mirror placed on the music stand of a niche or harpsichord,” sitting at the harpsichord at ease, ■
Reflecting life and fulfilling a cognitive role, music influences a person, educates his feelings, and shapes his tastes. He finds in music echoes of what he has experienced and felt. Having a wide range of content, music enriches the decaying world of the listener with emotion.
Different types of art have specific means of influencing a person. Music has the ability to influence a child at the earliest stages. It has been proven that even the prenatal period is extremely important for the subsequent development of a person: the music that the expectant mother listens to influences the child’s well-being, and perhaps already shapes his tastes and preferences.
In the first months of life, babies respond to the nature of music. Gradually, in the process of mastering various types of musical activities (perception, performance, creativity, musical educational activities), it is necessary to develop in children all the best that is inherent in nature, on the basis of various natural inclinations, develop general and special musical abilities, aptitudes for certain types of musical activity.
11By acquiring certain knowledge about music, skills and abilities, children become familiar with the art of music. It is necessary to ensure that in the process of musical education, obtaining this knowledge, skills and abilities is not an end in itself, but contributes to the formation of preferences, interests, needs, tastes of children, i.e. elements of musical and aesthetic consciousness.
Only by developing a child’s emotions, interests, and tastes can he be introduced to musical culture and lay its foundations. Preschool age is extremely important for further mastery of musical culture. If in the process of musical activity a musical-aesthetic consciousness is formed, this will not pass without a trace for the subsequent development of a person, his general spiritual formation.
When engaging in musical education, it is important to remember about the general development of children.
Preschoolers have little experience in understanding human feelings that exist in real life. Music that conveys the full range of feelings and their shades can expand these ideas. In addition to the moral aspect, musical education is of great importance for the formation of aesthetic feelings in children. 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 of art gradually guides a person in identifying thoughts, feelings, and moods that are important to him, expressed in artistic images, in content that is meaningful to him.
Music develops a child mentally as well. In addition to various information about music that has cognitive significance, a conversation about it includes a description of the emotional and figurative content. Children's vocabulary is enriched with figurative words and expressions that characterize moods and feelings conveyed in music.
Music develops the emotional sphere. Emotional responsiveness to music is one of the most important musical abilities. It is associated with the development of emotional responsiveness in life, with the cultivation of such personality qualities as kindness and the ability to sympathize with another person.
Musical activity includes not only the perception of music, but also performance that is feasible for children, based on the experience of perception - singing, playing musical instruments, musical-rhythmic movements. With the help of singing and playing musical instruments, you can develop another musical ability - the ability to imagine and reproduce the pitch of musical sounds in a melody. The development of this ability involves mental operations: comparison, analysis, juxtaposition, memorization - and thus affects not only the musical, but also the general development of the child.
The sense of rhythm (the third musical ability) is formed primarily in musical-rhythmic movements, which allow children to respond more deeply to music, to change its character, to “pass it through themselves,” as it were. These activities require attention, concentration, concentration of memory, emotions, which is also important not only for musical activity, but also for the overall development of the child.
In each type of performance, children perform feasible independent and creative tasks, which contribute to the development of their imagination, fantasy, self-confidence, and self-confidence.
The main objectives of music education are the following:
To develop the musical and creative abilities of children, taking into account the capabilities of each child, through various types of musical activities;
To form the beginnings of musical culture, to contribute to the formation of a common spiritual culture.
Their successful solution depends on the content of musical education, primarily on the quality of the repertoire used, teaching methods and techniques, forms of organizing musical activity used in working with children, etc.
Questions and assignment
What is the difference between music and other forms of art?
Name the signs of similarity between musical and speech intonations.
What are the possibilities of music in educating a person?
Activity is an active process of mastering social experience and cultural achievements. Throughout his life, a person masters various types of activities, as a result of which his mental qualities and personality traits are formed. Some of them acquire special significance and proceed most successfully. In selective relations, inclinations towards certain types of activities are manifested personal qualities person.
Psychologist A. N. Leontyev noted that during the development of a subject, certain types of his activities enter into hierarchical relationships with each other. These hierarchies of activities are generated by their own development; they form the core of personality.
The development and multiplication of an individual’s activities does not simply lead to the expansion of their “catalog”. At the same time, they are centered around a few, the most important ones, subjugating others. This complex and long process of personality development has its own stages, its own stages.
Music and various types of musical activities have specific possibilities for influencing the formation of a person’s personality. Due to the fact that music is perceived emotionally, it is of great importance in the development of a child’s feelings.
Tracing the “sensory program” of a musical work involves mental operations - comparison, analysis, synthesis. The formation of a figurative “dictionary of emotions” in a child, which allows one to expand ideas about a person’s feelings expressed in music and connect them with life, is possible precisely in the process of various types of musical activities. Singing (one of the types of performing musical activities) promotes the development, strengthening of the lungs and vocal apparatus, and the development of correct posture in children. With systematic practice, musical and rhythmic movements acquire precision and beauty. Playing children's musical instruments develops hearing, promotes creative music-making, etc.
It is no coincidence that since ancient times music has been the most important means of education. It attracts with the possibility of ennobling a person’s soul, comprehending the spiritual values accumulated by people, and introducing him to world musical culture. The availability of musical perception activity already in the first days of a child’s life makes it possible to begin musical education from early childhood. D_ Activities are characterized by actions, operations, psychophysiological functions. In the process of activity, the child masters certain actions: practical, which lead to a certain external result, and internal, mental, which constitute the main content of mental development (perception, thinking, imagination, memory).
The musical activity of preschoolers is a variety of ways and means for children to learn the art of music (and through it the life around them and themselves), with the help of which musical and general development is carried out.
Knowledge of musical art, due to the specifics of music, is carried out through its emotional perception. Understanding music is not limited to emotions. Understanding the emotional and figurative content of music deepens, differentiates its perception, influences the subsequent performing or creative activity of children, occurring both internally and accompanied by external actions.
In the musical education of children, the following types of musical activities are distinguished: perception, performance, creativity, musical and educational activities.
They all have their own varieties. Thus, the perception of music can exist as an independent type of activity, or it can precede and accompany other types. Performance and creativity are carried out in singing, musical-rhythmic movements and playing musical instruments. Musical educational activity includes general information about music as an art form, musical genres, composers, musical instruments, etc., as well as special knowledge about performance methods.
Each type of musical activity, having its own characteristics, presupposes that children master those methods of activity without which it is not feasible, and has a specific impact on the musical development of preschool children. This is why it is so important to use all types of musical activities.
In addition, each type of activity serves as a means of developing some musical ability. By perceiving music and distinguishing emotional coloring, a modal feeling is formed. Pitch hearing (musical auditory perceptions) develops with the help of those types of activities in which this ability is manifested, namely in two types of performance - singing and playing musical instruments by ear. The rhythmic feeling finds expression primarily in musical-rhythmic movements, reproduction of a rhythmic pattern in clapping, on musical instruments, and in singing.
Emotional responsiveness to music develops in the process of all types of musical activity, most to a greater extent- in the process of perception of music and musical-rhythmic movements.
At the same time, in the development of musical abilities and the formation of the beginnings of musical culture, various types of musical activities can replace each other. For example, pitch hearing can be developed in singing or playing musical instruments; sense of rhythm - in musical and rhythmic movements, in playing musical instruments, in singing; modal sense - in the process of perceiving music, in singing, etc. Information about music and musical activity can be given to children in the process of perception, performance, and creativity.
Thus, all types of musical activities are means of musical education and development of children.
As already noted, perception precedes and accompanies all types of musical activity. It is carried out internally. Reliance on perception in other activities ensures the relationship between external and internal actions and promotes the musical development of children.
The ideas about its character, changes in moods, and the most vivid means of expression through which they are conveyed, formed in the process of perceiving a musical work, help the child find external actions that adequately express the musical image.
In performing activities (singing, musical-rhythmic movements, playing children's musical instruments), the child, under the guidance of a teacher, tries to find the most expressive ways of conveying and embodying a musical image. As a result of this, the ideas about it that were initially formed in the process of perceiving music are clarified and deepened. Thus, various types of musical activities (in in this case perception and performance) mutually enrich each other. The relationship between internal and external actions in creative activity is similarly manifested - as a result of the search for ways to implement the idea, the creative task assigned to the child, the perception of music deepens, and the arsenal of performing skills is replenished.
IN different types musical activity, the ratio of reproducing and creative actions varies depending on the age of the children and the type of musical activity itself. The perception of music is a creative process. Performance requires a combination of reproductive and creative activities. Children's creativity is based on the development of a certain arsenal of performing skills, as well as the experience of combining, transferring, and applying them in new situations.
§ 2. FEATURES OF CHILDREN'S MUSICAL ACTIVITY
In order to identify the specifics of the types of musical activities of preschoolers, we compare them with similar types of musical activities of adults.
B.V. Asafiev defined musical activity as a trinity of processes of creating music by the composer, playing it by the performer and perceiving it by the listener.
Composing music (creativity) is primary species musical activity of adults, which determines all other types - performance and perception. A work created by a composer has artistic value for other people.
The performer is an intermediary between the composer and the listener. He creatively reproduces the musical notation recorded by the composer, studying the author's remarks and the history of the creation of the work. His task is to search for a creative interpretation of the work that is closest in spirit to the author’s intention. Variation in performance of the same work by different performers ensured by the fact that each interpreter has his own worldview, intelligence, skill, talent and can intonate the text in his own way. Performing also provides artistic value to other people.
The listener perceives the work as interpreted by the performer. The depth of perception of music depends on the quality of the work itself, the level of performance and listening experience, the culture of perception, and human tastes.
When characterizing the types of musical activity of children, B.V. Asafiev’s scheme (composer - performer - listener) should be read starting from the end: perception - performance - creativity. This is justified by the fact that the primary, leading type of musical activity of children is the perception of music. This type of activity is available to the child from the moment of birth. His mother's lullaby is his first introduction to music. The various musical impressions that a child receives in early childhood in the process of perceiving music leave an indelible imprint on all subsequent musical activity. Vivid musical impressions accumulated in early childhood are comparable to the perception of adult speech at a time when the child himself cannot yet speak. The absence of a speech environment makes language acquisition impossible, and the same applies to musical language.
Thus, the perception of music occurs even when the child cannot engage in other types of musical activities, when he is not yet able to perceive other types of art. The perception of music is the leading type of musical activity in all age periods of preschool childhood. Hearing and perceiving music means distinguishing its character, following the development of the image: changing intonations and moods. The famous musician-psychologist E.V. Nazaikinsky suggests distinguishing between two terms: music perception And musical perception- depending on whether it took place. He calls musical perception an accomplished perception - felt and meaningful. “Musical perception is a perception aimed at comprehending and understanding the meanings that music has as art, as a special form of reflection of reality, as an aesthetic artistic phenomenon.” In the opposite case, music is perceived as sound signals, “as something audible and acting on the organ of hearing.” It is important to form musical perception - a perception “adequate to the music and its artistic meaning.”
Musician psychologists have proven the fact that musical perception is ambiguous: each person perceives music due to his life experience, experience of listening to music, and the richness of his creative imagination. Each person develops “a personal stock of associations and images - a kind of dictionary - a thesaurus.”
Word thesaurus translated from Greek language means treasure, treasure, treasury, repository. By thesaurus, E.V. Nazaikinsky means a kind of dictionary - a set of traces from past impressions, actions and their various connections and relationships that are fixed in the memory of a particular person, which can come to life again under the influence of a work of art.
The perception of a child and an adult is not the same due to different musical and life experiences.
The type of human nervous system and the ability to concentrate for long periods of time also matter for the quality of perception.
The perception of other types of art by different people also varies in depth. There is a well-known figurative statement by V. F. Asmus about perception literary works: “The content of a work of art does not transfer, like water pouring from a jug into another, from the work to the reader’s head. It is reproduced, recreated by the reader himself according to the guidelines given in the work itself, but with the final result determined by the mental, spiritual, spiritual activity of the reader. This activity is creativity.”
Musical perception is also an active, creative process. The emotional content of music is expressed in musical intonations. Drawing parallels between musical and verbal speech, B.V. Asafiev pointed out that speech, like music, always contains a certain tone of sound - anger, affection, hello, horror. He called this feature of speech and music “speech of feeling.” “The state of tonal tension,” wrote B.V. Asafiev, “unites musical and speech intonation.”
The meaning of a musical work is comprehended by the listener in the process of intonation, that is, following the emotional coloring of each musical intonation. To perceive a piece of music, one must follow the changes in intonations, which simultaneously form the musical form and carry the content. Understanding the “sensory program” of a musical work is important for full perception. "Children's perception of music early age It is distinguished by its involuntary nature and emotionality.^Gradually, with the acquisition of some experience, as he masters speech, the child can perceive music more meaningfully, correlate musical sounds with life phenomena, and determine the nature of the work. In children of senior preschool age, with the enrichment of their thesaurus (life experience, experience of perceiving music, “dictionary of emotions”), the perception of music gives rise to more diverse impressions.
An adult's perception of music differs from children's themes that music is capable of evoking richer life associations, feelings, as well as an opportunity to comprehend the music they hear on a different level than children.
At the same time, the quality of music perception is not related only to age. Undeveloped perception is superficial. It can also occur in an adult. The quality of perception largely depends on tastes and interests. If a person grows up in a “non-musical” environment, he often develops a negative attitude towards “serious” music. Such music does not evoke an emotional response if a person has not been accustomed to empathizing with the feelings expressed in it since childhood.
N.A. Vetlugina in the article “Age and musical sensitivity” writes: “The development of musical sensitivity is not a consequence of a person’s age-related maturation, but is a consequence of purposeful upbringing.” (Perception of music. - M., 1980.-P. 240.).
Thus, musical perception depends on the level of musical and general development of a person.
The famous art critic P. M. Yakobson points out that the perception of works of art (as well as objects of the surrounding reality) can go through several stages: “from a superficial, purely external grasp of the outlines and striking qualities of a work to the comprehension of its essence and meaning, which is revealed in all its depth. And the movement of perception from the “surface” of an object to its meaning is precisely what is important to grasp in order to understand this process.”
Both emotions and thinking are involved in the perception of works of art. When listening to music, the role of the emotional component is especially great. The movement from the “surface” to the meaning in musical perception has its own specifics - it is a path from holistic perception (capturing the general character of music, individual bright details) to differentiated (identifying the dominant means of musical expressiveness that create an image) and again to holistic (more deeply felt and meaningful perception).
If a person has developed perception, he comprehends the meaning of a piece of music even after just one listening. With repeated listening, the perceived musical image deepens, the work opens up with new facets.
In childhood, when the experience of perceiving music is still small, as a rule, several listenings are required for the perception of the work to become more meaningful and felt. Children develop their ability to recognize the nuances of music from an early age. At each age stage, the child distinguishes the most vivid means of expression with the help of the capabilities that he has (movement, words, play, etc.).
Meaningfulness and differentiation of musical perception are manifested in the ability to trace changes in musical intonations (moods, images) and grasp their correlation and subordination. An analogy can be drawn with the perception of a literary work (also unfolding in time), its dramaturgy. In a literary work, each image is outlined by a word, in a musical work - by intonation. The dramaturgy of literary and musical works is similar in many ways: the presence of climaxes, denouement (finale, outcome).
As already noted, in an adult, the depth of perception is largely determined by established tastes and preferences. In preschool age, when these preferences are just being formed, the quality of the works that children listen to and the level of their performance become important.
The quality of musical works played in a children's audience must meet the highest artistic requirements, since first impressions are very important for all subsequent musical activity.
Their perception depends on the quality of performance of musical works addressed to children; therefore, the same requirements are imposed on the teacher as on the professional performer. In addition, when performing musical works, the teacher must take into account the age characteristics and capabilities of children.
The experience of listening to music is of great importance for the activity of perception. However, even a purely emotional perception of a piece of music in early childhood can be effective and deep if the child listens to the music with concentration, without distraction, and reacts adequately emotionally to its character. The performing activities of adults and children are even more different. A preschool child does not have access to the artistic embodiment of a musical image according to the same criteria that apply to a performing musician./The performing activity of children is specific. This is the reproduction of elementary melodies (voice, on musical instruments), musical and rhythmic movements, within the capabilities of their age, which should be expressive and at the same time preserve naturalness, childish spontaneity.
To master various types of performing activities, it is necessary to develop certain skills and abilities in children. Some of them are easy to master, others are difficult. In order for children's performance and creativity to manifest themselves successfully, the child needs to accumulate musical impressions (through the perception of music). If children distinguish the changing nature of music, can correlate musical images with life phenomena, are well versed in the means of musical expressiveness that create the image (accents, register, dynamics, tempo, melodic intonations), can identify the most striking of them, they use the experience of perceiving music when performance of musical works and creative improvisations. Without developed perception, children's performing activity is reduced to imitation, reproduction according to a model and does not perform a developmental function.
Often children's performance does not carry value for other people, but it is necessary for children themselves for further musical development. It is hardly possible to apply the requirement of artistry to children's performance, but rather of elementary expressiveness. Through it, children convey their feelings, thoughts, experiences.
Children's performance requires certain training actions: repetitions, exercises. Children overcome intonation errors in singing with the help of exercises to develop pitch hearing and establish auditory-vocal coordination.
Dance movements are also learned first as exercises. Gradually, with experience, the expressiveness of movements appears, their consistency with the nature of the music. To play musical instruments, it is necessary to develop hearing and a sense of rhythm. These abilities are formed with the help of musical and didactic games and exercises. Children master playing instruments gradually: at first it is just reproducing the rhythmic pattern of a melody on noise and percussion instruments. As their hearing develops, children learn to play high-pitched musical instruments - metallophone, zither, harp, button accordion, etc. To remember and accurately reproduce a melody, it must be repeated several times.
The most important thing is that children do not lose interest in musical activities. All exercises that are given to master certain skills and abilities must be in a game form and be figurative. A sense of proportion, variability, alternation of children’s reproductive and creative actions, and listening to music are important here. The words of D. B. Kabalevsky that during music lessons at school there should be no rules or exercises that require multiple repetitions can also be applied to classes with preschool children.
The teacher must feel and see the children’s reaction, and in no way dull their interest in music lessons And,
hence to music.
v/The creative activity of children also differs from that of adults. Children's musical creativity includes compositions and improvisations: songs, dances, instrumentals. This type of musical activity satisfies one of the most important needs of a child - self-expression. Children's musical creativity presupposes the presence of musical abilities, knowledge and skills. The most important role in this process is played by imagination and intuition, which K. S. Stanislavsky called “superconsciousness.” As you know, imaginative thinking is actively involved in the process of musical creativity.
The features and possibilities of children's artistic creativity were studied by psychologists, art historians, and teachers (B. M. Teplov, L. S. Vygotsky, A. V. Zaporozhets, B. V. Asafiev, N. A. Vetlu-gina, A. V. Keneman , V. Glotser, B. Jefferson, 3. Freud, etc.). In theory, there are two directions. Supporters of one direction (V. Glotser, B. Jefferson, etc.) argue that any teacher intervention in the child’s creative process harms the individual expression of personality. The role of the teacher should be to protect the child from unnecessary outside influences and preserve the originality and originality of his creativity. They argue that children's creativity arises spontaneously, intuitively, and children do not need any advice from adults. Another direction recognizes the intuitiveness and originality of children’s artistic creativity, but considers the reasonable influence of the teacher necessary (A. V. Zaporozhets, N. A. Vetlugina, I. L. Dzerzhinskaya, A. I. Khodkova, T. G. Kazakova, J. Birzkops , S.V. Akishev, etc.).
Summarizing these findings, it should be emphasized that intervening in artistic creativity children can be different. If you teach a child the appropriate methods of action, and positively evaluate what he has composed, such intervention only encourages creativity.
N.A. Vetlugina substantiated the idea of the relationship, interdependence of children's learning and creativity, theoretically and experimentally proving in her works that these processes do not oppose, but are closely in touch and mutually enrich each other. In improvisations, the child emotionally and directly applies everything that he has learned during the learning process. Children's creativity arises on the basis of mastering certain skills as a result of training. In turn, learning is enriched by the creative manifestations of children and acquires a developmental character." Education, including problem-based, exploratory creative tasks (starting from early preschool age), liberates the creative powers of children, develops imagination, imaginative thinking, and emotions. In preschool age, the child willingly tries their strengths in various improvisations. It is important to create game problem situations for this, to encourage children to perform variable independent actions, to develop the ability to transfer what they have learned and apply it in new conditions, in free variable forms^_^
Thus, creative improvisations enrich the learning process: problem situations contribute to the consolidation and free application of what has been learned, and the emergence of interest in musical activity.
Children's musical creativity, like children's performance, usually has no artistic value for the people around them. It is important for the child himself. The criteria for its success are not the artistic value of the musical image created by the child, but the presence of emotional content, the expressiveness of the image itself and its embodiment, variability, and originality.
Various methods of pedagogical influence in creativity classes have been developed. Children's musical creativity by its nature is a synthetic activity. It can manifest itself in all types of musical activities: singing, rhythm, playing children's musical instruments. When singing, children most often improvise spontaneously, in various games. They sing a lullaby for dolls, a march for soldiers on one syllable and two or three sounds. They easily carry out the teacher’s assignments: “Sing your name,” “Answer the question by singing,” etc. Older children willingly improvise songs and come up with their own melody to the given text. They are also capable of composing melodies of different character: cheerful, marching, calm.
Children love to dramatize songs and come up with movements for a round dance. If ready-made movements are not imposed on them during performances, one can observe an original, unique world of images expressed in movements. However, it should be noted that not all children succeed equally in this. Some children can only act by show. They really like the creative tasks of the teacher, but they are not capable of any bright independent and creative actions. It is useful for them to watch how other children perform creative tasks and what movements the teacher demonstrates.
When staging songs and round dances, the movements are suggested by the literary text and the nature of the music. Sometimes the teacher first has to analyze and discuss with the children the nature of future movements so that they can imagine them more clearly. In such cases, movements, like melodies to a given text, are most often stereotypical, the same for all children. This kind of activity is not called creativity, but it is very useful for developing imagination, imaginative thinking. It would be a mistake to limit ourselves to such tasks only. It is more useful to use tasks in which the child could actually come up with actions and movements for dramatization, for dance music.
Children are able to compose rhythmic and melodic motifs, improvise on a given topic on children's musical instruments. For example, the task is given: “Come up with a march and play it on wooden sticks“or “Play “rain” on the metallophone,” etc.
It should be emphasized once again: all tasks and exercises should be carried out in a playful way, so that children do not feel the slightest violence from the teacher, feel free, spontaneous and are satisfied with their results.
In the musical activity of adults, in addition to the triad of activities of B.V. Asafiev (composer - performer - listener), two more directions can be distinguished - musicology and music pedagogy (N. A. Vetlugina).
Musicology is a field of musical science that studies patterns musical language, musical speech in historical and theoretical aspects. In addition, it includes the theory of performing arts (identifying various directions in performance), which is also important for music pedagogy.
Music pedagogy studies the most effective ways to transfer experience to the younger generation, methods and pedagogical conditions that ensure the success of this activity. Musical pedagogy is the very process of transferring musical experience to children, youth, students, and the formation of performing and creative skills.
It is possible to draw some analogy between the musical and educational activities of children and musicology, but the content and quality of these types of activities are different. In children, this is an assimilation that allows them to successfully master all types of musical activities: perception, performance, creativity. Information about music and its means of expression deepens perception. Knowledge of various ways of embodying a musical image and possible options helps the child to practically master skills and abilities, promotes expressiveness of performance and creative improvisation. Application of acquired knowledge refines it; Thus, they are mastered by children more firmly and deeply.
The only type of musical activity of adults that does not find analogies in the activities of children is music pedagogy (although in preschool music pedagogy techniques for mutual teaching of children are successfully used).
Thus, some parallels can be drawn between the types of musical activities of children and adults, but it should be remembered that the content of these types of activities in preschool age is largely specific.
The above comparison is reflected in Scheme 2, which is based on N.A. Vetlugina’s scheme.
Children show inclinations towards certain types of musical activities. It is important to notice and develop in every child the desire to communicate with music in the type of musical activity in which he shows the greatest interest, in which his abilities are most fully realized. This does not mean that other types of musical activity should not be mastered by him. However, one cannot ignore the position of psychology on the leading types of activities that influence the development of personality.
If these leading types of activity appear in preschool childhood, it is necessary to take into account the characteristics of each child and, accordingly, orient the process of musical education towards the development of his abilities, inclinations, and interests. Otherwise, as we have already noted, the learning process comes down to “coaching.” Mastering skills and abilities replaces the solution of the main tasks of musical education and development of children. If training is carried out without an individually differentiated approach, it ceases to be developmental.
Some systems of musical education for children that exist in different countries are based on the use of some type of musical activity that is recognized as leading.
Thus, the system of musical education of children, created by the modern German composer Carl Orff, is based on the development children's creativity. In five volumes textbook“Schulwerk” (translated into Russian this name means a school of action, a school of creation, i.e. it aims at active action, co-creation) K. Orff sets out in detail his methodology, which stimulates children's collective elementary music-making.
| Scheme 2 |
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| Adult musicians | Children |
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| CREATION | PERCEPTION OF MUSIC |
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| Perception specially created for hearing | Perception music in connection with its performance | Musical and didactic games |
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| EXECUTION | EXECUTION |
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| Singing | Musical and rhythmic movements | Playing musical instruments |
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| PERCEPTION OF MUSIC | CREATION |
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| Song creativity | Musical and gaming dance creativity | Improvisation on children's musical instruments |
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| MUSICALITY | MUSICAL AND EDUCATIONAL ACTIVITIES |
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| Knowledge character | Special knowledge, associated with various types musical activity |
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| PEDAGOGY | |||||||||||
Musical improvisation of children is the main method of musical education in Schulwerka.
Rhythmic and melodic exercises and variants created on their basis, composed by children, are associated with simple round dance forms, with the word - its metric structure, melodic-intonation pronunciation, the nature of the sound (light, booming, viscous, etc.). The music of “Shulwerka” is based on folk motifs; sayings, proverbs, teasers, and counting rhymes are widely represented.
K. Orff. considers the most powerful means of influencing a child to be creative musical and theatrical games, which combine singing, speech, gesture, dance, and playing musical instruments. He created musical instruments that sound beautiful, but are simple and easy to play: percussion (melodic and non-melodic), wind instruments, strings (bowed and plucked). In addition, claps, stomps, and blows are actively used.
Thus, K. Orff’s system is built on synthesizing various types of musical activities (singing, movement, playing musical instruments) through children’s elementary music-making.
We find a different approach to musical education of children in the Hungarian system, the author of which is the famous Hungarian composer Zoltan Kodaly. The basis of his system is singing. This type of activity is leading due to Hungarian folk traditions and the development of national singing culture.
Teaching children to sing is carried out using the so-called relative system based on folk songs and singing. This system uses, instead of notes, singing by hand signs, which indicate not the names of the notes, but the names of the degrees of the scale (1, 2, 3, etc.), which are the same in any key. Each level is designated by a syllabic name: yo, le, mi, na, so, ra, ti. In addition, syllabic notations for sound durations are used: ty, ta.
The relative system contributes to the development of hearing, since in singing according to hand signs the perception of gravity towards
sustained sounds, tonic sensation. Children pick it up quite easily.
In Japan, the Suzuki method is widespread, based on the recognition of the leading role of performance, namely playing the violin. Collective teaching of children to play this instrument begins at the age of 3.
The existing system of musical education for schoolchildren in Russia, developed by D. B. Kabalevsky, is built on the recognition of the leading role of music perception. Other types of music, so that through performance, creativity (active activity that allows them to express impressions of music), children learn to perceive music more deeply and subtly, not only listen, but also hear it.
The thematic principle underlying the construction of D. B. Kabalevsky’s program is a series of interconnected themes that allow one to go from simple to complex, relying on concepts familiar to children, musical intonations, forms, types of music. Thus, the theme “Three Pillars” (song, dance, march), used in the first grade, subsequently leads children to understand more complex, broad concepts singing, dancing, marching in classical music.
The continuity of school and preschool musical education is expressed primarily in the fact that the perception of music is recognized as the leading type of musical activity.
Works of V. N. Shatskaya, L. K. Shleger, B. V. Asafiev, T. S. Babajan, Yu. A. Dvoskina, T. A. Vilkoreiskaya, E. M. Kershner, N. A. Metlova, A V. Keneman, M. A. Rumer, S. N. Belyaeva-Ekzemplyarskaya, B. M. Teplov and many other teachers and psychologists formed the basis of the system of preschool musical education of children.
N. A. Vetlugina developed many of the most important problems of musical education of children: the development of musical abilities, creativity, independent musical activity, learning to sing, application various forms organization of children's musical activities, etc. She also summarized and systematized the leading areas of research of musicians-teachers, psychologists, and created her own school of students who continued studying various aspects theories and methods of musical education of children. Among N. A. Vetlugina’s students are I. L. Dzerzhinskaya, J. Birzkops, A. Vaichene, M. Vikat, T. V. Volchanskaya, S. V. Akishev, R. A. Egorova, R. T. Zinich, V. V. Ishchuk, A. Katinene, L. N. Komissarova, E. F. Koroi, E. P. Kostina, K. A. Linkyavichus, M. A. Medvedeva, M. L. Palavandishvili, O. P. Radynova , A. I. Khodkova, N. A. Chicherina, A. I. Shelepenko, S. M. Sholomovich, etc.
The development of musical abilities and the foundations of children's musical culture is carried out through all types of musical activities (perception, performance, creativity, musical and educational activities). But the ultimate goal of musical education of children is to teach them to hear, love and understand music, and feel its beauty.
Questions and tasks
Describe the content of types of musical activity from the point of view of the manifestation of internal and external actions in them.
Reveal the specifics of the types of musical activities of children in comparison with the activities of adult musicians.
Name the leading type of musical activity of children and its characteristics, manifesting themselves at different age periods in the lives of preschoolers.
What is the relationship between learning and creativity?
What are the features of various systems of musical education for children?
Program "Musical Masterpieces"
Technology for the development of creative hearing of music, the formation of the foundations of musical culture in preschool children
Target: Formation of the foundations of musical culture for preschool children
Tasks:
To accumulate experience in perceiving works of world musical culture of different eras and styles, as well as expand children’s knowledge of folk music
Cause manifestations of emotional responsiveness, develop musical abilities, thinking (awareness of the emotional content of music, musical form, genre)
To cultivate aesthetic feelings, a thesaurus (treasury of impressions)
Encourage you to express your musical impressions in the performing arts, creative activity(in figurative words, drawings, plastic arts, dramatizations)
These tasks are the same for all age groups
Methodological justification
The author was the first to create a scientifically based and methodologically structured system for forming the foundations of musical culture for preschool children, including the principles, content, methods and forms of work, taking into account the individual and psychophysiological characteristics of children and in integration with all educational areas in kindergarten.
Main goal of the program- development of children's creative listening to music, which involves encouraging children to display various forms of creative activity - musical, musical-motor, artistic.
The leading activity in the program is musical perception, combining performance, creativity, musical and educational activities on a single repertoire (with the involvement of additional singing repertoire)
The objectives of the program, as well as more specific objectives formulated for each topic, are the same for all age groups:
Expand knowledge about music
Arouse and maintain interest in music
Develop musical and aesthetic needs, recognition of the value of music, the beginning of taste, ideas about beauty
Encourage evaluation of music (emotional and verbal), an evaluative attitude.
Principles of program construction
The basic principle- thematic (six topics for 1-2 months of study and their repetition every year using new material). This principle helps to systematize acquired knowledge and maintain interest in music.
First topic"Moods, feelings in music" expresses a certain emotional content
Second topic"Song, Dance, March" fundamental to the program for secondary schools D.B. Kabalevsky
Third topic“Music tells about animals and birds» gives an idea of the figurativeness of music, the means of musical expression
The fourth topic "Nature and music" includes works that express moods that are consonant with a particular picture of nature, time of year, day
Fifth topic"Fairy Tale in Music" presents pieces of classical music with fabulous content which children stage, conveying the character of the characters in dance, figurative movements, drawings
The sixth topic "Musical instruments and toys» introduces works that imitate the sound of musical instruments, as well as musical folk instruments and instruments of the symphony orchestra
Principle concentric or the principle of cyclicity (repetition of topics) - makes it easy to return to the first topic next year. Children apply what they have learned and learn new things at the next stage of musical and general development
Principle - contrastive juxtaposition repertoire (plays with the same or similar titles). Such comparisons give rise to a problematic cognitive-evaluative situation, interest children, and allow them to better understand what they heard.
Principle adaptability involves flexible application of content and methods of musical development of children, depending on the individual and psychophysiological characteristics of each child. Allows variable use of repertoire within each topic
Principlesyncretism program involves the interrelation of different types of musical and artistic - aesthetic activity in direct educational activities with the unifying role of perception, “creative hearing” of music, encourages creative activity in the following forms: musical-rhythmic movements, rhythmic plasticity, singing along, conducting, singing, singing improvisations; orchestration, playing children's musical instruments; drawing, perception of works visual arts, reading poems, writing fairy tales, dramatization games, staging musical fairy tales based on the plots of literary works (with the leading role of music), puppetry musical theater and other types of children's activities.
Methods and techniques of music education:
Visual, verbal, practical - Traditional methods are developmental in nature and encourage children to demonstrate various forms of motor, speech, and aesthetic activity. Each of these three methods is used with increasing difficulty: from direct influence (execution, explanation, illustration) through reinforcement of exercises (reproducing and creative), creation of search situations (showing options for completing a task) to children’s independent search for methods of activity.
The creation of problematic situations is facilitated by techniques that encourage the search for analogies and generalizations. They form musical thinking children, the ability to make basic judgments, estimates, develop creative imagination, interest in music
Direct educational activity (DEA) is the main form of organizing children's activities, where the tasks of forming the foundations of musical culture are solved. All types of activities (individual, subgroup, frontal, typical, dominant, thematic, complex and their varieties) are used and vary depending on the age and level of musical development of the child.
listening to familiar pieces of music;
musical games - travel to the past and present;
fairy tale games;
the sound of music as a background during quiet games, drawing;
themed musical evenings;
conversations - concerts;
theatrical performances;
holiday matinees.
The child’s attention span is small, so for listening it is necessary to give small works or bright fragments. It is necessary that classical music be played in the family.
Methodological support of technology:
Teaching aids from 5 books (“Moods and feelings in music”, “Song, dance, march”, “Music about animals and birds”, “Nature and music”, “Fairy tale in music”, “Musical instruments and toys”)
Audio recordings (CDs)
Guidelines
The sound study guide by O.P. Radynova “Listening to Music” is the main audio guide - phonochrestomathy - to the author’s program for the musical development of children of preschool and primary school age “Musical Masterpieces”. It is a new revised and expanded edition of the audio guide “Listening to Music” on seven audio cassettes. This educational manual collects and systematizes for children musical works available to them from the treasury of the world musical heritage of all eras on six topics.
The accessibility of their age is determined, first of all, by the correspondence of the emotional content of the music (feelings, moods expressed in the work) with the emotional and life experience child. Thus, for newborns and young children, whose life and emotional experience is very small, it is recommended to listen to works with a light range of feelings (calm, gentle, cheerful, playful, a little sad). At this age it is very important that music evokes positive emotions- joy, peace. Loud, disturbing music has a negative impact on the emotional state of young children, so these works do not correspond to their psychophysiological capabilities. The great Russian physiologist V.M. Bekhterev wrote about this. According to his observations, some musical works cause joy and calm in babies, while others cause crying and irritation. To instill in children a love of music, it is important to take into account their capabilities. It is necessary that the music evokes a desire to communicate with it again. Gradually, as the child grows up, the range of emotions expressed in music expands.
It is extremely important for children to show an attitude towards sounding music adult (teacher, parents). An adult's indifferent attitude reduces children's reactions to music. And, conversely, with active positive attitude an adult to music, his co-creation with a child (movements, drawing, quiet explanations of the nature of music, playing a musical instrument in time with the sound, in accordance with the nature of the work, attention, eye expression, facial expressions, etc.) increase children’s interest in listening to music.
The second condition for the accessibility of musical works to children of different ages is the duration of the sound of the work (fragment). The child’s attention is unstable and short-lived, which must be taken into account. It is important not to wait for the child to become tired or distracted, but to finish the sound of the fragment before that. The child’s requests to repeat the piece or continue listening indicate emerging positive assessments, which is very important. The foundations of the musical and general culture of children are laid and formed starting from early childhood with the accumulation of experience in perceiving music from different eras, like
musical works for children of a certain age. However, each work is not assigned to one age, but suggests its variable use in different age groups (length of the fragment, children’s activity, features of the music explanations, number of lessons, inclusion of different types of musical and artistic activity etc.).
Let us reveal in more detail the content of each of the six topics presented on ten CDs.
The first topic is “Moods, feelings in music” (Discs 1 and
includes works in which the moods, character of a person, expressed in music, are the names of plays (Angrily, Joy, Affectionate Request, Gust, Dreams, Dreams, Tear, Separation, Joke), as well as non-program works (play, etude, prelude, etc.). This helps children realize that distinguishing moods and feeling them is the most important thing in order to understand what the composer wants to tell us. Indeed, in any music - both program (Cuckoo, Sad Rain, Sorcerer) and non-program (sonata, musical moment, concert) the feelings that we experience are expressed. That’s why music touches us, makes us worry, rejoice, and be sad, just like in life.
It is important to give children from early childhood the idea that music does not necessarily depict any phenomena - the singing of birds, the sound of the wind, but always expresses moods and feelings - both in works with vivid imagery and without it. Therefore, the first theme is the core, leading, most important for children to understand the fundamentals of the content of any musical work, the essence of music as an art form that conveys moods, experiences, feelings of a person, and their change, giving rise to a certain “sensory program” of a musical work (forming a musical form). All other topics are studied based on the first one. Therefore, the first topic in the program is cross-cutting.
Second theme - “Song, dance, march” (Discs 3-6)
contributes to the establishment of continuity with the program of D.B. Kabalevsky.
At preschool age, children accumulate value experience in perceiving and distinguishing primary musical genres, experience in musical activities (singing, rhythmoplasty, musical-rhythmic movements), which allows them to consolidate ideas about genre characteristics music. Gradually, children can distinguish the features of the simplest genres familiar to them in a more generalized form. Then they come up with the concepts of “songability,” “danceability,” and “marchiness” of the music of different composers. This idea of D.B. Kabalevsky - to lead children from simple genres familiar to them to more complex ideas about music is very fruitful.
In the theme "Song" (Disc 3) recorded folk songs, romances, works of song genres of instrumental music (romance, song without words, serenade, aria, arietta, nocturne).
In the theme "Dance" (Discs 4 and 5) various genres of dance music from different eras are presented (ancient dances - alemanda, bure, as well as minuets, gavottes, polonaises, waltzes, polkas, mazurkas and other dances). This topic involves the active use of musical and rhythmic movements, dance, rhythmic improvisations, teaching children rhythmic skills and abilities. Any musical and rhythmic movements can be taught to children in a truly works of art, developing not only motor skills, but also the ability to perceive music. Movements, as the most attractive activity for children, which is a need, are an indispensable means of forming the foundations of musical culture.
In the theme "March" (Disc 6) Not only marches are recorded, but also works in which the march basis is clearly present. Sometimes the features of marching are combined with dancing, which makes it possible to complicate the conversation about music and find expressive
movements that convey the genre features and character of the work.
The third topic is “Music talks about animals and friitsah" (Disc 7), the fourth - "Nature and Music" (Discs 7 and 8) and the fifth - "Fairy Tale in Music" (Disc 9) brightly pictorial. They include collections of works with the same (or similar) title, for example, two different “Butterflies”, several works with the title “Autumn”, three different images of Baba Yaga, etc. Distinguishing between moods in plays with the same or similar titles helps to listen to the music, find expressive movements, timbres of instruments that convey an image, promotes the manifestation of children’s creativity in various types of artistic activities (drawing, creating decorations for musical fairy tales, expressive rhythmic images, composing songs of heroes, etc.)
These topics contribute to the development of children's figurative speech, a vocabulary of emotions, and the ability to find vivid characteristics of musical images in words, movements, pantomime, rhythmic and singing improvisations, and dramatizations. On these topics, it is easy to draw parallels between different types of art - compare musical images with images of poetry, painting, find similarities and differences in means of expression, language.
The sixth topic - “Musical instruments and toys” (Disc 10) includes two sections. The first one is imitation of the tones of musical instruments, imitation of the sound of bells, bells, tambourine, harmonica, musical snuffboxes, barrel organ on a piano or in an orchestra.
The second section includes works with soloists tools. It opens with a symphony fairy tale by S. Prokofiev
"Peter and the Wolf" in which the timbres of the instruments of a symphony orchestra are figuratively and vividly presented.
You can download by disc here:
Radynov "Musical Masterpieces". For specialists and classical music lovers in general. Happy listening.
Disc 1
1. A. Grechaninov. Apart
2. M. Gliika. Nocturne "Separation".
3. P. Tchaikovsky. New doll.
4. G. Sviridov. Jumper.
5. G. Sviridov. Stubborn.
6. R. Schumann. A begging child.
7. G. Sviridov. Kind request.
8. A. Grechaninov. Mother's caresses.
9. J.-F. Ramo. Joy.
10. J.-F. Ramo. Rezvushka.
11. J.-F. Ramo. Vicious.
12. R. Schumann. First loss.
13. M. Mussorgsky. A tear.
14. R. Schumann. Cheerful peasant.
15. R. Schumann. Brave rider.
16. R. Schumann. Rider.
17. A. Grechaninov. Cockhorse.
18. R. Schumann. Burners.
19. J. Bizet. Spinning top.
20. E. Villa-Lobos. Parsley.
21. K. Debussy. Little black boy.
22. R. Schumann. Dreams.
23. G. Fore. Dreams.
24. R. Schumann. Rush.
25. J. Masne. Reflection.
26. P. Tchaikovsky. Reflection.
27. R. Schumann. Memories.
28. E. Grieg. Memories.
29.-30. J.S.Bach. Joke. Suite No. 2 for chamber orchestra. (Two versions).
31. A. Corelli. Joke.
32. D. Kabalevsky. Joke.
33. P. Tchaikovsky. Humoresque.
34.-35. A. Dvorak. Humoresque. (Two versions).
36. R. Shchedrin. Humoresque
37. S. Prokofiev. Sarcasm.
38. A. Lyadov. First scherzo.
39. P. Tchaikovsky. Scherzo.
40. S. Prokofiev. Humorous scherzo.
41. F. Schubert. Scherzo.
42. X. Gluck. Melody.
43. P. Tchaikovsky. Melody.
44. E. Grieg. Melody.
45. A. Rubinstein. Melody.
46. A. Dvorak. Gypsy melody
47. F. Schubert. Hungarian melody.
Disc 2
Topic: “Moods, feelings in music”
(ending)
1. P. Tchaikovsky. Nocturne.
2. F. Chopin. Nocturne in B flat minor.
3. F. Schubert. Musical moment in F minor.
4. S. Rachmaninov. Musical moment in E-flat minor.
5. J. S. Bach. Prelude.
6. F. Chopin. Prelude.
7. S. Prokofiev. Prelude. 8-11. Chopin. Four studies.
12. R. Schumann. Play..
13. F. Schubert. Play..
14. J.-B. Pergolesi. Andantino.
15. L. Beethoven. Eliza.
16. I.S. Bach. Rondo from Partita in C minor.
17. V.A. Mozart. Rondo (Little Night Serenade).
18. V.A. Mozart. Rondo in A minor.
19. V.A. Mozart. Turkish Rondo.
20-22. I. Haydn. Sonata in D major No. 50, 1st, 2nd, 3rd movements.
23. L. Beethoven. Sonata No. 17, 3rd movement.
24-27. V.A. Mozart. Symphony No. 40 in G minor, 1st movement, 2-4 movements in fragments.
28. L. Beethoven. Symphony No. 5, 1st movement (fragment).
29. P. Tchaikovsky. Concerto for piano and orchestra No. 1, 1st movement (fragment).
30. E. Grieg. Concerto for piano and orchestra, 1st movement.
31. F. Mendelssohn. Concerto for violin and orchestra, 1st movement.
Disc 3
Theme "Song, dance, march"
SONG
1. Along Piterskaya - Russian. adv. song.
2. Dubinushka - Russian. adv. song.
3. Blizzard - Russian. adv. song.
4. A. Alyabyev, ate. P. Beranger. Beggar.
5. A. Gurilev, ate. I. Makarova. The bell rings monotonously.
6. I. Prigozhy, ate. M. Yazykova. The night is bright.
7. P. Bulakhov, ate. A. Tolstoy. My bells.
8. M. Blanter, ate. M. Isakovsky. Katyusha.
9. M. Glinka. Kamarinskaya.
10.-11. N. Rimsky-Korsakov. Overture on Russian themes: Great, Dance.
12. A. Lyadov. Kalyada-Malyada.
13. A. Lyadov. Plyasovaya.
14. A. Lyadov. Lullaby.
15. G. Sviridov. Lullaby.
16. G. Fore. Lullaby.
17. A. Lyadov. Round dance.
18. P. Tchaikovsky. Russian song.
19. I. Stravinsky. Russian song.
20. N. Rimsky-Korsakov. Song of the Indian guest (“Sadko”).
21. P. Tchaikovsky. Song without Words.
22. F. Mendelssohn. Song without words "The Venetian Gandolier"
23. E. Grieg. Song of Solveig (Peer Gynt).
24. F. Schubert. Ave Maria.
25. I.S. Bach. Prelude in C major. (HTK, vol. 1).
26. C. Gounod. Ave Maria.
27. I.S. Bach. Aria from suite for chamber orchestra No. 3.
28. E. Grieg. Arietta.
29.-30. S. Rachmaninov. Vocalization (Two versions).
31. L. Bsthoven. Romance.
32. R. Schumann. Little romance.
33. N. Sarasate. Andalusian romance.
34. G. Sviridov. Romance.
35. I. Haydn. Serenade.
36.-37. F. Schubert. Serenade. (Two versions).
38. P. Tchaikovsky. Melancholy serenade.
39. A. Borodin. Nocturne.
40. D. Rossini-O. Respighi. Nocturne.
41. A. Vivaldi. Siciliana.
42. P. Tchaikovsky. Andante cantabile. (From String Quartet No. 1 in D major).
Disc 4
Theme: “Song, dance, march.”
DANCE.
1. J.S.Bach. Alemande from the English Suite in A minor.
2. J.S.Bach. Bourrée from the English Suite in A minor.
3. J.S.Bach. Minuet from Suite No. 2 for chamber orchestra.
4. G. Purcell. Minuet from the suite.
5. L. Boccherini. Minuet-rondo.
6. L. Boccherini. Minuet.
7. W. A. Mozart. Minuet.
8. L. Beethoven. Minuet.
9. E. Grieg. Grandmother's minuet.
10. J. Bizet. Minuet. (Arlesienne. Suite No. 2).
11. G. Sviridov. Ancient dance.
12. I.S. Bach. Gavotte from Suite for Orchestra No. 3.
13. S. Prokofiev. Gavotte.
14. S. Prokofiev. Gavotte from the Classical Symphony.
15. L. Beethoven. Ecosez.
16. A. Grechaninov. Waltz.
17. P. Tchaikovsky. Waltz. (Children's album).
18. P. Tchaikovsky. Waltz. (Serenade for string orchestra).
19. P. Tchaikovsky. Sentimental waltz.
20. P. Tchaikovsky Waltz (From the opera “Eugene Onegin”).
21. M. Glinka. Waltz fantasy.
22. R. Schumann. German Waltz (“Carnival”, instrumentation by M. Ravel).
23. I. Brahms. Waltz.
24. F. Schubert. Waltz.
25. F. Schubert. Landler.
26. F. Chopin. Waltz No. 19.
27. F. Chopin. Waltz No. 17.
28. F. Chopin. Waltz No. 6.
29. F. Chopin. Waltz No. 7.
30. F. Chopin. Waltz No. 11.
31-34. C. Gounod. Ballet music from the opera "Faust":
31. Waltz,
32. Allegretto,
33. Moderato,
34. Waltz.
35-36. F. Kreisler. Waltz "Pangs of Love". (Two versions).
37. I. Strauss. Waltz "On the Beautiful Blue Danube".
38. I. Strauss. Royal Waltz.
39. S. Prokofiev. Waltz.
40. G. Sviridov. Waltz.
Disc 5
Theme: "Song, dance, march."
DANCE (end)
1. P. Tchaikovsky. Polka.
2. M. Glinka. The original polka.
3. I. Strauss. Polka.
4. I. Strauss. Polka gallop "Trick-Trac".
5. I. Strauss. Polka pizzicato.
6. F. Tarrega. Polish Rosita.
7. A. Alyabyev. Mazurka.
8. A. Grechaninov. Mazurka.
9. P. Tchaikovsky. Mazurka.
10. F. Chopin. Mazurka in B flat minor.
11-16. D. Rossini-O. Respighi. Magic Toy Store:
11. Tarantella,
12. Mazurka,
13. Cossack dance,
14. Playful dance,
15. Slow waltz,
16. Gallop.
17. J. Bizet. Gallop.
18. I.S. Bach. Polonaise (Suite No. 2 for chamber orchestra).
19. A. Lyadov. Polonaise. (In memory of Pushkin).
20. P. Tchaikovsky. Polonaise. (From the opera “Eugene Onegin”).
21. G. Wieniawski. Polonaise.
22. F. Chopin. Polonaise in A major.
23. R. Schumann. Fantastic dance.
24. E. Grieg. Anitra's dance. (Peer Gynt).
25.-26. I. Brahms. Two Hungarian dances - No. 1, No. 5.
27.-28. A. Dvorak. Two Slavic dances.
29. M. Glinka. Aragonese jota.
30. M. Glinka. Memories of a summer night in Madrid.
31. M. Ravel. Bolero.
32-33. E. Granados. Spanish dance. (Two versions).
34. I. Albeniz. Tango.
Disc 6
Theme “Song. Dance, march."
MARCH
1. P. Tchaikovsky. March of wooden soldiers.
2. R. Schumann. March.
3. P. Tchaikovsky. Little March (From Suite No. 1 in D minor).
4. N. Rimsky-Korsakov. March from the opera "The Tale of Tsar Saltan".
5. M. Mussorgsky. “Pictures from an Exhibition” Bogatyr Gate.
6. S. Prokofiev. March.
7. S. Prokofiev. March from the opera “The Love for Three Oranges”.
8. S. Prokofiev. "Montagues and Capulets."
9. G. Sviridov. Military march.
10. G. Purcell. Rondo from the suite.
11. L. Beethoven. Concerto for piano and orchestra No. 5, 1st movement (fragment).
12. L. Beethoven. 7th Symphony, 2nd movement (fragment).
13-14. R. Schumann. March of the Davidsbündlers (“Carnival”. Two versions).
15-17. F. Schubert. Three marches.
18. D. Verdi. March from the opera "Aida".
19. D. Rossini. March from the overture to the opera "William Tell".
20. D. Rossini. March from the overture to the opera The Thieving Magpie.
21. D. Rossini-O. Respighi. March. (“The Magic Toy Store”).
22. J. Bizet. "Children's Games". March.
23. J. Bizet. "Carmen Suite". Overture.
24. J. Bizet. "Arlesian". Suite No. 2. Farandola.
25. I. Strauss. March (Introduction to the Royal Waltz).
26. I. Strauss. Radetzky march.
27. I. Staus. Entrance march from the operetta "The Gypsy Baron".
28. G. Berlioz. Hungarian March No. 3.
Disc 7
Theme: “Music talks about animals and birds”
C. Saint-Saens. "Carnival of Animals".
1. Introduction and Royal March of the Lion.
2. Chickens and roosters.
3. Poultry house.
4. Swan.
5. Antelopes.
6. Elephant.
7. Long-eared characters.
8. Kangaroo.
9. Aquarium. Y.F.Schubert. Trout.
P.Saint-Saens. "Carnival of Animals"
Cuckoo in the thicket of the forest.
12-13. OK. Daken. Cuckoo. (Two versions)
14. I. Staus. French polka "In Krapfenwalde".
15. A. Alyabyev. Nightingale. (Flist sample). 16.P.Tchaikovsky. Song of the Lark. (“Seasons”,
instrumentation by A. Gauk).
17. P. Tchaikovsky. Song of the lark. (Children's album).
18. M. Glinka. Lark. (Review by M. Balakirev).
19-20. M. Mussorgsky. Ballet of unhatched chicks. (Two versions).
21. Alyadov. An epic about birds.
22. J.-F. Ramo. Birdsong.
23 M. Ravel. Sad birds.
24. E. Grieg. Birdie.
25. F. Couperin. Butterflies.
26. E. Grieg. Butterfly.
27. N. Rimsky-Korsakov. "The Golden Cockerel". Cock crow.
28. S. Prokofiev. Grasshoppers and dragonflies. ("Cinderella").
29. S. Prokofiev. Procession of grasshoppers.
30. A. Lyadov. I danced with a mosquito.
31. N. Rimsky-Korsakov. Flight of the Bumblebee.
Theme: “Nature and Music”.
32. E. Grieg. Morning. (Peer Gynt).
33. S. Prokofiev. Morning.
34. P. Tchaikovsky. Winter morning.
35. I. Strauss. Morning leaves. Waltz.
36. M. Mussorgsky. Dawn on the Moscow River.
37. E. Grieg. Summer evening.
38. S. Prokofiev. Evening.
39. S. Prokofiev. A month walks over the meadows.
40. R. Schumann. In the evening.
41. R. Schumann. At night.
42. N. Rimsky-Korsakov. Night. (Christmas Suite).
43. K. Debussy. Moonlight.
Disc 8
Theme “Nature and Music” (end)
1-3. A. Vivaldi. "Seasons". Winter. 1st, 2nd, 3rd parts.
4-5. P. Tchaikovsky. 1st symphony “Winter Dreams”,
1st, 2nd parts (fragments).
6. R. Schumann. Winter 1.
7-8. R. Schumann. Winter 2. (Two versions).
9-10. R. Schumann. Father Frost. (Two versions).
11. P. Tchaikovsky. On the three.
12. G. Sviridov. Troika.
13. S. Prokofiev. The Winter Fairy from the ballet "Cinderella".
14 -15. A. Vivaldi. "Spring". Concerto for violin and orchestra, 1st, 3rd movements.
16. P. Tchaikovsky. Snowdrop.
17. F. Mendelssohn. Song without words “Spring”.
18. E. Grieg. In the spring.
19. E Grieg. Nocturne.
20. S. Prokofiev. Fairy of Spring from the ballet “Cinderella”.
21. R. Schumann. May, dear May!
22-23. A. Vivaldi. "Seasons". Summer. 2nd, 3rd parts.
24. L. Beethoven. 6th Symphony, “Pastoral”, 4th movement. Thunderstorm.
25. G. Sviridov. Rain.
26. S. Prokofiev. Rain and rainbow.
27. R. Schumann. Flowers.
28. A. Lyadov. Magic lake.
29. M. Glinka. Barcarolle.
30. F. Liszt. Fountains of Villa D, Este.
31. E. Grieg. Brook.
32. A. Arensky. Forest stream.
33. N. Rimsky-Korsakov. Sea. (“Sadko”, symphonic picture).
34. M. Ravel. Boat in the ocean.
35. M. Ravel. Water game.
36-37. A. Vivaldi. "Seasons". Autumn. 2nd, 3rd parts.
38. P. Tchaikovsky. Autumn song.
39. G. Sviridov. "Spring and Autumn".
40. S. Prokofiev. Fairy of Autumn from the ballet “Cinderella”.
Disc 9
Theme "Fairy tale in music"
.
1. P. Tchaikovsky. Nanny's fairy tale.
2. S. Prokofiev. Fairy tale.
3. P. Tchaikovsky. Baba Yaga.
4. A. Lyadov. Baba Yaga.
5-6. M. Mussorgsky. Baba Yaga. "Pictures from an Exhibition." (Two versions).
7. A. Lyadov. Kikimora.
8. E. Grieg. In the cave of the mountain king.
9. G. Sviridov. Witch.
10. M. Mussorgsky. Old lock. "Pictures from an Exhibition."
11. E. Grieg. Procession of gnomes.
12-13. M. Mussorgsky. Dwarf. "Pictures from an Exhibition." (Two versions).
14. M. Glinka. March of Chernomor.
15-17. N. Rimsky-Korsakov. "The Tale of Tsar Saltan".
Three miracles:
15. Squirrel,
16. 33 Bogatyrs,
17. Swan Princess.
18. N. Rimsky-Korsakov. Sea and ship (from the symphonic suite “Scheherazade”).
19. S. Prokofiev. Waltz from the ballet “Cinderella”,
20. The clock strikes.
21-28. P. Tchaikovsky "The Nutcracker".
21. March,
22. Spanish dance. Chocolate,
23. Arabic dance. Coffee,
24. Chinese dance. Tea,
25. Russian dance. Trepak,
26. Sugar Plum Fairy,
27. Waltz of the Flowers,
28. Adagio. (Marie and the Prince).
29-31. P. Tchaikovsky "Sleeping Beauty".
29. Introduction. (Karobos Fairy Theme and Lilac Fairy Theme),
30. Blue bird,
31. Waltz.
32-39. P. Tchaikovsky “Swan Lake”.
32. Swans,
33. Waltz,
34. Dance of the little swans,
35. Spanish dance,
36. Mazurka,
37. Russian dance,
38. Neapolitan dance,
39. Dance of the shepherdesses.
Disc 10
Theme: "Musical Instruments".
Imitation of musical instruments and toys
1. J.-F. Ramo. Tambourine.
2. G. Sviridov. Guy with an accordion.
3. A. Grechaninov. On the harmonica.
4. P. Tchaikovsky. Kamarinskaya.
5. I. Stravinsky. Russian.. (From the ballet "Petrushka").
6. I. Stravinsky. Maslenitsa. (From the ballet “Petrushka”)
7. P. Tchaikovsky. The organ grinder is singing.
8. A. Lyadov. Musical snuffbox.
9. A. Dargomyzhsky. Snuff Waltz.
10. G. Sviridov. Music box.
11. Festive Easter ringing of the bells of the Trinity St. Sergius Lavra.
12. Bells of the Rostov Kremlin: Festive ringing,
13. Wedding bells,
14. Red ringing.
15. A. Borodin. In the monastery.
16-17. M. Mussorgsky. Bogatyrsky Gate. (Two versions).
18. M. Mussorgsky. Dawn on the Moscow River.
19. S. Rachmaninov. Piano Concerto N2, 1st movement.
20. G. Sviridov. The bells rang.
21. N. Paganini. Campanella.
22. E. Grieg. Bell ringing.
23. M. Ravel. Valley of Rings.
Musical instruments.
24-54. S. Prokofiev. Symphonic tale"Peter and the Wolf"1.
Early in the morning Petya opened the gate and walked out onto a large lawn. Track 24.
A bird familiar to Petya was sitting on a high tree. Track 25.
“Everything around is calm,” she shouted cheerfully to Petya. Track 26.
Following Petya, a duck appeared, waddling from side to side. She was glad that Petya did not close the gate, and decided to swim in a deep puddle on the lawn. Track 27.
Seeing the duck, the bird flew down to the grass, sat down next to the duck and shrugged its shoulders. “What kind of bird are you if you can’t fly!” - she said. To which the duck replied: “What kind of bird are you if you don’t know how to swim!” - and plopped into a puddle. Track 28.
They argued for a long time - a duck swimming in a puddle, a bird jumping along the shore. Track 29.
Suddenly Petya became wary. He noticed a cat sneaking through the grass. Track 30.
1 The text of the fairy tale is not recorded on disk, but is given in this section for ease of use (the text is read by the teacher, and children can pronounce individual lines when dramatizing the fairy tale).
The cat thought: “Is the bird busy arguing? Now I’ll grab her.” And silently, on velvet paws, she approached her. Track 31.
"Look out!" - Petya shouted, and the bird instantly flew up the tree. And the duck from the middle of his puddle quacked angrily at the cat. Track 32.
The cat walked around the tree and thought: “Is it worth climbing so high? By the time you get in, the bird will still fly away.” Track 33.
Grandfather came out. He was angry that Petya had gone out the gate. Track 34.
Dangerous places. If a wolf comes from the forest, what then? But Petya did not attach any importance to his grandfather’s words and declared that he was not afraid of wolves. Track 35.
But grandfather took Petya by the hand. He took me home and locked the gate tightly. Track 36.
And indeed, before Petya had time to leave, a huge Gray wolf. Track 37.
The cat quickly climbed the tree. Track 38.
The duck quacked and rushed out of the puddle. But no matter how hard she tried, the wolf ran faster. Here he is closer... closer... now he caught up with her, grabbed her... and swallowed her. Track 39.
Now the picture was like this: the cat was sitting on one branch, the bird on the other, away from the cat. And the wolf walked around the tree and looked at them with greedy eyes. Track 40.
Meanwhile, Petya, who remained standing behind the locked gate and saw everything that was happening, was not at all afraid. He ran home, took a thick rope and climbed onto a high stone fence. One of the branches of the tree around which the wolf walked extended to this fence. And grabbing onto it, Petya deftly climbed onto the tree. Track 41.
Petya said to the bird: “Fly down and circle around the wolf’s face, just be careful so that he doesn’t grab you.” Track 42.
The bird almost touched the wolf's muzzle with its wings, and the wolf angrily jumped after it in all directions. Oh, how the bird annoyed the wolf!
How he wanted to grab her! But the bird was clever, and the wolf could not do anything with it. Track 43.
Petya made a loop in the rope, carefully lowered it down, and threw it over the wolf’s tail. Track 44.
And he tightened the noose. Track 45.
The wolf felt that he was caught and began to jump in a rage, trying to escape. Petya tied the other end of the rope to a tree. The wolf's jumps only tightened the noose on his tail. Track 46.
At this time, hunters appeared from the forest. They followed the wolf's tracks and fired their guns. Track 47.
But Petya said from the tree: “You shouldn’t shoot, the bird and I have already caught the wolf!” Help me take him to the zoological garden.” Track 48.
Imagine a solemn procession: Petya walked ahead. Track 49.
The hunters led the wolf after him. Track 50.
Grandfather walked behind with a cat. Track 51.
Grandfather shook his head with displeasure: “Well, what if Petya hadn’t caught the wolf? What then? Track 52.
A bird flew overhead and chirped cheerfully: “That’s what Petya and I are like!” That's who we caught! Track 53.
And in the wolf’s belly a duck quacked pitifully, but sensing safety, she resolutely jumped out of the wolf’s mouth and ran away. Track 54.
55. A. Vivaldi. Concerto for mandolin and orchestra in C major, 1st movement.
56. A. Vivaldi. Concerto for violin and orchestra.
57. A. Vivaldi. Concerto for violin and orchestra.
58. A. Vivaldi. Concerto for two violins and orchestra.
59. A. Vivaldi. Concerto for three violins and orchestra.
60. A. Vivaldi. Concerto for two cellos and orchestra.
61. A. Vivaldi. Concerto for string instruments.
62. A. Vivaldi. Concerto for flute and orchestra.
63. A. Vivaldi. Concerto for flute and orchestra
64. A. Vivaldi. Concerto for flute and orchestra.
65. A. Vivaldi. Concerto for oboe and orchestra.
66. A. Vivaldi. Concerto for oboe and orchestra.
67. A. Vivaldi. Concerto for bassoon and orchestra.
68. V.A. Mozart. Concerto for flute, harp and orchestra in C major, 1st movement.
69. V.A. Mozart. Concerto for horn and orchestra in D major, 2nd movement.
70. I.S. Bach. Organ chorale prelude in E flat major.
71. I.S. Bach. Fugue in A minor for organ.
72. I.S. Bach. Toccata in D minor for organ.
73. K. Saint-Saens. Symphony "Organ".
The brochure provides a description of the educational and methodological set “Musical Masterpieces”, containing a program guidelines, a system of classes for all age groups of kindergarten, talks, concerts, entertainment.
The proposed summaries of plot, thematic classes, and educational entertainment combine different types of musical activities - listening to music, games, dancing, playing musical instruments, singing.
The system for forming the foundations of musical culture for preschool children has undergone extensive experimental testing and has shown high efficiency. It promotes the development of emotions, thinking, imagination, interest in music, taste, ideas about beauty, and the creative development of children. Can be used with children of primary school age.
For teachers and parents.
.
It is effective to use a flexible, syncretic, variable structure of classes of various types, as well as other forms of introducing a child to music in the family and everyday life of a kindergarten, combining various types of musical and artistic activities with the leading role of games, fairy tales, plots, promoting children’s emotional passion for music and awareness of its perception, manifestations of figurative thinking and imagination, creative activity, musical and aesthetic consciousness (aesthetic emotions, interest in music, the basics of taste, ideal ideas about beauty).
Classes are the main form of organization in which the tasks of forming the foundations of children's musical culture are solved. All types of classes (individual, subgroup, frontal, standard, dominant, thematic, complex and their varieties) are used and vary depending on the age and level of development of the children’s musical culture. The proposed selection of program repertoire allows you to build classes around a topic, unite them with a plot, a fairy tale, a game, and makes it easier to vary their types. The development of children's figurative speech involves the use of poems, fairy tales. Story-based activities relax children and promote the expression of their creativity in various types of musical and artistic activities.
CONTENT
Section I. Author's program
Introduction
Contents of the program “Musical Masterpieces”
Principles for constructing the “Musical Masterpieces” program
Methods and techniques for forming the foundations of children's musical culture
Forms of organizing children's musical activities
Criteria for assessing the level of formation of the fundamentals of musical culture of children in different age groups
Thematic plan:
1 topic: “Music expresses the mood, feelings, character of people”
Topic 2: “Song, dance, march”
Topic 3: “Music talks about animals and birds”
Topic 4: “Nature and music”
Topic 5: “Fairy tale in music”
Topic 6: “Musical instruments and toys”
Section II. Guidelines
Justification of the content of the program. Basic Concepts
Methods, techniques, techniques for forming the foundations of children's musical culture
Forms of organizing children's musical activities
Methodological support of the program
Educational and methodological set for the musical development of preschool children “Musical masterpieces”
Bibliography.
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