The role of musical education in the development of a preschool child. The role of music education in the development of older preschoolers The role of music education in child development

27.09.2019

graduate work

1.2 A preschool child as a subject of musical activity

The definition of a child as a subject of musical activity is, according to scientists, the first step in revealing the foundations of the organization of the process of musical education and development of preschool children. The qualities that characterize a person as a subject of activity are:

· Value attitude;

· Interest;

· Selective focus;

· Initiative;

· freedom of choice;

· Independence, creativity.

Based on the research of scientists, we will consider some features of the psychological portrait of a preschooler, as well as how these qualities manifest themselves in preschool age.

The type of attitude to the world or the child's motivational-need sphere, which is formed in preschool age, is fundamental. In other words, a child of preschool age is capable of expressing attitude, interest, and selective focus in the types of activity and communication characteristic of his age. The unique nature of a preschool child can be characterized as activity-based. A preschooler can safely be called a practitioner, his knowledge of the world is exclusively sensory and practical. In this sense, the nature of a child is initially subjective, since a preschooler is, first of all, an agent striving to cognize and transform the world on his own. It is this combination of the possibility of choice on the basis of emerging relationships with the need to try everything for oneself and predetermines the course of the child's development as a subject of the types of activity available to him. And the sooner an adult understands this, the more successful the development will be.

Two groups of child's subjective manifestations in musical activity can be distinguished: emotional and activity-related:

Emotional manifestations are expressed in the child's interest in music, preference for this type of activity. The child loves to listen to musical works, he likes to participate in various types of musical activities. Another, no less important manifestation of subjectivity, is the selective attitude to music, i.e. the child's preference for one or another possibility of interacting with music (listening, singing, playing). Selectivity is inherent not only in older preschool children. Already at an early age, a child can choose, for example, one or another instrument of a noise orchestra; may get bored while singing, but perks up in the course of musical games. The sooner teachers notice the child's preferences, the more successful his musical education can be.

Activity manifestations are associated with the child's activity and initiative in the choice of musical activities. Its subjectivity is determined by the creative attitude to the choice of the content of musical activity. The child begins to independently suggest options for interpreting a particular piece of music, making the first attempts to analyze and self-analyze the "products" of musical activity.

The simplest method for determining the manifestations of a child as a subject of musical activity is the following - observation of the child in moments of his free activity. If he wants and can make music on his own, outside of specially organized forms of musical education, then this is his manifestation as a subject of musical activity. A child as a subject of musical activity exhibits the following qualities:

· Interest in music;

· Selective attitude to music and various types of musical activity;

· Initiative, desire to engage in musical activities;

· Independence in the choice and implementation of musical activities;

· Creativity in the interpretation of musical works.

Let's consider what is the specificity of children's musical activity in preschool age. The musical activity of a child is much more complex than that of an adult. An adult is engaged in one of the types of musical activity - he either listens, or performs, or composes music. The musical activity of a preschooler is syncretic. He is not just a participant in all its types, but often implements them simultaneously.

The genesis of the development of musical activity in early and preschool age is due to the general laws of the child's development during this period. Following the general logic of the child's age-related development, the formation of musical activity goes through a number of stages:

Stage 1 - musical and objective activity. At this stage, the child is interested in toys and instruments that make sounds. He gains experience in manipulating them, makes the first choices of more attractive objects, initiates object and sensory games with objects - carriers of sounds.

Stage 2 - musical and play activities. Entering the world of social contacts, the child begins to build his own system of relations with other people. At this stage, music becomes: a source of enrichment of the experience of emotional relationships and experiences, which makes it possible to enrich social relationships in play and communication; an exciting game, since any kind of musical activity at this stage, be it singing or listening to music, is a game for the child; meaningful basis of games, when plots and roles in children's games become a reflection of their musical culture.

Stage 3 - musical and artistic activity. By the end of preschool age, the child begins to be more interested not in the process itself, but in the quality of the result of the activity. Musical-artistic activity is carried out by the transition from musical-play to musical-artistic activity. Already sufficient personal emotional experience allows the child to experience artistic emotions and creatively interpret musical works. And the experience of participation in musical activities will enable the senior preschooler to choose the closest and most successful positions in the implementation:

· A listener who is able to assess a piece of music and express the results of his own perception;

· Performer of musical works (singer, orchestra member, dancer);

· A composer (an improviser of musical tunes and dances; creator of a plot of a musical and dramatic game, etc.).

The development of the child as a subject of musical activity, the transition from stage to stage is ensured in the process of accumulating experience of this activity. Experience is the content and result of a person's life, an individual-personal form, the result of mastering reality in all its diversity. Experience - the most important condition for the development of personality acts as the basis that predetermines the motives, choices, actions of the individual.

Musical experience, or the experience of musical activity, is a kind of sociocultural experience. The structure of the musical experience includes:

· Experience of emotional-value attitude to music;

· Experience of knowledge of music;

· Experience of skills to interact with music;

· Experience of creative activity or creative involvement in musical activity.

Let's take a closer look at each component in the structure of musical experience.

The experience of an emotional-value attitude to music is expressed in the child's interests in music, musical preferences, and the first attempts to assess the personal significance of a piece of music. The forming musical taste of a preschooler is determined by his emotional-value attitude to music.

The experience of knowing music consists of the child's musical outlook (orientation in musical works) and elementary musical erudition.

The experience of interacting with music can be characterized by two groups of skills:

1st group - skills that are accurately named by N.A. Vetlugina as generalized ways of children's musical activity. These are the skills necessary in any kind of musical activity, allowing the child to:

· Adequately respond to the nature of the music;

· To carry out artistic and emotional perception of the musical image; understand the musical image;

· Actively express emotional attitude to the musical image;

· Interpret musical images in different types of artistic and play activities;

2nd group - skills required to participate in various types of musical activities. They can be characterized to a greater extent as technical - singing, instrumental, dance.

The experience of creative activity or creative inclusion in musical activity is accumulated in the process of the child's active participation in various types of musical activity: interpretation of musical images in accessible and interesting types of play activity; attempts at musical writing. The conditions for organizing the musical activity of preschool children should ensure the unity of the emotional and artistic components of development.

Pedagogical assistance in the musical upbringing of children consists in a special selection of the musical repertoire and musical games in which the music clearly expresses emotions and mood. With the help of the teacher, art becomes for the child an integral way of knowing the world and self-realization.

An integrative approach to organizing children's interaction with art helps a child express his emotions and feelings by means close to him: sounds, colors, movements, words. And in musical-play activity, the depth of emotional experience is expressed in the ability to interpret not so much the pictorial musical row as the nuances of moods and characters expressed in music.

Thus, the accumulation and enrichment of musical experience by a child ensures his development as a subject of musical activity. The musical development of a preschool child occurs in the process of accumulating musical experience. With the help of music, the child emotionally and personally gets to know himself and other people; realizes artistic knowledge of the surrounding world; realizes individual creativity.

The generalized goals of musical education and development of children in each preschool age group are:

· The development of the preschooler's musical culture, the accumulation of his experience of interaction with musical works;

· Development of the child's position of an active participant, performer-creator of musical works, so that in singing, dancing, playing music, musical-playing activity, he could express himself by accessible means, swap emotions and feelings, moods and experiences.

In this regard, the tasks in each age group are focused on:

· Children's musical perception - listening, interpretation;

· Children's musical activity - performance, improvisation, creativity, play.

In turn, the tasks in the field of musical performance, improvisation, play creativity are:

· Development of motor-active types of musical activity (musical-rhythmic movements and playing noise instruments);

· Development of coordination of movements and fine motor skills when teaching techniques for playing instruments;

· Formation of vocal singing skills in the process of imitation of an adult;

· Stimulation of skills to compose simple musical images in musical games and dances.

The teacher focuses the attention of children on the fact that their own emotional state and character of the play character can be expressed by special sound means during singing, dancing, playing music.

Having studied the theoretical issues of musical education of children in preschool age, let us begin to consider the specific concepts that form the basis of this study. It will focus on the role of play in the process of musical education.

Changing attitudes towards learning at primary school age

Designing education, that is, predetermining, choosing one of the possible directions of children's mental development ...

Early school age as a special age in a child's life

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Determine the importance of using folk traditions in the development of children of middle preschool age ...

Musical entertainment based on folk traditions as a form of organizing musical and artistic activities of children of middle preschool age

In kindergarten, the following types of musical activities are used in working with preschoolers. One of the leading types of musical activity is listening-perception. Listening to music precedes learning to sing, dance ...

Features of the work of a social teacher in a preschool educational institution

Holidays in a preschool educational institution as a factor in the formation of the musical culture of older preschoolers

The main provisions of the concept of musical culture were developed in the pedagogical works of D.B. Kabalevsky, N.A. Metlova, B.M. Asafieva, N.P. Vetlugina, O. P. Radygina and others. The concept of "culture" has passed a difficult path of historical development ...

Psychological analysis of personality traits of teachers with different styles of pedagogical communication

A teacher at school has a lot of tasks: he teaches children everything that he knows and can do himself, he communicates with them and with colleagues at work, organizing the school life of his pupils, laying the intellectual and moral potential of the future of our country ...

Entertainment is an integral part of the daily life of preschool children, whether they attend kindergarten or not. Entertainment is one of the forms of organizing children ...

Entertainment as one of the forms of organizing musical activities for children who do not attend kindergarten

The musical development of children also depends on the forms of organization of musical activity, each of which has its own capabilities. Different forms of organization enrich the content of the activity and the methods of leadership ...

Formation of musical culture of senior preschool children through theatrical activities

Theatrical activity is of great educational importance in the formation of the musical culture of preschoolers. Participating in various productions, children through the artistic image, music, costume ...

Formation of musical culture of senior preschool children through theatrical activities

The experimental study was carried out at preschool educational institution No. 71 in the city of Togliatti. The study involved 30 older preschool children ...

Formation of musical culture of senior preschool children through theatrical activities

For the development of musical culture, theatrical games and performances for older preschool children were selected. These theatrical events were held twice a week ...

Stages of work on teaching children modern musical and rhythmic movements

According to Vygotsky L.S. activity is an active process of mastering social experience, cultural achievements. Throughout his life, a person masters various types of activities ...

Department of Theory and Methods of Music Education

Faculty of Arts and Arts Education

Final qualifying work

The role of play in the musical education of preschoolers

Introduction

Theoretical analysis of the problem of musical education of preschoolers

1.1 Music education in kindergarten: background, categorical analysis

2 A preschool child as a subject of musical activity

Musical education of preschoolers in the process of game activity

2.1 Play activities in the pedagogical process: essence, content characteristics; types and forms of play

2.2Specificity of game activity in the musical and pedagogical process

2.3 Organization of work on the musical education of preschoolers in various types of play activities

Conclusion

List of used literature

Application

Introduction

The question of the musical education of children has remained relevant for a long time. In an effort to educate a modern person, it is necessary to take care of the development of his aesthetic sensitivity, so that he knows how to use in his life and work the experiences obtained from communication with art.

You cannot talk about aesthetic education without taking into account the age-related development of a person. From early childhood, the child develops the ability to perceive, feel, understand the beauty in life and art, the desire to participate in the creation of beauty himself. Musical art, directly and strongly influencing a person in the first years of his life, occupies a large place in his general cultural development. Music is close to the emotional nature of the child. Under the influence of music, his artistic perception develops, experiences become richer.

Given the enormous influence of music on human life, we must take care to attract children to music, to show children all the beauty and diversity of this art form. In order to attract children to music, we must introduce children to it as early as possible, determine their musical inclinations and abilities. Many scientists have proven that musical inclinations and abilities are manifested more actively and brighter at an early age. Our task is to discover these inclinations and abilities in the child as early as possible and begin to develop them.

Leading traits develop as a result of external influence on the personality, its inner world. The process of education should be not so much a process of transferring subject samples as a process of managing the development of a personality. Psychology and pedagogy assert that the abilities of a person are formed and developed in activity. Through activity, a preschooler forms and expresses a type of attitude towards the world. The musical activity of a preschooler is syncretic. The genesis of the development of musical activity in preschool age is due to the general laws of the child's development during this period.

The formation of the musical activity of preschoolers goes through a number of stages: musical-object activity, when the child's interest is aroused by toys and instruments that emit sounds; musical play activity, when music becomes a source of enrichment of the experience of emotional relationships and experiences, which allows enriching social relations in play and communication, since any kind of musical activity at this stage, whether singing or listening to music, is a game for a child.

Playing activity contributes to the solution of questions of musical education of preschool children to the greatest extent. From the point of view of scientists, the process of musical education in this age period allows the forms of education that create conditions for the production of game activity.

In the psychological concept of play, developed in the works of A.N. Leontyev, D.B. Elkonin, V.N. Myasishchev, play is defined as an activity, the object and motive of which lie in the very process of its implementation. Game activity is characterized by the processes of conscious organization of the way of carrying out the activity, which are based on reflection and active search actions about the content of roles, game functions or a plot.

Play, the most important type of child's activity, plays a huge role in the development of a child. It is an effective means of shaping the personality of a preschooler, his moral and volitional qualities, the need to influence the world is realized in the game. V.A. Sukhomlinsky emphasized that “play is a huge bright window through which a life-giving stream of ideas and concepts about the world around them pours into the child's spiritual world. The game is a spark that ignites the spark of inquisitiveness and curiosity. "

Play is a multifaceted phenomenon, it can be viewed as a special form of the existence of all aspects of the life of a collective without exception. Just as many shades appear with play in the pedagogical guidance of the educational process. The educational value of the game largely depends on the professional skill of the teacher, on his knowledge of the psychology of the child, taking into account his age and individual characteristics, on the correct methodological guidance of the relationship between children, on the clear organization and conduct of all kinds of games.

Based on the foregoing, the relevance of the work is due to the significance of the problem of organizing play activity and its influence on the development of the child's personality; as well as the importance of this process in the musical education of preschoolers.

The above also defined the theme thesis research: "The role of play in the musical education of preschoolers."

Object of study -the process of musical education of preschoolers.

Subject of study -musical education of preschoolers through play.

Purpose of the study -to determine and scientifically substantiate the role and importance of play activity in the process of musical education of preschoolers.

In accordance with the object, the subject, the goal is the following tasks research:

To study the psychological-pedagogical, methodological and musical-pedagogical literature on the research problem.
Consider and scientifically substantiate the role and importance of play in the musical education of preschoolers.
Determine and propose for use the most acceptable forms of play activity for the purpose of musical education of children.
Justify the expediency of using research materials in practical work.

Research methodswere determined in accordance with the purpose and tasks of the work: analysis of psychological and pedagogical literature, pedagogical observation, generalization of pedagogical experience, the method of comparative analysis, comparison, formation of conclusions, as well as research conversations; polls on the research topic.

Methodological basis of the research:

scientific research of domestic psychologists on the problem of personality development (B.G. Ananyev, V.V.Bogoslovsky, A.N. Leontyev, K.K. Platonov, E.I. Rogov, S.L. Rubinstein, B.M. and etc.)
works of domestic teachers (Yu.K. Babansky, V.I. Zagvyazinsky, A.S. Makarenko, B.M. Nemensky, I.P. Podlasogo, K.D. Ushinsky, and others);
psychological and pedagogical concept of game activity (L.I.Bozhovich, L.S.Vygotsky, A.V. Zaporozhets, A.N. Leontyev, T.A. B. Elkonin, M. G. Yanovskaya and others);
theory of musical and aesthetic development of personality (E.B. Abdullin, O. A. Apraksina, L. G. Archazhnikova, N. A. Vetlugina, G. M. Tsypin, V. N. Shatskaya).

Practical significancelies in the possibility of using the obtained research results in the work of practicing teachers.

The structure of the thesis:the thesis consists of an introduction, two chapters, a conclusion, a bibliography and an appendix.

The introduction substantiates the relevance of the topic under study; the object, the subject are determined; the goal and objectives of the study are formulated; the methods of the problem under study, the structure of the work are presented.

The first chapter reveals the psychological and pedagogical aspects of the musical education of preschool children - a retrospective analysis of the problem is carried out, the essential characteristics of the main provisions and concepts are given, the specificity of children's musical activity in preschool age is considered.

The second chapter is devoted to the practical aspect of disclosing the research topic - considering the possibility of implementing musical education of preschoolers through play. Content characteristics are revealed; types and forms of play, the specificity of play activity in the musical-pedagogical process is determined, forms of work on the musical education of preschoolers in various types of play activity are proposed.

In the conclusion, the results of the study are summarized.

The list of literature includes 44 titles: works in the field of pedagogy, psychology, musical pedagogy and methodology.

Chapter 1. Theoretical analysis of the problem of musical education of preschoolers

Before proceeding to substantiating the importance of play activity in the process of musical education of preschoolers, considering various types and forms of play activity that contribute to the effectiveness of this process, we will consider the main theoretical aspects of the problem of musical education of children.

1.1 Music education in kindergarten: background, categorical analysis

The overriding task of all musical and educational work with children, to which all other tasks must be subordinated, is to interest children in music, emotionally captivate them, “infect them with your love for music” (K. Stanislavsky). Interest in music, passion for music, love for it is a prerequisite for it to widely reveal and give children its beauty, so that it can fulfill its educational and cognitive role.

Music is capable of inspiring people, awakening high and noble feelings in them. A person with a developed ear and musical taste hears more in music and receives more artistic pleasure than a person of little music and never interested in music. The main task of mass musical and aesthetic education is not so much the teaching of music in itself, as the impact through music on the entire spiritual world of the pupils, first of all, on their morality.

Active perception of beauty in music requires the activity of thought. Musical critic and theorist B. Asafiev wrote: “You should never refuse to affirm the intellectual principle in musical creativity and perception. Listening, we not only feel or experience certain states, but also differentiate the perceived material, make a selection, evaluate, therefore, think. " Education of emotional and aesthetic perception, aesthetic tastes, the development of artistic abilities, constantly interacts with mental and moral education.

The world of contemporary music is rich and complex. He requires a differentiated attitude to various musical phenomena, does not tolerate uniform measures and categories. These circumstances pose unusually difficult tasks for musical pedagogy. The system of musical education should: educate an auditory consciousness capable of further development, perception of various artistic phenomena and processes; to provide freedom of musical and aesthetic orientation, high exactingness and breadth of taste, validity of assessments.

Musical education of children should begin as early as possible, already at an early preschool age. Music has the potential to influence not only adults but also young children. Moreover, and this has been proven, even the prenatal period is extremely important for the subsequent development of a person: the music that the expectant mother listens to has a positive effect on the well-being of the developing child (perhaps, it shapes his tastes and preferences). From the above, we can conclude how important it is to create conditions for the formation of the foundations of the musical culture of preschool children.

Back in the last century, members of the St. Petersburg Society for the Promotion of Preschool Education tried to substantiate the importance of musical education for preschoolers, who believed that the main thing was to develop musicality, a sense of rhythm and hearing in preschoolers. However, the organizers of the society noted that the fulfillment of this requirement is a rather difficult matter, therefore there is no clarity in the programs, the experience of the leaders (the term of that time) is insufficient, and their musical training. So, the teacher L. Schläger suggested diversifying music lessons through the use of exercises for the development of musical education, as well as the use of marching to music.

In 1873, the "Collection of articles and materials for conversations and classes at home and in kindergarten, for reading in gymnasiums, teacher's seminaries and city schools" appeared, where its author, I. Belov, tried to develop methods of acquaintance with games with singing. The compiler of the book "Games and Activities for Children of All Ages" A. Dussek proposed a game based on musical impressions "Concert", gave a detailed methodology for showing the theater of shadows. In the musical collection "Outdoor games with singing" (author N. Filitis), there were selected games that are popular to this day in musical work with children ("Teremok", "Rain", "Loaf", "Ladushki").

Noteworthy are the directions in the organization of musical activity in kindergartens, working according to the method of A.S. Simonovich, in the "ideal kindergarten" K.N. Ventzel, in the preschool institution S.T. and V.N. Shatskikh. Here musical education was carried out most systematically. So, A.S. Simonovich believed that music should serve as an illustrative function for classes. For example, when conducting classes on "Homeland Studies", you need to sing songs about the weather, in physical education you need to use games - fun and games with singing.

The most notable contribution was made by A. Simonovich to the issue of holding children's parties. She recognized their pedagogical expediency when fulfilling a number of requirements: holidays should leave a deep impression, develop a sense of collectivism, children need to see a beautiful combination of colors, listen to beautiful music, the whole organization of holidays is designed to excite the kindest and best in them. The main principle of A. Simonovich's musical education is to rely on the desire of preschoolers.

The creator of the model of the "ideal kindergarten" K.N. Wentzel proposed his own system of musical education, consisting of a variety of activities: singing, listening, dancing, playing children's musical instruments. The main purpose of musical education, from his point of view, is not the formation of copying and mechanical reproduction skills, but the development of the child's creative powers. Therefore, he believed, it is necessary to rely on the free activity of children, proceed from the nature of the child, look at him as a "little artist". In musical work, according to the teacher, there should be two stages:

· the first is a perceiving activity when a child is sung, played on an instrument, and he listens;

· the second is based on the method of “liberating creative forces”, thanks to which the child creates in music, improvising melodies with a voice or a musical instrument.

The development of children's artistic and creative ideas is helped by an educator who creates an appropriate atmosphere, selects a musical repertoire, taking into account the needs, experiences, desires of children. The thoughts of K.N. Wentzel on the role of an adult in the upbringing of children in kindergarten - "not to enslave the will and mind of the child, to take care of spiritual communication and equality with him, and then it will be possible to develop in children the ability to enjoy art."

The third direction in the development of the theory and practice of musical education can be considered the work of the kindergarten of the Shatsky spouses. Aesthetic education was the fundamental and integrating element of S.T. Shatsky. It was built on a culturological approach, when art is introduced into life and the organization of life in art, therefore the motto of S.T. Shatsky "there should be music!" ... According to the author, the following should be considered:

· musical life should be organized according to the age and needs of the children;

· should be based on the child's personal experience;

· conditions must be created for the development of ear for music, musical language, creative perception.

It is important to systematically examine the degree of musical development of children, while identifying their needs and interest in music, creativity, as well as the level of musical knowledge. Only thanks to this approach, it is possible to create the necessary musical atmosphere at concerts, evenings, and special classes.

In the Shatskikh kindergarten, musical education was carried out most systematically and consistently, therefore it is no coincidence that V.N. Shatskaya "Music in kindergarten", is still considered the first methodological manual for the musical education of preschoolers. It is in it for the first time that it is said about the methodology of conducting musical group lessons, the tasks of musical work in each age group are determined, the basic provisions on the organization of listening, singing, musical rhythmic movements are summarized, and the qualification requirements for the training of a music teacher in kindergarten are substantiated.

The main tasks of the musical education of preschoolers, according to scientists, can be considered:

· development of musical and creative abilities (taking into account the capabilities of each) through various types of musical activities;

· the formation of the beginnings of musical culture, contributing to the development of a common spiritual culture.

The successful solution of these tasks depends on the content of musical education, and first of all, on the importance of the repertoire used, methods and techniques of teaching, forms of organization of children's musical activity. In a child, it is important to develop all the best that is inherent in him by nature; taking into account the propensity for certain types of musical activity, to form special musical abilities on the basis of various natural inclinations, to contribute to general development.

Musical abilities of children are manifested in different ways. For some, already in the first year of life, the basic musical abilities - the modal feeling, musical-auditory representations and the sense of rhythm - are expressed quite clearly, develop quickly and easily, this testifies to musicality; with others it is later, more difficult. The most difficult to develop are musical and auditory representations - the ability to reproduce a melody from a voice, exactly, intoning it, or to pick it up by ear on a musical instrument. In most children, this ability does not manifest itself until the age of five.

The lack of early manifestation of abilities, emphasizes musician-psychologist B.M. Heat is not an indicator of weakness, or even less of a lack of ability. The environment in which the child grows up is of great importance, especially in the first years of life. The early manifestation of musical abilities is observed, as a rule, precisely in children who receive sufficiently rich musical impressions.

Music teachers came to the conclusion that everyone has the makings of musical activity (that is, the physiological features of the structure of the body, for example, the organ of hearing or the vocal apparatus). They form the basis for the development of musical abilities. The concept of "non-developing ability", according to scientists, experts in the field of research of problems of musicality, in itself is absurd. It is considered proven that if the necessary conditions are created for the musical development of a child from birth, this gives a significant effect in the development of his musicality.

The totality of musical abilities is denoted by the general concept of "musicality". According to B.M. Teplova, musicality is a complex of individual psychological characteristics required for practicing musical activity. Musicality lends itself to development, but on the basis of its signs already manifested in one form or another. It is formed and develops only in the specific activity of a particular person, therefore, musicality is different for different people, as it differs among musicians of different specialties.

Three main musical abilities stand out:

A fret feeling, that is, the ability to emotionally distinguish between the modal functions of the sounds of a melody, or to feel the emotional expressiveness of a pitch movement. This ability can be called otherwise - the emotional, or perceptual component of the ear for music. The fret feeling forms an indissoluble unity with the feeling of musical height, that is, a height separated from the timbre. The fretting feeling is directly manifested in the perception of the melody, in its recognition, in the sensitivity to the accuracy of intonation. Together with a sense of rhythm, it forms the basis of emotional responsiveness to music. In childhood, his characteristic manifestation is love and interest in listening to music.

Auditory presentation ability. This ability can also be called the auditory or reproductive component of ear for music. It is directly manifested in the reproduction of the melody by ear, primarily in singing. Together with the modal feeling, it forms the basis of harmonic hearing. At higher stages of development, it forms what is usually called the inner hearing. This ability forms the main nucleus of musical memory and musical imagination.

Musical and rhythmic feeling. It is the ability to actively experience music, to feel the emotional expressiveness of a musical rhythm and to reproduce it accurately. At an early age, musical-rhythmic knowledge is manifested in the fact that hearing music is directly accompanied by certain motor reactions, more or less transmitting the rhythm of the music. This feeling underlies those manifestations of musicality that are associated with the perception and reproduction of a temporary chorus of musical movement. Along with the modal feeling, it forms the basis of emotional responsiveness to music.

Nature has generously rewarded man. She gave him everything in order to see, feel, feel the world around him. She allowed him to hear all the variety of sound colors existing around him. Listening to their own voice, the voices of birds and animals, the mysterious rustle of the forest, leaves and the howling of the wind, people learned to distinguish intonation, pitch, duration. Musicality was born from the need and ability to listen and hear - one of the properties given by nature to man.

The main sign of musicality at an early age, before learning, should be considered, first of all, the manifestation of musical impressionability and activity. One can easily notice various forms of manifestation of musical activity: a selective attitude towards music, expressed in the preference of some pieces of music over others; some willingly sing, actively move to the music, try to select by ear, others express their impressions and experiences in improvisations and musical compositions.

The most characteristic feature of early musicality is the dominant role of music in a child's life. For very musical personalities, all life impressions pass through the prism of their intonations, causing one or another creative activity. This selection of intonations, their transformation and consolidation is of decisive importance for subsequent development, characterizing the individuality of the child.

Thus, the effectiveness of solving the problems of musical education of preschoolers depends, first of all, on the forms of organization of musical activity of children for the development of their inclinations and abilities. The complex of abilities is musicality that allows a person to actively express himself in various types of musical activity: listening to music, singing, moving, musical creativity. These special or basic musical abilities include pitch, pitch, and rhythm. It is their presence in each person that fills the audible music with new content, it is they that allow one to rise to the heights of a deeper knowledge of the secrets of musical art.

However, the main thing, according to scientists, is that abilities do not so much manifest themselves in musical activity as they are created in the process of it. Teachers also refer to the concept of "musicality" as the ability to understand music, expressively sing and move, and engage in musical creativity. The more active the child's communication with music, the more musical he becomes, the more joyful and desirable new meetings with her.

1.2 A preschool child as a subject of musical activity

· value attitude;

·interest;

· selective focus;

· Initiative;

·freedom of choice;

· independence, creativity.

Based on the research of scientists, we will consider some features of the psychological portrait of a preschooler, as well as how these qualities manifest themselves in preschool age.

Two groups of child's subjective manifestations in musical activity can be distinguished: emotional and activity-related:

· interest in music;

· selective attitude to music and various types of musical activity;

· initiative, desire to engage in musical activities;

· independence in the choice and implementation of musical activities;

· creativity in the interpretation of musical works.

stage - musical-objective activity. At this stage, the child is interested in toys and instruments that make sounds. He gains experience in manipulating them, makes the first choices of more attractive objects, initiates object and sensory games with objects - carriers of sounds.

stage - musical and play activities. Entering the world of social contacts, the child begins to build his own system of relations with other people. At this stage, music becomes: a source of enrichment of the experience of emotional relationships and experiences, which makes it possible to enrich social relationships in play and communication; an exciting game, since any kind of musical activity on this stage, whether it be singing or listening to music, for a child - a game; meaningful basis of games, when plots and roles in children's games become a reflection of their musical culture.

stage - musical and artistic activity. By the end of preschool age, the child begins to be more interested not in the process itself, but in the quality of the result of the activity. Musical-artistic activity is carried out by the transition from musical-play to musical-artistic activity. Already sufficient personal emotional experience allows the child to experience artistic emotions and creatively interpret musical works. And the experience of participation in musical activities will enable the senior preschooler to choose the closest and most successful positions in the implementation:

· a listener who is able to evaluate a piece of music and express the results of his own perception;

· performer of musical works (singer, orchestra member, dancer);

· a composer (an improviser of musical tunes and dances; a creator of a plot of a musical and dramatic game, etc.).

Musical experience, or the experience of musical activity, is a kind of sociocultural experience. The structure of the musical experience includes:

· experience of an emotional value attitude towards music;

· experience of knowledge of music;

· experience in interacting with music;

· experience of creative activity or creative involvement in musical activity.

Let's take a closer look at each component in the structure of musical experience.

The experience of knowing music consists of the child's musical outlook (orientation in musical works) and elementary musical erudition.

The experience of interacting with music can be characterized by two groups of skills:

I am a group - skills that are aptly named by N.A. Vetlugina as generalized ways of children's musical activity. These are the skills necessary in any kind of musical activity, allowing the child to:

· respond appropriately to the nature of the music;

· to carry out artistic and emotional perception of a musical image; understand the musical image;

· actively express an emotional attitude to a musical image;

· interpret musical images in various types of artistic and play activities;

2nd group - skills required to participate in various types of musical activities. They can be characterized to a greater extent as technical - singing, instrumental, dance.

Experience of creative activity or creative inclusion musical activity accumulates in the process of the child's active participation in various types of musical activity: interpretation of musical images in accessible and interesting types of play activity; attempts at musical writing. The conditions for organizing the musical activity of preschool children should ensure the unity of the emotional and artistic components of development.

Thus,the accumulation and enrichment of musical experience by the child ensures his development as a subject of musical activity. The musical development of a preschool child occurs in the process of accumulating musical experience. With the help of music, the child emotionally and personally gets to know himself and other people; realizes artistic knowledge of the surrounding world; realizes individual creativity.

The generalized goals of musical education and development of children in each preschool age group are:

· the development of the preschooler's musical culture, the accumulation of his experience of interaction with musical works;

· development of the child's position of an active participant, performer-creator of musical works, so that in singing, dancing, playing music, music-playing activity, he can express himself with accessible means, swap emotions and feelings, moods and experiences.

In this regard, the tasks in each age group are focused on:

· children's musical perception - listening, interpretation;

· children's musical activities - performance, improvisation, creativity, play.

In turn, the tasks in the field of musical performance, improvisation, play creativity are:

· development of motor-active types of musical activity (musical-rhythmic movements and playing noise instruments);

· development of coordination of movements and fine motor skills when teaching the techniques of playing instruments;

· the formation of vocal singing skills in the process of imitating an adult;

· stimulation of skills to compose simple musical images in musical games and dances.

Chapter 2. Musical education of preschoolers in the process of game activity

2.1 Play activities in the pedagogical process: essence, content characteristics; types and forms of play

According to scientists, the process of upbringing should be a process of managing the development of personality. From the point of view of scientists, the development management processes allow the forms of education that create conditions for the production of play activities. In the opinion of scientists, the solution of questions of musical education of preschoolers is also most conducive to playing activity. Therefore, we consider it necessary in our work to consider in detail the main provisions of the concept of game activity.

In the psychological and pedagogical concept of play activity, developed in the works of A.N. Leontiev and D.B. Elkonin, play is defined as an activity, the object and motive of which lie in the very process of its implementation. By the features or components of play activity, scientists determine, first of all, the reflexivity and focus on self-organization of the ways of carrying out the activity.

Consequently, play activity is characterized by processes of conscious organization of the way of carrying out activities, which are based on reflection and active search actions about the content of roles, play functions or a plot. Only when the subject of activity begins to carry out organizational actions regarding the plot, making content and processes the subject of his activity, can we talk about the emergence of play activity and a specific play relationship.

The reflexive, search, mental and organizational components of the game activity form the subject's research and creative attitude to reality. The task of creating game forms that would ensure the emergence of participants in game activity in the process of playing becomes central in the approach to the design and organization of educational games.

Play is a vital and necessary element in the development of both the individual and society as a whole. By the complexity of the nature of the games, one can judge the life, rights and skills of a given society. In the early stages of the development of society, the concept of play in the sense as we understand it now did not exist. Children at that time grew up quickly, and they had a specific activity "playing", like adults. They did, learned (imitated) everything that adults do, although they were not always good at it. This situation developed due to the simplicity of the world, science and society.

With the development of science and progress, the need arose for serious education, complex social relations between people appeared, and, consequently, problems in the development of children. Now, in order to get comfortable in this world, he resorts to the concept of a role, with the help of which one can be anyone without fear of life. And at the same time, the child also fills the gap in some forms of life: dexterity, accuracy, etc.

Psychology and physiology have long been engaged in the observation, description and explanation of the play of animals, children and adults.

Biological functions of the game:

the release of excess vitality;
submission to the innate instinct of imitation;
the need for rest and relaxation;
training before serious business;
exercise in self-control;
striving for leadership;
compensation for harmful impulses;
replenishment of monotonous activities;
satisfaction of desires unfulfilled in a real situation.

“None of the above explanations answers the question“ But what, after all, is the essence of the game? ”. Why does the baby squeal with delight? Why does the player, being carried away, forget everything in the world? The intensity of the game cannot be explained by any biological analysis. And yet, just in this intensity, in this ability, lies the essence of the game, its original quality. The logical reason tells us that Nature could give her children all these useful biological functions of releasing excess energy, etc. in the form of purely mechanical exercises and reactions. But she gave us the Game, with her tension, with her joy, with her joke and fun ”(Huizing).

A.N. Leont'ev in his work "Psychological Foundations of Preschool Play" describes the process of the emergence of children's role-playing games as follows: in the course of a child's activity, "a contradiction arises between the rapid development of his need for action with objects, on the one hand, and the development of operations performing these actions (i.e. . modes of action) - on the other. The child wants to drive a car himself, he wants to row a boat himself, but he cannot carry out this action ... because he does not own and cannot master those operations that are required by the real objective conditions of this action ... This is a contradiction ... can be resolved in a child only in one single type of activity, namely in play activity, in play ... Only in a play action can the required operations be replaced by other operations, and his object conditions - by other object conditions, and the content of the action itself is preserved " ...

Play is closely related to the development of the personality, and it is during the period of its especially intensive development - in childhood - that it acquires special significance. In the preschool years of a child's life, play is the type of activity in which his personality is formed. Play is the first activity that has a particularly significant role in the development of the personality, in the formation of its properties and the enrichment of its internal content. In the process of development, personal significance and attractiveness are usually acquired, first of all, by those actions and those manifestations of personality that, having become accessible, have not yet become everyday.

Having entered the game, and, over and over again, improving in it, the corresponding actions are fixed; while playing, the child masters them better and better: play becomes for him a kind of school of life. The child, of course, does not play in order to acquire preparation for life, but he acquires it by playing, because he naturally needs to act out precisely those actions that are newly acquired for him, which have not yet become habitual. As a result, in the course of the game, he develops and receives preparation for further activities. He plays because he develops, and develops because he plays. Play is a developmental practice.

The modern humanistic school is aimed at an individual and interpersonal approach to each child. The game is an invaluable assistant in this. In the game, the child is an author and performer, and almost always a creator, experiencing feelings of admiration, pleasure, which free him from disharmony.

According to L.S. Vygotsky, play is the leading line of development in preschool age. Play is the main form of a child's activity. The game gives freedom. The game is not a task, not a duty, not a law. You cannot play by order, only voluntarily. The game is extraordinary. The game gives order. The system of rules in the game is absolute and undeniable. You can't break the rules and be in the game. This quality of order is very valuable now in our unstable, disorderly world. The game creates harmony, forms the desire for excellence. The game tends to get beautiful. Although there is an element of uncertainty in play, contradictions in play tend to be resolved. The game gives enthusiasm, it intensively involves the whole person, activates his abilities.

The game makes it possible to unite children. The attractiveness of the game is so great and the playful contact of children with each other is so full and deep that the play communities reveal the ability to persist even after the end of the game, outside of its framework. The game gives you the opportunity to show or improve your creativity. The game gives the development of imagination, as it is necessary to create new situations, the rules of the game. The game makes it possible to develop your mind, gives the development of wit, since the process and space of the game necessarily presuppose the emergence of comic situations.

The game gives the joy of communication, the ability to navigate in real life situations. Games are disinterested, an endless stream of information flows through them, which children enrich in the game, and therefore their fantasy becomes more saturated, meaningful, interesting. Equally important is the presence of games of an individual, pair (duet), group and mass character, original and complex games.

Most games have three main features:

· free developmental activity, undertaken only at the request of the child, for the sake of pleasure from the very process of activity, and not just from its result; creative, significantly improvisational, very active nature of this activity ("field of creativity");

· the sensual nature of the game, "emotional stress" - the emotionality of activity, competition, rivalry, competition, etc .;

· the presence of direct or indirect rules reflecting the content of the game, the logical and temporal sequence of its development.

The game lesson pays off. In such a lesson, the activity of children is significantly increased and their fatigue decreases. Games provide children with the opportunity to show a reaction in communication, independence in solving speech problems, and mobilizes internal reserves. These games train pupils in the creative use of speech skills. The use of the game, subject to certain requirements for it, allows you to influence the motivational sphere of the preschooler's personality. Awakening steady interest leads to an increase in cognitive activity, mental activity, and this, in turn, affects the processes of self-expression and self-realization of the child's personality, contributing to the creation of a positive self-concept.

The use of game techniques as developmental and teaching tools is based on the following provisions:

theory of activity A.N. Leont'ev, which consists in the fact that to positively influence the development process means to manage the leading activity, in this case, influencing the leading activity of the preschooler - the game;
theory of D.B. Elkonin, based on the fact that the potential of play lies in the practice of new social relations in which the child is involved in the process of specially organized play activities;
theoretical concept of V.N. Myasishchev, according to which personality is a product of a system of significant relationships.

In the scientific research literature, simple and complex types and forms of play activities are distinguished. With age, children's games become more varied. The development of speech, a sufficient stock of knowledge allow teachers and educators to form more complex skills in them in various simple game forms: plot-role-playing, didactic, mobile. Children begin to distinguish the characteristic features of each type of play and use appropriate play methods and means in their activities.

Children's play reaches full development only when the teacher systematically and purposefully forms this activity, working out all its main components. So:

· in a role-playing game, he singles out the content and methods of role-based interaction for the children against the background of a holistic plot;

· in didactic games helps them to highlight and understand the rules, to determine the sequence of actions and the final result,

· during the organization and conduct of outdoor games, he introduces the content of the rules and requirements for game actions, reveals the meaning of game symbols and the function of game attributes, helps to evaluate the achievements of peers.

Along with this, the teacher guides the independent games of children, carefully guiding them in the right direction by organizing the play space and a special preparatory stage of the game.

Role-playing games. At the beginning of training, the teacher intensively forms children's play skills and, mainly, role behavior. He includes children in a joint game or offers a plot in the form of a short story. At preschool age, children have already formed the basic playing skills that allow them to develop a number of interrelated conditional object-related actions in the process of playing, to attribute them to a certain character (role).

The teacher's task is to stimulate the creative activity of children in the game. This is facilitated by the deployment of the game with the inclusion of various roles in it: from different spheres of social life, from different literary works, fairy tales, as well as the combination of fairy and real characters. The inclusion of such roles in the general plot activates the imagination of children, their fantasy, prompts them to come up with new unexpected turns of events that unite and make meaningful the coexistence and interaction of such different characters.

At the same time, it is important to take into account the play interests of children, which often cannot be realized in ordinary joint games. The teacher, in a joint game with the children, must show how the plot can be developed with such seemingly incompatible roles. He encourages children in every possible way who introduce new situations, events and characters into the preliminary game plan, since this is an indicator of the child's fluency in play methods of activity and creative activity.

Creating an environment for a role-playing game or designing missing items in the course of an already unfolding plot helps to clearly define the game situation, it is more interesting to carry out game actions, more precisely to coordinate the concept of the game between its participants. It is important to remember that the environment should not only be comfortable for play, but also similar to the real one, since not all children can immediately perceive a purely symbolic, imaginary situation. This is especially true for group games, where it is important for all participants to identify the situation of the game and objects.

Theatrical games, in contrast to plot-based role-playing games, offer the presence of spectators (peers, younger children, parents). In their process, children develop the ability with the help of visual means (intonation, facial expressions, gestures) to accurately reproduce the idea of a work of art and the author's text. This complex activity requires the obligatory participation of an adult, especially during its preparatory period. For theatrical games to become truly spectacular, it is necessary to teach children not only methods of expressive performance, but also to form their ability to prepare a place for performances. All this is not an easy task for young children.

Didactic games. Folk wisdom has created a didactic game, which is the most suitable form of learning for a small child. A lot can be taught to a child in the process of everyday communication with him at home, during regime processes, as well as on walks, in games. But the most active form of teaching influence is specially organized by the educator, didactically directed classes, games and exercises. On them, the educator has the opportunity to systematically, gradually complicating the material, develop the perception of children, communicate available information to them, form skills and some important qualities. A child, while playing, imperceptibly for himself assimilates the information and skills that an adult considers necessary to give him.

In kindergarten, the teacher-educator organizes and conducts didactic games in special classes. These can be various exercises for children in recognizing, distinguishing and determining the shape, size, color, space, sounds. With the help of didactic games, children learn to compare and group objects, both by external signs and by their purpose, to solve problems; they develop concentration, attention, perseverance, and develop cognitive abilities.

Children learn musical and didactic games gradually. Familiarization with the new game takes place mainly in music lessons. The teacher acquaints children with the rules of the game, sets before them a certain didactic task. At first, the teacher initiates the game, later the children will be able to play independently without the help of the teacher. The skills acquired by children in the process of learning musical and didactic games allow them to more successfully complete tasks related to various types of musical activity.

All games, by their influence on the participants, solve three main tasks - educational, educational and entertaining. It is impossible to draw a clear line between games that perform these tasks. Each game teaches something and brings up certain qualities in the players. And each game, at this stage, is a way of spending leisure time, that is, entertaining.

As mentioned above, in preschool age, play is the main activity of a child. A small child learns a lot by directly imitating the people around him, as well as by directly contacting various objects. This self-acquired experience is of great educational value: it awakens curiosity, mental activity, and delivers many concrete impressions. The most favorable development of the child proceeds under the influence of thoughtful upbringing and training, carried out taking into account the age characteristics of children. In order for small children to master the necessary movements, speech, various vital skills, they need to be taught this.

The value of early teaching influence has long been noticed by the people; he created children's songs, nursery rhymes, toys and games that amuse and teach a small child. The people have created wonderful works - nursery rhymes, jokes, so that children learn the intricacies of their native language in the game with words. Some jokes encourage you to imitate simple sound combinations, to master different intonations of speech. Others include indispensable material for teaching children to pronounce sounds.

There are rich opportunities for sensory development and improvement of manual dexterity in folk toys: turrets, nesting dolls, tumblers, collapsible balls, eggs and many others. Children are attracted by the colorfulness of these toys, the amusement of actions with them. While playing, the child acquires the ability to act on the basis of distinguishing the shape, size, color of objects, they master a variety of new movements and actions. And all this kind of teaching elementary knowledge and skills is carried out in forms that are fascinating, accessible to the child.

The play form of education is the leading one at the stage of early childhood. But already at this age she is not the only one. In the second year of life, the child's attention is attracted by much of what surrounds him: the child can look at pictures, pets, vehicles moving on the street for a long time. He follows with interest the actions of adults. To satisfy the awakening interest of children in their surroundings, to direct their attention to certain phenomena, to give the necessary information, explanations, the teacher needs to organize independent observations with the children around the environment and talk with them about what they saw.

Games and exercises will give good results only if the teacher clearly understands what tasks can be solved in the process of their implementation and what are the features of their organization at the stage of early childhood. Play and exercise are very important for the mental education of young children. During their implementation, the child develops important qualities necessary for successful mental development; the ability to concentrate on what the adult shows and says to him is brought up. Relying on the ability and tendency of young children to imitate, the teacher encourages them to reproduce the shown actions, the spoken words.

It is very important to remember that games and exercises should create a good mood in children, cause joy: the child is happy that he has learned something new, rejoices at his achievement, the ability to pronounce a word, do something, achieve a result, rejoices first with others children actions and experiences. This joy is the key to the successful development of children at an early age and is of great importance for further education.

Thus,the success of tasks in play activity is largely determined by how much the teacher takes into account the uniqueness of the activities of preschoolers and, in particular, how he uses play for this purpose, as the most accessible and interesting form of activity for young children.

The game is fraught with tremendous educational opportunities. Through play and play, the child's consciousness is gradually being prepared for the upcoming changes in living conditions, relations with peers and with adults, and the personality traits that he needs in the future are formed. In the game, such qualities as independence, initiative, organization are formed, creativity and the ability to work collectively develop.

The methods and techniques used by the teacher should complement each other. It is advisable to include elements of the game in various activities. The game reveals the attitude of children to their educational activities and, at the same time, contributes to the consolidation and development of such an attitude. Children like to experience again and again the admiration, joy, delight, surprise that they experienced when meeting a phenomenon, object, event. This explains their persistent interest in games. It is in play that children practically realize what they would like to see in life.

The possibility and expediency of using games for the purpose of musical education of preschoolers will be discussed further.

musical pedagogical game preschooler

2.2 Specificity of play activities in the musical and pedagogical process

As mentioned above, musical education is carried out in various forms of musical activity. : listening to music; creative activity, performance; game activity. The musical abilities of preschool children are most fruitfully developed in play activities and in the students' own creativity, in their creation of musical images based on the acquired knowledge of music.

The productivity of musical and pedagogical activity, as well as pedagogical activity in general, is largely predetermined by the level of the teacher's mastery of various methods of pedagogical interaction, among which, according to scientists, play activity is expedient, effective and justified.

There are a number of reasons for this. N.A. Terentyeva in her program, the game is considered as a means of activating the ability of children to think and act independently, as an optimizer for the formation of emotional culture. According to scientists, the specificity of musical and pedagogical activity is expressed by its two interrelated aspects. On the one hand, this is pedagogical creativity in the process of communicating with children, and on the other, it is cooperation with children in the process of pedagogical creativity.

In this regard, play activity as a creative process in musical and pedagogical activity is a means of solving educational problems; social and psychological support of the musical and educational process; one of the ways of organizing the relationship between a teacher and children, which determines the success of musical education and training. Consequently, play activity as a special kind of musical creativity, in methodological terms, finds its expression in the ability to convey information, to understand the state of the student, in organizing relationships with children, in the art of influencing a partner, in the art of managing one's own mental state, etc.

The most important condition for the effective development of a child's creative potential is the purposeful use of his cognitive independence in various activities. The type of cognitive activity - play - contains specific opportunities for the formation of moral and aesthetic qualities.

The most important source of development of moral, aesthetic and cultural experience of preschoolers is musical and creative play activity. Emotionally saturated, it gives an outlet for their cheerfulness, imagination, and will allow them to express themselves creatively. A special advantage of musical, creative, playful activity is that it acts directly on feelings, enriches and develops them; reveals wide opportunities for the spiritual enrichment of schoolchildren, knowledge of the world around them through musical images and the creation of aesthetic values. Under the influence of musical art and through the system of aesthetic assessments of musical values, children penetrate into the essence of human relations, learn social processes and life patterns. We consider the involvement of preschoolers in this kind of activity as an important means of their musical education and cultural development.

Musical-play activity of children is stimulated by a whole system of motives associated with the content of this activity and the process of its implementation, or with the broader relationship of the child with the environment. The former include musical interests, the need for aesthetic experiences in the perception of music, the latter are associated with the need for schoolchildren to communicate through music with other people, with the desire to take a certain place in the system of social relations available to them.

Through play, an opportunity is created to direct the feelings and experiences of children in the right direction, through the content of music to reveal to them the deep content of life. This approach contributes to the formation of the moral core of the child's personality, his emotional sphere. His feelings become more diverse, the nature of his experiences changes. In the process of musical-play activity, children are armed with a model of musical-artistic analysis, are involved in collective and individual forms and types of activity.

The organization and implementation of musical and game activities goes through three stages:

· creation of a psychological atmosphere, a positive emotional and intellectual background of classes, activating the development of interest in musical activity;

· inclusion of children in interpersonal interaction in the process of solving musical and creative tasks, analyzing moral and aesthetic situations;

· active involvement in game situations, in dialogues - musical "conversation"; the implementation of a creative approach to musical activity and the moral style of relationships in the personal experience of the child.

In the process of realizing musical and playing activity, children self-assess their personal experience in this area, realize their capabilities, cultivate the individuality of the individual. The child moves from the position of the consumer to the position of the creator. In the process of playing activity, interest in the field of musical art is activated, the musical interests of children become more meaningful, their emotional sphere is actualized.

In the middle preschool age, for example, thanks to the increased independence and accumulated musical experience, a 4-5 year old child is already becoming an active participant in dancing, singing, and instrumental activities. Sensory cognition of the properties of musical sound and motor, perceptual perception of the metro-rhythmic basis of musical works allow a preschooler to interpret the music he has heard, orienting himself in the means of its expression. The ability to understand the character and mood of music makes the child need and desire to try himself in attempts at independent performance.

The conditions for organizing the musical activity of children of this age should ensure the unity of the emotional and artistic components of development. Pedagogical assistance in the musical upbringing of children consists in a special selection of the musical repertoire and musical games in which the music clearly expresses emotions and mood.

It is important to teach the child to use the means available to him for creating his own musical images, characters, moods - voice, movements, methods of playing instruments. Therefore, in middle age, it is especially important to teach children the technique of singing, dancing, playing music. It is extremely important to select the methods and forms of such education in order to keep the child's interest in music as a means of self-expression. On the basis of the formed metro-rhythmic feeling, children develop intonation, timbre, modal hearing, and musical memory. This is facilitated by special musical games, song and instrumental improvisations.

Children 4-5 years old can distinguish the mood in music (joy, sadness, thoughtfulness), recognize the two- and three-part form of musical works, understand that music can express a person's character (frisky, angry, crying) or depict, for example, a galloping horse, rushing train, bright morning, sunrise, surf. In games, through associations, children master musical ideas about intervals, for example, second ("mouse"), third ("cat"), quart ("crow"), quint ("whale"), sixth ("deer"), septima ("rhinoceros"), octave ("giraffe").

The tasks in the field of musical and game activity in preschool age should be the following:

· mastering the techniques of playing children's musical instruments;

· mastering the elements of dance and rhythmoplasty to create musical and movement images in games and dramatizations;

· stimulating the child's desire to independently engage in musical activities.

Children of senior preschool age acquire the most important skill - to transfer the musical experience gained in the classroom in kindergarten to a different environment, for example, to use it in home music making, singing. All this testifies to the level of his mastery of musical culture. At this age, not only the teacher, but also the great world of music itself becomes a source of obtaining musical impressions. Children can already establish connections between music and literature, painting, theater.

With the help of a teacher, art becomes for a six-year-old child an integral way of learning about the world and self-realization. An integrative approach to organizing children's interaction with art helps a child express his emotions and feelings by means close to him: sounds, colors, movements, words. The depth of emotional experience is expressed in the ability to interpret not so much the pictorial musical series, but the nuances of moods and characters expressed in music.

The patterns and features of the development of the mental processes of an older preschooler make it possible to form his artistic taste, musical erudition. He not only feels, but also learns music, a variety of musical genres, forms, composer intonations. The emotional and practical experience of communicating with music accumulated in early and middle preschool age becomes a natural basis and prerequisite for gaining knowledge.

A senior preschool child willingly participates in rhythmic polyphony games; hears a two- and three-beat rhythm and performs it on various percussion instruments, with speech games in a group of children; owns techniques on spoons, "hoof", xylophone, metallophone, keyboard-wind, wind and string instruments. Children especially like to improvise in singing, dancing, playing musical instruments, composing original melodic phrases and songs for the proposed text; combine movements into dance; create small orchestration.

In musical games and round dances, they act as composers of plots, musical images, organizers of independent games. The preschooler is characterized by emotional uplift and experiencing a feeling of excitement from participating in a play, holiday, performance of a children's orchestra or choir, which characterizes the child's changed attitude towards music performance.

The desire to perform a role or a piece of music in a quality manner shows that the main thing for him is not the process of participation in the activity, but its result. The focus on the result, on the creation of an expressive image, the desire to get the approval of the audience testifies to the fact that participation in musical activity becomes for a child not only a game, but an artistic creation.

Thus,musical lessons containing various types of musical play activities, in our opinion, play an important role in the musical education of preschoolers. Through various types of games, a potential listener is created, the child's creative abilities are developed, provided that all types of activities, all musical activities are permeated with creativity.

The use of play methods in music lessons will not only optimize the development of children, but also make all stages of the lesson fascinating and interesting, thereby achieving greater efficiency in the process of their musical education.

2.3 Organization of work on the musical education of preschoolers in various types of play activities

In the course of a theoretical study of the problem of musical education of preschoolers through play, we found out that purposeful work on the organization of their activities will have a positive impact on the process of musical education. The effectiveness of work in this direction depends on how widely various forms of play activities will be used, contributing to the implementation of the set goals.

In order to be convinced of this, we carried out experimental studies by observation methods and interviewing the children of kindergarten no. We needed to find out how a modern child understands what music is, how he thinks about it, about its role and place in human life. We analyzed the results of observation and responses of children and found out the following:

The dominant number of preschoolers is convinced that music is necessary for a person. The children themselves express their attitude to music in the following way: “I like to sing and dance to the music”, “I am sad when the music does not sound”, “to the music it is fun, the mood is good”. First of all, children prefer music "cheerful, joyful, mobile", then they give preference to music "smooth, sad, thoughtful". Music, according to most children, is needed in order to sing and dance, relax, have fun, enjoy life, and have fun celebrating the holidays. But there are also judgments that music “helps to think”, “makes a person experience something,” “evokes some feelings,” “for beauty,” “for play,” etc.

Preschoolers know that the music is composed by the composer, they have a fairly clear idea of his activities, of the various musical instruments with which "music is obtained." The most familiar and popular musical instrument among children is the piano, then they call the drum, pipe, metallophone. Balalaika and button accordion are less familiar to children. Sometimes they include a tape recorder among musical instruments. Preschoolers also know that music can be vocal and instrumental, although you can sometimes hear the following statement: "There is music, and there are songs, these are two different music." They have the idea that music can be played on one or more instruments.

As the results of the survey show, almost all children want music in the group, so that they can come to the group in the morning and hear music, play different games or draw with musical accompaniment. Here are some of the answers of preschoolers: “I will sing and play construction set”, “Music is more fun and more interesting to play”, “It’s somehow more pleasant to draw to music”, etc.

The child hears music at home, and to a greater extent than in kindergarten. The kid himself or with the help of his parents turns on the tape recorder, often has his own music library. Together with their parents, children watch music programs on TV - concerts, charts, music videos, but also children's programs. It is interesting that almost all children's programs are considered musical by preschoolers, as they "sound music". The child gladly selects music for the mobile phones of relatives, has a lot of musical toys at home, loves to move to the music.

Preschoolers tend to combine different types of artistic activities, for example, listening to music, or drawing and singing, or singing and dancing, singing and playing a children's musical instrument, dancing and playing along with themselves on a pipe, drum, tambourine. As a rule, listening to music, preschoolers adequately perceive the character and mood of musical works, they have a desire to reflect their musical impressions in dance, movement, drawing, penny. Most often, the child is under the influence of music for a few minutes after listening to it. And your favorite songs can be hummed for a long period (from several weeks to several months). There are flies who forget about music immediately after it ends, switching to other activities, without translating musical images into play images.

The child's encounters with music allow him to use it in different ways in life. So, for a holiday, for receiving guests, the child offers to turn on cheerful, dance music, in kindergarten he wants to listen to songs of the children's repertoire, classical music. But at home I would like modern songs and musical fairy tales to be heard on the radio. For sports, the child suggests using disco music: “The music should be cheerful”, “So that you can jump, run, squat, bend over to it ...”, “You can use the march”, “My mother is engaged in special music and therefore she is slender. " For fun, for the soul, some children prefer to listen to romances, early music or Russian folk songs.

After analyzing the answers of the children, we came to the conclusion that musical lessons, in which play techniques will be used, are interesting for children. Play activities for the purpose of musical education of preschoolers is possible and expedient in almost all music lessons: as a game with singing, movement, outdoor play, study game, exercise game, didactic and detailed dramatization game. It exists not only as an independent section of classes, but also as an important part of other types of musical activity for children.

At each stage of the lesson, you can use almost all types of musical games, some of them are predominant in one or another age group. Here are examples of game techniques that, in our opinion, can be used with preschoolers:

So, for the smallest, it is like a game with movement and singing. Also, a big role belongs to, for example, a bright toy (hare, doll, bear). Emotional performance of play movements and songs by adults will be attractive to kids and infect them with mood.

Older children can use dramatization of songs (“These are the miracles”, “Brave soldiers”, “Dance of the Rabbits” by A. Filippenko). They lead to the possibility of using extensive dramatization games based on Russian folk tales, for example, Kolobok and Teremok. For example, the playing technique “Conversation of Instruments” is a dialogue between a piano and a percussion instrument performed by a teacher and a pupil. The teacher will answer at the piano, completing or not completing the phrase, in order to activate the child's attention. Then two children ("drummer") talk, and the group ("orchestra") comments on the degree of completeness of the improvisation with conventional rhythmic forms. Tools can be replaced by claps or knocking on various objects.

For example, in the game "Postman" a rhythmic sentence is transmitted (by the teacher), and the group repeats it orally with the same nuances. Combination - is the ability to combine individual structural elements, while creating more complex options. For example, in the same "Postman" game, the first phrase is played on crescendo, the second - on diminuendo, or with different percussion instruments, or with different nuances.

One of the first creative experiences of children can be considered vocal improvisations, which can also be carried out in a playful way. Initially, in vocal improvisations and "compositions" you can do without words. Improvisations and “compositions” with words are prepared with the help of hand-tone exercises on two stages V-III (“call”), according to hand signs, which the teacher first shows, and then instructs the children to guide such exercises. As you master new steps, it becomes possible to diversify their combinations. This allows children to discover new intonation combinations.

A widespread game technique "Melodic echo", which promotes the development of inner hearing, was carried out in the form of oral dictation. Children reproduce the melodic phrase shown by hand signs by the teacher with their voice. Then, synchronously with the teacher's hand signs, they mentally sing a melodic fragment and reproduce it in a voice with hand signs. Children are invited to compose their own version and sing it. Creative tasks that develop the ability to actively intonate are free voice improvisations without words (vocalizations). Free fantasizing with a melodic line occurs against the background of sustained harmony performed on the piano by the teacher. Children do not have any difficulties in such creative tasks and perform them with great pleasure.

In our opinion, special attention should be paid to the games given in the Pedagogical technology of organizing the perception of music by children of senior preschool age, aimed at the development of play activities and play skills of preschoolers (author Gogoberidze).

Purpose: enrichment and development of the plots of children's games for older preschoolers through the perception of musical works.

· enriching the musical and auditory experience of children with new musical impressions and images while listening to musical works;

· teaching children the skills of transferring a musical image into a play one with the further development of a plot game;

· development of the game activity of preschoolers through the perception of new musical works.

Space for interaction with the teacher: musical and play environment (a place convenient for listening to musical works in the group room, the location of the children is free - on the carpet, on pillows, on soft toys).

Necessary tools: tape recorder or stereo system, cassettes, illustrated pictures, dolls, costume elements.

Fantasy game "Flight of the Bumblebee" (to music by N.A. Rimsky-Korsakov "Flight of the Bumblebee").

The teacher invites the children to take comfortable places on the carpet, which will "take" them to a magical land. A bumblebee appears.

Educator: Guys, in the country where we got to, the bumblebee cannot speak the human language, but he can talk about his adventures with the help of music. We will now hear about where the bumblebee visited, what happened to him, with whom he met. Listen carefully, and then show by your actions what you have heard (“The Flight of the Bumblebee” by NA Rimsky-Korsakov sounds).

After listening to the work, the children - "bumblebees" in turn, with movements, mimicry "tell" the story that they imagined while listening to this work. The rest read the "dumb" comments of their peers. Thus, a collective plot is being composed. Further, the teacher invites all "bumblebees" to go to the clearing. ("Polka" sounds, and the children begin to dance to the music, accompanying the dance with various actions that the music prompts them to do. Then everyone returns to the magic carpet.)

Educator: Tell us what happened in the meadow, where the bumblebees met?

Children talk about what they were playing now. Thus, separate storylines are combined into one playable plot.

Fantasy game "The Adventure of Baba Yaga and her friend Grandma-Yozhka" (using the works of A. Lyadov "Baba Yaga" and P. Tchaikovsky "Baba Yaga").

Educator: Guys, someone is hiding in my box and does not want to leave until you guess who it is. To make it easier to guess, I will turn on the music that prompts you. Listen to the play by the composer Anatoly Konstantinovich Lyadov and tell me what character is depicted in the music?

(Children listen to an excerpt from the orchestral play by A. Lyadov "Baba Yaga")

Children: The nature of the music is angry, prickly, jumping.

Educator: Who do you think the composer portrayed with such "evil", "prickly" music?

Children: Probably Babu Yagu. She is angry, cunning, jumps and flies in a mortar.

Educator: Listen to the music again and make sure that you are right (an excerpt from Lyadov's play sounds).

Educator (takes out the toy Baba Yaga from the box). Baba-Yaga was tired of hiding, she wanted to get out and see her friend, Babka-Yozhka, able to measure herself (takes out a second toy from the box).

Listen to how the composer Pyotr Ilyich Tchaikovsky spoke about her in his music. (Children listen to P. Tchaikovsky's piano piece "Baba Yaga".) Now let's think about what is common in the music of the first and second pieces? What is the difference?

Children: In both works, the music is unkind, gloomy. The first piece is performed by the orchestra, the second is played on the piano, and it is not so scary.

Educator: Let's try to move around to the music, show how Baga-Yaga and Babka-Yozhka behave. (Excerpts from the music of Lyadov and Tchaikovsky sound, children demonstrate the behavior of the characters in movements).

Educator: So, we have two girlfriends Baba-Yaga and Babka-Yozhka, they are so different, but both received an invitation to a holiday to Kashchei the Immortal. Let's split into two groups: one will represent Baba Yaga, and the other - Babka-Yozhka. (The teacher takes on the role of Kashchei).

Practical teachers note that when using game techniques, it is important to adhere to the following "director's" rules:

Before the start of the game task, do not rush to proclaim the didactic goal and to formulate the educational task.
To think over the division of the "event series" of the game task in such a way that the complex activity is masked by the children performing actions, it is easy enough for them, that is, frame each new step of the algorithm with simple, uncomplicated actions.
Start each stage of work with a change of mise-en-scene: either change the location of the children (by the window, in the corner), or change their body position (standing, sitting at tables, sitting "without tables", squatting), or change the set of accompanying play movements.
Think in advance how and at what moments one should get rid of the clichés of "paired pedagogy" (teacher - students), replacing it with the director's organization of the involuntary attention of children to the opinions, skills, actions, and goals of each other.
Tasks should be formulated in the classroom in such a way as not to interfere with the children to put personal implications into the wording they heard, providing in the group a special, situational, comfortable and good-naturedly cheerful atmosphere of personal playfulness in relation to both the teacher and each other.
During the first repetition of the game task in the next lesson, pay attention to the provision of new novelty, surprise and incomprehensibility in it, and with subsequent repetitions, focus on the ritual-traditional repetition of the most emotional moments (techniques, moves) of the game task for children.
Make a list of favorite children's games (from the time of your childhood or games that your students love) to use these games (or their elements) in your classes (at least as a warm-up and relaxation).
Remember that the liveliness of the didactic game for the most part depends on the liveliness of the teacher's behavior (dryness in his behavior or, conversely, swagger and coquetry can spoil the effectiveness of any seemingly well-thought-out didactic game).

In the process of play activity, all aspects of the child's mental life are manifested and through it are formed. Through the roles that the child plays in the game, his personality is also enriched. It is in the game that many moral qualities are brought up.

In the musical education of preschool children, didactic games are of great importance. In didactic games, perception, observation, and the ability to generalize are developed. In the process of their implementation, the individual characteristics of children are clearly revealed, these games help to educate concentration, attention, perseverance. This is especially important for children with increased excitability. In the process of conducting didactic games, the degree of mental development of children, their intelligence, ingenuity, as well as decisiveness or indecision, fast or slow switching from one action to another, is clarified.

Carrying out musical education in the game, the educator must develop in them such moral qualities as benevolence, the desire to benefit the playing team. The guidance of educators in play must always be combined with an individual approach to children. These are two sides of a single educational process. Knowing the individual characteristics of children, their abilities and skills, you should always use this in the game. Some children expressively read poetry, others sing and dance well. In the general game, everyone can find a case, taking into account his individual characteristics.

Thus,in play activity, in its correct organization, there are great opportunities for effective pedagogical influence on children. And the educator must constantly use them for the diversified development of each child.

Musical lessons containing various types of play activities, in our opinion, play an important role in the musical education of preschoolers. The use of play methods in music lessons will allow not only to optimize the musical development of children, but also to make all stages of the lesson fascinating and interesting, thereby achieving greater efficiency in the process of musical education of preschoolers as a whole.

With systematic and purposeful use, playing techniques will have a positive effect on the development of perception, musicality, musical taste; will allow the preschooler, when faced with music, to be guided by the best examples and, in general, will contribute to the effectiveness of their musical education.

Conclusion

Consideration of the problem of musical education of preschoolers through play activities allowed us to draw the following conclusions.

The main goal of upbringing is the full development of the personality. Today, in pedagogy, the view on various ways of stimulating and developing the personality of children is changing significantly, which can be developed in classes that include various types of activities.

The game is an invaluable assistant in this. Play, the most important type of child's activity, plays a huge role in the development and upbringing of a child. It is an effective means of forming a child's personality, his moral and volitional qualities, the need to influence the world is realized in the game.

Based on our research, we can state that music contributes to the all-round development of a child. Musical education of children should begin as early as possible, already at an early preschool age.

The influence of music on the upbringing of a personality is manifested and carried out in various forms of musical activity: listening to music; creative activity, performance; game activity. The formation and development of personal qualities of preschoolers is influenced by the entire range of musical performances that they can receive in various types of play activities.

The lesson, competently organized by the teacher, is aimed at comprehending the content of music with the involvement of the emotional and sensory sphere of the child's inner life in this process. All this can be realized in the process of playing activity, which carries a certain emotional charge. In the game, the teacher can easily stimulate and correct the development of the child.

In the process of using musical-play activity, not only musical education is carried out, but also a full-fledged, harmoniously developed personality of the child is formed.

We consider it expedient to apply the main provisions considered in our practical work with the aim of musical education of preschoolers. Using the identified forms of play activity in music lessons, we hope to achieve positive results.

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Annex 1

Games and exercises for the development of musical abilities

Reading a fairy tale

There lived a cat Vasily.

It was a lazy cat!

Sharp teeth and a thick belly.

Highly quiethe always walked.

Loud, persistently asked to eat,

Yes a little quietersnoring on the stove -

Here's all that he knew how to do.

The cat somehow sees a dream like this,

As if he started a fight with mice.

Loudscreaming, he scratched them all

With your teeth, your clawed paw.

There are mice in fear quiet prayed:

Oh, have mercy, mercy, do mercy!

Here a little louderexclaimed the cat: "Scatter!" -

And they rushed into the loose.

(And in fact, at the time when our Vasily was sleeping, this is what happened)

Mice quiet came out of the mink,

Loudcrunching, ate bread crusts,

Later a little quieterlaughing at the cat,

They tied his tail with a bow.

Vasily woke up suddenly loud sneezed

I turned to the wall and fell asleep again.

And the mice climbed onto the back of a lazy person,

Until the evening loudthey made fun of him.

Loudly - softly

Game material. Any thing

The course of the game. Several people can take part in the game. The driver is selected, who leaves the group. The remaining children agree on where to hide things. The driver's task is to find it, guided by the volume of the song, which can be sung by all participants or one of the players. Everyone needs to remember the basic rule: the sound of the song increases as it approaches the place where the hidden one is, or weakens as it moves away from it.

If the driver has successfully completed the task when repeating the game, he has the right to hide his thing.

Who goes?

Using the fairy tale by E. Koroleva "A friendly family", we train in drawing up rhythmic patterns.

We play any musical instrument (even a noise one: a rattle, a maracas, a tambourine) sounds in whole lengths, thus depicting the "steps of a great-grandmother." At the same time, we count out loud.

At the same time, they play another musical instrument, depicting in turn “grandmother's steps” (half durations), “mother’s steps” (quarter lengths) or “guys steps” (eighth durations). Children have to guess who is walking next to "great-grandmother", "grandmother", etc.

We ask the children to name the durations that the heroes of the fairy tale performed by their parents "walk".

Murka the cat and musical toys

Game material. Musical toys: pipe, bell, musical hammer; cat (soft toy); box.

The course of the game. The teacher brings a box tied with a ribbon, takes out a cat from there and informs the children that Murka the cat has come to visit and brought musical toys as a gift, which he will give to the children if they recognize them by their sound.

The teacher, unnoticed by the children (behind a small screen), plays musical toys. Children will recognize them. A cat gives a toy to a child, he rings a bell (taps a musical hammer, plays a pipe).

Two brothers. (Fairy tale)

In ancient times, King Ding Don the Seventh ruled in a fairyland called Zvuklandiya. More than anything, he loved to sleep and be bored.

He used to sit on his throne and get bored.

Swinging his legs out of boredom,

Out of boredom he will order cookies to be served, And the soldiers - to sing a song.

His soldiers were unusual -

All, as one, the singers are excellent.

And for this, by the way,

Dean began - Don to call them sounds.

The Sounds will sing one song to the King,

The King will snore, and Sounds are also on the side.

Sleep until morning.

In the morning they will get up, shout: "Hurray!"

The king will wake up

It will turn from side to side,

And everything will start all over again:

Boredom, cookies, soldier singing.

From this life the Sounds have become lazy,

They have completely forgotten how to sing properly.

The king was terribly distressed.

He even ceased to be bored.

Makes them sing this way and that

And they don't want to.

And then one day two brothers, Lada, arrived in Zvuklandia from the distant land of Ladia. One was a merry dancer - a giggle, the other a sad, pensive one. The merry one was called Major, and the sad one was Minor. Major and Minor learned about the king's misfortune and decided to help him.

They came to the palace,

They bowed to the king, as expected.

Hello Dean - Don, they say. -

We want to listen to your soldiers.

Well, - the king ordered the sounds, -

Sing it all out!

One, two! One, two!

The Sounds sang, some to the forest, some for firewood.

Brothers could not stand this music,

Come on - they say -

Dean - Don, we'll help you

From your Sounds, let's put together a fine song.

Lined up the Major sounds in a row -

The result is a scale.

The Major commanded them: "Pay for a tone-semitone!" The sounds were quickly calculated:

Tone, tone, semitone,

Tone, tone, semitone.

Sing along! - commanded the Major. The sounds began to sing.

We all stood together in a row,

The result is a scale.

Not simple - major,

Joyful, perky.

Finished the Sounds to sing - Minor stepped forward. He commanded: "On a tone - a semitone calculate-and-tai!" For some reason the sounds became sad, reluctantly paid off.

Tone, semitone,

Tone, tone, semitone,

Sing along! Minor commanded. The sounds began to sing.

We are the minor scale

There is a long row of Sad Sounds.

We sing a sad song

And now we will roar.

Since then, order has been established in Zvuklandia.

Dean - Don began to live differently,

I stopped sleeping with new music,

He will be sad - the Minor will appear,

If he wants to have fun, the Major will appear.

Sounds began to live okay,

And the songs sounded well.

Exercises to develop a sense of rhythm

Hedgehog and drum

The teacher reads a poem, and the children play the drum (or imitate playing it). In the future, the words are completely replaced by rhythm.

A hedgehog walks with a drum,

Boom Boom Boom!

The hedgehog plays all day

Boom Boom Boom!

With a drum behind my shoulders

Boom Boom Boom!

The hedgehog got into the garden by accident

Boom Boom Boom!

He loved apples very much

Boom Boom Boom!

He forgot the drum in the garden

Boom Boom Boom!

Apples were plucked at night

Boom Boom Boom!

And the blows rang out

Boom Boom Boom!

Oh, how the bunnies got cold feet!

Boom Boom Boom!

We didn’t close our eyes until dawn

Boom Boom Boom!

The teacher says:

The woodpecker sat on a fat bitch