Development of singing skills in preschoolers. The development of vocal abilities in children of senior preschool age. The main tasks of teaching children to sing
svetlana gorbunova
Development of singing skills of preschoolers. Vocal and choral work
Vocal and choral work for the development of singing skills of preschoolers
At the beginning of the lesson, we remind the children how to sit during the singing class.
Pevcheskaya installation is the correct position of the body when singing, on which the quality of sound and breathing largely depends. When teaching children to sing, you need to watch how the children sit, stand, hold their heads, body, how they open their mouths.
Exercises for the formation of the correct singing installation: "Grandfather is sitting" M. Kartushina; "Wind", "Bear".
At the stage of formation vocal and choral skills to work all elements are turned on at the same time vocal and choral technique, and further they deepen. Their sequence looks like this.
Vocal and choral skills:
sound production
purity of intonation
ensemble
At the beginning I will conduct classes work to prepare the vocal apparatus and the whole organism for singing. For this purpose, I use breathing exercises, vocal chants.
These exercises allow you to prepare the child's vocal apparatus for singing, which prevents overstrain of the vocal cords. Thus, all are activated. vocal skills and musical ear. In addition, in the process of performing these exercises, the health of children is strengthened.
Breathing is one of the main factors of voice formation. singing breathing takes effort. It consists of inhalation, retention of breath and exhalation. master singing skill breathing exercises help children, which are divided into exercises without sound, sound exercises, exercises to music. These exercises contribute to the improvement of the entire respiratory system, as well as massage internal organs, saturate tissues with oxygen, strengthen the nervous system. But you can’t use more than 2 exercises per class in the classroom. breath development.
Here are some of the most favorite exercises for children for development of singing breathing:
exercises without sound: "Conductor", "Fast slow", "Freezing", exercises with a piece of paper, "Smell the flower" etc. ;
sound exercises: « Balloon» , "Bubble", "Kitten and ball", finger game "Balloon" etc. ;
exercises to music: "Candle", lip vibration, complexes breathing exercises with movements "Kettle", "Cunning Pot" etc.
Sound formation with the correct setting of the voice should be natural, sonorous and light, children need to sing without tension. For proper sound production, a clear sound is of great importance. Work voice apparatus (mandible, lips, soft palate with a small tongue). Closely related to sound formation is such a quality of sound as melodiousness.
For this you need to early age to teach children to draw out individual sounds, the ends of musical phrases. For example, in a Russian folk song "Cockerel" sing the last syllable in a word "cockerel" or in a song "Cow" M. Rauchverger the last syllable in the word "on the meadow".
The length in singing depends on the correct breathing and the predominance of vowels, which is typical for folk songs. (There was a birch in the field). Development slowness helps singing songs written at a moderate pace, as well as learning songs at first in slow motion. Exercises for work correct sound production: "Bell", "Saxophone", "Ball game", singing with closed mouth, Exercises according to the method of D. Ogorodnov to loosen the chin, "Owl sits", clean talk.
For good sound formation, correct pronunciation is of great importance. Diction - the clarity of the pronunciation of the text. This is an indispensable condition vocal, choral performance. Many preschoolers have problems with pronunciation of sounds. One of the effective methods of correction speech disorders is a regular use in the process of singing vocally- articulation exercises, the purpose of which is - definition development, correctness work the entire articulatory apparatus. The practice of singing such exercises enhances the effectiveness of speech therapy. work, because the process of singing, like speech, is based on work the same muscle groups.
Target vocally-articulation exercises are implemented in tasks:
1. release of articulatory muscles from tension
2. development of mobility, motility of the articulatory apparatus
3. overcoming pronunciation defects that interfere not only with sound singing voice but also speech
4. development the ability to sing coherently while clearly pronouncing consonant sounds
5. development ability to sing with intonation
6. mastering the techniques of pronunciation of the text to improve vocal qualities of the voice.
At work over diction, the technique of exaggerated display of articulation proved to be good teacher:
Articulation gymnastics. Primary goal - production full-fledged certain position of the organs of the articulatory apparatus. As a result of this work children have higher levels speech development, singing skills improves memory and attention.
Voiced articulatory gymnastics. Exercises "Brook", "Motorbike".
Musical finger games combine singing with active articulation and fine motor movements. Exercises by E. Zheleznova, M. Kartushina.
Pronouncing and singing tongue twisters in a different character, pace, using sounding gestures (according to K. Orff). AT work the following help with tongue twisters tricks:
Marking metric pulsations with clapping
Alternating claps and slaps on the thighs
Clicks on the first pronunciation of the tongue twister and slaps on the second
Speak text at an accelerated pace
Pronunciation of the text in different dynamics - from a whisper to almost a scream (we show the increase in dynamics with a gesture)
Reading tongue twisters in subgroups, pronunciation with the canon
Singing tongue twisters as chants in semitones.
6. Vocal vowel exercises. Methodology holding: children sing only vowels.
7. Pneumoplastic exercises are aimed at work articulatory apparatus based on breathing. Each exercise is pronounced in one breath, as long as possible.
work on intonation, I begin with the concept of pitch. Purity of intonation requires constant work on improving hearing. For the purity of the intonation of the melody, I use the transposition of the melody in comfortable for the child key. Good work sound imitation exercises. It is desirable that the melody comes from above way down: this immediately sets the voice box to a high sound.
So that children can easily determine the direction of movement of the melody, I use modeling (show hand movement, didactic games) . Benefits: "live pictures" with moving parts (exercises "Ladder", "Swing", "Sing with me".). Also, to improve the purity of intonation in singing, I use the systematic repetition of the learned songs with accompaniment and a cappella, exercise "draw with voice"
This type of activity is a free voice slide along the drawn lines. Before you start work with drawn models, children try to voice the howling of a blizzard, wind, the flight of a beetle or a bird, jumping frogs, a bouncing ball, raindrops, shooting stars. This is a method that teaches the child to independently control the line of voice movement, directing it in his own way. In the future, such models are performed according to the drawing and according to the hand of the teacher, showing in which direction to lead the voice. The performance is calm and unhurried, without sharp cries, with a soft inhalation and exhalation.
Harmonious, clear singing in unison lays the foundation of the ensemble. In singing in chorus, I teach children to listen to themselves and others, to merge with the general singing. This is achieved by focusing on the simultaneous introduction, maintaining the general tempo, and ending the singing of phrases. One should strive for the expressiveness of singing, building the ensemble.
The ensemble is achieved gradually. At the beginning of the year, kids are included in singing after the introduction of the teacher, and at the end of the year they start the song after the introduction.
A noticeable result in the formation skills ensemble in children gives the reception of singing "chain". Toddlers learn it "playing with the song". For such a game, songs with repetitive musical phrases are suitable (rnp "Cockerel", "Bunny".). The middle group uses a variety of options roll call: singing "along the chain", duet, trio, alternate singing. In the same sequence, we improve the ensemble structure in children of older groups. Here are added "Echo" and "singing to myself". Such Work aims to teach children how to accurately perform melodies when singing in unison.
Techniques contribute to building the ensemble. First of all, before the beginning of singing it is necessary to gather the attention of the children. If the song has a piano introduction, give a signal - a wave of the hand or a movement of the head, so that everyone starts the song at the same time, after the introduction. If there is no such intro, it is recommended to play the beginning of the song (singing, first phrase). To activate attention, I use the method "Singing Hands" when children instead of voices sing with their hands. A more complex option - the first phrase is sung with a voice, the second with hands, etc.
AT development of singing skills great importance is attached to song improvisation. The desire for song creativity manifests itself early in children, starting from 3-4 years. Continues in senior groups work to consolidate skills received by children in younger age but at a higher quality level. the main objective– expand the musical experience of children, form skill independent improvisations, help children overcome insecurities, develop imagination, attention, memory.
Children enthusiastically improvise and try to draw songs graphically. For example, a song of a smooth, melodious character is drawn with a wavy continuous line; high and low sounding of the song is marked with ascending or descending lines; songs built on the alternation of long and short sounds are drawn with long and short lines.
Tales for development of children's singing skills: "Walk" (author - O. Yu. Kheruvimova).
The monkeys woke up in the morning, stretched, smiled, yawned, made faces in the mirror, waved to each other. We decided to brush our teeth. They plucked a banana, chewed it, and suddenly the Chi-Chi monkey took the banana from the Chu-Chu monkey. Chi-chi became fun (happy lips, and Chu-chu became sad (sad lips). Then the monkeys began to click nuts, hid them behind one cheek, then behind the other. Then they saw a hedgehog and began to breathe like him. The hedgehog gave them a flower, and they wanted to smell it. Then a mole drove up in a car and offered them a ride. With joy, the monkeys began to kiss their nose, cheeks, chin, forehead and everything around. Monkeys began to let bubble. Then the monkeys began to swing on the swing (in glissando voice) and rocked the old baobab (groan in voice).
Conclusion: play with the children in the lessons as much as possible, because if you create a game situation for the child, colorfully describe what he needs to do, then the learning process will be much faster and easier.
All vocal skills are closely related. Work over them is carried out simultaneously, and skills develop gradually.
INTRODUCTION 3
CHAPTER 1 PSYCHOLOGICAL AND PEDAGOGICAL BASIS 7
TEACHING PRESCHOOL CHILDREN TO SINGING
1.1 The importance of teaching children to sing in the light of modern 7
psychological and pedagogical theories. Methodological
the basis of the problem of teaching singing to older preschoolers
1.3 Role, types and tasks of singing activity 16
1.4 Basic didactic principles of teaching children to sing 19
CHAPTER 2 METHODS OF TEACHING SINGING TO SENIORS 22
PRESCHOOL CHILDREN
2.1 Development of singing skills in children of senior preschool 22
age. Characteristics of singing skills
2.2 Methods and techniques aimed at the formation of vocal 36
choral skills in older preschoolers
2.3 Stages of working on a song 38
2.4 Interaction of the music director with educators 44
and parents in the development of singing skills
PRACTICAL PART: THE BASICS OF GAME LEARNING TO SINGING 48
PRESCHOOL CHILDREN
Innovative methodology Katser O.V.
CONCLUSION 57
BIBLIOGRAPHY 59
Every child from an early age has a magical tool - the voice. This is the most accessible tool, the possession of which is constantly evolving. All children love to sing. Singing exists constantly in the world around the child, filling and brightening up leisure.
Why is it so important to interest a child in singing? Songs for a child are bright positive emotions. Singing has a beneficial effect on the child's nervous system, develops attention, speech, memory well, and, of course, develops and strengthens the vocal apparatus. The main thing is that all the songs that the baby sang are good, develop and educate the personality.
Singing is the most popular and accessible type of performance. The whole complex is successfully formed in singing musical ability: emotional responsiveness to music, modal feeling, musical and auditory representations, sense of rhythm. In addition, children receive various information about music, acquire singing skills and abilities. In singing, the musical needs of the child are realized: he can perform the so-called familiar and favorite songs at will at any time.
“The children will sing - the people will sing,” wrote K.D. Ushinsky. And whether children like singing or not depends largely on adults.
Preschool age is the most favorable period for the formation and development of a singing voice. Singing classes are an important component of the harmonious development of a preschooler. The education of the child's hearing and voice has a positive effect on the formation of speech, and speech, as you know, is the material basis of thinking. Singing helps to solve some sound pronunciation problems. In addition, the upbringing of modal and metrorhythmic feelings is associated with the formation of a complex system of nerve connections in the human cerebral cortex, with the development of the abilities of his nervous system for the finest regulation of the processes of excitation and inhibition (and at the same time other internal processes) occurring in the body. This ability of the nervous system, as is known, lies at the basis of all activity, at the basis of human behavior.
Systematic vocal education also has a beneficial effect on the physical health of children, singing not only gives pleasure to the singer, but also exercises and develops his respiratory system, which affects the state of the cardiovascular system, therefore, involuntarily doing breathing exercises, the child strengthens his health.
And what wonderful opportunities for the development of the aesthetic and moral ideas of children! Thus, musical and singing education contributes to solving problems harmonious development child. That is why the chosen topic is UP TO DATE.
THE PURPOSE OF THE FINAL WORK:
To study in more depth the methodology of teaching senior preschool children to sing, to understand the features of work on this type of musical activity, to get acquainted with new innovative methods for teaching senior preschool children to sing.
Based on this goal, the following tasks:
To reveal the importance of musical and singing activity for the comprehensive development of the child;
Consider this problem in pedagogical and psychological aspects;
To characterize the vocal and choral skills acquired by children in singing activities;
Describe the methods and techniques for the formation of vocal and choral skills in older preschoolers;
Mark age features hearing and voice of children 5-7 years old;
To study an innovative method of playing teaching children to sing
Katser O.V.
This graduate work consists of the following structural components:
introduction, two chapters, practical part and conclusion.
The first chapter consists of four paragraphs and is 16 pages long. The second chapter also consists of four paragraphs and is 26 pages long. Practical part - 11 pages. The conclusion is followed by a list of used literature.
In this final work, the following literary sources were used:
1. Aliev Yu.B. Singing in music lessons. Methodological guide for teachers elementary school. - M., - Enlightenment, -1978, -175s
The book provides theoretical justifications for the formation and development of vocal and choral skills, reveals teaching methods and touches upon the issues of educating a personality with the help of aesthetic means of music education. The manual includes song and musical material.
Musical education at school / compiled by Apraksina O. (issue No. 16,
Digest of articles). -M., Music, -1985. -92s
The collection includes review methodological articles on issues of musical and aesthetic education. Articles have been developed
Nagornaya T.V. Development of perception of music in choral classes.
Metlov N.A. Music for children. - M., Enlightenment, - 1985, -144s
The book contains articles by the famous teacher - musician Nikolai Afanasyevich Metlov.
The musical director, the educator received practical recommendations on how to develop an ear for music in children, work on teaching singing, organize a children's orchestra, conduct morning exercises to music, etc.
Teach Children to Sing: Songs and Exercises for Children's Voice Development
(5-6 years old, 6-7 years old) / compiled by T.M. Orlova, S.I. Bekina. - M., Enlightenment, -1987, - 144s
The books provide a system and detailed recommendations for teaching singing skills to children 5-6, 6-7 years old. Extensive musical material includes folk songs and songs by contemporary composers. It is selected in accordance with program requirements and taking into account the individual creative abilities of children.
Methods of musical education in kindergarten / edited by N.A. Vetlugina, -M., Enlightenment, - 1982, - 271s
The textbook for pedagogical schools covers the theory and methodology of musical education in kindergarten
Menabeni A.G. Methods of teaching solo singing: Textbook for students ped. institutions. –M., Enlightenment, -1987, -95s
The manual discusses the principles and methods of vocal training, reflects the features of working with children, talks about the structure of the vocal apparatus, including children's, about singing breathing, about ways of mastering the technical skills of singing, developing a vocal singing voice, its
expressiveness.
CHAPTER 1PSYCHOLOGICAL AND PEDAGOGICAL BASES OF TEACHING PRESCHOOL CHILDREN TO SINGING
The importance of teaching children to sing in the light of modern psychological and pedagogical theories, the methodological basis of the problem of teaching singing to older preschoolers
« Musical education is not the education of a musician, but, above all, the education of a person.
Sukhomlinsky
Every parent wants to see their child in the future as a happy full-fledged member of society who has found his place in life. To do this, a person must be an individual, a person.
Actually the human beginning is formed at preschool age. But to be human means not only to be “like everyone else”, to own everything that others own, but also to be a unique individual with your own tastes and interests. One of the main documents of the educational sphere “The UN Convention on the Rights of the Child” puts the development of individuality in a prominent place already at preschool age: “The education of the child should be aimed at the development of the individual”.
Familiarization with music is one of the important ways of aesthetic education of a child, since music has a strong effect on feelings, and through feelings, on his attitude to surrounding phenomena.
D. Shostakovich said: “Love and respect the great art of music. It will open to you a whole world of great feelings, passions and thoughts. It will make you spiritually richer, purer, more perfect. Thanks to music, you will find completely new, previously unknown forces in yourself. You will see life in new colors and colors.”
Indeed, music brings to life not yet conscious thoughts and feelings, faith in their inner strength, in their calling.
Musical art, reflecting life, affirms inner beauty of a person, the value of friendship, fidelity to duty, reveals the richness of the spiritual world.
N.A. Vetlugina writes: “The relationship of musical education and development implies the correlation of an objective, social public musical environment with the subjective experiences of a child introduced to music…”
In our society, prerequisites have been created for the comprehensive development of the child's personality by means of musical art.
Domestic composers S. Prokofiev, D. Shostakovich, V. Gerchik, M. Raukhverger, E. Tilicheeva, A. Filippenko and many others created a golden fund of musical works, diverse in genres, themes, musical imagery for children.
Musical works evoke in children a certain attitude towards social phenomena. Through their content, children learn about the life and work of their people, get acquainted with the characters national history. In the process of communicating with music, the child is required to submit to the interests of the team - coordination of actions, a sense of friendship and camaraderie is brought up, such personality traits as self-control, endurance, discipline, responsiveness and initiative develop.
Singing together embraces children with experiences and requires them to unite their efforts.
“Singing is one of those kinds musical activity, during which the aesthetic attitude to life, to music successfully develops, the child’s experiences are enriched, musical and auditory representations of sound-pitch relations are actively formed” (N.A. Vetlugina. “Musical Development”).
The impact of singing on the physical development of children is obvious. Singing affects the general condition of the child's body, causes reactions associated with changes in blood circulation and respiration. The influence of music on the human body was established by physiologists V.M. Bekhterev, I.P. Pavlov.
P.K. Anokhin studied the influence of major and minor modes on the listener, came to the conclusion that the skillful use of melody, rhythm and other expressive means of music can regulate a person’s state during work and rest, stimulate or calm him down. Correctly delivered singing forms the activity of the vocal apparatus, strengthens the vocal cords, and develops a pleasant timbre of voice. Correct posture affects even and deep breathing. Singing, developing coordination of voice and hearing, improves children's speech.
The specificity of singing preschoolers was studied in different aspects. Back in 1940, N.A. Metlov in his dissertation “Teaching singing to children of the senior group kindergarten”raised and resolved issues related to the protection of children's voices, the development of methods for teaching children to sing. He determined the ranges convenient for each age group, developed recommendations for mastering the vocal set and singing skills, sound production, breathing, diction, purity of intonation, ensemble. (Metlov N.A. Music for children. - M.1985).
The problem of developing the purity of intonation in senior preschool age was analyzed by A.D. Voinova. (Development of purity of intonation in the singing of preschoolers - M. 1960)
Teachers-musicians have accumulated extensive experience in the formation of a child's personality in the process of learning to sing. A significant contribution was made by such teachers as V.N. Shatskaya, N.A. Metlov, L.I. Mikhailova, E.A. Aimazov, A.D. Voinova, B.L. , N.D. Orlova, T.V. Volchanskaya, S.I. Bekina. In their works, a theoretical substantiation of the system for mastering singing skills was given, the methodology was continued practical work with children of different ages, the influence of singing, performing activities on the comprehensive development of the child's personality is shown. Singing brings up aesthetic perception and aesthetic feelings, artistic and musical taste - evaluative attitude to the song. Children have favorite songs, and they sing them in everyday life.
Singing contributes to the mental development of the child. It expands children's horizons, increases the amount of knowledge about the surrounding life, events, natural phenomena. We see this task in all modern programs of musical development.
“Harmony” by KV Tarasova is the development of musical abilities in children in all available types of musical activity.
"Synthesis" by K.V. Tarasova - the introduction of preschoolers into the world of music, familiarization with the truly beautiful.
“Intonic”, “Hello” by M.A. Lazarev - stimulation of the psychophysical qualities of children through musical emotion.
“The Art of Hearing” L.V. Shkolyar – the development of the ability of children to model the process of artistic creativity.
"Rainbow" - the development of musicality, the ability to hear music and enjoy meeting it.
"Childhood" - to raise children healthy, cheerful.
VV Kiryushin - his fairy tales are intended for classes in the theory of musical study of notes, intervals.
Musical education and development of the child is carried out throughout all stages of his life. All types of musical activities recommended in preschool education develop the musicality of children. Musicality develops the faster, the earlier the child is taught any kind of musical activity, and the most favorable period for the start of training is preschool age.
The theoretical basis for teaching children to sing is the development of N.A. Metlov, D.B. Kabalevsky, N.A. Vetlugina, D.E. Ogorodnov, O.P. Rydanova and others.
Studying the nature and development of children's hearing and voice, a prominent Soviet teacher-musician, candidate of pedagogical sciences N.A. Metlov in his methodology determines the characteristics of the vocal apparatus, the physiological capabilities of preschoolers, their singing skills and abilities, the range of voices of children of different age groups, the requirements for the kindergarten song repertoire. At the same time, the practicing musician assigned a large role to the vocal technique of the teacher himself, who works with preschoolers: “The song should sound not only in music classes, but also during games, on walks, and enter into children's lives. This is possible if the teacher loves songs and knows how to sing. AT last years the use of complexity and consistency for a deeper emotional and aesthetic impact is clearly reflected in the program developed under the direction of D.B.Kabalevsky.
In it, he emphasizes that the active perception of music is “the basis of musical and aesthetic education in general and all its links in particular. Without active perception of music, there can be no high-quality singing.” This provision was also taken as a basis in the program for musical education, developed under the guidance of N. A. Vetlugina, which offers a cycle of exercise songs that contribute to the development of the child’s musicality (modal and rhythmic sense, pitch and dynamic hearing).
AT contemporary practice the vocal exercises of the teacher-musician and children's composer E.N. Tilicheeva, who help children to master elementary singing skills, to achieve ease and ease of sounding, proper breathing in singing.
Of interest is the technology of V. Emelyanov, which presents the developed system of measures for the protection and protection of children's voices. And, finally, D.E. Ogorodnov’s “Methodology of Comprehensive Musical and Singing Education” is a scientific work that best meets the spirit of our time. This book can be called the musician's code. The starting positions of his methodology involve the use of all internal resources different parties abilities of children in their interaction, which is greatly facilitated by the recording system of vocal-modal exercises. Recording allows you to visually and clearly express the actions of the child when he performs a vocal exercise and, thus, “algorithmize” the process of developing basic vocal skills.
1.2 FEATURES OF CHILDREN'S SINGING VOICE
Teaching children singing skills is associated with the task of developing a child's voice very carefully and preserving its natural sound. Therefore, you should constantly pay attention to the basic physiology of the child's voice in order to eliminate errors.
A child's voice has special qualities that distinguish it from the voice of adults. Children's vocal cords are short compared to those of adults - hence the special sound of children's voices, especially in younger groups. The larynx with vocal cords is several times smaller than in an adult. The sound formed in the larynx is very weak, but it is amplified by resonators: the upper head (nasal, oral and pharyngeal cavities) and the lower chest (trachea, bronchi, chest). The lightness, sonority of a child's voice depends on the weak development of the chest resonator, since head resonators predominate in children.
Resonators play a big role, as they give a different color to the voice. If the sound is extracted incorrectly, for example, if it is forced, the voice of children acquires a low sound. Preschool children sing, as a rule, in falsetto. Children's lungs are small in capacity, hence the natural limitation of the strength of a child's voice.
Excessively loud singing is detrimental to the vocal cords of children. The slightest forcing, tension of the voice leads to the fact that it loses the necessary lightness, acquires an unpleasant throaty character and turns into a scream.
It should not be forgotten that the smallest strength of preschool children is still very weak, and when singing, a significant part of it is spent on overcoming the inertia of the surrounding air. If you demand that the child sing louder, he stretches his neck, and the larynx rises under the pressure of air, the blood vessels in the neck overflow with blood, and the vessels in the vocal cords may even burst from tension. Hemorrhage in the region of the vocal cords entails uneven edges of the ligaments and prolonged hoarseness. Loud talking, singing, screaming not only spoils the vocal cords, but also reduces hearing. To relax the muscles of the neck before singing, exercises are used with smooth movements of the hands, tilting the head forward, backward, and to the sides, and exercises with singing the vowels “U” and “O”, but not “I”, which narrows the larynx.
In the classroom we improve children's breathing, we do breathing exercises. While singing, we exercise the articulatory apparatus, which contributes to a clear pronunciation. The movements of the articulatory apparatus are visible, in contrast to the work of the muscles of the pharynx and larynx hidden from the eyes. Therefore, in the classroom, you need to use the correct display, children easily and willingly copy the movements of the lower jaw, lips, cheeks, tongue, which are as active as possible when singing. Singing activates the muscles of the larynx and pharynx associated with the muscles of the articulatory apparatus. Applying in exercises different kind vowels and more consonant, the activation of the vocal apparatus is called.
For the singing of preschoolers, whose voice is in the childhood stage of development, a falsetto voice sound is characteristic, only some saturation (without timbre). The range of children's voices is also small. They are devoid of the chesty sound that usually gives the quality of fullness and richness that comes naturally to adult singing.
Studies in the field of physiology of age have shown that the main indicators of sound extraction - pitch, sound dynamics are determined by the work of 2 muscle groups:
Constantly remember what happens to the child's vocal apparatus with a natural sounding voice (i.e. falsetto) and with a tense voice (thoracic), so as not to make mistakes in work. Setting a high sound occurs with the participation of both muscle groups. When using the chest register, the contraction of the vocal muscles is more pronounced, and the vocal cords vibrate with their whole mass (vibrate). It turns out a complete closure of the glottis, that is, a tight junction of the vocal cords to each other. At the same time, preschoolers hold their breath, blood stagnates, the neck veins swell, and the nutrition of the brain is disrupted. Such sounding is beyond their strength and can only be available at senior school age as a result of general psychophysical development.
When singing in falsetto, that is, when using head resonators, characteristic of preschool age, there is an incomplete closure of the glottis, and vibration of the vocal cords. Thus, vocal cords are not overstressed, and the voice is protected from breakdown.
The force of the sound also causes a large amplitude of vibration of the vocal cords, and, consequently, involves a large number of vocal muscles in the work. In children, this leads to excessive activity in the work of the vocal cords. There is loudness, which is also harmful to the development of a child's voice. It is very important that the child speaks calmly in everyday life, without screaming, and sings in a natural voice. At the initial stage, I talk with children about this topic. I say that you can’t shout, sing on the street in cold and damp weather, you can’t sing when you are sick.
The correct selection of the repertoire helps to study the range of the sound of the child's voice. The singing range is the volume of sounds, which is determined by the interval (distance) from the highest to the lowest sound, within which the voice sounds good.
Age features of children's singing ranges have been studied by many researchers. N.D. Orlova defines the operating range of the “sounding zone”, within the limits of “mi I oct - si I oct”, although many guys can reproduce higher sounds.
Before the start of teaching preschoolers to sing, the range of each child's voice is determined (diagnostic examinations) and in the classroom it is systematically strengthened with the help of various exercises so that children can freely control their voice.
However, sometimes it happens that children begin to sing adult pop songs, this causes tenderness of parents. But as the child grows older, his singing becomes less and less pleasant to listen to. He cannot penetrate the meaning and content of the song, therefore, instead of an expressive performance, antics or an attempt at inept imitation appear. With such singing, the artistic taste of the child is not only spoiled, but the vocal apparatus is also harmed. By performing adult songs that are technically inaccessible to them, children overcome difficulties by applying different pressures to various parts of the vocal apparatus. Children, involving the entire muscle mass of the vocal apparatus into work, sing loudly, voices deteriorate from such tension, wear out prematurely, and various diseases voice device.
In the work on teaching children to sing, it is necessary:
To keep children from loud singing (especially from long) especially during learning. Natural unforced singing is one of the important conditions that ensure the normal sounding of children's voices, and hence their normal development;
When choosing a repertoire, pay attention to the sound range of the songs, which should correspond to the voice volume of the children in this group. The performance by children of difficult songs from the repertoire of adults is unacceptable;
Make sure that children do not scream in everyday life;
Achieve a normal natural tone in a conversation in any conditions (indoors, on a walk);
Do not offer children a lot of songs to perform in the classroom (no more than 3 songs), holidays;
Do not sing outside at an air temperature of + 18 C and humidity above 46%.
ROLE, TYPES AND TASKS OF SINGING ACTIVITY
Singing takes leading place in the system of musical and aesthetic education of children of senior preschool age. A good song entertains and soothes the child, develops and educates him. Sukhomlinsky argued that singing opens a person's eyes to the beauty of his native land. Singing accompanies a person's life from early childhood. It affects his feelings, takes up leisure, in a bright, imaginative, entertaining form deepens the existing ideas about the surrounding reality. Compared to instrumental music, singing has a great mass of emotional impact on children, as it combines word and music. Singing is the most widespread and accessible type of folk performance. There is no such corner on earth where people would not sing songs about work, nature, life around, about feelings. Singing brings people together, serves as a means of cognition, regardless of the will of a person, makes him love or hate.
Singing should also be considered as a means of strengthening the body of preschoolers. It forms proper breathing, strengthens the lungs and vocal apparatus. According to doctors, singing is the best form of breathing exercises. Therefore, it is very important to sing in a clean, ventilated room, and in the summer - in the open air. Singing activity contributes to the formation of correct posture. Singing classes help to organize, unite the children's team. In the process of singing, such important personality traits as will, organization and endurance are brought up. In the process of learning to sing, the musical abilities of the child are actively developing: musical and auditory representations, modal and musical - rhythmic feeling.
Singing activity can be defined as one of the most important forms of manifestation of the active attitude of children to songs and singing in the process of various life situations(A. Katinene).
Types of singing activity:
1. Singing for the development of musical perception
Listening to songs not meant to be sung;
Listening to songs intended for their further performance;
Singing melodies and exercises to develop ideas about the height, timbre, duration, strength of sounds (development of sensory abilities).
2. Performing songs
Singing with and without accompaniment;
Singing with own accompaniment on children's musical instruments;
Singing to accompany movements (round dances).
3. Singing in musical and educational activities
Singing exercises to acquire singing skills and musical knowledge;
Pedagogical analysis of songs (the most vivid expressive means, structure, character)
4. Songwriting
Improvisation;
Composition of melodies to given texts;
Composition of round dances.
“Singing is one of those types of musical activity in the course of which an aesthetic attitude to life, to music, is successfully developed; the experiences of the child are enriched; musical-sensory abilities are actively formed, and especially musical-auditory representations of sound-pitch relations" (Vetlugina)
primary goal singing activity - education of singing culture in children, introducing them to music.
Tasks singing activities stem from the general tasks of musical education and are inextricably linked with them.
They are as follows:
1. Develop musical ability:
emotional responsiveness to music;
modal feeling;
musical and auditory performances
sense of rhythm
2. Form the foundations of singing and social culture:
aesthetic emotions;
interests, assessments;
vocal and singing skills and abilities.
3. Contribute to the comprehensive spiritual and physical development of children.
These tasks are solved on the basis of a certain song repertoire, the use of appropriate teaching methods and techniques, and various forms of organizing musical activity. Therefore, we teach children to sing precisely in order to achieve the main goal - personal development through the development of the emotional and intellectual spheres of the child by means of musical art.
Singing - leading way of musical activity, since singing activity is the only way of making music that is currently available to the public.
In order for children to want to sing, it is necessary to show them the beauty of the sound of a singing voice, make the learning process interesting, convince the children of the success of training with a certain interest and perseverance on their part. The voice is a public tool, and it is it that allows you to attract a child to active musical activity, to the knowledge of the beauty and laws of musical art.
1.4. BASIC PRINCIPLES OF TEACHING CHILDREN TO SINGING
Teaching children to sing is carried out according to a strictly thought-out plan based on general pedagogical principles, i.e. basic principles of didactics.
The principle of wake tuvalearning : The musical director in the process of teaching children to sing at the same time instills in them a love for the beautiful in life and art, causes a negative attitude towards the bad, enriches the inner spiritual world of the child. Children develop attention, imagination, thinking and speech.
The principle of accessibility lies in the fact that the content and volume of knowledge about music, the volume of vocal skills, teaching methods and their assimilation by children correspond to the age and musical development of children of each age group. An unbearable repertoire makes learning formal and reduces children's interest in music.
The principle of gradualness, consistency and systematic lies in the fact that at the beginning of the year in all age groups easier tasks are given than at the end of the year, gradually moving from the learned, familiar to the new, unfamiliar. Compliance with this principle makes it easier for children to acquire knowledge and skills, gives them confidence in their abilities and contributes to an increase in interest in classes. Otherwise, children get tired quickly, attention and interest in singing weakens, the assimilation of the song repertoire falls, and children do not receive systematic knowledge and skills in singing.
The principle of visibility should not be taken narrowly, as learning only with the help of the organ of vision. In the process of learning to sing, the main role is played by the so-called sound visualization, the specific auditory perception of various sound ratios. Other senses: vision, muscle feeling complement and enhance auditory perception. So a combination of auditory and visual perception is possible when, during singing, the music director shows the pitch of the sounds, raising his hand up on high sounds and lowering it down on low ones.
The main method of visualization is a sample of the performance of a song by a teacher. Some of the images that are found in the songs can be illustrated with the help of paintings, toys. Visibility in teaching singing increases children's interest in music lessons, contributes to the development of consciousness, ease and strength of assimilation of the material.
Consciousness principle In modern pedagogy, knowledge and skills are considered to be acquired consciously if they are well understood by children and children can convey them in words. Consciousness is closely connected with the mental-volitional activity of children with their interest in the song repertoire.
The musical director tries by various methods to reveal the musical image of the song to the children and connect it with the means of musical expression: tempo, dynamics, registers, meter rhythm, fret so that the children sing consciously, not mechanically. Important has the speech of an adult, the presence of various intonations in his voice, expressive facial expressions, bright and artistic performance of the song, and especially the teacher's love for the art of music. The musical director seeks to instill in the children a conscious attitude to the content of the song, the transfer of the musical image, and the technique of singing. Children should not only know, but also understand where the melody goes and direct their voice accordingly, how to open their mouths while singing, why it is necessary to sit straight without slouching.
Strength principle Songs learned by children are forgotten after a while if they are not systematically repeated, vocal skills are lost if children do not practice singing for a long time. Therefore, you should not rush into learning new songs. It is better to repeat what you have learned more often.
So that the repetition of songs does not bore children, it is necessary to diversify this process, introducing elements of the new. For example, you can offer to sing with the whole group, subgroups, one at a time, boys, girls, near the instrument, etc.
Consolidation of the song repertoire should be not just a mechanical repetition, but its conscious reproduction. When repeating, it is necessary to bring children to the realization not only good points in singing, but also mistakes, irregularities, inaccuracies made in the transmission of the melody and text. The strength of assimilation of vocal skills also depends on the conscious repetition of familiar material.
CHAPTER 2
PRESCHOOL CHILDREN
The development of singing skills in children of senior preschool age. Characteristics of singing skills
The musical and pedagogical activity of the musical director in kindergarten is determined pedagogical idea to teach a child to sing well, clearly, distinctly, with love and mood, and most importantly, beautifully, with great dedication, which is realized in the process of classes.
The formation of singing skills is one of the most complex and important sections of the musical education of preschool children. When teaching vocals to kids, you need to take into account that the child’s vocal apparatus is fragile, delicate, and continuously grows in accordance with the development of the entire child’s body. Therefore, it is necessary not only to master the methodology of teaching singing, but also to protect the voice of the child, such methods of vocal technique are selected that most effectively contributed to the development of the child's voice. Systematic work allows you to take into account the physiological and vocal characteristics of each child, therefore priority in the work should be an individually differentiated approach to the abilities of each child.
The purpose of the work is to master the singing skills of preschool children.
To achieve the goal, the following tasks:
1. "Do" - education in children of love and interest in singing;
2. "Re" - the development of emotional responsiveness in children;
3. "Mi" - the formation of singing skills;
4. "Fa" - development of performing skills;
5. "Salt" - expanding the musical horizons and ideas about the world around us;
6. "La" - mastering the skills of choral singing;
7. "Si" - the development of children's songwriting.
To start learning to sing, it is necessary to determine the range of sound, the type and characteristics of the child's voice, and systematically strengthen it, creating a favorable "sound atmosphere" that contributes to the development of voice and hearing. And the coordination of voice and hearing is the most important condition for the development of children's singing abilities.
singing range - this is the volume of sounds, which is determined by the interval (distance) from the highest to the lowest sound, within which the voice sounds good.
It is necessary to constantly ensure that children sing and talk without tension, not imitating the excessively loud singing of adults, to explain to parents the harmfulness of loud singing and talking in children, and not to allow them to sing outside in cold and damp weather.
Working with children should be guided by the following principles:
1. Purposefulness, systematic, planning.
It consists in a clear planning of classes with children, their systematic and purposefulness. For the musical development of children, it is very important that the song sounds in different types activities of preschoolers, and not just in music classes. The song can be played at morning exercises, during a walk in the warm season, during labor processes, and so on.
2. The principle of a differentiated approach to working with children and taking into account their individual characteristics
3. The principle of goodwill and openness.
The choice of repertoire is perhaps the most important and difficult task- to find a song that would be in tune with the mood of the children, reflect their interests and ideas about the world around them, develop them spiritually, and be available for performance. For each age group, interesting and accessible material has been selected, with which you can solve various problems in the development of vocal skills. After all, songs and nursery rhymes cause a surge of positive emotions in children, create a joyful mood, and bring up an optimistic character.
After selecting the repertoire, vocal and choral work.
First of all, children are reminded singing rules, and their implementation is constantly monitored, because the corresponding physical condition, correct breathing, the necessary nature of the sound, and emotionality depend on how freely and, at the same time, how actively the singer feels.
Singing installation – this is the correct position of the body when singing, on which the quality of sound and breathing largely depends. When teaching children to sing, you need to watch how the children sit, stand, hold their heads, body, how they open their mouths.
Singing installation (singing rules):
sit (stand) straight;
do not slouch;
do not strain the body and neck
keep your head straight, without throwing it back or lowering it, but without tension;
take breath freely (do not take in the middle of a word);
the mouth should be opened vertically, and not stretched wide to avoid a noisy, "white" sound;
the lower jaw should be free, the lips are mobile, elastic.
At the stage of formation of vocal and choral skills, almost all elements of vocal and choral technique are included in the work at the same time, and in subsequent periods they deepen. Their sequence and gradualness is as follows.
Vocal and choral skills:
sound production
purity of intonation
ensemble
First, work is underway to develop a melodious sound based on elementary mastery singing breath, which significantly affects the purity and beauty of the sound, the expressiveness of the performance. This is a complex and lengthy process, therefore, at the initial stage of training, it comes down to mastering a smooth and even inhalation and exhalation that does not interrupt the musical phrase. Such an exhalation largely depends on the right breath taken. It is very important to teach the child to take breath correctly and in the right place. It is necessary that the child understands what is expected of him.
For example: “Look, I sing the whole phrase in one breath, but I can’t finish it. Why? Try you." Baby... "Do you feel it?" "Not strong enough." “That's right, but not strength, but air. So you need to get it back into your lungs. Take a breath and let's move on."
Exercises from breathing exercises help to teach children a calm breath, not overloaded with air, without the participation of the shoulders.
A.N. Strelnikova (“Palms”, “Masters”, “Pump”, “Kitty” and others) and the system of D. Ogorodnov (“Smell the flower”).
In the future, the task becomes more complicated - children learn to quickly calm breath in moving songs and between phrases.
Work on singing breathing is associated with sound production. And here, of course, a system is needed - singing exercises and gradual reminders. A gesture is used to help take a breath in time. It is suggested that after the introduction to the song “smell the flower” and immediately start singing. So that the children do not break the word, the correct and incorrect performance is shown. Then the exercises are performed correctly. To develop breathing, you can sing vowel sounds, open syllables (for example: yes, that, la), phrases, starting with short ones and gradually moving to longer ones (for example: “I go and sing”) as you exhale.
sound production with the correct setting of the voice, it should be natural, sonorous and light, children should sing without screaming and tension. For proper sound production, the precise operation of the vocal apparatus (lower jaw, lips, soft palate with a small tongue) is of great importance. While singing, opening your mouth, you need to lower the lower jaw. The correct sound extraction is also helped by the soft palate with a small tongue, which is very mobile and can rise, which is facilitated by the pronunciation of the vowels y, o, consonants k, g, x. Thanks to them, the sound is freely directed to the opening of the mouth.
The combination of vowels o, a with labial consonants b, p, c, f or front-lingual d, t, l, z brings the sound closer to the lips.
The voice range of preschool children is unstable. Often children with a normal range, with a naturally high pitch, suddenly begin to sing on low notes, without singing the high ones that they used to be able to. Such cases are most often observed in children who have not attended kindergarten for a long time due to illness. After 1-2 lessons, their voice range and singing skills are restored.
Closely related to sound formation is such a quality of sound as melodiousness.
To teach children to sing long, melodious, it is necessary, starting from the younger group, to teach them to draw out individual sounds, the ends of musical phrases. For example, in the Russian folk song "Petushok" it is necessary to sing the last syllable in the word "cockerel" lingeringly, or in the song "Cow" by M. Rauchverger, the last syllable in the word "across the meadow" (the end of the musical phrase).
The length in singing depends on the correct breathing and the predominance of vowels, which is typical for folk songs (for example, “There was a birch in the field”). Singing songs written at a moderate or slow pace, as well as learning songs at first in slow motion, helps develop the length. For good sound formation, the correct pronunciation of vowels and consonants is of great importance. Diction in singing is somewhat different from speech pronunciation.
Work on diction begins with the formation of rounded vowels and a distinct pronunciation of consonants in songs of moderate tempo, and then in funny, comic ones that require mobility of the articulatory apparatus. Teaching children singing diction, it is explained to them that it is necessary to sing a song so that the listeners can understand what it is singing about, showing how individual phrases and words are pronounced. The condition for good diction and expressive singing is the children's understanding of the meaning of the words, the musical image of the song. Phrasing in a song is determined by the content in its verbal and melodic expression.
Therefore, the content of the song is first determined, incomprehensible words are deciphered, and the climax is found.
To develop the skill of expressive diction, it is recommended to use: exercises articulatory gymnastics, tongue twisters, tongue twisters, speech exercises, rhythmic recitations.
Articulation gymnastics
The main goal of articulatory gymnastics is the development of high-quality, full-fledged movements of the organs of articulation, preparation for the correct pronunciation of phonemes. As a result of this work, our children's indicators of the level of development of children's speech, singing skills increase, musical memory and attention improve.
For example, game "Tongue"
(an articulation game for kids. The game is that the tongue "travels" through the child's mouth and thereby warms up all the necessary muscles. During the game, the children are told a rhyme and they must repeat all the movements after the leader).
| « Left right | (we pierce the cheek with the tongue on the left), (now the cheek on the right), |
| (on the left again) (right again). |
|
| Up way down | (we pierce the tongue upper lip), |
| Up down Tongue, don't be lazy! | (once again the upper and lower lip). |
| lips wake up! Roth, open up | (vibrate lips) (very wide open mouth)! |
| Tongue, show yourself and don't be afraid of the teeth | (bite the tip of our tongue) (we stick out the tongue forward and remove it back, while biting the entire surface of the tongue)! |
| And the teeth, and the teeth even bite the lips | (bite bottom lip). |
| They bite, they bite, and they don't stop. | (bite upper lip) |
| And the lips either laugh, then they are very offended | (in a smile we open the upper teeth), (we twist the lower lip, giving the face an offended expression). |
| They laugh merrily, then they are offended again | (in a smile open the upper teeth), (turn out lower lip). |
| Teeth tired of biting - they began to chew their tongue | (chewing tongue with side teeth). |
| The tongue is not a cabbage leaf, it is not tasty at all! |
|
| Teeth, teeth, calm down,wash yourself well | (we hold the tongue between the upper lip and teeth). |
| Don't get angry, don't bite,and smile with us! | (wipe tongue between lower lip and teeth) (smile) |
Also, exercises according to the system of V. Emelyanov, which are divided into static and dynamic, are of invaluable importance.
These articulation exercises are preliminarily practiced in classes with a speech therapist teacher in front of a mirror so that children have the opportunity to control the quality of each movement. At music lessons, children perform already learned articulation exercises, so visual control in this case is optional. In one musical lesson, no more than five exercises are taken before singing. As they are mastered by children, new exercises are introduced.
Examples of static articulation exercises .
Static articulation exercises should be performed at a slow pace (each articulation posture is held for 3-7 seconds, after which the tongue, lips and cheeks assume a neutral position for the same time).
The purpose of static exercises is to develop the child's ability to keep the organs of articulation in a certain position.
1. "Chick" - open your mouth wide;
2. "Smile" - smile broadly so that the upper and lower teeth are visible (the jaws are clenched);
3. "Tubule" - lips are stretched forward, as when pronouncing the sound U.
Unlike static exercises, dynamic exercises serve to develop the ability to switch from one artic position to another, therefore, they must be performed at a faster pace.
Examples of dynamic articulation exercises
1. "Watch" - the mouth is open, the lips are in a smile. The sharp tip of the tongue makes movements "one" - to the left corner of the mouth, "two" - to the right. Instead of counting “one-two”, we pronounce onomatopoeia: “tic-tac”;
2. “Smile - a tube” - for “one” - lips in a smile, for “two” - stretch the lips forward with a tube. We present the same exercise to children as “Cheerful and sad”: smile - funny man, lips in the "Tube" position - sad. Musical accompaniment - "Clowns" music by D. Kabalevsky;
Rhythmic declamation - it is a synthesis of poetry and music. In the modern musical methodology for teaching preschoolers, rhythmic recitation is considered as one of the promising forms of development of musical ear, voice, sense of rhythm and expressive speech intonation in children. Until a child learns to control his speech, it is difficult to hope that he will be able to sing correctly and expressively. In the classroom, even children who do not sing well take part in rhythmic recitation with great pleasure. Why is this happening?
Firstly, this is an interesting combination of beautiful, modern, emotionally figurative music and bright original poetic texts. Reliance on speech intonation makes it possible for all children to equally participate in the process of making music, despite the singing range of the voice and the level of development of vocal-auditory coordination. Thus, rhythmic recitation develops in children a sense of self-confidence, awareness of their importance in the team.
For example, speech charging:
work on intonation (accurate reproduction of the melody) begins with the concept of pitch. The purity of intonation depends on the musical environment of the child. The purity of intonation in singing requires constant work on improving the ear. One of the reasons for incorrect intonation is the inability to use the middle and upper case. This uses the transposition of the melody into a key that is convenient for the child. First, children are invited to perform onomatopoeia exercises, then sing jokes. It is desirable that the melody goes from top to bottom: this immediately sets the voice apparatus to a high sound.
So that children can easily determine the direction of movement of the melody, modeling is used (showing hand movements, didactic games, flannelgraph, and so on).
For efficiency, "live pictures" aids with moving parts are used ( exercises "Ladder", "House on the mountain", "Sing with me" and others). Also, to improve the purity of intonation in singing, I use the systematic repetition of the learned songs with accompaniment and a cappella, the “draw with voice” exercise
This type of activity is a free voice slide along the drawn lines. Before starting to work with the drawn models, children try to voice the howling of a blizzard, wind, the flight of a beetle or a bird, jumping frogs, a bouncing ball, raindrops, shooting stars ... From the point of view of methodology, this is one of the most unusual and original forms when the child does not feel bad singing. This is a way that teaches the child to independently control the line of movement of the voice, directing it in the way that he can. In the future, such models are performed according to the drawing and according to the hand of the teacher, showing in which direction to lead the voice. The performance should be calm and unhurried, without sharp cries, with a soft inhalation and exhalation. Ascending, descending, swirling lines should hang in space, melt.
For example,
Slender, clear singing in unison lays Ensemble basics- integrity, unity of sound. In singing in chorus, I try to teach children to listen to themselves and others, to merge with the general singing, to make sure that not a single voice stands out. This can be achieved by focusing the attention of children on the simultaneous introduction, maintaining the general tempo, the simultaneous beginning and end of singing phrases. One should strive not only for the simultaneity of singing, but also its expressiveness, soft endings of phrases, dynamic shades, semantic accents, the quality of sound science corresponding to the nature of the music.
The ensemble in children is achieved gradually. In the second younger group, at the beginning of the year, the kids are included in singing only after the teacher begins to sing, and at the end of the year they begin the song at the end of the musical introduction.
A noticeable result in the formation of the skills of the ensemble and the formation of both toddlers and older children is the method of singing in a “chain”. Toddlers master it by "playing with a song." Songs with repetitive musical phrases are suitable for such a game, ( for example, r.n.p. "Cockerel" arr. M. Kraseva, "Bunny" arr. G. Lobacheva and others). In the middle group, a variety of roll call options are used: singing “along the chain”, duet, trio ( together with the teacher), alternate singing ( educator, children, and music director). In the same sequence, the ensemble structure is improved in children of older groups. Here, “echo songs” and “singing to oneself” are added to the singing “along the chain”. Such work on developing the skill of harmonious, continuous singing has the goal of teaching children to perform melodies with intonational accuracy when collectively singing in unison.
In order to teach children harmonious, continuous singing, you can also use the following techniques. First of all, before singing, you need to collect the attention of children. If the song has a piano introduction, give a signal - a wave of the hand or a movement of the head, so that everyone starts the song at the same time, after the introduction. If there is no such introduction, then it is recommended to play the beginning of the song (singing, the first musical phrase), and sometimes the entire song.
You can grab the children's attention by playing the first interval of a song or its first sound. Children sing it softly to the syllable “tu” or with their mouths closed, and then begin to sing at the sign of the teacher. Singing softly makes it easier for children to focus their attention on the sounds.
Conducting a children's choir is resorted to in cases where children sing without instrumental accompaniment (a cappella) or when they are at some distance from the instrument while singing, as often happens at a holiday. With the help of conductor's gestures, you can specify the exact beginning and end of the song, amplify and attenuate the sound, delay it, pitch, change the tempo. However, conducting should not be abused. We must teach children to feel the music and make shades without the help of a conductor.
Song creativity.
In the development of singing skills, great importance is attached to children's song improvisation. The ability to create, to independently search for song intonations of children must be taught, to form their musical taste, to achieve sustainable singing skills. And most importantly, to develop the ability to purely intotone with and without musical accompaniment, to sing in a natural voice.
The desire for songwriting manifests itself early in children. Starting from the younger, middle groups, we identify these tendencies and promote their successful development. In the senior and preparatory groups, work continues on consolidating the skills acquired by children at a younger preschool age, but at a higher quality level. The main goal is to expand the musical experience of children, to form the skill of independent improvisation, and also to help children overcome insecurity, embarrassment, relieve tension, develop imagination, attention, and memory.
Children not only enthusiastically improvise, but also try to draw songs graphically. For example, a song of a smooth, melodious character is drawn with a wavy continuous line; high and low sounding of the song is marked with ascending or descending lines; songs built on the alternation of long and short sounds are drawn with long and short lines.
All of the above vocal skills (sound formation, diction, breathing, purity of intonation, harmonious, continuous singing) are closely related. Work on them is carried out simultaneously, and skills develop gradually.
METHODS AND TECHNIQUES AIMED AT THE FORMATION OF VOCAL AND CHORAL SKILLS IN SENIOR PRESCHOOL CHILDREN
Working on sound production(high, light, sonorous, mobile) the teacher uses the demonstration on his own example or on the example of a well-singing child. Listening, the rest of the children try to do the same. Imitation should be meaningful: you need to hear, compare, evaluate.
The melodiousness of the sound is helped by the correct drawl formation of the vowels a, o, y, e, and. At the same time, the teacher exercises singing in vowels and syllables (la, le, lu), with a half-closed mouth. It is very important to know that you need to clearly pronounce consonants, especially at the end of words. In this case, chanting on the syllables "ding-ding" helps.
Development techniques diction(correct and clear pronunciation) are dictated by the peculiarities of the literary text and are reduced to an explanation of the semantic meaning of words. Each child should pronounce words meaningfully and articulate well. Here are useful techniques for pronouncing the text with a pinch, in the rhythm of a song with piano accompaniment, expressive reading of the text without music, playing “echo”
(the music director is loud, and the children are in a whisper, but so that I can hear everyone). Children in all groups often mispronounce word endings, suffixes. In such cases, it is appropriate to apply the method of correct pronunciation of words by syllables both by individual children and the whole group, for example “se-ry-e” (and not se-ra-i”), “sol-nysh-ko” (and not “ sol-nush-ko").
The most important skill purity of intonation melodies in choral singing
(build). All methods of developing this skill are closely related to the formation of musical and auditory ideas, auditory self-control: inhale and repeat as an adult sang, played an instrument.
The following techniques are used: “tune in” before singing, the teacher sings, pulls the first sound, and the children repeat it.
- "linger" on a separate (often the last sound of the song) sound of the melody as directed by the teacher and listen to how it sounds;
Before learning songs, it is useful to perform musical chants in various keys; perform a difficult interval of the song several times, achieving accurate sounding from each child, remind children of the direction of the melody, of higher and lower sounds, forming musical and auditory representations, use hand movements (elements of conducting), showing how to sing higher and lower,
Listening to the melody of a song performed on various musical instruments.
It is advisable to sing songs not only with the whole group, but also in small subgroups (three, five), and individually. With this singing, children hear themselves better. Of great importance is the awareness of children of their performance.
Great value has singing without musical accompaniment (a cappella). It helps to develop accurate vocal intonation, allows you to sing at will, on your own. If children find it difficult, you can use the following techniques to help further the harmonious sound of the song:
To involve well-singing children in individual performance without an instrument of small, uncomplicated songs, to learn some songs without an instrument from the teacher's voice;
Sing a familiar song with the accompaniment of the instrument, then without it, singing along with the child in the most difficult places or playing a melody on the instrument;
When performing songs, especially folk songs, it is possible to divide children into two subgroups, the singers perform the chorus or chorus better.
The skill of harmonious singing - ensemble formed by constant practice in collective singing. At the same time, it is important to emphasize the significance of all musical shades. If children understand the meaning, feel the mood, they know why it is necessary to solemnly and joyfully sing a festive song, calmly and affectionately a lullaby. The main thing is that the actions of the guys are united, so that everyone feels like a member of a singing group and “trims” their voice in terms of strength, tempo, timbre and overall sound.
You can sing in subgroups with an element of competition. The simultaneous beginning of singing is facilitated by repeated listening to the musical introduction.
Thus, in the method of teaching singing, showing expressive performance and instructions occupy an important place.
2.3
STAGES OF WORK ON A SONG
Stage 1 - familiarization with a new piece of music,
On the this stage visual and verbal methods are used.
Various methodological techniques, used in the educational process, prepare children for targeted listening to the song:
short opening speech about this work (name of the song, authors of music and text);
clarification of incomprehensible words;
reading poems and a mini-story that set children up for a deeper perception of the musical image;
solving riddles, puzzles;
involving children in a dialogue when discussing the song image.
Such techniques help to awaken in children an interest in a song, a desire to listen to it more carefully and begin to learn it.
A new work is always shown in its entirety, all verses are performed as expressively as possible so that the children understand what they should strive for when learning and performing a song. Next, a figurative word is used, a conversation is held about the nature of the song, trying to arouse interest in it, the desire to learn it. Attention is drawn to the mood conveyed in the music, children are encouraged to express the nature of the song as a whole, about the change in mood in its parts. This conversation about the emotional and figurative content of the song helps to set the guys up for expressive performance, for choosing the appropriate nature of the song for sound formation, diction, and breathing. For example, if the children defined the nature of the song as affectionate, gentle, calm, it is explained to them that it must be sung in a melodious, drawn-out way.
Stage 2 – song learning.
The task of this stage is to create an atmosphere of empathy for this work. It is very important, when children perceive music, to develop their imagination, emotional response, thinking, judgment. It is necessary to sing so beautifully, emotionally to interest children new song.
After listening to the song, a conversation is held with the children about the nature of the composition, its content, the most striking means used by the composer, performing techniques are outlined. Such an analysis prepares children for learning the song and, at the same time, shows how carefully they listened to the music and how deeply they understood it, and helps to reveal the artistic image of the work.
At this stage, exercises for the development of singing skills play an important role. Children learn by imitation, so performance techniques are shown, and their consolidation takes place in the exercises. I give the exercise as chanting, before singing songs. With their help, children learn the difficult melodic moves found in the song. Working on difficult melodies based on the material of the song itself requires multiple repetitions, which reduce the interest of children in the song. Therefore, exercises that help to overcome difficulties, to acquire singing skills are given in a playful way.
In order for the children to quickly memorize the song, I help with instructions (“This song is easy, you must memorize it quickly”) and questions (“How does the first verse begin?”, “What is the second verse about? “Which verse do you like best?”, "Or a chorus?")
They play “Hint” with the children: a song is sung with stops and it is expected that the children will prompt the word that they “forgot”. Or it is proposed to guess by the lips the word that the children have forgotten. At the subsequent stages of learning, attention is drawn to the fact that the children, without delay, start each verse on time. Of course, often in children with speech impairment due to lack of concentration voluntary attention this causes difficulty. In such cases, you need to praise children more so that they do not develop the “I can’t, I can’t” complex. The quality of the performance of a song depends not only on its correct choice, but also on the method of learning.
In addition to visual and verbal methods, a practical method is used. Traditionally, a song is taught in parts: phrases, sentences, verses, we usually start with the first verse or chorus, if it is melodically easy to remember. At this stage, exercises for the development of singing skills play an important role. Children learn by imitation, so I show the techniques of performance, and their consolidation takes place in the exercises. Exercise is given as chanting, singing songs. With their help, children learn the difficult melodic moves found in the song. Working on difficult melodies based on the material of the song itself requires multiple repetitions, which reduce the interest of children in the song. Therefore, I give exercises that help to overcome difficulties, to acquire singing skills in a playful way. When performing these exercises, children constantly train their singing voice, develop an ear for music, coordination of hearing and voice, and purity of intonation.
Before the first singing, the children should hear the part intended for learning at least three times, and a new task should be set before each listening. For example, “Sing to yourself”, “Show the movement of the melody with your hand”, etc. This technique introduces an element of independence into learning a song and children's creativity. It is at the second stage of work on a song that children master the skills of sound production, breathing, diction, purity of intonation, ensemble.
To form the skill of sound formation, a figurative word, a conversation about the nature of music, and a demonstration of performance techniques are used. The melodiousness is connected with sound formation. In older groups, exercises are used that begin and end with consonants (“ding-dong”, “knock-knock”), as well as the method of comparing sound with musical instruments (smooth sound of a pipe, jerky and light - a bell).
To help children master the correct breathing, they are explained and shown where and how to take the breath, how to distribute it according to musical phrases. Attention is drawn to the singing setting.
To develop correct diction, expressive reading of the text is used, the meaning of some unfamiliar words is explained, their correct and distinct pronunciation is explained. It is suggested that children read the text in a whisper, with clear articulation.
The purity of intonation in singing requires constant work on improving the ear. So that children can easily determine the direction of movement of the melody, I use simulation (showing hand movement, didactic games, flannelgraph, etc.).
When learning, the following methods are used:
- tuning on the first sound;
- singing a melody without an instrument;
– performance of a melody on the piano and other instruments;
- learning the melody in parts and phrases at a slow pace.
One of the reasons for incorrect intonation is the inability to use the middle and upper case. In this case, I use the transposition of the melody into a key that is convenient for the child. If he manages to catch the pattern of the melody and reproduce it in a comfortable tessitura, then he can begin to sing correctly and together with other children in a higher sound. I also use the reverse technique - the disclosure of the “opening of the sounds of the upper register” of the child's voice (“la I, si I, do II, re II”) First, I suggest that the children perform onomatopoeia exercises, then sing jokes. It is desirable that the melody goes from top to bottom: this immediately sets the voice apparatus to a high sound.
Also, to improve the purity of intonation in singing, I use the systematic repetition of the learned songs with accompaniment and a cappella. I develop the coherence of the performance by showing the moment of introduction, using the conductor's gestures. But, one should strive not only for the simultaneity of singing, but also its expressiveness: soft endings of phrases, dynamic shades, semantic accents, the quality of sound science corresponding to the nature of the music. Therefore, I use a vivid performance and a figurative word when learning a song.
Stage 3 - performance of the song.
Children have already mastered singing skills and freely perform the learned material. If the song is liked, the children sing it of their own free will, not only in the classroom. They remember it for a long time, include it in games, and “perform” in front of the audience with pleasure.
Each song requires its stage incarnation. This stage of working with a song is most loved by children.
Results. Final control.
Analyzing the final result of work experience, one can see a steady increase in the level of development of singing skills.
The success of children is explained by a differentiated approach to the organization of the educational process in music classes, the organization of individual work contributes to the achievement of positive results in the development of singing skills in children.
Conducted experimental work allows you to check and systematize a number of methodological techniques that develop singing skills in children of older preschool age. The effectiveness of these techniques is confirmed by the indicators of the quality of children's singing in the middle of the year.
Based on the work carried out, the following conclusions can be drawn:
There are a number of techniques in the method of teaching singing, the systematic use of which contributes to the development of singing skills in children of senior preschool age.
The sequence of application of various techniques in the process of teaching children to sing varies depending on:
- on the tasks and content of individual classes;
- from the repertoire;
- from the age characteristics of children (general and individual);
- on the level of musical and singing development of children.
4. Perspectives and conclusions.
Work on a variety of forms, methods and techniques for conducting classes;
Work closely with other teachers;
Improve software and methodological support and subject-developing environment;
To ensure the participation of parents in various forms of work on the musical education of children.
2.4 INTERACTION OF THE MUSIC DIRECTOR WITH EDUCATIONS AND PARENTS IN THE DEVELOPMENT OF SINGING SKILLS
For the successful development of singing skills by children, the joint work of the musical director of educators and parents is necessary.
Helps in teaching children to sing work with parents. at parent meetings and individual conversations talks about what children learn in music classes, about the protection of children's voices, and so on. Folders with materials on musical education in the family, as well as on the development of singing skills in preschoolers are exhibited for parents.
During the period of purposeful work on the development of singing skills in children of preschool age, parental corners are formed: “Protection of a child’s voice”, “Sing to your health”, “Melodies for the smallest”, “Lullabies - lyrics of motherhood”, “Advice to those who want to learn sing". The texts of the songs being learned are also placed in the parent corners. Parents of pupils are happy to take part in holidays and evenings of entertainment, in preparing and holding events, creating a musical developing environment. Such joint work of the kindergarten and the family has a beneficial effect on preschoolers. Parents are trusting in the advice of teachers and recommendations, and therefore many children, having become schoolchildren, continue to sing in vocal studios, enter a music school.
Success is not possible without joint activities musical director and educator who actively helps, organizes independent music-making of children in a group.
Working with educators are used open views(“Journey of the Tongue”, “We are all not too lazy to sing songs”, and others), consultations (“Advice for adults on protecting the voice of preschool children”, “Round dance games in working with children of younger and middle age”, and others), conversations, round table, seminars where kindergarten teachers get acquainted with program tasks, methods and techniques for teaching children to sing. With each teacher, the song repertoire is individually learned, recommendations are given for using the familiar musical repertoire in other classes and in the daily life of the kindergarten.
Educators provide effective help in teaching children to sing, they skillfully organize a subject-developing environment for the development of children's musical abilities. The groups should have a center for musical development, CDs and cassettes with music for children, including music for sensitive moments: lullabies, music of a different nature. Educators conduct musical and didactic and dance games with singing, include songs in the daily life of preschoolers. Due to the presence of vocal didactic material in each group (pictures, algorithms, song collections), pupils can engage in independent vocal activities, organize role-playing games with vocal themes (concerts, holidays in a puppet family, and so on), in addition, children often sing spontaneously in independent activity, in regime moments, in free play.
Work results
Summing up the work on the development of singing skills in preschoolers, we can say that the goal is considered achieved if
children love to sing
understand many vocal terms, conductor's gestures,
learned to hear and convey in singing the gradual and spasmodic movement of the melody,
learned to start singing on their own, after a musical introduction and a loss, exactly hitting the first sound,
learned to hear and evaluate correct and incorrect singing.
The combination of music and words help children express their feelings and experiences. In the lessons for the development of singing skills, preschoolers participate in performing activities, which helps them to better understand the song, while repeated repetition of the song does not reduce interest in it, but, on the contrary, gives it a new life. Purposeful work increases the interest of children in music lessons, songwriting, and the song is firmly included in the life of children.
Kindergarten pupils sing not only in the classroom, but also in an informal setting on their own, take an active part in concerts at different levels. They develop such performing qualities as confidence, the ability to freely stand in front of the public, beautifully perform a song, conveying to the listeners the nature and meaning of the song.
Summing up, I would like to emphasize that there are a lot of methods and techniques for developing the singing skills of preschoolers, but when organizing work in this direction, one should, first of all, focus on the capabilities of children, work systematically and consistently, and actively involve educators and parents in cooperation.
CHAPTER 3 PRACTICAL MATERIAL
BASICS OF GAME LEARNING TO SINGING
This is followed by an excerpt from the author's method of musical education of children, which is novel in the sequence and system of introducing children to the art of singing, it was created on the basis of many years of experimental work with children of preschool age. The proposed practical material is available to all children, regardless of their capabilities and abilities, but most importantly, it is very effective in shaping the singing intonation of children.
Where to start so that teaching children to sing is joyful, exciting, understandable and easy?
We started by abandoning the teaching methodology from the point of view of the lesson-assessment form of work, when the teacher works according to the plan that he must fulfill, while the children are, as a rule, on one side, and the teacher on the other. He speaks and shows how to sing, and the children repeat. Under such a system, children all the time "should" and "must" do this and that in order to fulfill the teacher's plan.?
But practice shows that if children are forced to learn any art, including singing under pressure, then they will come to the result much later or never. Children, like adults, do not like being forced to do anything. It is impossible to force children to fall in love with singing, dancing, drawing, etc. You can only captivate them with this activity, interest and maintain interest constantly.
Many years of experience has shown that the method of a child's entry into the world of any art must pass through the "magic bridge" of the game. The game is a "magic wand" with which you can teach children to sing, play instruments, move and dance beautifully, listen to music.
So, the main motto of our work is "Learn while playing!"
Since the predominant thinking in a child is right hemisphere, emotional-figurative, it is characterized by brightness of perception, visual, figurative memory, richness of imagination and some insufficiency of abstract thinking. Therefore, the introduction of a child into the atmosphere of the art of singing should be unexpected, mysterious and necessarily personal, through an appeal to sounds, intonation, and words.
The accumulation and alignment of educational games not only in singing, but also in all areas of musical education of children helps to easily cope with difficulties in work and save own health.
Game technique upbringing, development and learning is remarkable in that all these processes occur imperceptibly for children, involuntarily. They do not think about whether it is easy or difficult, good or bad. They simply intuitively learn the manner of speaking, singing, walking, communicating, acting. Involuntary learning of children in the game does not violate their psychophysical state, because it has everything necessary for development: interest, positive emotions, image, fantasies, verbal communication, movement.
The game technique, more than other means of influence, meets the needs of the growing organism of the child, since it puts a serious obstacle in the way of rapid fatigue and fatigue of children. This barrier is movement.
The physiological need of children to move does not come at a strictly allotted time, but constantly, at very short intervals and, as a rule, in the classroom. And if this need is not noticed or ignored in time, then fatigue and fatigue from monotonous activities will signal us with bad behavior about the urgent need for children to move.
Fighting, troubled and stressed children find it difficult to control and restrain themselves. They need motor discharge systematically: at the beginning of activity, in the middle and at the end. Therefore, the game teaching children to sing is associated with a variety of movements.
In the process gaming activities children are able to perform such a volume of work that is not available to them in a normal educational situation. Practice has proven that the play technique is useful for all children, but especially for children with health and developmental problems.
In preschool age, involuntary learning is directly related to interest, as well as intuitive, non-violent perception, and this is manifested in the following:
game teaching methodology with moments of cheerful surprise, when the ordinary becomes unusual, and therefore especially interesting, attractive, gives children joy and emotional upsurge;
interest and attention to music in some children become more stable (this is the most important condition for the development of perception and, most importantly, for the reproduction of musical sounds, i.e., correct intonation);
learning the song is easy and joyful.
The ease of mastering various skills in any activity contributes to the correction of self-doubt, anxiety.
All this has a positive effect on children with low self-esteem, who expect nothing from their actions but failure. Children in the game process should be all successful, doing everything in their own way, as best they can.
If there is interest at first, and then falls, the teacher should look for the reason in himself. The game, permeating the entire lesson, and not just learning, puts the teacher in a completely different, unusual for him role-playing situation of a participant in the game.
In the game, the emotionality and expressiveness of the teacher when showing game exercises is extremely necessary, because it facilitates imitation, emotionally charges children. Game images are first set by the teacher, and then freely developed by the imagination of each child. The teacher needs to be able to flexibly change his position: either becoming a participant in the game, actively captivating, showing, or simply observing from the side, imperceptibly guiding, while not forcing children, not evaluating, not comparing with others and, of course, not punishing.
The complexity of this work for the teacher lies in the fact that when moving from one image to another, he must be both in the game and guide the actions of the children. The main thing is not to allow an "edifying teacher" tone, thereby not violating the atmosphere of trust, not frightening off interest in the game. In the classroom, only the teacher depends on maintaining an atmosphere of ease, joy and mutual communication.
If a preschool teacher cannot play himself, therefore, he has gaps in professional training, he needs to master game teaching methods. If children cannot play, then the teacher needs to direct all his efforts to create and maintain interest in playing learning.
Preschool age is the most favorable period for the formation and development of a singing voice. However, this process is long and painstaking, requiring patience and careful attitude from the teacher.
For yourself, from the very beginning of work on the development of a child's voice, establish the main reasons that slow down and complicate this process:
the absence of a musical and singing environment in the first years of children's lives;
insufficient understanding of how to develop a child's singing voice if he does not have the basic components of a musical ear.
insufficient possession of the game method of teaching children to sing.
All this creates difficulties for the teacher and children, which often become insurmountable. Vocal lessons cease to attract children. From such a situation, teachers have a feeling of dissatisfaction with their work, and children become not interested in doing what they “do not understand” and “difficult”. And if you're not interested, then you don't want to.
For children, any activity that is not of interest to them is the main source of rapid fatigue and fatigue, which immediately affects their behavior, and this (violence, indifference, depression, switching to anything) signals the teacher: “Attention, something is not that's how you do it."
Before teaching, let's try to give children the opportunity to first listen to their voice, to feel its capabilities in the singing skills classes. At this stage, it is very important that the child does not feel that he is being taught, but simply be carried away and engaged in activities that are interesting for him. Here is an approximate line of complication of this process:
then the study of the possibilities of speech and singing voice,
after which the performance of songs, based on their emotions, abilities and experience.
Practical acquaintance with the system of musical education of Karl Orff led us to the idea of starting the development of the singing voice of children from the speech stage. This approach is also based on the theoretical provisions of B. V. Asafiev (1965) on the internal organic relationship of music and speech.
For example,
the intonation of a person's mournful speech, like sad, sad music, is slow, quiet, often interrupted by pauses and exclamations.
The intonation of a festive, joyful speech of a person is characterized by a lively pace, continuity, the presence of small pauses and accents. Music that expresses a festive mood is characterized by the same features.
We see that music and speech have one fundamental principle - intonation. Speech intonation expresses the feelings, mood of the speaking person in the same way as musical intonation, that is, using the same means of expression. Therefore, with the help of speech, since the child already knows it enough, it is much easier for him to feel, understand and repeat the means of musical expression: dynamics, tempo, intonation, rhythm, etc.
At the speech stage, it is convenient and easy to work on the formation of such singing skills as breathing and diction, the skill of head high sounding, the lightness and flight of the voice, and even polyphony. Before singing high and expressively, the child first learns to speak high and expressively.
All material of the speech stage contributes to the formation of speech and singing breathing, as well as the ability to change the strength and pitch of the voice, the correct reproduction of sounds and their combinations in isolation, in syllables, words, phrases, the reproduction of speech and singing material at a given tempo and rhythm, and also contributes to the ability Express your emotions with different intonations of your voice.
The speech stage, as a preparatory stage, first precedes, slightly ahead of, and then goes parallel to the singing stage.
The main activities at the speech stage are:
articulation gymnastics,
Games and exercises that develop speech and singing breathing,
speech charges,
Speech games and exercises,
Rhythmic declamation.
Them common goal- easily and imperceptibly prepare children's voices for singing:
- "warm up" the muscles of the speech and respiratory apparatus,
Sharpen your intonation
Encourage children to play musical sounds,
To make learning to sing easier, more understandable and more attractive.
Articulatory gymnastics (in the form of a fairy tale "Journey of the tongue")
In order for the children not to lose interest in the first two exercises, it is necessary to dress them in a fabulous form. Listening to a fairy tale, children become not only performers of exercises, but also active participants fabulous journey tongue.
They "travel" with the tongue and get acquainted with all parts of the speech apparatus: the tongue, lips, teeth, cheeks, and the sky.
In this work, the main thing is achieved: children are interested, understandable, easy.
Articulation gymnastics helps:
Eliminate tension and stiffness of the articulatory muscles;
Warm up the muscles of the tongue, lips, cheeks, jaw, providing them with the greatest mobility;
Develop facial expressions, articulatory motor skills;
Develop expressive diction.
ARTICULATION GYMNASTICS IN THE FORM OF A FAIRY TALE
"TONGULE'S JOURNEY"
The Tongue woke up one day, and around it the dark mouth was closed (lips were closed) and it was scary.
He began to look for a way out.
He knocked on one cheek, “pierce” the cheek with the tongue
into the other - “pierce” the other cheek with the tongue
do not open.
"Push me harder!" - thought Tongue and began to push first one Cheek, and then the other. “pierce” the cheek with the tongue “pierce” the other cheek with the tongue
There was no exit. Then the Tongue decided to look for a way out elsewhere and first poked the upper lip - “pierce” the upper lip with the tongue,
and then the lower lip. "pierce" the lower lip with the tongue,
At this time, Mouth yawned and opened. The tongue saw the exit and went to it,
but Zubki did not let him pass, but began to quietly bite the tip of the tongue, bite the tip of the tongue.
"What are you doing? Why are you biting me?!" - Tongue was indignant. And the Zubki answered: “We haven’t chewed anything today.” And they began to chew the tongue, first on one side, and then on the other. chew tongue with side teeth
On both the right and left sides, it turned out to be tasteless. chew the tongue on the right, chew the tongue on the left.
The tongue again tried to squeeze between the Teeth, but they continued to bite it. biting the entire surface of the tongue, protrude it forward and remove
The tongue is hidden behind the teeth. But Zubki did not let up and continued to chew.
They chewed on their lower lip and then on their upper lip. bite the lower lip along the entire length, bite the upper lip,
The lower lip is offended, protrude the lower lip, giving the face an offended expression,
and the upper one smiled (it was a little ticklish). lift the upper lip, exposing the upper teeth and giving the face a smile,
But Zubki did not calm down. They tried to bite off a piece of the cheek. bite the inside of the cheeks with the side teeth,
The tongue looked at the Zubki and thought: “Why are they so angry? Maybe because today no one has done anything pleasant for them yet?
The tongue began to wash first the upper and then the lower Teeth. run the tongue between the lips and upper teeth, as if cleaning them, run the tongue between the lips and lower teeth,
And once again, the upper and, of course, the lower ones, hold the tongue between the lips and teeth,
The teeth looked in the mirror and said: “Oh, what purity! Ah, what a beauty! Thank you, Tongue! We won't bite you again." bare your teeth, stretching your lips into a smile
After the children "staged" the journey of the tongue, remembered well the entire text and the sequence of articulation actions, you can proceed to poetic form articulation gymnastics.
Here is the reed charging:
To the left - pierce with a tongue left cheek,
to the right, pierce the right cheek with the tongue,
One more time left
two, once again the right cheek,
Up - pierce the upper lip with the tongue,
down, then down,
Up down,
Tongue, don't be lazy!
Lips, wake up! "vibrato" lips,
Roth, open up! open your mouth wide
Tongue, show yourself to bite the tip of the tongue,
And don't be afraid of your teeth! stick out the tongue forward and remove back,
biting the entire surface of the tongue,
And the teeth, and the teeth
They even bite their lips. bite the lower lip over the entire surface,
Bite, bite to bite the upper lip over the entire surface,
And they don't let up.
And then the lips laugh, in a smile open the upper teeth,
Then they are very offended, twist the lower lip, giving the face an offended expression,
They laugh merrily, open their upper teeth in a smile,
Then again they are offended to twist the lower lip,
Tired of biting teeth -
They began to chew their tongue. chew tongue with side teeth
The tongue is not a cabbage leaf,
It's not tasty at all!
Teeth, teeth, calm down
Wash your face well, slide your tongue between your upper lip and teeth,
Do not get angry, do not bite, slide the tongue between the lower lip and teeth,
And smile with us! smile.
upper lip again, lower lip again,
Such games and exercises will create a certain mood in the classroom and vocal lessons will be especially interesting for children.
CONCLUSION
So we see that the problem of teaching singing to children of senior preschool age is really relevant, because singing plays an important role in the musical and personal development child. Singing is a type of performing activity, and only in activity perception, memory, thinking, imagination, sensations are formed; knowledge, skills and abilities are acquired, new needs, interests, emotions arise, abilities develop. In any activity, consciousness and purposefulness are necessary.
The human voice is a wonderful musical instrument accessible to everyone, and singing creates the most favorable conditions for the formation of a common musical culture (Zoltan Kodai). Zoltan Kodaly attaches exceptional importance to the children's voice as a special type of activity of the children themselves, which is essential for the development of an ear for music and the general "musicality" of a person.
Singing is one of the main components on which early and successful musical development children.
In Soviet psychology, experimentally (by A.N. Leontiev and his collaborators), a direct relationship was shown between a person’s pitch sensitivity and his ability to accurately vocalize given sounds.
It is especially important to teach a child not only to sing or sing along, but also to compare the sound of the teacher's voice with the sound of a musical instrument, his own singing with the singing of other children. Mastering certain exercises that form a special system, the child gradually learns to control his voice, to achieve the desired sound. At the same time, the teacher must inapplicably take into account the age characteristics of children, both in terms of physiological (including the state of the vocal cords), and in terms of individual interests and inclinations. Therefore, classes should be fun, take place in the form of a game.
When teaching children to sing, it is necessary to rely on the “formative or genetically modulating method” developed in science. It opens up the opportunity for a psychologist and teacher to actively and consciously participate in the formation of certain abilities of a growing person. The extreme importance of this method was pointed out by J. Piaget, L. Vygotsky, P. Galperin.
Great scope is provided for the initiative of the teacher himself, who is invited to independently and to his liking select songs and other musical material, individually build classes depending on the age and characteristics of the children of a particular group. It is necessary to carefully treat the children's voice, to avoid overloads.
Singing is taught according to a strictly thought-out plan based on the general pedagogical principles of didactics. The methods and techniques used should be varied and purposeful. Of great importance is the expressive display of the teacher and his desire to evoke emotional responsiveness to music in children.
In the process of learning to sing, children must master the basics of musical literacy. In the process of systematic classes, children develop "vocal hearing", that is, the ability to hear and evaluate themselves, develop pitch hearing, a sense of rhythm. Great importance should be given to songwriting, since in the process of musical activity the child acquires the necessary skills and knowledge, and the child should be able to express his musical impressions.
Specific didactic task: not to miss the sensitive, i.e. the most favorable period in the development of children, when there is an active formation of various abilities of the child.
Bibliography.
1. Aliev Yu.B. Singing in music lessons. - M., Enlightenment, 1978. -175s
2.Vetlugin ON THE. Methods of musical education in kindergarten. - M., Education, 1989.
3.Vetlugina N.A. Musical primer. - M., 1988.
4.Voinova A.D. The development of purity of intonation in the singing of preschoolers - M., 1960.
6. Kabalevsky D.B. About the "three whales" and much more. - Perm book. publishing house, 1971.
7. Katser O.V"Game method of teaching singing" ed. "Musical palette", S-P -2005
8.Menabeni A.G.. Methods of teaching solo singing. - M., Enlightenment, - 1987. - 94s
9.Mikhailova M.A Development of musical abilities of children - Yaroslavl, Academy of Development, 1997.
10.Metlov N.A. Music for children.-M., - Enlightenment, 1985, -144s
11. Ogorodnov D.E. Musical and singing education of children in general education school. - Kyiv,: Musical Ukraine., 1989.- 164s
12. Orlova T.M., Bekina S.I. Teach children to sing, - M., Enlightenment, 1988.
13. Rabbinov O.G. Mass choral work at school - Kyiv. Soviet school., - 1957, -147s
14.Radynova O.P., Katinene A.I., Palavandishvtli M.A. Musical education of preschoolers. - M., Enlightenment, 1994.
15. Rostovsky O.Ya. Methodology of music writing in the first schools 1.- Ternopil, -2001, -214s
16. Tarasova K. To the production of a child's voice // "Musical Director" No. 1-2005, p.2
17. Tyutyunnikova T.E. To learn to sing, you have to sing // Musical palette, No. 5, 2004.
19. Sheremetev V. Choral singing in kindergarten // "Musical Director" No. 5-2005, No. 1-2006.
Materials of Internet resources:
1. www.cronao.ru/aktualnyj-pedagogicheskij-opyt/doshkolnoe-obrazovanie
2.www.ipkrs.bsu.edu/sourse/method_sluzva/teacher/op08/apo_08/kirichenko.pdf
3. www.rudocs.exdat.com/docs/index-333705.html
4. www.dslivenka6.gvarono.ru/metod/rubanova-oi/vokal_krujok-otchet.pdf
"Sing while playing!" (Games and exercises for the formation of vocal and choral skills).
Naumova Alena Borisovna, teacher additional education, head of the junior and preparatory choir MBUDOD "Children's choir school of arts for boys and youths" Molodist ", Chelyabinsk.
The development presents methodological material that I use in choir lessons with boys aged 4-6 years.
The material will be of interest to teachers-musicians of institutions of additional education, primary school music teachers, choirmasters, kindergarten music workers who are not indifferent to beautiful and intonationally pure choral singing in general, and boys' choral singing in particular.
This development is universal, since the game techniques from it can be used sporadically, as a rest or distracting children from other activities. At the end, fairy tales are given, composed by the author of this development or found on the Internet, based on all the techniques that were described earlier. Fairy tales are especially relevant in the first lessons of work (the first quarter), with the help of them, lessons are fast and fun, children quickly get used to being in the classroom without parents, while the learning process goes on as usual - we continue to form the skills we need!
main goal This development is the formation of vocal and choral skills in children 4-6 years old through playing techniques.
These developments can be used to solve the following tasks:
Formation in children of vocal skills of correct and natural sound extraction, singing breathing, correct articulation, clear diction
The development in children of falsetto, childish sounding of the voice, pure intonation;
Formation of the skill of expressive performance;
Work on the protection and hygiene of the child's voice (due to the skills of sparing, falsetto reproduction of sounds).
At the heart of teaching children to sing in our classes is always the game method, because the game is the most accessible activity for children. While playing, children learn to apply their knowledge and skills in practice, to use them in different conditions. Play is an independent activity in which children interact with their peers.
All our classes, musical games and exercises are necessarily accompanied by music: we ourselves perform chants, songs, or the accompanist accompanies our actions by playing the instrument.
Games for the formation of singing-correct breathing(active, quick, silent inhalation through the nose, long exhalation through the mouth):
1. "Oh, what a scent!"
We are standing in a clearing, we see a flower in front of us, we pick it and briefly but deeply inhale its aroma. Children should be encouraged to inhale through their nose and exhale through their mouths.
2. "Take care of the fire!".
We take a candle, blow on the flame quietly and slowly so that it does not go out. Whoever manages to blow on the candle the longest, and not extinguish it at the same time, he won.
3. "Inflate the balloon!"
We put our hands near our lips - this is an impromptu ball. We take a breath and slowly inhale it into the “balloon” (you must blow very carefully so that the “balloon does not burst”). Whoever succeeds in blowing the longest, and, accordingly, inflating a larger balloon, is well done. This exercise also contributes to the formation of a short and deep breath.
4. "The balloon burst"!
Stand up straight, in your hands (between your palms) hold an imaginary ball. Then a small hole is formed in the ball. At the sound "s-s-s-s" the balloon slowly deflates. The task of the pupils is to save exhalation as much as possible, gradually bringing their palms closer to each other (the ball decreases).
5. Scuba divers!
Imagine yourself in a pool. “We dived under the water” (inhale through the nose, and immediately pinch it with your fingers, squat down), and slowly exhale, whoever’s breath is over - “pops up” (gets to his feet).
Games for the formation of a lingering, melodious voice:
1. "Draw a melody!"
Draw the melody of a song with a brush (draw a story with a voice like a brush) with one wide stroke, without “tearing the brushes off the canvas”.
2. A song is a thread, it should stretch without knots, evenly and evenly. For boys: a song is a road along which we drive a good car; the road is smooth, without bumps, and the car is good - it does not stall at every step, but drives smoothly.
3. "Playing with the ball"
We sing, and at the same time we roll the ball on the table, we try to sing as evenly and lingeringly as the ball rolls. To form the skill of jerky singing, the ball can be tossed up, and singing is just as elastic and jerky. How the ball bounces.
A special place in our classes is occupied by the formation of the skill of falsetto singing. Falsetto singing is the most natural, phonopedically correct for a child's voice.
Playing techniques for going into falsetto:
1. We push the car - hands in front of us, one palm on the other, with vibration of the lips “push the car away from us” (with each push, the sound changes from the lower register to the upper one).
2. We drive a car - we pick up the “steering wheel”, turn, run into bumps, slide down and climb the hill - vibration with lips with different pitches.
3. Pinocchio and Karabas. One hand is up (This is Pinocchio, who is sitting on a tree and is afraid of Karabas), the other is down (this is Karabas, who is standing under a tree and cannot catch Pinocchio). The voice works on "Oh", two voice registers are involved - high and low.
For the development of diction and articulation tongue twisters help us a lot. But saying them is just so boring and uninteresting. Therefore, we suggest using the following game techniques:
1. We speak tongue twisters in the voice of the heroes of fairy tales (Pinocchio, Karabas, Malvina, Pierrot, Artemon. Carlson and others).
2. We speak tongue twisters with different pitches: either “sitting on the moon” - high, then “being underground” - low, then gradually “rising or descending in the elevator” - we raise the pitch.
3. We speak tongue twisters quietly or loudly, increasing or decreasing the volume. At the same time, you can also form the skill of working on the conductor’s hand: the children react to your gestures and complete the task.
Do not forget also about the skill of tearing off the mouth:
1. "The car drives into the garage"
The mouth - the "garage" should open so that a car "drives" into it from the fingers, while not scratching the body against the walls of the garage.
2. The mouth opens so that "a two-chamber refrigerator or a giraffe" can enter it.
And finally, I bring the promised tales.
We give the task: we are all with you today - a musical landing. Our department received a call that it was necessary to save one creature that was in trouble (we don’t name which one). We sit on the car, start it (vibration of the lips and increase in pitch). Started, we drive along the road, on the way we meet turns, bumps, pits (vibration of the lips, a constant change in pitch). We arrived at a clearing, there is a hut on chicken legs. We go into the hut, and the walls began to move, we hold the walls (strobass), we kept the walls, well done! Now the ceiling began to descend on us, we hold the ceiling (strobass). Then Baba Yaga came into the hut, who turned out to be not evil good, and offered us a steam bath in the bathhouse from the road. First, we soar in the bath of the handle: one hand forward, the other pats from shoulder to palm from top to bottom. Pronounce "oh-oh-oh" from uppercase to lowercase. Let's steam the breast: pat on the chest, pull "oh-oh-oh" in the middle register. Let's steam the tummy: we pat our hands on the stomach, we pull "oh-oh-oh" in the lower register. Well, we’ll steam the ass: we pat on the priest, we pull “oh-oh-oh” in a high register, “I feel sorry for myself.” We thanked Baba Yaga and boarded a helicopter (lip vibration from lower to upper register and back). We landed in a clearing. There stood a large tree and creaked (strobass). Pinocchio was sitting on a tree, and an evil Karabas was under the tree. Pinocchio was afraid of him and said “Oh!” in a thin voice, and Karabas was angry that he could not get Pinocchio and said in a thick voice “Oh!”. We took Pinocchio with us, boarded a rocket and flew (from the lower case to the upper "oooo" several times). We stopped at the clearing we needed, and there, under a bush, a small kitten sits and says in a thin voice “meow!” (several times in falsetto register). While we were traveling, our mother lost us, she went into the forest and called us “Ay!” (falsetto). We ran to my mother, and that was the end of our journey.
The teacher tells the story, the children perform the necessary actions.
This game helps to activate the speech apparatus, develops diction and breathing.
Once upon a time there was a little horse. She loved to run. Like this. (Children quickly “click” their tongues on a half smile (high).) The horse lived with her mother - a kind and beautiful Horse. She walked like this. (Children slowly “click” their tongues, stretching their lips (low).) And very often the Horse loved to run with her mother in a race. (Alternately high - low, fast - slowly "click" the tongue). But one day a strong wind blew. (Active long exhalation through the mouth 4 times). The horse approached her mother and asked: “Can I take a walk?” ("Click" high from the lower sound "y" to the upper "o" - "u - o"?). “Yes, where are you going? - Mom answered, - there is a strong wind outside. (From the upper “o” to the lower “y”, “o-y”.) But the Horse did not obey and ran (“Click” high). Suddenly she saw a beautiful flower in the clearing. “Oh, what a charm,” thought the Horse, ran up to the flower and began to smell it. (Inhale through the nose - light, silent, exhale - through the mouth with the sound "a", slowly 4 times). Only it was not a flower, but a beautiful butterfly. She fluttered and flew away. And the horse galloped on. ("Click" high). Suddenly the Horse heard a strange sound. (Long sound "shhhh"). “I’ll come closer,” the Horse decided (“Click” high). It was a big snake that crawled along a tree, it scared the Horse very much (Sound “sh” is short 4 times). During the walk, the Horse heard many unusual sounds. Here a hedgehog ran (the sound “f” 4 times), a grasshopper chirped (the sound “c” 4 times), a beetle flew by (the sound “g” is long), followed by a mosquito (the sound “z” is long). And the wind blew stronger and stronger prolonged exhalation). The horse froze (sound "brr" 4 times) and ran home ("click" high). Her kind mother came out to meet the Horse (“Click” low slowly), she began to warm the Horse (noiseless exhalation on her palms through her open mouth 4 times).
The monkeys woke up in the morning, stretched, smiled, yawned, made faces in the mirror, waved to each other. We decided to brush our teeth. They plucked a banana, chewed it, and suddenly the Chi-Chi monkey took the banana from the Chu-Chu monkey. Chi-Chi became cheerful (happy lips), and Chu-Chu became sad (sad lips). Then the monkeys began to click nuts, hid them behind one cheek, then behind the other. Then they saw a hedgehog and began to breathe like him. The hedgehog gave them a flower, and they wanted to smell it. Then a mole drove up in a car and offered them a ride. With joy, the monkeys began to kiss their nose, cheeks, chin, forehead and everything around. The monkeys began to blow bubbles. Then the monkeys began to swing on a swing (in a glissando voice) and shook the old baobab tree (groan in a voice).
In conclusion, I would like to say: play with the children in the classroom as much as possible, because if you create a game situation for the child, colorfully describe what he needs to do, then the learning process will be much faster and easier. I really hope that our boys, being singers of a real male brotherhood, will be creatively active, will successfully participate in competitions and festivals (which they have been doing successfully for 3 years), and, most importantly, will grow up worthy people.
Development of vocal and singing skills in preschool children
One of actual problems Pedagogy is the problem of developing the creative qualities of the individual, songwriting is no exception. Since it is one of the most massive and essential components of traditional culture, it is determined by the need to preserve it in the context of globalization and the onslaught of the so-called "mass culture". It is during childhood that it is important to realize the creative potential of the child, to form vocal and choral skills, to introduce children to the art of singing, which contributes to the development of creative imagination.
Modern Scientific research in the field of musical pedagogy and the experience of many preschool institutions, as well as historical experience, indicate that vocal education has an impact on the comprehensive development of the child's personality. The education of hearing and voice affects the formation of speech, and speech, as you know, is the basis of thinking. Obviously, the impact, with systematic vocal education, has a beneficial effect on the physical development of children, on the general condition of the child's body, causes reactions associated with changes in blood circulation, the respiratory system, is closely related to the cardiovascular vascular system therefore, children, involuntarily doing breathing exercises, strengthen their health. Properly staged singing organizes the activity of the vocal apparatus, strengthens the vocal cords, and develops a pleasant timbre of voice.
Huge opportunities for the aesthetic development of children lie in various forms of work on vocal education - singing in a choir, ensembles; participation in holidays, entertainment, concerts, stage performances, participation in song contests.
Target preschool: development of the musical abilities of pupils and students, mastering vocal skills, the formation of the musical culture of the individual as an integral part of spiritual culture
Achieving this goal contributes to the solution of the following tasks:
educational - mastering vocal and singing skills: pure intonation, singing diction, articulation and breathing;
developing - the development of musical memory, attention, imagination, thinking;
educational - Education of aesthetic taste, performing and listening culture.
Having studied modern programs and technologies in the field of vocal education of children, we decided to move away from the traditional concept of "development of musical ear", and introduced teaching practice the concept of "development of the vocal apparatus". And we define the leading idea in our work with preschoolers - the education of vocal and choral skills that form the fundamental skills of vocal culture and the skills that develop the general musical culture of a person.
List of programs used:
Dubrovskaya, E. A. Steps of musical development; [Program "From childhood to adolescence"]. - 2nd ed. - Moscow: Education, 2004. - 172, p. : notes.
Partial programs of additional education:
Kostina, E. P. Camerton: a program of musical education for children of early and preschool age
Kurevina, O. A. Synthesis of arts in the aesthetic education of preschool children.
We use in our work the Technology for the development of voice and hearing according to the adapted system of V. V. Emelyanov.
The system of work of the music director for the development of vocal and singing skills is carried out in three directions: with kindergarten teachers, is implemented on this issue through the following forms work - consultations, master classes. workshops, round tables, discussions, consultations, master classes, workshops, discussion clubs, round tables, joint entertainment, leisure activities, concerts of the Golden Note circle are also organized with the parents of the pupils.
With pupils - classes, individual work is carried out, theatrical activities, within the framework of the organization circle work"Golden Note", the work in which is carried out according to the partial program of additional education.
The singing abilities of preschoolers are not great. And yet, starting with singing, they express their feelings, gradually mastering singing vocal skills (clear diction, correct sound production and breathing, pure intonation) and choral skills (harmony and unity of sound in time, strength, character, in a word - ensemble) .
Breathing is the most important mechanism in the singing process. Possessing the technique of singing breathing, the child intuitively adjusts to the features of the text of a particular song. (we use exercises to develop breathing)
it makes no sense to teach any other breath, except for a quick and silent one. The length of the singing exhalation is not so much related to the amount of air in the lungs, but more depends on the work of the larynx and the shape of the horn "V. V. Emelyanov
1. Techniques for the development of hearing, aimed at the formation of auditory perception and vocal-auditory representations and singing skills: Work on staging a child's singing voice begins already at a younger preschool age, but is carried out very carefully and gradually. At the first stage, they only have access to
Singing along, playing onomatopoeia; (a cat meows, a small dog barks, etc.)
Articulation gymnastics (external - massage of the tongue, lips, cheeks, resonant massage - Head sounding is the quality of the voice that can and should be formed in children in the first place. Its formation is possible due to the anatomical and physiological characteristics of the vocal apparatus of preschool children, organizes involuntarily correct exhalation, facilitates the clarity of diction in singing and the purity of intonation, It is very important to free the articulatory apparatus of the child, his lower jaw. cheeks between the teeth of the upper and lower jaws ("wasp waist").
Internal articulation - the formation of a horn); diction (work on vowels, consonants)
Voice games and phonopedic exercises allow you to master the mechanism of automatic transfer of the larynx from one mode of operation to another, teach you to gently and naturally overcome the inter-register voice threshold, and expand the voice range.
Chanting on the main steps of the mode (1-3-5 (for syllables)
Using a pitch gesture (high, medium, low hand position). With a movement of the hand, we show how to sing: higher or lower, or on one sound (“Andrei the Sparrow” r. n. p., which helps them more accurately intotone sounds.
For the optimal organization of the entire singing apparatus, correct posture in singing is necessary: the body and shoulders are slightly tilted back and, as it were, rest on the lumbar vertebrae without tension, which creates conditions for free work larynx.
For the development of good diction, clear pronunciation, rhythmic ensemble and mobility of the lower jaw, we use the technique of tempo modeling from slow to fast. (verbal, motor, graphic)
Rhythm declamation technique is at the same time a speech game that implies creative freedom in the intonation-rhythmic performance of the text, as well as an exercise for performing, intoning music.
For musical education, speech exercises are important primarily because musical ear develops in close connection with speech hearing. Speech hearing is one of the foundations of musical hearing. As a rule, children's folklore serves as the basis for speech exercises: counting rhymes, teasers, chants, nursery rhymes, jokes, chants, finger games, poems.
"Sounding gestures" are sounds human body, which is the first and natural musical instrument, fraught with richness of timbres. There are four traditionally sounding gestures: stomping feet, slapping knees, clapping, and snapping fingers. Palm strikes on the chest and thighs are also used. Children, competing in figurativeness and resourcefulness, easily come up with various options, which activates their creative activity.
The results of our work have shown an increase in children's interest in singing activities, improvement of special vocal skills: singing installation, sound production, singing breathing, articulation, ensemble; coordination of the activity of the vocal apparatus with the main properties of the singing voice (sonority, flight, etc.); children acquired the skills to follow the conductor's instructions; auditory skills (skills of auditory control and self-control over the quality of their vocal sound).
This work requires a lot of attention and time, therefore, in the future, to continue improving vocal skills in the process of mastering the song material. Achieving expressiveness of performance through facial expressions, voice timbre, dynamic shades, phrasing, purity of intonation, diction, tempo and other skills, achieve artistic and technical unity in the performance of a work, identify and develop the creative potential of pupils, expand forms of interaction with the families of pupils on musical issues education.
The tasks of learning to sing
The main requirement of the program is to teach the child expressive, sincere performance of simple songs that are understandable, interesting to him.
The artistic and pedagogical significance of singing is to help children correctly understand the content of musical images, to master necessary skills, express your feelings in a relaxed, natural singing. For example, when performing a lullaby, emphasize caring, affection, tenderness, show
that the song calms down, helps to fall asleep, therefore, it must be performed quietly, hummingly, at a slow pace, even rhythm, gradually fading away. In the march, cheerfulness, striving, vivacity are needed. It should be sung loudly, clearly pronouncing the words, emphasizing the rhythm at a moderately fast pace. The child understands the meaning of these requirements, their purpose.
The main tasks in the process of classes are as follows: to form in children singing skills, skills that contribute to expressive performance;
to teach children to sing songs with the help of a teacher and on their own, accompanied and unaccompanied by an instrument, in the classroom and outside of them;
develop an ear for music, teaching you to distinguish between correct and incorrect singing, the height of sounds, their duration, the direction of movement of the melody, hear yourself while singing, notice and correct mistakes (auditory self-control);
develop the voice, forming a natural childish sound, strengthening and expanding the singing range, overcoming the monotonous "buzz" of low and inaccurate singing children;
to help the manifestation of creative abilities, the independent use of familiar songs in games, round dances, playing children's musical instruments.
All subsequent singing activities of the child largely depend on the correct organization of teaching singing in the classroom - in everyday life, on holidays, entertainment, which arose on his initiative or at the suggestion of adults in kindergarten and family.
Singing skills and abilities
In order to successfully solve problems, it is necessary to teach children skills and abilities, which include singing, vocal and choral skills.
Singing installation is the correct posture. While singing, children should sit straight, without raising their shoulders, without hunching over, leaning slightly on the back of a chair, which should correspond to the height of the child. Put your hands on your knees.
vocal skills- this is the interaction of sound production, breathing and diction. The inhalation should be quick, deep and silent, and the exhalation should be slow. Words are pronounced clearly and clearly. At the same time, it is important to follow right position tongue, lips, free movements of the lower jaw.
Choral Skills- this is the interaction of the ensemble and the system. Ensemble translated from French means "fusion", i.e. correct ratio the strength and height of the choral sound, the development of unison and timbre. Build - it is precise, pure singing intonation.
Teaching vocal and choral skills to preschool children has a number of features.
sound production with the correct setting of the voice, it should be sonorous and light. However, one must take into account the imperfection of the child's voice, its rapid fatigue. Children can't take long
Table 5
Singing skills as a means of teaching expressive singing
Vocal and choral skills |
Age groups |
||||||
2nd junior |
preparatory for school |
||||||
vocal skills |
Expressive singing without tension, smoothly: |
||||||
sound production |
|
||||||
Light sound: |
Sing with a light moving sound: |
||||||
Take a breath between short musical phrases: |
Take a breath between musical phrases |
Take a breath before starting |
|||||
Pronounce words clearly |
Pronounce the words intelligibly, but correctly |
Pronounce words clearly |
Pronounce words clearly |
||||
Choral Skills |
|||||||
Build (purity of intonation) |
The same skill in all groups is to convey the melody correctly. But |
||||||
Ensemble (coherence) |
Sing without falling behind or ahead of each other |
Start and end the song together |
Start and end the song at the same time; sing moderately loud and softly |
Independently all together to start and end the song; sing, speeding up and slowing down: |
|||
|
|||||||
Note. The table (under the numbers 1-16) contains excerpts of the following songs for different age groups: |
sing in different paces amplifying and weakening the sound: |
||||||
and sing loudly. Toddlers sing "talk", they have no melodiousness. Older children can sing in a singsong voice, but sometimes show loudness and tension. Breathing in preschoolers is shallow and short, so they often take a breath in the middle of a word or musical phrase, thereby breaking the melody of the song.
Diction(clear pronunciation of words) is formed gradually. Many children have speech defects: burr, lisp, which take a long time to eliminate. The lack of clear and distinct diction makes singing languid and weak.
It's hard for children to sing in the ensemble. Often they are ahead of the overall sound or behind it, trying to outshout others. Ba-lyshi, for example, sing only the last words of phrases.
It is even more difficult for children to master the skill of harmonious singing - pure intonation. In this case, individual differences are especially noticeable. Only a few easily and accurately intonation, while most sing inaccurately, arbitrarily choosing intonation. You need to work on developing this skill.
Development of singing skills and abilities
Vocal and choral skills are acquired in the process of learning songs. Skills become more complex and change as more and more complex pieces are learned. This can be seen from table 5 (see p. 81), which shows the system of singing skills for children from 3 to 7 years old. According to the table, you can see how a particular vocal-choral skill becomes more complicated as it develops (horizontally) and what is the total amount of program requirements in each age group (vertically). Separate musical examples illustrate those parts of the melody where the use of appropriate skills is required.
By the end of the year, children should be able to:
2nd junior group - to sing with the help of a teacher and with musical accompaniment the simplest songs;
middle group - sing with and without instrumental accompaniment (the easiest songs);
senior group - sing with a teacher without musical accompaniment and independently, accompanied by an instrument; recall and sing the learned song; to distinguish by ear correct and incorrect singing; distinguish sounds by their height and duration; be able to maintain the correct posture while singing;
preparatory group - expressively perform familiar songs with and without accompaniment; recall and sing songs learned in previous groups; be able to sing collectively and individually, while maintaining the correct posture; listen to yourself and others while singing and correct mistakes; to distinguish between the movement of the melody up and down, long and short sounds; know the name of the notes (when using musical instruments - metal
backgrounds); have an idea that higher sounds are located above the note lines, and low ones are lower (a conditional graphic image - a "bird" - sits on the top line and sings high); improvise various onomatopoeia, chants based on acquired singing skills.
These requirements are important because musical education in the classroom takes place in an atmosphere of great enthusiasm, the process of learning songs and their subsequent performance seems to be uninterrupted and, as it were, not having accurately measured results, which take place, for example, when teaching counting, literacy. In addition, much of the musical educational work is designated only as a task. For example, the task of developing an ear for music is formulated in programs for young children. But as a certain result, as an acquired skill of distinguishing musical sounds according to their pitch, it is mentioned only in senior group. The teacher needs to establish what he taught the children in a year, which of the children did well in their musical development or, conversely, still finds it difficult in something, whether the children can sing songs and which ones, etc. The result of pedagogical work should be consistently taken into account .
The program formulates individual knowledge and skills that do not yet have sufficient application in everyday practice, for example, songwriting. At the same time, the requirements for improving the preparation of children for education in primary school necessitate the development of these skills.
Preparation for learning to sing from music
A child of 6-7 years old is gradually preparing for singing from notes. This is a difficult task. It is complicated by the fact that seven year old child should be able to correlate the height and duration of perceived by ear
musical sounds with their musical representation. If at preschool age the child does not develop musical and sensory abilities that help him listen, compare, distinguish sounds, then learning at school will be difficult. The child must be brought closer to conditional graphic images (pictures, cards, circles-notes), using which he can visualize that a higher sound is depicted higher, that a wide card depicts a longer sound, and a narrow card depicts a short one, etc. e. In kindergarten, they are not yet introduced to the musical staff, but they are already learning to place circles-notes on it, to sing a scale with the names of sounds, etc.
Here are a few examples of songs, learning which children acquire skills: distinguish sounds by pitch and duration, determine the direction of the melody.
"Petushok", Russian folk song:
[Leisurely]
Children stretch out the last sound in each measure and note its duration (it sounds longer than the previous ones). "Mother's holiday", music by E. Tilicheeva:
[Live]
Children note that the melody is moving down. "May Song", music by E. Tilicheeva:
[with movement]
The melody moves first up and then down.
All these skills are also fixed when learning to play children's musical instruments and when learning musical and rhythmic movements.
To systematically and systematically bring children to these knowledge and skills, a methodological system has been developed, set out in the "Musical Primer", which will be described in the following paragraphs.
Song creativity
Development opportunity songwriting in children of preschool age, composers B. Asafiev, D. Kabalevsky, psychologist B. Teplov, musicians-teachers L. Barenboim, N. Vetlugina, K. Golovskaya, A. Khodkova are noted. It is known that, on their own initiative, even small children can vary any melodic turns from several sounds and, choosing one they like, sing it for a long time. These small improvisations are of aesthetic value and, most importantly, help the child satisfy the need for music and express their feelings. If lead creative process, then children receive more active musical development: they arbitrarily use singing intonations, learn song melodies faster, they develop auditory control over their performance, etc.
singing program preparatory group kindergarten provides for the development of creative improvisations, singing. Children are offered a series of gradually becoming more difficult tasks. At first, these are self-invented singing intonations: imitation of the singing of a cuckoo, hooting in the forest, inventing roll calls ("Lena, where are you?" - "I'm here." - "What's your name?" - "Marina", etc. .), then more detailed musical questions and
answers and, finally, improvisation on a given text. Creative tasks in teaching singing take little time in the classroom, but require systematic exercises.
Thus, in the process of learning to sing:
the tasks of getting acquainted with a variety of songs that enrich the spiritual world of the child, encourage good feelings, aesthetic experiences, the formation of interests and the first manifestations of musical taste are being implemented;
vocal and choral skills are acquired, which gradually become more complicated from group to group and are associated with the complication of songs;
melodic ear is gradually improving, which creates the basis for further learning to sing from notes;
learning acquires a conscious, active character; children are introduced to the elements of musical literacy, they are given some information about musical terms, about the nature of the performance (singing, moving, jerky, slowly, quickly), about the form of the work (singal, chorus, introduction, phrase);
creative inclinations develop, enriching the personality as a whole;
familiar songs are used, learned in the classroom, holidays, entertainment, in independent activities, rhythmic movements, playing children's musical instruments, as well as in the classroom artistic reading, physical culture movements, drawing, on a walk, in games.
The singing training program contains the tasks of developing interest in singing, teaching singing skills, developing voice and hearing, as well as creative manifestations.