Music education tasks for Art. group according to M. A. Vasilyeva’s program “From birth to school”
SENIOR GROUP
Musical education
Continue to develop aesthetic perception, interest, love for music, form a musical culture based on acquaintance with composers,
classical, folk and modern music. Continue to develop children’s musical abilities: pitch, rhythmic, timbre, dynamic hearing; emotional responsiveness and creative activity.
To promote the further development of singing skills, movements to music, playing and improvising melodies on children's musical instruments.
Hearing
Learn to distinguish between genres of musical works (march, dance, song). Improve musical memory through recognizing melodies from individual fragments of a work (introduction, conclusion, musical phrase). Improve the skill of distinguishing sounds in pitch within fifths, the sound of a musical instrument (keyboards, percussion and strings: piano, violin, cello, balalaika).
Singing
To develop singing skills, the ability to sing with a light sound in the range from “D” of the first octave to “C” of the second octave; take a breath before the start of a song, between musical phrases, pronounce the words clearly, start and end the song in a timely manner, emotionally convey the character of the melody, sing moderately loudly and quietly. To promote the development of solo singing skills, with and without musical accompaniment. Promote the manifestation of independence and creative performance of songs of a different nature. Create a fund of favorite songs, thereby developing song and musical taste.
Song creativity
Learn to improvise a melody to a given text. To develop the ability to compose melodies of various types: a tender lullaby, a perky or cheerful march, a smooth waltz, a cheerful dance song.
Musical and rhythmic movements
Develop a sense of rhythm, the ability to convey through movements the character of music, its emotionally figurative content, freely navigate in space, perform simple changes, independently move from moderate to fast or slow tempo, change movements in accordance with musical phrases. To promote the formation of skills in performing dance movements (alternately throwing legs forward in a jump; side step with a squat, with moving forward, spinning; squatting with putting the leg forward). Form dance creativity.
Continue to develop song dramatization skills; learn to improvise images of fairy-tale animals and birds (horse, goat, fox, bear, hare, crane, raven, etc.) in different game situations. Introduce Russian round dance, dance, as well as dances of other nations.
Musical, gaming and dance creativity
Develop dance creativity; learn to come up with movements for dances, dances, compose a dance composition, showing originality and independence in creativity. Learn to improvise the movements of different characters to music of the appropriate nature; independently come up with movements that reflect the content of the song; come up with simple dance moves. Encourage them to dramatize the content of songs and round dances.
Playing children's musical instruments
Teach children to perform simple melodies on children's musical instruments; perform familiar songs individually and in small groups, while maintaining overall dynamics and tempo. Develop children's creativity, encourage them to take active independent action.
Sample musical repertoire
Hearing
"March", music. D. Shostakovich; “Lullaby”, “Guy with an accordion”, music. G. Sviridova; "Falling Leaves", music. T. Popatenko, lyrics. E. Avdienko; “March” from the opera “The Love for Three Oranges”, music. S. Prokofiev; “Anxious Minute” (from the album “Spillkins” by S. Maykapar); “Morning Prayer”, “In Church” (from “Children’s Album” by P. Tchaikovsky); “Repentance”, “Morning”, “Evening” (from the collection “Children’s Music” by S. Prokofiev); ancient dance from the “Album of Plays for Children” by G. Sviridov (and other plays at the choice of the music director). "Polka"; music D. Lvov-Kompaneyts, lyrics. Z. Petrova; "Mom's Holiday", music. E. Tilicheeva, lyrics. L. Rumarchuk; “My Russia”, music. G. Struve, lyrics. N. Solovyova; “Who came up with the song?”, music. D. Lvov-Kompaneyts, lyrics. L. Dymova; "Children's polka", music. M. Glinka; “Bird Dance”, “Lullaby”, music. N. Rimsky-Korsakov; “The First Loss” (from “Album for Youth”) by R. Schumann; Piano Sonata Eleventh, 1st movement (fragments), Prelude in A major, Op. 28, No. 7 F. Chopin; Finale of the Piano Concerto No. 5 (fragments) by L. Beethoven; Minuet in D major by W. Mozart (and other works by Western European composers).
Singing
Exercises to develop hearing and voice.
“Bunny”, “Steam Locomotive”, “Petrushka”, music. V. Karaseva, ate. N. Frenkel; "Lullaby", music. E. Tilicheeva, ate. N. Naydenova; "Andrey-Sparrow", Russian. adv. song, arr. Yu. Slonova; Russian folk songs and chants.
Songs.
"Drum", music. E. Tilicheeva, lyrics. N. Naydenova; "Cranes", music. A. Livshits, lyrics. M. Poznanskaya; “Guests have come to us,” music. An. Alexandrova, lyrics. M. Evensen; "Blue Sled", music. M. Jordansky, lyrics. M. Klokova; "Pea", music. V. Karaseva, ate. N. Frenkel; "Chicken", music. E. Tilicheeva, lyrics. M. Dolinova; "Geese-goslings", music. An. Alexandrova, lyrics. G. Boyko; "Geese", music. A. Filippenko, lyrics. T. Volgina.
Song creativity
“Lullaby”, Russian. adv. song; “Dili-dili! Bom! Bom!”, Ukrainian. adv. song, lyrics E. Makshantseva; "March", music. M. Kraseva; nursery rhymes, teasers, counting rhymes and other Russian folk songs.
Musical and rhythmic movements
Exercises.
"Little March", music. T. Lomovoy; "Rosinki", music. S. Maikapara; "Spring", music. E. Gnessina (“Etude”); "Step and Run", music. N. Nadenenko; "Ditch", Russian. adv. melody, arr. R. Rustamova; “Smooth hands”, music. R. Gliere (“Waltz”, fragment); “Who Jumps Better”, music. T. Lomovoy; “Learn to dance in Russian!”, music. L. Vishkarev (variations on the Russian folk melody “From under the oak, from under the elm”).
Exercises with objects.
“Exercises with ribbons”, Ukrainian. adv. melody, arr. R. Rustamova; "Gavotte", music. F. Gossec; “Passing a handkerchief”, music. T. Lomovoy; "Waltz", music. A. Dvorak; “Exercises with balls”, music. T. Lomovoy; "Waltz", music. F. Burgmuller.
Sketches. "Aw!" (“Game in the Forest”, music by T. Lomova); “Silent Dance” (theme from variations, music by W. Mozart), “Polka”, German. adv. dance; “Sleep and Dance” (“Playing with a Doll”, music by T. Lomova); walking on toes while passing an object. Dancing and dancing.
"Friendly couples", music.
I. Strauss (“Polka”); "Pair dance", music. An. Alexandrova (“Polka”); "Fun Dance", music. V. Zolotareva; “Invitation”, Russian. adv. melody; "Russian Dance", Russian. adv. melody (“Whether in the garden or in the vegetable garden”); "Circular Dance", Russian. adv. melody, arr. S. Razorenova; Boys' dance "Chebotukha", Russian. adv. melody; “Quadrille with spoons”, Russian. adv. melody, arr. E. Tumanyan. Characteristic dances.
"Dance of the Beads", music. T. Lomovoy; “Parsley Dance”, Croatian, Nar. melody; "Flappers", music. N. Kieselvatter; "Dance of the Snow Maiden and Snowflakes", music. R. Gliera; "Dance of the Dwarves", music. F. Churchel; "Dance of the Buffoons", music. N. Rimsky-Korsakov; "Dance of Circus Horses", music. M. Kraseva.
Round dances.
"Berezka", Russian. adv. melody, arr. E. Tilicheeva; “Oh yes birch tree”, music. T. Poiatenko, ate. Zh. Agadzhanova; "Vesnyanka", Ukrainian. adv. melody, arr. S. Polonsky; "New Year's round dance", music. S. Shaidar; "New Year's round dance", music. T. Popatenko; "Round Dance of Flowers", music. Yu. Slonova; “Near the river, near the bridge”, “How our girlfriends went”, “I walk with the vine”, “And I am in the meadow”, “Chernozem Earthling”, “The young woman went for water”, Russian. adv. songs, arr. V. Agafonnikova. Acquaintance with the ancient symbolism of round dance movements.
Music games
Games.
“Trap”, music. J. Haydn; “We won’t let you out”, music. T. Lomovoy; “Be clever!”, music. N. Ladukhina; “Find yourself a partner”, Latv. adv. melody, arr. T. Popatenko; “Look for a toy”, Russian. adv. melody, arr. V. Agafonnikova; “Game with a tambourine”, music. M. Kraseva; “Game with a bell”, music. S. Rzhavskoy; "Cat and Mice", music. T. Lomovoy; "Rattles", music. T. Vilkoreiskaya.
Singing games.
"Raven", Russian. adv. melody, arr. E. Tilicheeva; "Hedgehog", music. A. Averina; “Round dance in the forest”, music. M. Iordansky; “Two Grouse”, Russian. adv. melody, arr. V. Agafonnikova; "Zainka", Russian. adv. song, arr. Kkok
N. Rimsky-Korsakov; "Vaska the Cat", music. G. Lobachev, lyrics. N. Frenkel; “Hedgehog and Mice”, music. M. Kraseva, lyrics. M. Klokova; "Flowers", music. N. Bakhutova, folk words.
Musical and didactic games
Development of pitch hearing.
“Musical Lotto”, “Steps”, “Where are my kids?”, “Mom and kids”.
Development of the sense of ri, “Rhythmic stripes”, “Learn to dance”, “Search”.
Development of timbre hearing.
“What do I play?”, “Musical riddles”, “Musical house”.
Development of diatonic hearing.
“Loudly, quietly binge drinking”, “Ringing bells”.
Development of music perception and musical memory.
“Be Attentive”, “Buratino”, “Music Store”, “Seasons”, “Our Songs”.
Dramatizations and musical performances
“Guests have come to us,” music. An. Alexandrova; “Like ours at the gate”, Russian. adv. melody, arr. V. Agafonnikova; “Where have you been, Ivanushka?”, Russian. adv. melody, arr. M. Iordansky; “My favorite doll”, author T. Koreneva, “Polyanka” (musical fairy tale game), music by T. Vilkoreiskaya.
Development of dance and gaming creativity
“Cat and Goat”, “I will water, I will water onions”, music. E. Tilicheeva; "Waltz of the Cat", music. V. Zolotareva; free dance i.e. any dance melodies in audio recording; “Burn, burn clearly!”, Russian. adv. melody, arr. R. Rustamova; “And I’m in the meadow”, Russian. adv. melody, arr. T. Smirnova.
Playing children's musical instruments
“The Blue Sky”, “Brave Pilot”, music. E. Tilicheeva, ate. M. Dolinova; "Don-don", Russian. adv. song, arr. R. Rustamova; “Burn, burn clearly!”, Russian. adv. melody; "The Shepherd", Czech. adv. melody, arr. I. Berkovich; "Cockerel", Russian. adv. song, arr. M. Kraseva; "Watch", music. S. Wolfensohn; “There lived a black ram with our grandmother,” Russian. adv. comic song, arr. V. Agafonnikova.
By the end of the year, children can
- Distinguish between genres of musical works (march, dance, song); sound of musical instruments (piano, violin); works based on melody and introduction.
- Distinguish between high and low sounds (within fifths).
- Sing without tension, smoothly, with a light sound; pronounce words clearly, start and end the song in a timely manner; sing accompanied by a musical instrument.
- Move rhythmically in accordance with the different character and dynamics of the music.
- Change movements independently in accordance with the three-part form of a piece of music and musical phrases.
- Perform dance movements: alternately throwing your legs forward in a jump, half-squatting with your foot on your heel, stepping on the entire foot. Moving forward and circling.
- - Independently dramatize the content of songs, round dances, act without imitating each other.
- - Play melodies on the metallophone one at a time and in small groups.
3
Planning for listening to music in the middle group
Nelya Nazmieva
Planning for listening to music in the middle group
Listening to music.
Middle group.
September October
Topic: “ Music and mood ”
.
“Autumn mood in
music ” 1-2. "Sun"
,
“Rain”
by Tilicheeva (
“
Musical ABC Book ” , pp. 6.8)
3-4. "Storm"
,
“Mom Sings”
by Tilicheeva (
“
Musical ABC Book ” , pp. 10, 11)
5-6. "The kitten is sick"
,
“The kitten has recovered”
Grechaninova
(Muz/ruk 3/08, p. 5)
7-8. Resentment and joy.
“They don’t want to buy a bear”
,
“We bought a bear”
by Kosenko
(Muz/ruk 5/08, p. 59-62)
9-10. Cheerful and sad duckling. "A Song about Two Ducklings"
Polyanova (Program
“Harmony”
6l, p. 11), collection.
“And we play in class”
)
11. "What is the rain crying about"
Tilicheeva (
"
Musical Primer " , p. 26)
12. "What's in Autumn's Basket"
Tilicheeva (
"
Musical Primer " , p. 28)
13. "Autumn wanders through the forests"
Tilicheeva (
"
Musical Primer " , p. 27)
14. Autumn moods. Compare three songs about autumn.
15-16. "Sad Rain"
Kabalevsky
"Muz.
activities and entertainment." , With. 125)
November December
Topic: “What does music ”
.
1-4. "Car Day"
Arseeva (
"
Musical Primer " , p. 55)
5-6. "Little Red Riding Hood and the Gray Wolf"
Arseeva (
"
Musical Primer " , p. 50)
7-8. "Elephant and Moska"
Arseeva (
"
Musical Primer " , p. 48)
9-10. "Three Bears"
Arseeva (
"
Musical Primer " , p. 52)
11-12. "The bunny teases the bear cub"
Kabalevsky
(Doshk/vosp 8/97, p. 100)
13-14. "Why does a bear sleep in winter"
Knipper (
"Musical activities and entertainment"
, p. 166
January.
Topic: “How music . High - low sounds"
.
1."Mice"
Zhilinsky (Program
“Harmony”
, 6l, 2h, p. 6)
"Capricious Sparrow"
Kholminova (Program
“Harmony”
, 6l, 2h, p. 7)
2. "Bear"
Galynina (Program
“Harmony”
, 4g, p. 53)
"The Bear Plays the Bassoon"
Nasedkina (Program
“Harmony”
, 4g, p. 53)
3. "Bunny"
,
“Bear”
by Lomova
(Muz/leader 6/08, p. 6-7)
4. “Hen and Chicks”
Tilicheeva
(Muz/leader 1/08, p. 5)
5-6. "Mom and Dad are talking"
Arseeva (
"
Musical Primer " , p106)
February.
Topic: “How music . Pace"
.
1. "Bear. The bear is dancing"
Lomovoy
(Muz/leader 6/08, p. 6-7)
2. “Bunny. The bunny is dancing"
Lomovoy
(Muz/leader 6/08, p. 6-7)
3-4. "Cat and Kittens"
(Program
“Harmony”
, 4g, p. 28)
5. "Grandfather and grandson"
Arseeva (
"
Musical Primer " , p. 93)
6. "On a visit"
Arseeva (
"
Musical Primer " , p. 99)
March.
Topic: “How music . Dynamics"
.
1-2. Repetition. "On a visit"
Arseeva (
"
Musical Primer " , p. 99)
3-4. “Be quiet and louder on the tambourine”
Tilicheeva (
"
Music in d/s " , v. 3, p. 79)
5-6. "Silent and loud bells"
Rustamova (
"
Music in d/s " , 2ml, p. 58)
7. "Elephant and Moska"
Arseeva (
"
Musical Primer " , p. 48)
8. "Little Red Riding Hood and the Gray Wolf"
Arseeva (
"
Musical Primer " , p. 50)
April.
Topic: “How music . Timbre"
.
1-2. "Drummer"
Kraseva (
"Teach children to sing"
, cf. gr., p. 96)
(M.D.I. “Two Drums”
Tilicheeva) (
"
Music in d/s " , art. gr., p. 22)
3-4. "Pipe"
Tilicheeva
(I'll take my trumpet)
(
"
Music in d/s " , art. gr., p. 39)
5-6. "Merry pipe"
Kraseva (
"Teach Children to Sing"
, Art. Gr., p. 100)
"Dudochka"
Partskhaladze (
"
Music in d/s " , art. gr., p. 42)
"Dudochka"
Lepina (
"
Music in d/s " , art. gr., p. 99)
7-8. M.D.I. "Tambourine or rattle"
Tilicheeva (
"
Music in d/s " , art. gr., p. 122)
"Balalaika and accordion"
Tilicheeva (
"
Musical Primer " , p. 110)
May.
Topic: " Musical genres "
.
1-2. "Soldiers Are Marching"
Arseeva (
"
Musical Primer " , p. 96)
3-4. "The boys are dancing"
,
“Girls are dancing”
by Arseev (
"
Musical Primer " , pp. 94-95)
5-6. Dancers: “Shall I go”
,
“Is it in the garden”
(Program
“Harmony”
, 4d)
“Like ours at the gate”
(Program
“Harmony”
, 5l)
7-8.Lullabies: “Lullaby”
Tilicheeva (
"
Musical Primer " , p. 13)
"Lullaby"
Fliss (Program
“Harmony”
, 4g, p. 105)
Children's repertoire as a means of developing the vocal abilities of preschool children
Singing is the most accessible performing type of musical activity for preschool children. Children love to sing. The song accompanies the life of a child from a very early age. It affects the feelings of children, fills their leisure time, promotes the organization of play, and in a bright, entertaining form deepens their ideas about the surrounding reality.
Vocal and choral singing has great potential for bringing people together, uniting them, it creates conditions for emotional musical communication. That is why choral singing has always been given worthy attention in the musical and aesthetic education of children. The main goal of vocal and choral singing is to educate children in a singing and general musical culture. The tasks of singing activity arise from the general tasks of musical education and are inextricably linked with them and consist in the development of musical and creative activity, singing communication skills, musical abilities, in the formation of a sustainable interest in singing, and to promote the comprehensive spiritual and physical development of children. It is proposed to solve these problems on the basis of a specific song repertoire, the use of appropriate teaching methods and techniques, and various forms of organizing musical activity. The formation of singing skills is one of the most complex and important sections of the musical education of preschool children. First, work is done to develop a melodious sound based on the elementary mastery of singing breathing, which significantly affects the purity and beauty of the sound and the expressiveness of the performance. Sound production with correct voice production should be natural, sonorous and light; children should sing without screaming or straining. Work on diction begins with the formation of rounded vowels and clear pronunciation of consonants. It is recommended to use: articulatory gymnastics exercises, tongue twisters, tongue twisters, speech exercises, rhythmic recitations. Slender, clear singing in unison lays the foundations of the ensemble - integrity, unity of sound. When singing in a choir, children must be taught to listen to themselves and others, to blend in with the general singing, and to make sure that no voice stands out. When teaching vocals to children, it should be taken into account that the child’s vocal apparatus is fragile, delicate, and continuously grows in accordance with the development of the child’s entire body. Therefore, it is necessary not only to master the methodology of teaching singing, but also to protect the child’s voice. It is important to prevent children from loudly singing, screaming, or singing outside in cold and damp weather.
It is advisable to carefully consider the entire vocal and choral repertoire that will be used in working with preschoolers. The song repertoire should consist of highly artistic works that have educational and cognitive value.
It is necessary to expand the repertoire primarily through folk songs, since folk songs have artistic and educational value and never cease to amaze with their deep content and perfect form.
It is necessary to use melodies from classical works that are convenient for children to play for singing.
When selecting songs for children to listen to and learn, we must rely on vivid examples of highly artistic children's songs that are time-tested and of great educational value: songs about friendship, respect for nature, love for animals. These are songs from cartoons written by composers A. Ostrovsky, V. Shainsky, Yu. Chichkov, G. Gladkov, E. Krylatov, A. Struve, A. Pakhmutova and others.
The issue of accessibility of music content should be considered in terms of the possibility of perceiving emotional content, matching the feelings that children are able to experience at the moment.
Practice shows that some teachers take a formal approach to working on a song. They learn songs with the aim of performing them at a festive matinee. The theme of the songs and the effectiveness of their sound are mainly taken into account. At the same time, program tasks for this type of musical activity of children are not consistently solved. Ultimately, children do not acquire sustainable singing skills. It is necessary that work on each song has a positive effect on children's singing skills.
We must not forget that a stable repertoire has a number of advantages. A song or any other piece of music, often heard and performed by children, becomes their property and can be used by them in independent activities. This in turn leads to strong assimilation, correct and natural execution. Children will come to school musically prepared.
Analyzing the main educational programs of preschool education: “Childhood”, “Kindergarten 2100”, “From birth to school”, “Origins”, we can conclude that in all programs in the section “Musical development” there is a vocal-choral direction, There are also some peculiarities. A special feature of the Kindergarten 2100 program is the synthesis of arts. Children master the skills of primary analysis of works of art in the context of other types of art, and become familiar with the means of artistic expression of various types of art. The content of the educational program “From birth to school” (authors N.E. Veraksa, T.S. Komarova, M.A. Vasilyeva) is presented in thematic blocks, within which the material is presented by age group.
The comprehensive program “Childhood” by O. V. Akulova, T. I. Babaeva contains three parts dedicated to different age periods of children. The goal of the program is to develop the musical culture of preschoolers. Each section is further divided into two components: musical perception and musical performance.
The comprehensive program “Origins” by L. A. Paramonova, T. I. Aliyeva is aimed at the comprehensive education and development of a child up to seven years old. The musical repertoire includes classical music, folklore, and modern music. The main factor in this program is the dialogue between the teacher and the child, between children and teachers.
But the repertoire in this area in these programs is not rich and diverse enough. As a result, it is necessary to use additional, partial programs for music education .
The “Harmony” program for senior preschool age K. L. Tarasova, T. V. Nesterenko, T. G. Ruban, under the general editorship of K. L. Tarasova. The central place in the program is given to the formation of musical creativity in children and the improvisational nature of classes. The musical repertoire of the program is selected based on a combination of highly artistic and accessible to children works of classical, modern and folk music from different eras and styles and is organized into blocks of topics that are accessible and interesting to children.
The “Baby” program by V. A. Petrova provides for the development of musical abilities in children of only early age in all types of musical activities available to them, helping to introduce children to the world of musical culture. The program is based on works from the classical repertoire, the rich range of which presupposes the teacher’s freedom to choose one or another piece of music, taking into account the level of preparation and development of a particular child. The program has significantly updated the repertoire of musical games.
The “Synthesis ” program by K.V. Tarasova, M.L. Petrova, T.G. Ruban and others is interesting in that it aims to develop the musical perception of children from four to seven years old. The program is based on the principle of an integrated approach, in which musical works are considered in a single complex with works of fine art and fiction. At the same time, the core art form in the program is music. The program included works of classical art and folklore accessible to children.
Program "Tuning Fork" E.P. Kostina is aimed at versatile musical education. It characterizes seven years of a child’s life with seven steps of the scale. Musical education and training are the first, second and third stages, and the stages of musical training, education and development are from the fourth to the seventh. The main place is given to such activity as the perception of music. The authors designed a model of the pedagogical process, so the program does not contain samples or methodically developed music lessons.
Many teachers use in practice the partial program for music education of preschool children “Ladushki” (authors I. Kaplunova, I. Novoskoltseva). The program includes the development of activities for four age groups for children from 3 to 7 years old. The presence of musical material eliminates the problem of finding sheet music material. The program is developed in detail, adequate to the capabilities of children, which allows them to successfully master all the material. The uniqueness of the program is the non-standard approach to conducting classes. The vocal and choral repertoire meets all the requirements of musical education.
For each age group, interesting and accessible material has been selected, with which you can solve various problems in the development of vocal skills. The vocal and choral repertoire becomes more complex with each age stage, new forms and techniques are added. The slide presents areas of work in vocal and choral singing by age groups:
For children 3-4 years old. Folklore is primarily used. Chants and songs are included as exercises, chanting and singing along; they are built on simple melodic lines, uncomplicated in rhythm and text.
The songs used are “Cockerel”, “Ladushki”, “Bird”, “Bucket Sun”, music by V. Karaseva, and many others; Exercises for the development of rhythmic hearing: “Who is walking?”, “Cockerel, hen and chick”; for the development of timbre and dynamic hearing “Loud-quiet”, “Merry pipes”.
For children 4-5 years old. As exercises for the development of hearing and voice at this age, song improvisations of melodies to a given text are used. For example: “What is your name”, “What do you want, kitty?”, “Where are you”;
Games with singing “Garden round dance”, music. B. Mozhzhevelova, “Geese-swans and wolves”, music. E. Tilicheeva.
Song creativity: “Kitten-Kitten”, r.n.p.; “Horse”, “March”, music. A. Grechaninova.
Songs: “Like on thin ice”, “Spider”, “Kitsonka-murysonka”, r.n. songs.
To work with older preschoolers, you can take more complex, longer melodies. Exercises to develop hearing and voice: Russian folk songs “Andrey-Sparrow”, “Bunny”.
Exercises to develop pitch hearing: “Where are my kids?”, “Steps”.
Exercises for the development of diatonic hearing: “Loud, quiet binge”, “Ringing bells”.
Songs: “Drum”, music. E. Tilicheeva; “Guests have come to us,” music by A. Alexandrov; "Blue Sled", music. M. Iordansky.
Games with singing: “Raven”, r.n.m; "Vaska the Cat", music. G. Lobacheva.
Round dances: “How our girlfriends went”, “I walk with the vine”, r.n.p.
Songs from cartoons by Soviet composers Yu. Chichkov, V. Shainsky, B. Savelyev.
For children 6-7 years old. Exercises for the development of hearing and voice: Russian folk songs “Skok-skok”, “And I’m in the meadow”.
Exercises to develop pitch hearing: “There are different sounds”, “Think, guess.”
Songs: “Falling Leaves”, “There Will Be a Hill in the Yard” music. T. Popatenko; “Victory Holiday”, “Brother Soldier” music. M. Partskhaladze;
Games with singing: “Wicket fence”, “Teremok”, r.n.p; "Game with flags", music. Yu. Chichkova. Round dances: “There is a viburnum on the mountain”, r.n.p.; “The New Year is Coming to Us”, music. V. Gerchik.
Songs from cartoons by Soviet composers. You can work with children of this age on dramatizations and musical performances. For example, “Like ours at the gate”, “Where was Ivanushka?”, r.n.m.; “Cinderella”, “The Cluttering Fly”, music. M. Kraseva.
The correct selection of song material (including folk songs, works of classics, Soviet and foreign, as well as modern composers), the use of appropriate teaching methods and techniques, and various forms of organizing children’s musical activities helps to instill in them feelings of patriotism and broadens their horizons.
Working in this direction, students can prove themselves in singing competitions at various levels.
Notes on the perception of music in a preschool preschool group
Abstract of the NOD on the perception of music in a preschool group of preschool age - “The Lark” by P. I. Tchaikovsky
Author: Ekaterina Valerievna Shvab, music director of the MBDOU Loukhsky kindergarten, Louhi village, Loukhsky district, Republic of Karelia Description: The abstract may be of interest to music directors, preschool teachers, music teachers of secondary schools Goal: Expanding children's knowledge about the music of P.I. Tchaikovsky, enriching knowledge about the behavior of birds in the spring. Objectives: -Expand and clarify ideas about the three-part form of P.I.’s works. Tchaikovsky -Develop memory, attention, logic, thinking; Based on your own experience, highlight the main thing, compare, draw conclusions. -To instill in children a love and respect for nature. Attributes: On the stand is a portrait of the composer P. I. Tchaikovsky, an illustration of the work “The Lark”, an illustration of a spring forest with an image of a lark, cards of the components of this work (3-part form) - 2 orange cards and 1 blue card. Video recording “The Lark's Song” -Educational channel for listening to preschool children (preparatory group) Procedure: Musical director: Please look at the stand, what is the name of this composer? Children answer: Pyotr Ilyich Tchaikovsky Musical director: Today we will get acquainted with a new work by P.I. Tchaikovsky, which is called “Lark” Musical director: Please tell me what you know about larks, who are they? Children answer - Birds. Musical director: When do they arrive to us? Children : In the spring Musical director: Why do you think the birds sing in the spring? Children answer: They rejoice in spring, rejoice in the warmth, the sun... Musical director: But no! Spring song for birds is a very important and serious matter. And, by the way, only males sing.
The little warbler returns home in the spring and immediately declares at the top of his voice: “I have arrived! This is my site, my territory! This is where I will live, hunt and raise my chicks.” With its song, a bird establishes the boundary of its territory; it is invisible. But it is audible.
If the voice of a rival appears nearby, the owner of the site rushes and drives him away from his territory. But birds of other species are allowed to settle in, because such neighbors have different food and nesting material. There is nothing to argue with them about. Just imagine, the future father has found a place for a nest and begins to call the mother of his future chicks with a ringing song. The future bird mother will hear one song, a second, a third, and will choose the most beautiful one and fly in. Let's now listen to how the lark sings in the spring. Pyotr Ilyich Tchaikovsky in this work spoke only about one bird, as he heard it. A lark flutters over the field, the cornflowers turn blue in the rye, and the sun laughs cheerfully in the transparent mirror of the river. Silenced everyone. A perky voice rings throughout the entire forest. (Berezhnaya S.) The musical director plays the first part of the play “Lark”. Then stops recording. Tell me, what song sounded like it now? Children answer: Sounding, joyful, cheerful. Musical director: Let's listen further to how the bird sings. (Starts the second part of the play, then stops at the end of the second part) . Musical director: And now, as the lark sang, has anything changed in the character of his song? Children answer: The song has become sad, sad. Musical director: Why do you think the lark became sad? Children offer their own options. The musical director adds: Or maybe the sun has stopped shining or the future mother of his chicks has not yet flown to him, but he tried so hard to sing... Let's listen to the last part of the lark's song . (includes the third part of the work) Musical director: What can you say about this song of the lark? The children answer: The song became joyful, cheerful, and confident again. Musical director: And now what was the lark singing about? Children offer their own answers. The music director adds: “He probably saw his female friend flying towards him, he was very happy and sang very piercingly and tenderly. “I’m here, I’m very happy! Fly to me!!"
The music director points to the first orange card: Now let’s remember once again what the nature of the song was in the first part of P.I. Tchaikovsky? Children answer: Joyful, cheerful Musical director: (points to the second blue card): And what was the character of the second part of the music? Children: Sad, sad... Musical director (points to the third orange card): And in the final part of the music, what was the lark's song again? Children: Joyful, cheerful, gentle... Musical director: How many sad songs did the lark sing? Children: One Musical director: How many joyful songs did you sing Children: Two Musical director: Please tell me how many parts there were in P.I.’s work. Tchaikovsky's "Song of the Lark"? Children: Three Musical director: Did you like the story about the lark? And his song? Children answer Musical director: Well done, you studied very well today, thought diligently, answered questions and learned a lot about larks in the spring. We know a lot about birds and at the same time little, and everyone needs: both you and us, so that there are more of them. In winter, put out a feeder for them, Give the tits some lard; All sparrows eat millet, add more as soon as it becomes scarce. They will reward your labors, And the gardens will bloom all around. Among those green foliage you will hear their song. (Pupils of grade 2 B of school No. 16 with in-depth study of individual subjects in the city of Zhigulevsk) a Literature:
“Music classes in kindergarten” Z.N. Bugaeva Publishing House AST; Stalker, Moscow 2005
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Project “Listen, move, play”
Hearing.Determine the genre and nature of music. Expand your vocabulary with definitions of the nature of music (cheerful, festive, marching, clear, decisive).
Movements.
Express the solemn, decisive character of the music in movements.
Playing children's musical instruments.
Develop musical perception, promote the ability to respond emotionally to music. Use drums, sticks, tambourine to orchestrate march music.
Hearing.
Tell us about the composer S. Maykapar. Conversation about the genre "waltz". Respond emotionally to music of a smooth, soft nature.
Movements.
Distinguish between three-part music. Learn to convey the character of music in movement.
1 – excited, light, flying.
2 – tender, dreamy, soft.
3 as 1.
Learn to perform movements gently and smoothly. Working with tape to improve the expressiveness of your hands. Introduce the waltz step.
Playing children's instruments.
Use bells.
Hearing.
Introduce the composer S. Rachmaninov. Talk about the polka “genre”. Learn to distinguish between music of 3 parts and determine the nature of the parts. Expand children's vocabulary, with the help of which they can speak about feelings and moods expressed in music (cheerful, perky, jerky, joyful, light, mischievous, sparkling, sunny).
Movements.
Practice movements: hopping, easy running, clapping, putting your feet on your toes, small jumps, twirling. Introduce the polka step.
Playing children's instruments.
Determine the timbres of musical instruments that correspond to the sound nature of parts of the play. Use tools for orchestration: 1 – triangle,
2 – bells, tambourine.
3 – tambourine, rumba,
4 – all together.
Develop attention, the ability to listen and hear music and each other. Distinguish between 4 parts in music.
Hearing.
Introduce the work of composer D. Shostakovich. Introduce the gavotte dance. Determine the nature of the music: light, elegant, playful, puppet-like. Encourage expression about the emotional and figurative content of the play.
Movements.
Convey in motion the mood of fairy-tale, puppet music. Imagination task: “funny dolls dancing at the ball.” Learn to perform movements and gestures: “show a beautiful dress”, “smart shoes”, “spin on your toes”, “Doll hands”, “wooden bows”.
Playing musical instruments.
Learn to play children's musical instruments. Hear and distinguish “variations” in music for each doll. Use: tambourine, tambourine, bell, triangle.
Hearing.
Respond emotionally to music of a playful, light nature. Introduce the concept of "waltz". Expand your vocabulary with definitions of the nature of music: playful, light, sparkling, flying. Learn to identify means of musical expression: rhythm, tempo. Register.
Movements.
Practice waltz movements. Learn to spin easily, run easily in a circle, perform half squats, light turns.
Learn to convey the light, lively, humorous, mischievous nature of music in movement. Practice making gestures: “rays of sunshine”, listen to the bell ringing, enjoy the sun, “meet the sun”, “spun with the sun”.
Playing children's instruments.
Determine the timbres of musical instruments that correspond to the sound nature of parts of the play. Play them: bells, triangle, metallophone. Emphasize the rhythmic and timbre originality of music.
Hearing.
Continue to introduce the music of P. Tchaikovsky. Determine the nature of the music: cheerful, perky, moving, joyful, dancing. Enrich children's vocabulary with statements about the emotional and figurative content of music. Determine the means of musical expression: tempo, timbre, rhythm.
Playing children's instruments.
Develop children's dynamic hearing. Develop a sense of rhythm. Continue to work on learning to play children's musical instruments: bells, spoons, tambourine. Listen to each other, hear the downbeat in the music.
Hearing.
Learn to compare contrasting plays of the same genre. Fast, swift, fiery, sharp - dance. Calm, solemn, leisurely, important - a minuet. Continue to enrich the vocabulary of definitions of the nature of music.
Movements.
Arouse interest and desire to convey in movements the different character of the musical images of the 2 pieces. Brave, decisive, courageous, strong, dexterous - young men.
Soft, gentle, affectionate, graceful - girls. Slow, calm, prim - ladies and gentlemen at the ball.
Practice gestures: “soft hands”, “gentle movements”, “high jumps”, “fast, swift running”, “bows and curtsies”, “dignified, important walk”.
Hearing.
Continue to get acquainted with the music of P. Tchaikovsky. Introduce music of a figurative, fairy-tale nature: angry, scary, jerky, alarming. Determine the means of musical expression: tempo, timbre, dynamic shades that create an image.
Movements.
Develop children's creativity. Try and find movements that convey the image of a fairy-tale, evil old woman.
Playing children's instruments.
Find expressive timbres of musical instruments to orchestrate a piece. Use noise tools.
Hearing.
Introduce the composer G. Sviridov. Respond emotionally to a vivid image. Mark means of musical expression. Determine the mood and character of the music
Movements.
Give children the opportunity to independently express their attitude to figurative music through movements. Introduce gestures:
“casts a spell”, “look around”, “walk bent over”, “walk leaning on a stick”. Continue to develop children's creative activity.
Playing children's instruments.
Use noise instruments to orchestrate a piece. Independently determine the volume of instruments, tempo and rhythmic pattern. Develop children's creative activity.
Hearing.
Introduce the composer E. Grieg. Introduce visual music. Determine the nature of music, means of musical expression, hear 3 parts in music.
1-soft, smooth, serene.
2-loud, bright, sunny.
3-tender, dreamy.
Movements.
Teach children to respond emotionally to visual music, to convey the mood of the music in their movements. Teach expressive gestures: “a flower wakes up”, “a stalk sways in the wind”, “rises towards the sun”, “Smiles at the sun”.
Gestures of jubilation: easy running, with outstretched arms, calm, peaceful movement, walking.
Playing children's instruments.
Find expressive timbres of musical instruments to orchestrate a piece. Learn to play the glockenspiel, triangle, and bells. Achieve something soft. Gentle sound science.
Hearing.
Continue your acquaintance with the music of P. Tchaikovsky. Determine the number of parts in music. Expand your vocabulary with definitions of the nature of music: excited, tremulous, light, airy, affectionate, lyrical, tender.
Movements.
Convey a joyful, upbeat mood in your movements. Master the gestures: “The flower is growing,” “swinging in the wind,” “picking flowers,” “admiring the flowers,” “raising our heads to the sun,” “spinning in the breeze.” Continue to develop children's creative activity and initiative.
Hearing.
Hear the dreamy mood of the music, its soft, melodious, bright, affectionate character. Determine the 3-part form of music. Talk about how music can convey the world of a person’s feelings and moods: joy and sadness, jubilation and sorrow, excitement and calm. Can tell about a person's dreams. A daydream is a dream about something sweet and tempting.
Movements.
Convey the mood of the piece and the character of the melody in free, creative movements. Perform movements: change from scattered pairs and back, perform the “light and heavy hands” movement. Achieve the ability to perform movements smoothly, easily, gracefully.
Playing instruments.
Find expressive timbres of musical instruments to orchestrate a piece. Practice playing bells, triangles, and metallophones.
Hearing.
To evoke emotional responsiveness to music of a sunny, bright, cheerful nature. Hear the cheerful, bright, perky, playful, fiery nature of the music.
Movements.
Arouse interest and desire in children to convey the character of music in their movements. Practice jumping in pairs, galloping, light jumps, the ability to narrow and expand the circle at a fractional step, circling at a fractional step.
Creative task: show how different animals, fairy-tale characters, dolls dance. Discuss the musical characteristics of polka fragments. Develop children's creative abilities, imagination, fantasy.
Playing musical instruments.
Use children’s ability to determine the nature of music and mood to find expressive timbres of musical instruments for orchestrating a play. Use bells, triangle, metallophone, maracas, tambourines.
Hearing.
Introduce the Tarantella dance. Tell that this is an Italian dance - fast, impetuous, whirlwind, playful, mischievous, galloping, sunny. Learn to determine the mood of music - incendiary, bright, forward-looking.
Movements.
Hear and embody in the movements of a quick jump and side gallop the light, fast music of the dance, the features of 2 parts, phrasing. Hear and reproduce changes in the rhythmic pattern and mark the staccato quarters with ringing hits on the tambourine. Exercise in movements: hopping, throwing legs forward, circling, lateral gallop, hopping in all directions.
Playing musical instruments.
Continue to develop children’s ability to find expressive timbres of musical instruments for orchestrating a play. Use bells, triangle, tambourines, metallophone.
Progress of the lesson
Children enter the hall and sit on chairs.
Educator : Hello guys. Please look at the portrait, what is the name of this composer?
Children: Pyotr Ilyich Tchaikovsky.
Educator : Today we will get acquainted with a new work by the famous composer P. I. Tchaikovsky, from “Children’s Album”
.
(The entire piece is performed)
Educator : Children, tell me, what kind of music ?
Children: Cheerful, calm, gentle.
Educator : That's right, the music is sunny , bright.
Educator : What mood does music ?
Children: Solemn, funny, joyful.
Summary of the conversation
Educator : Today we listened to a piece of music .
Educator : What is the name of the composer?
Children: Pyotr Ilyich Tchaikovsky
Educator : Let’s remember what “necessary words”
we chose for this
music ?
Children's answers .
Educator : Well done, guys, you did very well today.
Children go to the group .
Fragment of lesson No. 2: Stage 2 of perception . What does the music ?
Goal: Deepening children's understanding of P.'s work . I. Tchaikovsky. Introduce children to a musical image and put specific content into it.
Progress of the lesson
Children enter the hall and sit on chairs
Educator : Hello, children. At the last lesson, you and I got acquainted with a new work by P. I. Tchaikovsky, which is called “The Lark’s Song”
. Now you will hear an excerpt from a play that is already familiar to you.
(An excerpt of the play is performed)
Educator : Please tell me what you know about larks, who are they?
Children: Birds.
(Showing illustrations with a lark)
Educator : When do they come to us?
Children: Spring
Educator : Why do you think birds sing in the spring?
Children answer: They rejoice in spring, rejoice in the warmth and sun.
Educator : Now I’ll turn on the entire piece, and you try to listen carefully and say whether the lark sings the same way all the time or whether the mood of the music changes ?
(The piece is performed in its entirety)
Children: At first the lark sang cheerfully, loudly, then plaintively, and at the end cheerfully again.
Educator : That's right, at first the music sounds friendly , joyful, playful. Probably the sun was shining, and the lark sang cheerfully, carefree, rejoicing in the spring. But then the sun disappeared behind a cloud, the lark felt lonely in the sky, and he sang restlessly, anxiously, pitifully. You heard the lark descend to the ground at the end of the play. His chirping can be heard lower and lower. Finally he came down and disappeared into the grass.
Educator : Did you hear the voice of the lark? What mood does his song evoke?
Children: Fun, funny, flying.
Educator : What technique, melodic turn, imitating bird singing, is used in the play?
Children: A trill is a quick change of sounds that makes it overflow.
Educator : The trill of the lark helped us hear the flute! Do you remember this musical instrument ? Describe to me the flute and the sounds it makes?
Children's answers
Educator : What other instruments did you hear?
Children: Violin, piano.
Educator : Guys, tell me why this play is called that? What does the music ?
Children's answers .
Educator : Well done, our lesson has come to an end, thank you everyone, let's go to the group .
Children go to the group .
Fragment of lesson No. 3: Stage 3 of perception . How does the music ?
Goal: Connect the content of the work with the means of musical expression used by the composer.
Children's musical repertoire: requirements and classification.
The development of children's musical perception is carried out through all types of musical
activities. The repertoire performs an important function in the musical education of preschool children. In many ways, the success of children's musical development depends on the quality of the repertoire used. Its most important criteria include artistic value (the ability to reflect the rich spiritual world of a person), educational orientation (the ability to form a child’s aesthetic feelings, develop musical thinking), pedagogical appropriateness (the ability to evoke positive emotions in children in the process of musical perception, to support interest in music), accessibility.
Taking into account the different levels of musical and general development of children and their natural capabilities, teachers of preschool institutions should pay special attention to the selection of musical material for working with children - music for listening, songs, dance melodies, etc. This music should be attractive to children and evoke an emotional response in them. The musical repertoire used in working with children must simultaneously satisfy two requirements - artistry and accessibility. The requirements for the availability of the repertoire are considered in two aspects:
— accessibility of the content (correspondence of the emotional content of the music to the emotional experience of the child, his ability to empathize with the feeling that forms the basis of the musical image);
— accessibility of the musical repertoire (in terms of range, length of themes and plots) for children to play.
In the process of developing musical perception skills, it is important to introduce children to musical works of various styles. This makes it possible to enrich the child’s ideas about music of different times, about the “intonation vocabulary” of different eras.
The kindergarten's repertoire includes folk music, children's classics and modern music, but the overwhelming majority consists of works specially created by domestic composers for children.
Important features of the repertoire intended for listening should be ideological and thematic orientation, genre diversity, taking into account the age capabilities of the children. The repertoire, selected in a certain sequence, meets the objectives of cultivating an aesthetic attitude towards the environment. Therefore, it matters what kind of music children should be introduced to at different ages, and what feelings are fostered.
The entire musical repertoire can be divided into works for listening, singing, and moving to the music. They are selected taking into account the program objectives of raising a child in kindergarten and meet the artistic and pedagogical requirements:
- unity of content and musical form;
- compliance with all types of children's musical activities;
- accessibility of perception and performance by preschool children of various kindergarten groups.
The musical repertoire included in the program meets the goals of comprehensive musical education and development of a preschooler, and is available for assimilation and further independent use in kindergarten and family.
Types of children's musical activities.
Musical activities of preschoolers are various ways and means for children to learn the art of music (the life around them, and themselves)
The following types are distinguished: perception (listening) - development. music auditory ideas.
Performing - carried out in singing (developed modal sense, sense of rhythm, developed coordination of voice and hearing, improves children's speech), musical and rhythmic movements (developed plasticity, expressiveness in movement) playing musical instruments (interest, development of music. abilities) children's orchestras
Musical educational activities include general information about music as an art form, musical genres, composers, musical instruments, etc., as well as special knowledge about performance methods.
Creativity (songs, music games, dance) In preschool. age, one can observe only its most initial manifestations, which are expressed in the ability to create the simplest song songs
improvisation; combine familiar dance moves to create new dance variations. All activities are interconnected and interact with each other. Each type of activity serves as a means of developing some musical ability. Thus, all types of muses are means of musical education and development of children.
Organization. Music Activities
Music The activities of preschools are various ways for children to learn music. art (and through it both the environment around life and oneself), with the help of which the general development is realized.”
The main goal is to teach children to hear, love and understand music, to feel its beauty. The following must be taken into account:
-musical life should be organized in accordance with the age and needs of children;
- rely on the child’s personal experience;
conditions must be created for the development of musical ear, musical language, and creative perception.
It is important to systematically examine the degree of musical development of children, identifying their needs and interest in music, creativity, and level of musical knowledge. Only thanks to this approach it is possible to create the necessary musical atmosphere at concerts, evenings, special
classes.
Music for a child is a world of joyful experiences. At a very early age, the baby distinguishes music from the sounds and noises around him. He focuses his attention on the melody he hears, freezes for a while, listens, reacts with a smile, humming, individual movements, and
"revitalization complex"
Older children already have increased mental abilities. They comprehend certain connections between phenomena and are able to make the simplest generalizations - to determine, for example, the nature of the music, to name the characteristics of a played piece as cheerful, joyful, calm or sad. They understand and
requirements: how to sing a song of different character, how to move in a calm round dance or in
moving dance. Musical interests also develop: preference is given to one or another type of activity, genre of music.
By the age of six or seven, initial manifestations of artistic taste are observed - the ability to evaluate works and their execution. Singing voices at this age acquire sonority, melodiousness, and mobility. The range is leveled out, vocal intonation becomes more stable. If four-year-old children still need constant support from an adult, then with systematic training, most six-year-old children sing without instrumental accompaniment.
Children's actions in music classes are aimed at completing educational and creative tasks. They learn performing skills and improvise their own simple melodies, and when performing various dances they strive to convey various dance movements, musical and game images in their own way. The diversified development of the child’s personality is ensured. thanks to the close relationship between aesthetics. Remember with moral, mental, physical. The implementation of ideological and moral influence is helped by a properly developed program. and selected accordingly. with the age-related capabilities of children of production. The most important thing is the “school of feelings”, cat. are formed thanks to the special property of music - to evoke the empathy of listeners. On music During classes, cognitive and mental activity are also activated. Children learn a lot and pay attention. listening to production But only its most general features, its most vivid images, were perceived. At the same time, emotional responsiveness does not lose its significance if the child is given the task of listening, distinguishing, comparing, and highlighting the expression. These mental actions enrich and expand the sphere of feelings and experiences
child, give them meaning.
