The role of education in musical activity. "The role of the educator in the development of independent musical activity of children

12.07.2019

named after I.P. Vyucheysky "

TEST

by discipline

Musical education methodology

theme The role of the educator in the musical education of the preschooler.

Completed by: Aydogdu A.A.

2nd year student

specialty: "Preschool education (OZO)

Teacher: Dresvyankina N.B

Naryan-Mar

Introduction ………………………………………………………………………… .3

1. Musical education …………………… …………………………… ... 4

a) the tasks of musical education …………………………………………… 6

2. The role of the educator in the musical education of preschool children ………………………………………………………………………… 8

a) the functions and responsibilities of the educator in musical education ... ... ... .9

b) musical lessons ……………………………………………………. eleven

c) independent musical activity of children ……………………… ..15

d) festive matinee ………………………………………………… .. ..17

Conclusion …………………………………………………………………… ..19

List of used literature …………………………………………… .. 20

Introduction.

In my work, I will consider the concept of musical education, the tasks of musical education, the functions and responsibilities of an educator in the musical education of preschoolers.

Music plays a special role in the upbringing of a child. Children come into contact with this art from birth, and they receive purposeful musical education in kindergarten - and later in school.

The influence of music in the development of the creative activity of children is very great. Music evokes an emotional response in children before other forms of art. Music gives pleasure even to a 3 - 4 month old baby: singing, the sounds of a metallophone cause the baby first to concentrate, and then to smile. The older the children are, the brighter and richer are the positive emotions evoked by music.

Music accompanies a person all his life.

The purpose of the abstract: to consider the role of the educator in the musical education of preschool children.

Select and study literature on this topic.

The relevance of this topic is that the role of the educator in the musical education of preschool children is an important component of the development of the child's personality.

Musical education.

The basis of the theory of musical education of children is the enormous cognitive and educational possibilities of musical art.

Musical education is the purposeful formation of a child's personality through the influence of musical art - the formation of interests, needs, abilities, aesthetic attitude to music.

Music education in kindergarten is one of the most important educational tools. To carry out this work purposefully and in depth, the entire teaching staff must be responsible for it.

The kindergarten does not set itself the task of educating future professional performers. His goals are to educate the child's feelings, his character and will by means of musical art, to help music penetrate his soul, evoke an emotional response, a lively meaningful attitude to the surrounding reality, deeply connect him with it.

In our country, musical education is viewed not as a sphere accessible only to selected especially gifted children, but as an integral part of the overall development of the entire younger generation.

It is very important to start musical education as early as possible in order to introduce the child to the whole diversity of musical culture.

Preschool age is the period when the basic abilities of the child are laid, his hidden talents begin to manifest, and the active development of the personality takes place. A child at this age is the most receptive to information and is able to realize himself in almost any area. Music opens the way for a child to be creative, allows one to get rid of complexes, "open" oneself to the world. Music influences not only the development of the musical abilities of children directly, but also contributes to the socialization of the child, prepares him for the "world of adults", and also forms his spiritual culture.

Acquiring in the classroom in kindergarten, in the family, certain knowledge about music, skills and abilities, children are introduced to the art of music. It is necessary to ensure that in the process of musical education the acquisition of this knowledge, skills and abilities is not an end in itself, but promotes the formation of preferences, interests, needs, tastes of children, that is, elements of musical and aesthetic consciousness.

The purpose of music education is to arouse interest in music, to develop the emotional and musical abilities of the child.

I believe that the role of the musical education of preschool children is very important, because in these years the foundation is laid on which knowledge of a person's artistic preferences will later be produced,

The tasks of musical education.

Based on the goals of musical education, musical pedagogy sets itself the following tasks:

Foster a love and interest in music. This task is solved by developing musical sensitivity, musical ear, which help the child to feel and comprehend more sharply the content of the works he has heard. The educational influence of music is carried out.
To enrich the impressions of children by introducing them in a clearly organized system with a variety of musical works and the means of expression used.
Introduce children to various types of musical activity, forming the perception of music and the simplest performing skills in the field of singing, rhythm, playing children's instruments. To acquaint with the initial elements of musical literacy. All this will allow them to act consciously, naturally, expressively.
To develop the general musicality of children (sensory abilities, pitch-pitch hearing, a sense of rhythm), to form a singing voice and expressiveness of movements. If at this age the child is taught and introduced to active practical activity, then the formation and development of all his abilities takes place.
Promote the initial development of musical taste. On the basis of the impressions and ideas about music received, first a selective, and then an evaluative attitude towards the works performed is manifested.
To develop a creative attitude to music, primarily in such activities accessible to children as the transfer of images in musical games and round dances, the use of new combinations of familiar dance movements, and improvisation of tunes. Independence, initiative and the desire to use the learned repertoire in everyday life, to play musical instruments, sing and dance are formed. Of course, such manifestations are more typical for children of middle and senior preschool age.

The main task of the musical education of preschool children is to develop emotional responsiveness to music, instill interest and love for it, and bring joy. And joy is an emotion that expresses a feeling of great spiritual pleasure. It arises only when a person satisfies his needs. Consequently, in musical lessons, a child should experience a sense of satisfaction and pleasure from performing various types of musical activity, become a person capable of creating and thinking creatively.

The tasks of music education apply to all preschool age. At each age stage, they change and become more complex.

The role of the educator in the musical education of preschool children.

It is important for a teacher-educator not only to understand and love music, to be able to sing expressively, move rhythmically and play musical instruments to the best of his ability. The most important thing is to be able to apply your musical experience in raising children.

Meanwhile, the teacher is not relieved of the responsibility for conducting musical education in the group with which he works, even if there is a very experienced music director in the kindergarten.

The functions and responsibilities of the educator in musical education.

The success of the musical development of preschoolers largely depends not only on

from the music director, but also from the educator.

The teacher is obliged:

To develop the independence, initiative of children in the performance of familiar songs, round dances in various conditions (for a walk, morning exercises, classes), to help children express their musical impressions in creative games.
To develop an ear for music, a sense of the rhythm of children in the process of conducting musical and didactic games.
To deepen the musical experience of children by listening to music in audio recordings.
Know all the program requirements for musical education, the entire repertoire of your group and be an active assistant to the music director in music lessons.
Conduct regular music lessons with the children of your group in the absence of a music director (due to vacation or illness).

The teacher must carry out musical education, using all forms of work: singing, listening, musical and rhythmic movements, playing musical instruments.

The teacher acquires the skills for such work during special training in educational institutions and through communication with the music director at various consultations, seminars and workshops.

Working with the teacher, the music director reveals to him the content of the upcoming music lessons. Learns practical material. Of course, the music director acquaints educators with those immediate tasks that he sets in the process of working on the content of the training program. This helps them to observe the progress of each child together. To identify those children who need additional help, to outline the ways of this help.

Besides. Such work allows the music director, taking into account the capabilities of each educator, to skillfully use him in the process of music lessons.

Musical lessons.

It so happens that one moves well, but sings out of tune. The other has a good voice but is not rhythmic. Educators' excuses from participating in music lessons with reference to inability to move or undeveloped hearing are completely unconvincing. If the educator has weak auditory ideas, insufficiently pure intonation, he can, knowing the program material and the repertoire, constantly involve in the performance of songs well-singing children, and he himself can only sing along with them. To listen to music, he can use audio recording.

The teacher's participation in a music lesson depends on the age of the group, the musical preparedness of the children and the specific tasks of this lesson.

It is especially important for the educator to participate in work with younger groups, where he plays the main role in playing, dancing, and singing. The younger the children, the more active the teacher has to be - to help the child, to make sure that the children are attentive, to observe who and how manifests himself in class.

In the senior and preparatory groups, children are given more independence, but still, the help of a teacher is needed.

No matter how high the pedagogical qualifications of a musical director may be, none of the main tasks of musical education can be satisfactorily resolved if it is carried out without the participation of a teacher. And also, if the music sounds for children only on the days when the music director comes, if they sing, play and dance with the children only in music lessons.

Music perception is the leading type of musical activity.

Perception of music (listening) is the leading type of musical activity for children. Musical perception is a perception aimed at comprehending and comprehending the meanings that music possesses as art, as a special form of reflection of reality. Perception occurs in all types of musical activity. At the same time, perception is also an independent type of activity in the classroom. The musical repertoire used for listening must simultaneously satisfy two requirements - artistry and accessibility. Artistic - highly artistic examples of musical art: classical music of different times and styles, folk music, modern. The formation of intonational musical experience occurs through the accumulation of various musical impressions. Accessibility manifests itself in two aspects: 1) the accessibility of the artistic and figurative content of music (the perception of program-visual images close to children - nature, play, images of animals; the possibility of perceiving emotional content, matching the feelings that children are able to experience at the moment - sadness, tenderness , joy); 2) accessibility associated with the volume of the child's perception (it is advisable to select small works or bright fragments lasting 1-2 minutes).

Age characteristics of musical perception of preschoolers (analysis of preschool education programs).

Stages of development of musical perception in preschool age: 1) the teacher's introduction; 2) full screening of the work; 3) analysis of a piece of music; 4) re-full screening. The purpose of the first stage: to arouse interest in music by means of a figurative story about the composer, the genre (form) of the musical work, its content. Full screening of the work - the performance of the music, the quality of its sound.

The analysis of a piece of music is proposed to be carried out based on the following sequence of questions "What feelings does the music convey?" (characterization of the emotional-figurative content of music), "What does the music tell about?" (highlighting the features of programmaticity and figurativeness, if any), "How does the music tell?" (characteristic of the means of musical expression). Determining the emotional-figurative content of the work (mood, character) is the most important part of the analysis. Methods and techniques for enhancing musical perception, used for repeated listening: orchestration of musical works; transfer of the character of music in motion; comparison of works of the same genre, plays that have the same title or are similar in subject matter, different versions of performances of the same work, comparison with works of various types of art (paintings, reproductions, poems); reflection of the nature of the music in the drawing, in the color scheme, musical and didactic games.

Musical perception develops not only in music lessons. It is important to use various forms of organizing children's musical activities - to hold thematic concerts, to include listening to music in scripts for festive matinees, to listen to musical works in a group in the afternoon. You can use music during quiet games, free drawing, on a walk, and include it in other (non-musical) activities. In this case, there is no conversation about music.

Choosing musical works, the teacher listens to a lot of music, thereby expanding his own horizons.

The role of the educator in the musical education of children.

The purpose of musical education in a preschool educational institution is to form the foundations of the child's musical culture as part of the general spiritual culture. The main work in this direction is carried out by the music director. The teacher plays the role of his active assistant, having great opportunities to introduce children to music.

1. The teacher actively participates in the process of teaching children in music lessons. In younger groups, the teacher sings with the children. In the middle and senior groups, it helps to learn songs. When teaching children musical and rhythmic movements in younger groups, he participates in all types of movements, thereby activating the kids. In the middle, senior and preparatory groups, the role of the educator is different: he acts as needed, showing any movement, giving children separate instructions in dancing, playing, etc. The educator helps the music director prepare and conduct various types of activities. His role is especially important in complex classes (with the inclusion of various types of artistic activities).

2. The most important task of the preschoolers' music education teacher is the inclusion of music in the daily life of children, so that their stay in the group is brighter and more diverse. To this end, the educator thinks over in advance the possible options for using music in the daily life of children, seeking its easy inclusion in children's activities. Opportunities for using music: during leisure hours, in role-playing games, in various activities, during a walk, in other regime moments (before going to bed, while receiving children, etc. .). In your free time the educator, maintaining an interest in music, consolidating the knowledge gained in music lessons, listens to musical works with children, sings familiar and new songs, helps children to master the game on DMI, elements of dancing. It is useful to organize viewing of musical films, cartoons, celebrating children's birthdays (with the inclusion of music).

Including music in the game makes her more emotional, interesting, attractive. In such games as "concert", "musical activity", music is the main content. In other cases, an illustration of the action of the game (in the game "mom and children", participants sing a lullaby, celebrating housewarming, sing and dance; boys, playing soldiers, march to the sound of a drum; a theater in which puppet characters sing songs).

On a walk the inclusion of music is most advisable in the summer. It is possible to sing and stage songs (related to nature, with the season), round dances (“We went to the meadow”, “Zemelyushka-chernozem”), outdoor games using musical instruments, TCO. Music can be included as an integral part in classes on the development of speech, familiarizing children with nature, visual activity... Depending on the tasks that the teacher sets, music either precedes observation or reinforces children's impressions (puts an emotional end to the lesson). At the nature studies lesson, having watched the fish, the teacher can sing the song "Fish" or listen to the play "Aquarium" by C. Saint-Saens with the children. In the lesson on the development of speech, music can be turned on when telling a fairy tale (when telling a fairy tale "Kolobok", it is advisable to sing a Kolobok's song, when reading A. Pushkin's fairy tale "The Tale of Tsar Saltan" - listen to fragments of the opera of the same name), singing songs helps to correct certain speech defects ... Singing fast, clear songs helps build articulation. The theme of drawings, sculpting, appliqué can be the content of a familiar song (during the lesson "My Favorite Song" it is proposed to draw (blind, make an applique) what is sung in his favorite song). Music helps to convey in artistic work the characteristic features of the artistic image (before drawing a clown, children listen to the play "Clowns" by D. Kabalevsky). Music in morning gymnastics and physical education, accompanying physical exercises, creates a certain emotional mood, activates the attention of children, increases the expressiveness of movements. To music, it is advisable to perform basic, general developmental, drill exercises. Running jumps, throwing, climbing to music is not recommended, since they assume a free rhythm of movements corresponding to the capabilities of each child. Each type of exercise requires careful selection of musical compositions.

3. The teacher conducts some musical leisure and entertainment independently or under the guidance of a musical director.

4. The teacher guides the independent musical activity of children, maintaining an interest in musical activity, creates problematic situations that activate creative manifestations, taking into account the interests and inclinations of the pupils. The guidance of independent activity is indirect in nature: the educator tries to influence the musical impressions of the child. The teacher organizes a subject-spatial environment that contributes to the emergence of independent musical activity. The "Musical Corner" should contain manuals, materials, a set of musical instruments, portraits of composers, filmstrips, records, tape recordings, musical and didactic games, sets of various types of theater, elements of costumes, attributes, etc.

5. The educator works with parents, recommending visits to musical theaters, concerts, watching TV programs, cartoons, and involves them in organizing joint events.

To guide the musical and aesthetic activities of children, the educator must constantly improve his musical culture, improve performing skills, and keep abreast of the latest in musical and methodological literature.

"The role of the educator in the musical activity of children »

Purpose: Tell teachers about the role of the educator in music lessons and matinees.

Preschool childhood is the most optimal time to introduce a child to the world of beauty. In this regard, the personality of the educator is of great importance. The final result of the upbringing of a preschooler depends on his moral character, level of knowledge, professional skill and experience.

It is important for a teacher-educator not only to understand and love music, to be able to sing expressively, to move rhythmically and play musical instruments to the best of his ability. The most important thing is to be able to apply your musical experience in raising children.

Raising a child by means of music, the teacher must understand its importance for the all-round development of the personality and be its active guide to the life of children. It is very good when children in their free hours lead round dances, sing songs, select melodies on the metallophone. Music should permeate many aspects of a child's life. The process of musical education can only be guided in the right direction by the one who works inseparably with children, namely, the educator. But for this, the educator must have the necessary knowledge in the field of music. In preschool secondary and higher educational institutions, future educators receive extensive musical training: they learn to play an instrument, sing, dance, master the methods of musical education. In the kindergarten, the musical director conducts work to improve the level of musical knowledge and develop the musical experience of the collective of teachers.

Meanwhile, the teacher is not relieved of the responsibility for conducting musical education in the group with which he works, even if there is a very experienced music director in the kindergarten.

The teacher is obliged:

To develop the independence, initiative of children in the performance of familiar songs, round dances in various conditions (for a walk, morning exercises, classes), to help children express their musical impressions in creative games.

To develop an ear for music, a sense of the rhythm of children in the process of conducting musical and didactic games.

To deepen the musical experience of children by listening to music in audio recordings.

Know all the program requirements for musical education, the entire repertoire of your group and be an active assistant to the music director in music lessons.

The teacher must carry out musical education, using all forms of work: singing, listening, musical and rhythmic movements, playing musical instruments. The teacher acquires the skills for such work during special training in educational institutions and through communication with the music director at various consultations, seminars and workshops.

Educators' excuses from participating in music lessons with reference to inability to move or undeveloped hearing are completely unconvincing. If the teacher has weak auditory ideas, insufficiently pure intonation, he can, knowing the program material and repertoire, constantly involve well-singing children in the performance of songs, and he himself can only sing along with them.

The teacher's participation in a music lesson depends on the age of the group, the musical preparedness of the children and the specific tasks of this lesson. It is especially important for the educator to participate in work with younger and middle groups, where he has a major role in playing, dancing, and singing. The younger the children, the more active the teacher has to be - to help the child, to make sure that the children are attentive, to observe who and how manifests himself in class.

In the senior and preparatory groups, children are given more independence, but still, the help of a teacher is needed.

No matter how high the pedagogical qualification of a music director is, none of the main tasks of music education can be satisfactorily solved if it is carried out without the participation of a teacher, and also if music sounds for children only on the days when the music director comes, if with children sing, play and dance only in music lessons.

What exactly should the educator do during a typical frontal lesson?

In the first part of the lesson, its role is great in the process of learning new movements. He participates in the demonstration of all types of exercises along with the musical director, which allows children to simultaneously develop their visual and auditory perception. The teacher, since he does not sit at the instrument, sees all the children, can give appropriate instructions and make comments along the way. The teacher must offer accurate, clear and beautiful movement patterns in all types of exercises, with the exception of figurative ones. In figurative exercises, the teacher gives exemplary samples, since these exercises are aimed at developing the creative activity of children.

In the second part of the lesson, the teacher is mostly passive when listening to music. The musical director performs a piece of music and conducts a conversation on it. The teacher can help children in analyzing music with leading questions, figurative comparisons, if the children themselves find it difficult to answer. Mainly, the educator, by personal example, shows children how to listen to music when necessary, makes comments, and monitors discipline.

While learning a new song, the teacher sings with the children, showing the correct articulation and pronunciation.

To acquaint children with a new song, a teacher who has good musical abilities - voice, pure intonation, can perform the song solo. As a rule, such an acquaintance with a new work evokes a lively emotional response in children. The ability of a music director to sing, dance, play an instrument is natural for children, while such skills of a teacher arouse great interest and a desire to imitate.

At the second stage of learning a song, the teacher sings with the children, at the same time monitors whether all children are active, whether they correctly convey the melody, pronounce the words.

Outside of musical studies, when fixing a song, you cannot teach words with children without a melody. Musical accents do not always coincide with textual ones. Children will have difficulty performing the song in class and with the accompaniment.

At the third stage of learning (at 5-6 lessons), when the children are already expressingly singing the song, the teacher does not sing with the children, since the task of this stage is independent emotionally expressive singing without the support of an adult's voice. Children should completely independently start a song with or without an introduction, perform all dynamic shades, and finish singing in a timely manner. An exception is singing songs with children of younger groups, where the experience of choral activity is not formed and the help of an adult is needed.

When learning non-plot games with children, the teacher gives explanations, instructions, comments on the course of the game, can join the game when it is first performed or when the game requires an equal number of pairs of children. The teacher plays with the kids at all stages of learning the game.

In story games, the teacher is either only an observer, gives instructions, or (in a difficult game, as well as in younger groups) takes on one of the roles. Children's play should not be interrupted. After the game is over, the teacher gives the necessary explanations, instructions and the children play again. The teacher, observing the play of children, helps the music director with advice - he tells what is still not working, what movements should be learned in exercises for further improvement.

The teacher acts in the same way during the performance of the dances. The teacher shows a new dance, the elements of which the children learned in the course of the exercises, together with the musical director or with the child, if the dance is performed to the accompaniment of the musical director. In the process of learning, the teacher gives instructions, helps to perform movements correctly, prompts a change in movement, paying attention to changes in music, dances with children who have no pair. At the final stage of learning, children dance independently. In dances - improvisations, conducted with older children, the teacher does not participate, since they are carried out in order to develop the creative initiative of children. He can write down the sequence of the movements composed by the children and at the end of the dance he can approve or make comments if the children did not show their individuality in solving the task, the movements were all the same or monotonous. But usually these comments are made by the music director. The teacher can, in agreement with him, improvise the dance, and offer the children to perform it in their own way.

In the final part of the lesson, the teacher usually does not actively participate (with the exception of the younger groups), since the assessment of the lesson is given by the music director.

Let's consider another important form of musical and aesthetic education of children - a festive matinee, which includes almost all types of creative activities of children and the teaching staff.

The matinee is part of all the educational work carried out in the kindergarten. Here the tasks of moral, mental, physical and aesthetic education are carried out. Therefore, preparing for the holiday, holding it and consolidating the impressions received by children can be considered as links of a single pedagogical process.

The activities of the teacher at matinees are very diverse. The most responsible is the role of the leader. His emotionality, liveliness, ability to communicate directly with children, expressive performance of poetic texts, largely determine the general mood and pace of the celebration. The facilitator must not only know the scenario, but also be able to quickly respond to unexpected random changes.

Solo and group performances of educators give children great pleasure. They can show various dances, sing songs, play the role of a character. Educators who do not play any roles are with the children of their group. They closely monitor how children perceive this or that performance. They sing with them, prepare attributes, details of costumes, change children in time, help them, if necessary, during the game and dance performance. After the holiday, children remember the performances they liked for a long time. The educator should strive to consolidate these impressions by linking them to the topic of their studies. He invites children to draw or sculpt a hero they like, come up with a new plot with the characters of the matinee, conduct conversations, repeat favorite songs, games, dances in a group and during a walk.

The quality of the educator's musical work, the development of his activity depends not only on his abilities and experience in this area. An important role here is played by the ability of the music director to take into account the characteristics of the character of each educator: to approve of the shy, instill in them self-confidence, and arouse the desire to correct mistakes. It is necessary to teach punctuality to those who are frivolous about their responsibilities, to encourage further improvement of those who calm down on what they have achieved. There is no doubt about the role of the educator in the musical activity of children. He, along with the musical director, is of great importance in the matter of musical and aesthetic education. As for responsibilities - there is no need to draw a clear line - this should be done by the educator, and this is the responsibility of the music director. Only joint activity, joint creative approach to this issue can bear fruit.

BIBLIOGRAPHY:

1. N. A. Vetlugina "Methods of musical education in kindergarten"

2. A. N. Zimina "Fundamentals of musical education in a preschool institution"

3. E. I. Yudina "The first lessons of music and creativity"

4. Magazine "Reference book of the musical director"

Consultation for educators on the topic:

"Pedagogical technologies for organizing the process of music perception by preschool children"

Listening to music by children is carried out in the process of musical and pedagogical work, in the course of participation in all types of children's musical activities, at leisure activities and holidays. The music director traditionally devotes part of the lesson to listening to music, using certain methods and techniques to organize it.

The educator should also turn to listening to music, organizing this process as an activity or initiating children to independent perception of works. Children and in the family listen to, attending concerts, musical performances, etc. with their parents.

Pedagogical technology is a tool for the teacher's professional activity. On what principles is the technology of the process of music perception by preschoolers based?

Principles and technologies of music perception:

The principle of humanization - the personal and individual qualities of the child are taken into account in the process of perceiving musical works

The principle of the child's age - the results of diagnostics and the main changes in the perception of music in each age group are taken into account

The principle of the development of subjective qualities - musical interests and the orientation of the child to a specific type of musical activity are taken into account

The principle of subject-subjective interaction - the freedom of reactions and statements of the child, the prevention of violent, harsh measures limiting the impulses of the child are taken into account. The child can choose the types of artistic activity in which he would find the embodiment of what he heard in music, initiate listening to music, name the teacher the musical works that he wants to listen to. The educator should be responsive to these initiatives.

The principle of pedagogical support - the actions of a teacher should be aimed at helping a child experiencing certain difficulties in the process of perceiving music, relieving emotional tension and uncomfortableness.

The principle of professional cooperation and co-creation is the obligatory interaction between the music director and the educator, close cooperation with the family and other specialists working in the kindergarten.

The principle of the purposefulness of the process of music perception by children - the teacher needs to know for what purpose musical perception is organized

The principle of selection of musical works - it is necessary to select musical works according to certain criteria, corresponding to the age characteristics of children

The principle of systematicity and consistency - it is necessary to systematically work on the perception of music by preschoolers, a gradual complication of the musical content

The principle of productivity - the result of the perception of music should be a kind of creative product, for example, an image embodied in a drawing, dance, playing music, playing, word, etc.

The principle of syncreticity is the combination of different methods and ways of artistic and creative activity of preschoolers.

Listening to music can be divided into four stages of teachers' actions in the process of organizing children's perception of music:

1. attracting children's attention to listening to music, attunement to perception;

2. rehearing followed by musical analysis, analysis of impressions;

3. consolidation of ideas about the music he listened to in the child's musical experience, memorization of the piece, the willingness to talk about it, the desire to listen again;

4. creation of conditions for the child's expression of the results of musical perception in play, artistic, motor activity.

Stages of organizing the perception of music by preschoolers in a group, with the direct assistance of a teacher-educator.

1. organization of the developmental environment in the group.

2. accumulation of musical experience in children, practical skills in visual activity, activation of creative imagination.

3. independent productive activity of children. At this stage, it is proposed to organize listening to music, after which children can express their fantasies in visual activities (drawing, modeling, applications).

The teacher's activity at the first stage is to create a musical area for listening to music, which should contain muses. center, discs with recorded music, portraits of famous composers, musicological books available to children, illustrations for muses. works, reproductions of paintings.

After organizing a music zone or a corner for listening to music, it is necessary to conduct a conversation with the pupils on the topic "What's new in the group?" thus attuning them to a specific type of musical activity.

At the second stage, the teacher carries out work on the accumulation of ideas, impressions and emotional experiences by children in the course of music perception. This work is carried out in a certain logic.

Introductory part. Games and exercises (2-3) to develop the creative imagination of children.

Main part. Organization of the process of perception of musical works (1-2), conversation about what was heard.

Final part. Option 1 - Active listening. With the help of plastics and elements of dance movements, invite the child to express his impressions of what he heard. The second option is to express musical impressions through visual activity (drawing).

The teacher conducts such work with children 1 time a week throughout the school year, as a strengthening of the skills and auditory ideas obtained in music lessons.

It is this kind of work that will allow us to approach the final stage of the technology - independent productive activity of children and integrated lessons in musical and visual creativity.

Gogoberidze A. G. "Theory and methods of musical education of preschool children"

Consultation for educators on the topic:

"The role of the educator in the development independent musical activity of children ”.

Independent musical activity of children contributes to the development of such personality traits as initiative, independence, creative activity. The role of the educator is to encourage children to apply the skills learned in music lessons in the day-to-day life of the kindergarten.

For the development of independent musical activity of children, the group should be equipped with "musical corners" where children's musical instruments, didactic games, fun toys are placed, which can later be beaten by the teacher (the bear plays the balalaika, the hare jumps, the girl dances, etc.). ) To maintain children's interest in independent musical activity, the teacher once a month must update the manuals in the "musical corner", replenish it with new attributes and didactic games.

An important role of the educator in the development of independent musical activity of children is the creation of problem situations, the encouragement of children to variable independent actions, the development of the ability to apply what has been learned in new conditions. In doing so, the decoration enhances the children's experience. Under the influence of the joyful sound of music, expressive words, elements of costumes, children will have bright positive emotions. All this will encourage them to express their feelings in singing, dancing, and playing, as well as contribute to the formation of interest in music and musical activity in general.

Having thus created an environment in the kindergarten as full of musical intonations as possible, the teacher will be able to awaken interest and love for music in children, as well as contribute to the formation and development of independent musical activity of preschoolers.

Consider the various types of musical activities of children in a group:

Playing children's musical instruments ... Children are very fond of playing the metallophone, accordion, button accordion, triplet, tambourine, drum and other instruments, they can perform tunes, rhythmic patterns learned in the classroom, or they come up with and perform their own melodies, showing creativity. Often children are attracted to the process of mastering a new instrument. In such cases, they teach each other: those who play this instrument well, show tricks to those who do not yet know how to play. This companionable help is most often seen in senior and preparatory groups. Playing the instruments, children learn to distinguish between their sounds, begin to highlight the ones they like, organize an "orchestra" themselves, choose a conductor. The role of the educator is to encourage the creative activity of children, teach them to negotiate, make sure that the game does not turn into a quarrel.

One of the most striking forms of musical independent activity of children ismusic game . Older preschoolers themselves create the conditions necessary for this game. The game can be expanded in nature: several types of activities are combined (playing on a metallophone and dancing, guessing a song by its melody and a round dance, etc.). In other role-playing games, children use songs that correspond to their play actions. For example, playing in the parade, boys sing "Drum" by M. Krasev, drum and march, girls, laying dolls, sing the song "Bayu - Bayu" M. Krasev. The song promotes a more dynamic course of the game, organizes the actions of children.

In this type of independent activity of children, the educator continues to form the pupils' ability to negotiate (who will do what), can suggest the plot of the plot for the game, support the activity of any child and help him organize a collective game.

Musical and didactic games used in independent musical activity develop in children the ability to perceive, to distinguish the basic properties of musical sound: "Musical Lotto", "Guess who is singing", "Two drums", "Hush - louder in a tambourine beat", "Name a song by picture" and etc.

To enrich children's musical experiences and encourage them to apply the skills learned in music lessons, the educator should fillregime moments the sound of classical pieces known to children. For example, onmorning exercises and during physical education occupations (for kids), the teacher can use the following works: while running and walking at a fast pace, gallop "Brave Rider" by R. Schumann, "Clowns" by D. Kabalevsky, "Round Dance of Dwarfs" by F. Liszt, "My Horse" by A. Grechaninov other; during a light run, scatter run, in a flock - "Moth" by S. Maikapar, "Butterflies" by F. Couperin, "Merry Walk" by B. Tchaikovsky; during the march - "Procession of Grasshoppers" by S. Prokofiev, a march from the cycle "Children's Music". General developmental exercises can be accompanied by music by I. Iordansky ("Ladies - Ladies"), PI Tchaikovsky ("New Doll") and others.

On a walk you can play with the children the games learned in the music lessons: dance - the game "Bear", exercise "Hedgehog and drum"; motor exercise "A cheerful dog was walking", the game "Where does the fish sleep?", the song "Ay, tuki - tuki - tuki", finger speech games.

You can also fill the time with musicmorning reception of children and evening , while leaving home. Moreover, musical intonations in the morning should be different from musical intonations in the evening. In the morning - calm, light music in character. It is recommended to use works from the albums of piano pieces for children by P.I. Tchaikovsky, A.T. Grechaninov, E. Grieg, R. Schumann, S.M. Maykapara and others. This will create an atmosphere of benevolence and positive mood in the morning and throughout the day.

In the evening, the character of the music should be more mobile. This will dispose children to show physical activity, come up with images and translate them into dance. It is recommended to use fragments of symphonic works written for children ("Children's Symphony" by I. Haydn, orchestra suite "Children's Games" by J. Bizet, etc.)

Thus, the role of the educator in the development of independent musical activity of children lies in the fact that he imperceptibly for the child encourages him to be active in various types of muses. activities, creating favorable pedagogical conditions: the impact on the musical impressions of the child, the deployment of children's activities on their initiative. The teacher must be tactful, become, as it were, an accomplice in children's games. When planning management techniques, the teacher outlines the following points: what new equipment should be introduced for the musical activity of preschoolers (tools, manuals, amateur toys), in what order it is advisable to do this, who should be watched in order to find out the interests, inclinations of children, what type of activity children give preference and whether their interests are not one-sided. At an earlier age, it is better for the educator to use the explanatory-illustrative method. In turn, the child reproductively learns these methods. Later, the teacher must use an explanatory-motivating method, and the child is led to independent search methods of action. The demonstration method and detailed explanation are used when teaching children how to perform any element of dance or singing intonation. I would like to wish that children act not only on the direct instructions and display of the teacher, but also without his help. If a child learns to independently complete educational tasks, then he will also be able to act outside of class: organize musical games, sing and dance at his own request. The day-to-day work of the educator with children, knowledge of their interests and abilities enables the educator to perform the task efficiently and responsibly. Independent musical activity in a group, being one of the indicators of the level of development of children, gives an idea of \u200b\u200bthe volume of skills, abilities, knowledge that children received as a result of the work carried out with them. There is a transfer of the methods of action, mastered in musical lessons, into completely new conditions, situations; the child acts already on his own initiative, in accordance with his interests, desires, needs.

QUESTIONNAIRE FOR EDUCATORS

"MUSICAL NEEDS OF CHILDREN"

1. What are the musical needs of the children in your group?A. In the game.B. In independent musical activity.B. They do not appear at all.D. Other.

2. What kinds of musical activity do children prefer to others?A. Hearing.B. Singing.B. Musical and rhythmic movements.D. Playing children's musical instruments.D. Musical and didactic games.

3. How is interest in the musical repertoire manifested?A. Does not appear at all.B. There are favorite songs that they sing on their own.B. Other.

4. In what kind of musical activity do children show their creativity best and most often?A. Singing.B. In musical games.B. In dancing.D. When staging songs.D. Other.

5. Are the musical and cognitive abilities of children in your group manifested?A. I did not notice.B. In statements about the nature of music.B. Draw an analogy between life and musical phenomena.D. Other.

The influence of music in the development of the creative activity of children is very great. Success in the musical development of children is closely related to the work of the educator. It is the teacher who is the conductor of music in the daily life of the kindergarten.

Download:

Preview:

The role of the educator in the musical development of preschoolers.

The influence of music in the development of the creative activity of children is very great. Music evokes an emotional response in children before other forms of art. Musical education, promotes the development of speech, emotions, movements, gives children joy, encourages activity, enriches with vivid artistic impressions.
Preschool childhood is the most optimal time to introduce a child to the world of beauty. In this regard, the personality of the educator is of great importance. The final result of the upbringing of a preschooler depends on his moral character, level of knowledge, professional skill and experience.
It is important for a teacher not only to understand and love music, to be able to sing expressively, to move rhythmically, to play musical instruments, and most importantly to be able to apply his musical experience in raising children.
Success in the musical development of children, their emotional perception of music is closely related to the work of the educator. It is the educator who has a broad outlook, a certain musical culture, who understands the tasks of musical education of children, who is the conductor of music into the daily life of a kindergarten. A good business relationship between the music director and the educator has a beneficial effect on children, creating a healthy, friendly atmosphere, so necessary for both adults and children.
The main form of education and upbringing of children is music lessons. In the course of classes, children acquire knowledge, skills, skills in listening to music, singing, musical rhythmic movements, playing children's musical instruments.
The teacher's participation in a music lesson depends on the age group, the musical preparedness of the children and the specific tasks of this lesson. It is especially important for the educator to participate in work with younger groups, where he plays the main role in playing, dancing, and singing. The younger the children, the more active the educator has to be - to provide assistance to each child, to make sure that the children are not distracted, and are attentive. In the senior and preparatory groups, children are given more independence, but the help of a teacher is still needed. He shows the movements of the exercises together with the musical director, performs a dance with a child who does not have a pair, exercises control over the behavior of children, over the quality of execution of all program material. The teacher must be able to sing songs, show any exercise, game or dance, know the music for listening from the children's repertoire. The role of the educator varies depending on the content of the music lesson. When meeting a new song in class, the teacher can sing it (having previously learned it with the musical director). There may be another option: the music director sings it for the first time, the teacher sings it again. The teacher monitors whether all children are actively singing, whether they pronounce the words correctly, convey the melody .. if the lesson is devoted to listening to music, the teacher can talk about the content of the piece of music, which will be performed by the music director. In older groups, he monitors whether the children perform the movements correctly and which of them needs help.
The skills gained in the classroom must be consolidated and developed also outside of them. In a variety of games, on walks, during the hours set aside for independent activities, children, on their own initiative, can sing songs, lead round dances, listen to music, and select a melody on a metallophone. Thus, music enters the child's life, musical activity becomes a favorite pastime.
Music can be used in role-playing creative games for children, morning exercises, during walks, entertainment evenings, before going to bed. It is allowed to include music for different types of activities: visual, physical education, familiarization with the nature and development of speech.

The role of the educator in the musical development of children.

Success in the musical development of children, their emotional perception of music is closely related to the work of the educator. It is the educator who has a broad outlook, a certain musical culture, who understands the tasks of musical education of children, who is the conductor of music into the daily life of a kindergarten. A good business relationship between a music director and educator has a beneficial effect on children, creating a healthy, friendly atmosphere, which is equally necessary for both adults and children.

The main form of musical education and training of a child in a preschool institution is music lessons. In the course of classes, children acquire knowledge, skills, skills in listening to music, singing, musical-rhythmic movements, playing on DMI. Musical lessons are an artistic and pedagogical process that contributes to the development of a child's musicality, the formation of his personality and the assimilation of reality through musical images. Musical lessons play an important role in the development of endurance, will, attention, memory, in the education of collectivism, which contributes to the preparation for school. They carry out systematic upbringing of each child, taking into account his individual characteristics.

Conducting music lessons is not a monopoly of the music director, but is part of the pedagogical work that the teacher conducts.

The teacher's participation in a music lesson depends on the age group, the musical preparedness of the children and the specific tasks of this lesson. It is especially important for the educator to participate in work with younger groups, where he plays the main role in playing, dancing, and singing. The younger the children, the more active the teacher has to be - to provide assistance to each child, to make sure that the children are not distracted, to be attentive, to observe who and how they manifest themselves in class. In the senior and preparatory groups, children are given more independence, but the help of a teacher is still needed. He shows the movements of the exercises together with the musical director, performs a dance with a child who does not have a pair, exercises control over the behavior of children, over the quality of execution of all program material. The teacher must be able to sing songs, show any exercise, game or dance, know the music for listening from the children's repertoire. During music lessons, the teacher monitors the posture of the children, the pronunciation of words in the song, the quality of the assimilation of the material. The role of the educator varies depending on the content of the music lesson. If an acquaintance with a new song is planned in the lesson plan, the teacher can sing it if he first learns it with the musical director. The following option is also allowed: the music director sings the song for the first time, and the teacher again. The teacher monitors whether all children are actively singing, whether they correctly convey the melody of the song, pronounce the words. Since the music director is near the instrument, he is not always able to notice which of the children sang this or that word incorrectly. If the lesson is devoted to listening to music, the teacher can talk about the content of the piece of music, which will be performed by the music director, during the performance, monitor how the children perceive the music. When children speak little about what they have heard, the teacher helps them with leading questions. When conducting musical-rhythmic movements with children of younger groups, the teacher plays with them, shows dance and imitation figures. In older groups, he closely monitors whether the children perform the movements correctly and which of them needs help. Attending classes, actively participating in them, the teacher not only helps the children, but also assimilates the material himself. It is necessary that both educators are present in the classroom in turn. Knowing the repertoire, they can include certain songs, games in the daily life of children.

The life of a child becomes more colorful, fuller, more joyful, if not only in musical classes, but also in the rest of the time in the kindergarten, conditions are created for the manifestation of his musical inclinations, interests, abilities.

The skills gained in the classroom must be consolidated and developed also outside of them. In a variety of games, on walks, during the hours set aside for independent activities, children on their own initiative can sing songs, lead round dances, listen to music, and select the simplest melodies on the metallophone. Thus, music enters the child's life, musical activity becomes a favorite pastime.

In music lessons, new information about musical works is provided, singing and musical-rhythmic skills are formed, consistent musical development of all children is provided according to a specific system. In the day-to-day life of the kindergarten, the emphasis is on individual work with children - the development of their musical abilities, the formation of pure intonation, teaching children to play on the DMI. The leading role here is assigned to the educator. Taking into account the age of children, it determines the forms of including music in the daily routine. Many aspects of kindergarten life allow for a connection with music and acquire great emotional fulfillment from this.

Music can be used in role-playing creative games for children, morning exercises, during a walk (in summer), entertainment evenings, before going to bed. It is allowed to include music in classes for various types of activities: visual, physical education, familiarization with the nature and development of speech.

Play, of course, is the main activity of the child outside of class. The inclusion of music in the game makes it more emotional, interesting, attractive. There are various ways to use music in games.

In some cases, it is, as it were, an illustration of the actions of the game. For example, while playing, children sing a lullaby, celebrate housewarming, and dance. In other cases, children reflect in the games the impressions received at music lessons, holidays. Conducting role-playing games with music requires very careful and flexible guidance from the educator. He, observing the course of the game, encourages children to sing, dance, play on the DMI. Many role-playing games arise only when children are given a toy TV, a piano, and a theater screen. Children begin to play "music lessons", "theater", perform with concerts on "television".

Music can be included as an integral part and in different activities. The aesthetic perception of nature gives children a love for the Motherland. Music, on the other hand, helps them to more deeply emotionally perceive the images of nature, its individual phenomena. At the same time, observing nature deepens the perception of music. It becomes more understandable and accessible. For example, if, going for a walk in a park or forest, children pay attention to a beautiful slender birch tree, then the teacher should invite the children to carefully consider it, remember a poem about it, or even better sing a song or lead a round dance. Thus, the educator consolidates children's impressions received from direct observation of nature with the help of a piece of music. In addition, the teacher can spend summer walking games with singing. This makes walks meaningful. Musical material, which has been learned in advance in music lessons, related to the theme of nature, allows children to be more attentive when observing. Children begin to understand that every natural phenomenon, every season is beautiful in its own way. Music, depending on the tasks set by the teacher, either precedes observation, or reinforces children's impressions.

It is advisable to include music in speech development classes, for example, when telling a fairy tale. But at the same time, care must be taken that the music does not violate the integrity of the fairytale image, but on the contrary complements it. It is convenient to introduce music into such fairy tales, on the text of which operas or children's musical games have been written. ("The Tale of Tsar Saltan", "Teremok", "Geese-Swans"). Performing songs along the way of fairy tales gives them a special emotionality.

Music can also be used when conducting conversations on various topics. (About the seasons, the upcoming holiday, the Motherland, etc.)

Work on speech is closely related to musical education. Singing improves pronunciation of words and helps to eliminate speech defects.

It is also easy to establish a relationship between musical education and visual activity. On the one hand, music deepens the impressions that children have expressed in drawing or modeling. On the other hand, it provides material for its implementation. The theme of drawings, sculpting, application can be the content of a well-known song or programmatic instrumental work. Thus, the combination of musical and visual activities helps the child in the perception of each type of art.

The music played by the teacher at various moments in the children's daily life evokes positive emotions, joyful feelings in them, and creates high spirits. It is recommended to use folk songs and jokes more often. Their subtle humor, vivid imagery have a much greater power to influence the behavior of the child than moralizing or direct indication.