General characteristics of music-computer technologies. Abstract: Information technologies in music

Federal Agency for Education

State educational institution of higher professional education

SAINT PETERSBURG STATE UNIVERSITY OF ECONOMICS AND FINANCE

General Economic Faculty

Abstract on the topic:

Information technology in music

St. Petersburg 2009

Introduction

1. New technologies and music

2. Sound recording

3. Prospects for the development of information technologies in music

Bibliography

Introduction

One of the main characteristics of the post-industrial period should be considered the rapid development of electronic technologies that contributed to the automation of the storage and processing of information using computers.

The emergence of sufficiently powerful computers and new computer technologies has had a huge impact on the formation of modern musical culture. The capabilities of modern computers are increasing every day in parallel with advances in the scientific and technical field and developments in the field of programming.

The time has come for a mature constructive relationship, a time for the construction of a common building, where both parties will feel an increasing need for mutually enriching projects. So different and once seemingly distant spheres of human intellectual activity over the last decades of the past century have not only been imbued with mutual respect, but one can already safely predict the brilliant fruitful development of their cooperation.

The obviousness of the fundamentally new opportunities provided by the musical computer in the development of the professional thinking of a musician in all areas of musical creativity will inevitably lead to the increasing introduction of music and computer technologies, which will significantly supplement and even change the very nature of the work of a composer, musicologist, performer and teacher.

Numerous experiments with electronic (and not only) machines capable of producing sound have led to the emergence of various ways of writing music, and hence to the emergence of various styles and trends. The new sound, unusual and unaccustomed to the ear, became an innovation in music. Many well-known modern composers, for example, K. Stockhausen, O. Messiaen, A. Schnittke, despite the complexity of working with technology, created works using new electronic instruments or only on them.

The development of electronic computing itself already at an early stage led her to "invasion" of music. Already in the 50s, using the very first computers, scientists made attempts to synthesize music: to compose a melody or arrange it with artificial timbres. This is how algorithmic music appeared, the principle of which was proposed back in 1206 by Guido Marzano, and later applied by V.A. Mozart to automate the composition of minuets - writing music according to the loss of random numbers. Algorithmic compositions were created by K. Shannon, R. Zaripov, J. Xenakis and others. In the 80s, composers had the opportunity to use computers equipped with special programs that could memorize, play and edit music, and also made it possible to create new timbres, print scores of their own creations. It became possible to use a computer in concert practice.

So, today the computer is a multi-timbral instrument and an integral part of any recording studio. Undoubtedly, the very word "studio" for many people is associated with the concept of "mass culture" or "third layer", that is, with manifestations of pop culture and modern show business. Perhaps this is one of the main factors that attracts applicants when entering sound engineering or any other faculties, one way or another related to music and computer technologies. The question arises: what role does the introduction of computers play in the education of future music teachers?

It is quite possible that a certain timbre-rhythmic code of computer music will help to cure some diseases. The availability of computer technology and the convenience of software will create unprecedented conditions for musical creativity (musical “needlework”), comparable in part to the current avalanche-like spread of amateur music-making in pop and rock styles. The expressions: “my music”, “my home studio”, “my CDs”, “my video clips”, “my music site” (everywhere “my” means “created by me”) will also become familiar mass concepts. Everyone will be able to try himself as a composer, arranger, sound engineer, composer of new timbres, sound effects.

1. New technologies and music

The influence of new technologies on music can be traced from ancient times. Music has evolved along with the development of the means of its performance, that is, musical instruments. It is impossible to imagine, for example, Mozart's fortieth symphony played, say, on a branch sticking out of a stump. And that's where the music comes from. Some kind of troglodyte there in the Mesozoic era sat and pulled a branch from nothing to do. Another troglodyte walked by, heard sounds, caught some harmony in them and decided to try too. The third, the most intelligent troglodyte, guessed that it was better to pull not a branch, but some kind of fiber, for example, horsehair, made a frame for him from wood and pulled this same hair across it. This is approximately the story of the birth of the first stringed plucked musical instrument. I note that if the third troglodyte had not known the technology of wood processing, then nothing would have come of it.

In the future, with the development of mainly woodworking and metallurgical technologies, people began to notice the dependence of sound on the type of wood from which the frame is made. Also, the fragile horse hair gave way to a metal string. And somewhere in the two thousand years before our era, such instruments as the lyre or harp appear.

Over the entire period of human history from the invention of the lyre to the present day, a huge number of musical instruments have been created. But three groups have been most influenced by new technologies over the past one hundred and fifty years - keyboards, drums and strings (mainly guitar).

When electricity was discovered, people began to try to apply it in almost all areas of their activity. The classical piano was no exception. People tried to make string vibrations undamped, that is, they wanted the volume of the sound not to decrease over time, like wind instruments. As a result, the following design was invented: a contact was established under the key, which turned on the electromagnet. At the same time, as in an ordinary piano, the hammer hit the string, it began to vibrate, and when it reached the magnet, it was turned off by pressing the string on another contact. When the string, under the action of elastic forces, deviated back, the contact opened, and the magnet again began to work and attract the string to itself. Due to the fact that the string periodically touched the contact on the electromagnet, this instrument had a very sharp sound and therefore was not widely used.

Another keyboard instrument - the organ - suffered from another problem: its high cost and size. After all, each frequency needed its own pipe there, so classical organs occupied entire halls. Yes, and the furs for him had to be pumped continuously. With the invention of the electric generator, the question arose about its use in musical instruments - after all, if you rotate it at different angular speeds, then when you connect it to a speaker, you can hear sounds of different frequencies. The first instrument using this principle was invented in Chicago in the late eighties of the last century. It was named Telharmonium. Since there was a separate generator for each frequency, it occupied a whole basement. In this cellar, a musician, usually an experienced organist, sat and played. At the same time, the telephone was invented, and the first speakers.

And so, to listen to music, Chicagoans called a certain number and connected to the Telharmonium. Due to its bulkiness and complexity of manufacture and adjustment, telharmonium has not received a sufficiently wide distribution. However, later, on the basis of telharmonium, in the thirties of the last century, an American engineer Hammond created an instrument that very much resembled the sound of an organ. They called it the Hammond organ. It has become very popular due to its low cost and good sound. Also, the Hammond organ began to be used not only in classical music, but also in rock music, which was gaining momentum at that time.

Modern keyboard instruments - synthesizers - originated, in principle, from the Hammond organ. With the development of electronics, people tried to somehow improve its sound. Gradually, mechanical oscillators were replaced first by multivibrators and then by integrated circuits.

Also, with the further development of microelectronics, it became possible to obtain almost any timbre. In modern popular music, the synthesizer is king and god today. Because of its ease of use, it is now used by anyone who can play the piano even a little bit. Three classes of an ordinary music school are enough to play it more or less tolerably.

In the last decade, the synthesizer has gained a powerful ally - the computer. Modern computers, as you know, allow you to do whatever your heart desires. With the invention of sound cards for a computer, it became possible to insert chips with a bank of instruments from any modern synthesizer onto them. With the help of special sequencer programs, you can drive any melody into your computer and play it. It looks like a synthesizer. More recently, so-called software samplers have appeared. A sampler is a device that allows you to record a sound sample (in English sample, where the name comes from), indicate which note it corresponds to and, by connecting it to a synthesizer, play this timbre. Hardware samplers were expensive and difficult to handle, so writing a software sampler created a sensation among musicians. Now, in general, it was possible to get by only with a computer, knowing a little musical literacy and not being able to play on anything. The price-to-sound ratio of synthesizer and computer made them indispensable instruments for rock and pop musicians.

2. Sound recording

Since ancient times, people have tried to somehow perpetuate musical works.

After all, for a composer to play some of his compositions every time is the same as for an artist to re-paint his picture every time. Therefore, the musicians somehow thought about perpetuating their own works. The most technically simple, and therefore the most ancient method is musical notation.

It does not require any technical devices, except for a pen with ink and a piece of parchment, and then paper. Musical notation consists in the conventional designation of musical sounds on a sheet. An experienced musician, seeing these signs, immediately plays a melody in his head, and he can reproduce it almost the same as the original.

The invention of musical notation, of course, greatly contributed to the development of music as an art, but at first it was naturally different in different countries. In the process of spreading a civilized people over the earth, musical writing came to a certain standard. However, the writing that we now use is suitable for recording music, the roots of which lie entirely in classical European music. It is difficult for them to record, for example, Chinese, Indian or African music.

In the process of the formation of music as an art, a need arose for a more perfect method of sound recording than notes. After all, not everyone who loved music knew how to play something. Of course, rich people could afford to keep a court musician, or go to the theater to the concerts of some famous musician. And what about the poor, who can not afford either one or the other? It was they who invented the first devices that made it possible to play music without being able to play anything. These were hurdy-gurdies. In fact, in order to play the barrel organ, no musical knowledge and skills are required, just turn the knob.

The mechanical method of sound recording has been used over the past few centuries. They could, for example, record a piece for organ. Slits were made on a roll of paper in certain places, then this roll was scrolled between the organ pipes and bellows. Where there were slots, air passed into the pipes and sound was made. However, this method of sound recording had a number of disadvantages, in particular, the complexity of manufacturing such a roll, the unevenness of its movement caused an uneven sound. This method is not widely used.

At the end of the nineteenth century, the American Thomas Edison invented the phonograph. This invention is considered a turning point in the history of sound recording. A new method of recording sounds was applied - wave, that is, due to the fact that sound is a mechanical wave, it causes vibrations of the membrane, which are recorded on any medium. During playback, the recorded vibrations from the carrier are transmitted to the membrane, which oscillates and vibrates the air in which the waves arise.

The invention of wave sound recording made it possible to record any instrument, but what is there an instrument, in general, now any sound could be recorded. However, a lot of time passed from the invention of the phonograph to the invention of high-quality players and tape recorders. At first, the phonograph did not find recognition because of the terrible sound quality. But the further improvement of this method of sound recording and the invention of high-quality electric players and tape recorders dotted the i. They appeared in the forties and fifties of the last century.

It was in these conditions that rock music arose - the first truly mass music. It became massive precisely thanks to the invention of simple, high-quality and cheap sound recording devices. Do not confuse rock music and pop. Pops, also a product of new technologies, I devoted a separate chapter. Rock music is first and foremost an art. To create a quality work in this genre requires no less skill and talent, as well as for another art form.

The development of rock music is most closely associated with the introduction of new technologies in instruments and sound recording. One vivid example I have already given is the improvement of the lead guitar to the level of the Fender Stratocaster or Gibson Les Paul. Another impressive example is the invention of stereo players and stereo tape recorders. Monophonic players did not allow to achieve such sound quality, even if a rock band created something truly grandiose, it could not be conveyed to the masses, much was lost.

Approximately immediately after the invention of the stereo player, such masterpieces of rock appeared, The Beatles' album “Sgt. Pepper’s Lonely Hearts Club Band”, the rock opera Jesus Christ Superstar is the first and so far the only successful project to merge rock with the classics. Also at that time (the end of the sixties) the so-called "gadgets" for electric guitars appeared, which made their sound truly fantastic for that time, and to some extent contributed to the emergence of new styles, such as heavy metal. In principle, heavy metal is the same rock, only very loud and faster.

Sometimes rock is unfairly called the music of the sixties-seventies generation, evil tongues say that it is already dead. Actually it is not. With truly great works of rock, approximately the same thing will happen as with Mozart's Fortieth Symphony, Beethoven's Moonlight Sonata or Tchaikovsky's Swan Lake - they will never be forgotten. Due to the fact that the heyday of rock did not last long, new technologies are again partly to blame. Approximately in the mid-seventies, a new generation of musical instruments began: microprocessor - basically these were all sorts of different synthesizers, and a little later, computers. The next generation of youth has changed, and, as you know, youth is the mover of everything new and denies everything old. Rock became the music of the fathers, and therefore unfashionable. However, that new generation did not offer anything new, but stubbornly asserted that “rock and roll is dead, but I am not yet” (B.B. Grebenshchikov). The ease of use of synthesizers and computers has made them accessible to every fool, and now, perhaps, if in about fifty years to look at today's music, then maybe some masterpieces will be found that are now tightly clogged with pop.

3. Prospects for the development of information technologies in music

Nevertheless, we will try to "foresee" the directions that seem to be the most promising from the point of view of the future application of a musical computer. The most realistic for us is to assume that the technology of distance music education will be widely used. This means that, first of all, the history and theory of music, but, in part, practical advice, will become available at any geographical point remote from reputable educational institutions. Consequently, we can count on the fact that a much larger number of people who are passionate about music, this beautiful and powerful art, will possess scientifically reliable and practical musical knowledge. The computer is already ready today to offer a lot of things that will finally make it possible to realize the historically and socially mature slogan "Music for everyone!".

Easily and excitingly, all people will master musical literacy, as if learning their native language, as if adopting the tunes of her favorite songs from their mother, and the music computer will become a reliable guide for every inquisitive traveler to the World of Sounds. Thanks to a computer equipped with musical training programs based on medical and pedagogical methods, the deaf and dumb, for example, will hear music and, in the end, even speak (there are already methodological developments in this direction today).

Thanks to a computer equipped with musical training programs based on medical and pedagogical methods, the deaf and dumb, for example, will hear music and, in the end, even speak (there are already methodological developments in this direction today). It is quite possible that a certain timbre-rhythmic code of computer music will help to cure some diseases.

The availability of computer technology and the convenience of software will create unprecedented conditions for musical creativity (musical “needlework”), comparable in part to the current avalanche-like spread of amateur music-making in pop and rock styles. The expressions: “my music”, “my home studio”, “my CDs”, “my video clips”, “my music site” (everywhere “my” means “created by me”) will also become familiar mass concepts. Everyone will be able to try himself as a composer, arranger, sound engineer, composer of new timbres, sound effects.

Against the background of such a mass enthusiasm, the prestige and quality of music education will increase many times over, the content of which, thanks to the computer, will change significantly, become more high-tech and intensive, flexibly customizable for any specific tasks. Each music teacher in a special lyceum or a general school (it doesn't matter) will be fluent in music and computer technologies. Of course, he will be able to lead his subject in an interesting and exciting way, it will not be difficult for him to compose a song or dance, make full-sounding arrangements, form a bright school concert, record it on a digital disc with high quality and then give his pupils such a record as a memory of the wonderful time of childhood and youth .

It is possible that music-computer technologies will even more squeeze the labor-intensive musical professions, due to which, under the coercion of parents, not too diligent boys and girls are often deprived of their childhood happiness for 10-15 years in a row. The joy of momentary direct music-making will be brought to them by even more ingeniously designed synthesizers and musical computers. And only truly talented, enthusiastic and patient musicians will become virtuosos (violinists, pianists, clarinetists, trumpeters).

Bibliography

1. Informatics and computer intelligence / A.V. Timofeev. - M. Pedagogy, 1991.

2. Information technology. Yu.A. Shafrin. - M. Lab. basic knowledge, 1998.

3. Informatics: textbook. for students of tech. directions and specialties of universities / V.A. Ostreikovskiy. - Ed. 2nd, sr. - M.: Higher. school, 2004.

4. Continuous course of informatics / S.A. Beshenkov. - M. BINOM. Lab. knowledge, 2008.

5. S. Kastalsky. Rock Encyclopedia / M. Peer, 1997.

A modern music lesson is a lesson during which modern pedagogical technologies, computer technologies are used, electronic musical instruments are used. The music lesson is characterized by the creation of a creative environment, since the content of music lessons is made up of emotions and their subjective experience. Such specific content determines the choice of various methods, types of work and new multimedia tools.

The computer provides ample opportunities in the creative process of learning music, both at the professional level and at the level of amateur creativity.

Musical computer technologies have opened up a fundamentally new stage in the technical reproduction of musical products: in musical notation, in the genres of applied music, in recording media, in the quality capabilities of sound reproducing equipment, in theatrical and concert activities, in sound design and music broadcasting (including broadcasting over the Internet) .

One of the leading directions in the field of musical pedagogy of the XXI century is the acquaintance of students with information and computer technologies. The development of information and computer technologies is objectively necessary:

Firstly, for the professional training of composers and performers,

· secondly, for use as a source of auxiliary educational material (reference, training, editing, sound recording, sound reproducing, etc.).

In some universities in Russia, electronic technologies related to musical creativity are studied as a subject of the curriculum. In such educational institutions, on the basis of computer systems, sound "dictionaries" are developed, musical compositions are created using light and color special effects, film and video sequences, actor's pantomime.

Computer programs are also used in teaching to play instruments, in developing an ear for music, in conducting listening to musical works, in selecting melodies, in arranging, improvising, typing and editing musical text. Computer programs allow you to determine the range of the instrument, the fluency of the performer in passages, the performance of strokes and dynamic shades, articulation, etc. In addition, the computer allows you to learn pieces with an "orchestra". It can also act as a "simulator" for conducting (using TV equipment). Computer programs make it possible to carry out musical and auditory analysis of melodies (themes) of works in the course of music history. For many musical disciplines, the computer is a valuable source of bibliographic and encyclopedic information.

Widespread design tasks with computer presentations that allow you to more visually present or illustrative material.

It should be noted that the use of computer technology is aimed at the individual nature of the work, which generally corresponds to the specifics of music lessons. A personal computer allows you to vary the individual mode of work of a musician in accordance with his tempo-rhythm, as well as with the amount of work performed.

Winner of the All-Russian competition "The most demanded article of the month" DECEMBER 2017

Atlasova Elena Andreevna, musical director of ANO DO "Planet of Childhood" Lada " kindergarten №194 "Kapitoshka" Tolyatti

Music occupies a special, unique place in the education of preschool children. This is due to the specifics of this type of art, and the psychological characteristics of preschoolers. Music is called "mirror of the human soul" , "emotional awareness" (B. M. Teplov), "model of human emotions" (V. V. Medushevsky): it reflects the attitude of a person to the whole world, to everything that happens around and in the person himself. Primary musical education is called upon to play a very important role in a person's life. “Early emotional reaction allows children to be introduced to music from the first months of life, to make it an active assistant to aesthetic education” - wrote N.A. Vetlugin.

Musical education in the understanding of society has ceased to fulfill only a narrowly specialized role: learning to play musical instruments and acquiring musical knowledge. Its main and most important goal is the development of personality and thinking through music lessons, the education of a professionally oriented music lover. “Whoever the child becomes in the future - a musician or a doctor, a scientist or a worker,” writes the famous Austrian composer and teacher K. Orff in his methodological manual called “Schulwerk” , - the task of the teacher is to educate in him the creative beginning, creative thinking. In the industrial world, man instinctively wants to create, and this must be helped. But the instilled desire and ability to create will affect any area of ​​the child's future activities.

"The program of education and training in kindergarten" edited by M.A. Vasilyeva, V.V. Gerbovoy, T.S. Komarova provides for the development of children in the process of various activities: ear for music, singing voice, dance skills, playing children's musical instruments. Along with the existing goals and objectives, there are others that meet the urgent needs of the child. The most significant of them can be defined as follows:

• the creation by the music director of conditions that provide opportunities for each child to show their individual abilities when communicating with music;
• creative development of the natural musicality of the child;
• release of primary creativity, creation of conditions for spontaneous creative manifestations;
• assistance in the formation of inner peace and self-knowledge (emotional and mental development and psychocorrection).

A person has an aesthetic need for emotional and motor self-expression, the most adequate way to satisfy which psychological science considers musical and creative activity. Understanding the essence and meaning of musical education in the modern world, under the influence of various human sciences, is gradually shifting towards understanding it not as additional, but as necessary. Today we are talking about the fact that the musical and creative education of a person, the development of his natural musicality is not only the path to aesthetic education or a way of familiarizing with the values ​​of culture, but a very effective way to develop the most diverse abilities of people, the way to their self-realization as a person.

New approaches to music education also require the use of completely different, most effective pedagogical technologies in the development of children's musicality. Acting as a specific type of human thinking, music has the main function - the function of human communication. In this perspective, the true role and purpose of music lies, as L. S. Vygotsky writes, in "balancing the body with the environment." In this context, the main thesis of the pedagogy of music education in recent decades looks justified: "A music lesson is an art lesson." This implies the dominance of the spiritual-practical, creative, individual attitude of a person to the world in such lessons, which makes the authoritarian approach and the teaching methods corresponding to it unacceptable. The formation of such an attitude is possible in the conditions of upbringing by creativity, i.e., the organization of the artistic activity of children as a trinity of listening to music, performing it and creating it. Thus, turning to music as a means of educating a growing person is based on an understanding of the essence of this type of art, called by B. V. Asafiev "the art of intoned meaning." The main purpose of music, which organically combines all social functions with the leading communicative function, is to organize the artistic communication of children. And musical creativity, in fact, should be a joyful, exciting activity, open up the possibilities for children to communicate through music. As M. Montaigne wrote: “Where there is benefit for children, there should be pleasure for them” .

The fundamental question of the pedagogy of music education, which is relevant at different stages of its development - how to interest and captivate a child with music, requires bringing to the fore those teaching methods that allow children to understand and feel that music is an integral part of their life, a phenomenon of the world created by man. This justifies the predominance of integrated teaching methods, which are a specific fusion of general pedagogical and special methods of musical education and upbringing. Introduction to art, music education is a very individual occupation associated with the unique self-determination of the individual. Therefore, the path to music must be justified from the point of view of a person, and proceed from him. In this regard, choosing the forms and methods of work of musical and artistic activity, it seems necessary to direct them to the development of children:

• ability to sense perception of the world, its observation
• associativity of artistic thinking
• expressiveness of intonation: speech, vocal, plastic, instrumental sense of rhythm: temporal, spatial, plastic, musical;
• the ability to distinguish and reflect by artistic means large - small, high - low, approximation - removal, light - dark, bright - dim, light - heavy, warm - cold, loud - quiet, fast - slow, smooth - jerky, simultaneous - sequential, good - evil
• palettes of expressive movements, sounding gestures, onomatopoeia, colors of one's own voice, methods of elementary music-making, artistic and visual activity
• joyful, complicit, playful attitude.

The constant search for answers to questions that arise in the course of work on the musical education of children pushed me to get acquainted with various methods and practices of colleagues and researchers. Methods and developments of T. Borovik, A. Burenina and T. Sauko, T. Tyutyunnikova, O. Radynova, M. Kartushina, constant reading and study of professional periodicals "Music Director" , "Hoop" , "Preschool education" - all this, of course, turned out to be very interesting and useful for me, expanded my professional horizons and was reflected in practical activities. In the technologies of these methods, the following are obvious:

• close relationship between age-related child psychology of development and educational and musical activities
• developed by T. Borovik practice of the theory of the intonation nature of music
• ideas of elementary music-making by K. Orff
• techniques for developing contemplation, participation, compassion in children
• giving the music director the opportunity to find his own style of work, modify methodological preferences, experiment in musical pedagogy and delight himself with communication with children and music.

“The system of formation and development of perception and intonation, created by T. Borovik, can rightfully be called universal. Techniques for activating artistic and associative representations related to the integrity of speech, musical and sound images and expressive movements are equally useful for music teachers of all specialties to know and use, since their common goal is the development of musical (intonational) thinking of a student,” wrote M. M. Berlyanchik, Professor, Doctor of Art History, Honored Art Worker of Russia, his impression.

The innovative technologies of musical education of children are based on collective activities that combine: singing, rhythmic speech, playing children's musical instruments, dance, impromptu movement to music, voicing poems and fairy tales, pantomime, impromptu theatricalization.

The forms of development of musicality that I use in practice are:

Communicative dances

The involvement of the child in the process of making music lies through the creation of an atmosphere of acceptance of each other and emotional and mental liberation. Here, communicative dances are indispensable assistants, the use of which solves the following problems:

• development of communication skills
• work on the sense of form
• development of motor coordination
• developing a sense of rhythm.

Coordination outdoor games (musical and speech)

Such games on a large scale (through the whole body) give a sense of musical dynamics, tempo, performance stroke, speech and plastic intonation, which is their musical content.

These games are permeated with the idea of ​​coordination, which acts in them as a motor "accompaniment" , stimulates the development of dexterity, accuracy, reaction, brings up ensemble coherence.

finger games (musical and speech)

The value of finger games in the context of the development of children's musicality lies in the fact that they are the first experiences of performing artistry, in which the nature of the performance is actually intoned, enriched by the rhythmic and sound modulations of colloquial speech. Work on texts with gesture drawings also contributes to the activation of abstract and figurative-associative thinking. Finger games are original and interesting because they are a miniature theater where the actors are fingers. The text is not literal reflected here: a certain gestural and semantic symbolism "calling" to its interpretation and interpretation. finger games

• develop the muscular apparatus, fine motor skills, tactile sensitivity
• anticipate consciousness, its reactivity (due to the speed of change of movements)
• increase the overall level of organization of the child.
• aimed at developing a sense of rhythm, dictional motor skills of speech, expressive speech intonation, coordination of movements.

Rhythm declamation to music

Rhythmic declamation is a synthesis of music and poetry. It can be defined as a musical and pedagogical model in which the text is not sung, but is rhythmically recited. However, the performance of rhythmic recitation is distinguished by a clearer pronunciation and exaggerated intonation. At the same time, the poetic sound fabric interacts with the patterns of musical durations and pauses, which greatly enhances the emotional effect of listening and, undoubtedly, is an important developmental factor for the child. The removal from singing in rhythmic recitation is connected, on the one hand, with the simplification of the intonation process (easier and more natural for a child to speak), and on the other hand, it is aimed at developing the mechanisms of intonational thinking, where musical ear interacts with speech. Until the child hears how he speaks and learns to control his speech, it is difficult to hope that he will be able to sing correctly and expressively.

Sound games

In working with games with sounds, I conditionally single out the following areas:

• sounding gestures and music of my body
• noise instruments (traditional and homemade) and music born from noise.

Type games "Listen to yourself" allow children to feel the joy of discovering that nature has endowed man with a huge variety of sounds. They can be reproduced using the capabilities of one's own body. (voice, hands, feet, lips) as a unique and original instrument. The child's understanding of the close connection between himself and nature is the main goal of the game.

Elementary music making

In musical activities with children, I consider it necessary to use children's musical instruments, especially noise ones, since these instruments are simple and most accessible to children of this age. In addition, they constitute the most attractive thing for young children in music. But this form of work on the development of musicality is not limited to the use of traditional noise instruments. In the modern musical methodology, it is the study of sound and the knowledge of the World by children through sound, the creation of a different image of a wide variety of everyday objects that are increasingly being developed. They are the members of an amazing orchestra!

Communication of children with primary instruments develops:

• musicality
• timbre hearing
• subtlety of perception
• associativity
• artistry.

All of the above forms can be combined to one degree or another and be present in one model. They can be discarded or supplemented by the teacher, depending on the goals and objectives. The model, being transformed, modified, enriched, remains in the repertoire for a long time. Such methodical modeling of the material is very valuable: for children it is "familiar person" (song, rhythmic recitation, game), which is pleasant to repeat, but in a new, unfamiliar version. Such variation prolongs the life of not only the model, but also the method, expanding its boundaries and opening up new opportunities for pedagogical creativity. The existence of models allows for many solutions, depending on the musical and pedagogical fantasy of the music director, the level of musical and general development of children, their artistic preferences. Important and necessary is the ability of the teacher to inspire children to play, to create a playful atmosphere of fairy tales, riddles, adventures, secrets, magic. This requires artistry, intonation-speech, plastic, mimic expressiveness, the ability to immerse children in different emotional states.

The use of these innovative technologies and methodological forms in practice makes it possible to achieve the following results:

• manages to create an atmosphere of joyful communication, high spirits and harmonious self-awareness at music lessons, holidays
• children are active and liberated, fear and uncertainty gradually disappear in their actions
• manages to interest children, does not have to resort to coercion
• children learn elementary musical knowledge, develop musical and creative abilities, learn about themselves and the world around them in the process of playful, joyful and natural communication with music, without unnecessary "coaching" and tedious memorization; learning tasks are carried out along the way, the tasks of education and development are predominant
• the music director is in constant creative search; the process of creating new variants of models and the joyful response of children bring pleasure and feeling "recoil" .

LITERATURE

1. Vetlugina N.A., Keneman A.V. Theory and methodology of musical education in kindergarten. - M: Enlightenment. 1983
2. Barenboim L.A. The system of musical education K.Orff. M.-L., 1970
3. Borovik T.A. Ways of pedagogical creativity. Musical director. - M.: LLC Publishing House "Educating a Preschooler" . 2004 #1 p.9-25, #2 p.18-33, #4 p.29-41, #5 p. 23-28, No. 6 p. 9-14.
4. Tyutyunnikova T. Elementary music making - "familiar stranger" . Preschool education. 1997 No. 8 p.116-120, 2000 No. 5 p.133-141.
5. Burenina A. Communicative dance games for children. - St.P.: Leningrad Regional Institute for the Development of Education. 2004
6. Bogodyazh O. Innovative technologies in the development of musicality of preschool children.

It would seem that not so many years have passed since the time when the first computers, which occupied entire rooms and at the same time were absolutely not intended for writing music, turned into small personal computers, combining the capabilities of working not only with calculations, but also with graphics, video, sound and more. In the context of growth in all areas of activity, it seems absolutely logical to introduce a computer into the educational process, not only as such, but also as an aid to learning.

Let's take a brief digression into the history of the first attempts to combine soulless machines with art.

A long time ago, since the time of Pythagoras, and perhaps even earlier, mathematicians paid attention to the formal side of the organization of music - the time and frequency scales. However, the mechanisms that play music according to the program appeared before the calculator mechanisms, so we would venture to call the musicians the very first programmers. However, in the written heritage of ancient cultures, perhaps, musical notations as a description of a temporary process are closest to the texts of programs. There are blocks, conditions, loops and labels in both forms, but not all programmers and musicians are aware of these parallels. But if you remember them, you can no longer be surprised that, creating the very first computers, engineers forced them to play melodies. True, the musicians could not attribute machine music to real music, perhaps because there was nothing in it but "dead" sounds or a plan. And the machine sound itself, which at the first steps was a simple meander, was extremely far from the sound of acoustic instruments. However, numerous experiments with electronic machines capable of producing sound have led to the emergence of various ways of writing music, and hence to the emergence of various styles and directions. The new sound, unusual and unaccustomed to the ear, became an innovation in music. Many well-known modern composers, for example, K. Stockhausen, O. Messiaen, A. Schnittke, despite the complexity of working with technology, created works using new electronic instruments or only on them.

The next stage in the development of musical computer technologies was the research and development of sound synthesis methods.

Engineers turned to the analysis of the spectra of acoustic instruments and to algorithms for the synthesis of electronic timbres. At first, the calculation of sound vibrations was performed by the central processor, but, as a rule, not in real time. Therefore, on the first computers, the creation of a musical work was a very tedious process. It was necessary to encode notes and assign timbres, then run the program to calculate the sound wave and wait a few hours to listen to the result. If a musician, or rather, a programmer-operator, made some change to the score-program, he again had to wait several hours before listening. It is clear that such a musical practice could not be mass, but the researchers of the phenomenon of music wanted to go further than simply using the machine as an electronic music box. Thus, another - quite natural - direction in the musical use of computers arose: the generation, generation of the musical text itself.

Already in the 50s, using the very first computers, scientists made attempts to synthesize music: to compose a melody or arrange it with artificial timbres. This is how algorithmic music appeared, the principle of which was proposed back in 1206 by Guido Marzano, and later applied by W. Mozart to automate the composition of minuets - writing music according to the loss of random numbers.

Algorithmic compositions were created by P. Boulez, J. Xenakis, K. Shannon and others. The author of the famous "Illiac Suite" (1957) was, first of all, a computer, and the co-authors were the composer Leyaren Hiller and the programmer Leonard Isaacson. Three parts are close to strict music, and the fourth uses mathematical formulas that have nothing to do with musical styles. P. Boulez and J. Xenakis created special programs for their works, each for a specific composition. The first work by J. Xenakis, demonstrating the stochastic (or algorithmic) method of musical composition, was "Metastasis" (1954) - a work in which J. Xenakis calculated the algorithm, which he then applied to implement Corbusier's architectural project in the form of the Philips Pavilion at the World's Fair in 1958.

The history of the development of musical computer technologies is largely associated with Russian scientists and researchers. L. Theremin, E. Murzin, A. Volodin created unique means of sound synthesis not “after”, but “before” their Western colleagues. A. Tangyan worked on the problems of recognition and autonotation. R. Zaripov, who “composed” musical pieces on the Ural machine, devoted his research to the analysis and generation of musical texts, the creation of algorithmic compositions. The basis of such algorithms was a detailed process for various elements of musical texture (shape, rhythm, pitch, etc.). Zaripov deduced a whole set of mathematical rules for composing such melodies. "Ural tunes", as he called these melodies, were monophonic and were either a waltz or a march.

Moreover, these are only the names of those researchers whose work is recognized outside of Russia. However, there were many other, local developments. Not the only one, but one of the notable ones is the first domestic sound card and MIDI interface for the Agat-7 PC (analogous to Apple II) with its own music software. All this was back in the mid-80s. XX century, when IBM-XT was still far from all technical universities, and the average user had no idea about the Sound Blaster trademarks (Creative Labs, http://www.creat.com) and Voyetra (Voyetra Technologies, http://www.voyetra.com).

As in other areas (for example, in graphics and animation), two fundamentally different approaches were developed in music computer technology. The first is connected with the control of the parametric model of sound, part, work, the second - with the operation of an analogue of a real object. Both approaches have both advantages and disadvantages and are constantly evolving. While some engineers were trying to achieve maximum plausibility in the synthesis of acoustic timbres, others were developing methods for operating with real sound. If the former solved the problems of optimizing the parameters of synthesis and performance control, then the latter worked on data compression and decompression, i.e., on the problems of sound waves. But parametric models of objects are always more attractive for an engineer, they are much better suited for operation and transformation. The whole question is how accurately the models describe the real object, if the goal is to achieve plausibility. From research in the field of psychology of perception, it is known that thresholds of reliability and mechanisms for restoring images play a special role in the process of pattern recognition. A non-professional will no longer be able to distinguish the synthesized timbre of the piano from the real one, precisely because it does not have a high threshold of reliability. And it is quite possible that the future of musical computer technologies lies with parametric modeling.

A huge number of programs / environments that exist today are based on three basic methods: stochastic, some fixed algorithm and systems with artificial intelligence.

The stochastic method is based on the generation of arbitrary series of sounds or musical passages and can be presented both with and without a computer, as, for example, in the work of Stockhausen.

The algorithmic method itself is a set of certain algorithms that implement the composer's intention. The algorithm can be presented as a compositional technique or as a sound-generating model. It is also possible to combine these two functions. A unique sound programming system is the CSound program, which is the main instrument of electroacoustic musicians. The program uses almost any type of synthesis, including FM, AM, subtractive and additive, physical modeling, resynthesis, granular, as well as any other digital method. Many other systems have been created based on CSound (AC Toolbox, CYBIL, Silence, etc.). For a musician, creating compositions in such an environment is somewhat difficult, as it requires skills and knowledge of programming (although the developers claim otherwise). The composer writes commands to two text files, one of which is responsible for the description of the timbre/instrument itself, the second should contain the actual score. There are countless operators in the program, those building blocks that make up the sound space we program.

No less popular environment for programming virtual instruments and creating algorithms for interactive performance is the MAX / MSP program developed by the Paris Institute of Electronic Music (IRCAM). It is implemented as a software application with an object-oriented user interface. The possibilities of such an environment include, first of all, the creation of interactive music (during a performance, a pre-written software module interacts with the music being played via a MIDI interface). It is a pleasure to work in such an environment, as it gives complete freedom of action, both to the composer and the performer. This program is widely used during live concerts - the sound of the same piece at different concerts will be different, only the algorithm of interaction between the computer and the performer remains unchanged. The program is used by many major composers such as Richard Boulanger and Dror Feiler.

Finally, it is possible to use systems that use artificial intelligence. These are also rule-based systems, but their main feature is the ability to learn. The goal is to create compositions that have feeling, subtlety and intellectual appeal. The algorithm created as a result can be either an autonomous, but artificially created, musical system, or based on the analysis of the work of a composer. Analyzing this or that composition, a certain set of compositional rules, instructions for thematic development, timbre, texture is derived. And here a paradoxical case arises, on the one hand, we have a machine capable of producing a product that is more or less close to the human standard, but, on the other hand, bearing the stamp of the composer's technique. The same can be said about the composers who created their own algorithmic programs. In such compositions, the functions of the composer and the actual “composing process” of the program are clearly separated.

Today, the machine is not yet capable of surpassing human intelligence and turning its product into art. This or that system is not capable of independently generating thoughts, feelings. With any degree of perfection, she will never become not only a "brilliant", but also a "talented" composer. Even an ideal machine will not be able to acquire that elusive thing that will always distinguish between animate and inanimate nature (albeit brought to an ideal degree of perfection). However, it became a good help in the hands of the master, the composer, saving him from wasting a huge amount of time on technological calculations and constructions, which become more and more complicated as the sphere of expressive means of music expands.

Thus, today for musicians, the computer opens up wide opportunities for creative search. In such a specific activity as the art of music, the computer is not only an excellent assistant, but, in some cases, an adviser and teacher. It is possible to enumerate only some of the possibilities of the musical computer: recording, editing and printing of scores; recording, editing and further performance of scores using computer sound cards or external synthesizers connected via MIDI interface; digitization of sounds, noises of a different nature, and their further processing and transformation using sequencer programs; harmonization and arrangement of the finished melody using selected musical styles and the possibility of editing them up to the invention of your own (styles); composing melodies on a random basis by sequential selection of musical sounds; control the sound of electronic instruments by entering certain parameters before the start of the performance; recording parts of acoustic instruments and voice accompaniment in digital format with their subsequent storage and processing in sound editor programs; software synthesis of new sounds using mathematical algorithms; recording audio CDs.

All these diverse capabilities of the computer make it possible to use it both in the field of music education and in the field of professional creativity of composers, sound engineers, and arrangers.

irina biryukova
Modern educational technologies in the work of the musical director of the preschool educational institution

Municipal Autonomous Preschool educational institution

urban district of Korolev MO kindergarten No. 39 of a general developmental type

"Sunny city"

"Modern educational technologies in the work of the musical director of the preschool educational institution. "

Muses. hands Biryukova I. A.

g. o. Korolev 2015

Introduction

List of literary sources

Application

Introduction.

Pursuing the methodology musical development of preschool children, I found that the child and the music is remarkably similar, spaces of childhood and music are inextricably linked with the concept of play. This conclusion became a starting point for me, defining the essence of pedagogical musical technologies education and development of children of early and preschool age. The path that the baby makes, discovering the world for himself music, and with its help, himself and the world around him, is extremely important for him. This is a very interesting and unusual route, it helps the child in his musical achievements and artistic search, in the accomplishment of numerous and various discoveries.

Keeping up with modern educational processes, preschool teacher education need to be able to navigate diversity integrative approaches to child development, in a wide range modern technologies. Usage modern technologies in music development of a preschooler require new approaches to musical education.

Music and play is the source of children's joy. Applying on musical classes, various game methods, I solve the important problem of early musical raising children - I develop emotional responsiveness to music. In his work, I use new programs and technologies in various types of musical activity.

The use of information and communication technology in music classes allows me, as a teacher, to significantly revive joint educational relationship with children, expanding the possibility of presenting musical and didactic material. Classes with the use of ICT activate the attention of a preschooler, increase cognitive interest in music. Classes become more meaningful and harmonious.

Tasks musical education is carried out through several types musical activity: hearing music, singing, musically- rhythmic movements musical - didactic games, games for children musical instruments. Means of new information technologies I include in all kinds musical activity:

In chapter "Hearing music» - computer presentations are used to enrich the process emotionally - figurative cognition of the child, causing a desire to repeatedly listen musical composition.

In chapter "Singing"- singing skills are acquired in the process of learning songs (playing with the sounds of your voice, intonations of speech). Showing a computer presentation for a song helps to interest children in having a conversation that matches the theme of the song.

In chapter « Musically- rhythmic exercises- the process of learning dances using educational videos becomes exciting and interesting for the child.

In chapter « Musically– didactic games»- the use of voiced presentations ( "Good Master", "Forest Orchestra", "Whose house", "Guess the melody and mood", "Yablonka" etc.) help the child first learn the task, and then check the correctness of its execution.

The use of ICT allows the teacher to clearly and clearly convey to the child information about different types of art, such as theater, ballet, opera.

Shaping the foundations musical culture of preschoolers, accumulation of experience musical perception contributes technology development of perception music Oh. P. Radynova. Application algorithm technology in practical activities:

Stages:

1st stage: listening setting (talk about a piece of music, acquaintance with the author, title);

2nd stage: performance musical works by a teacher or listening to an audio recording;

3rd stage: definition of emotional - figurative content of music("What feelings does music?» );

4th stage: highlighting features of software and figurativeness, if any("What does he talk about music?» )

5th stage: defining the expressive means by which the musical image("As he tells music?» );

Moreover, these stages can be layered on top of each other at each subsequent lesson. The first stage is pivotal.

6th stage: Perception Combination music with practical and creative actions that help the preschooler to express their experiences in external manifestations, to feel the character more deeply music to actively experience their experiences.

Use in the classroom technology formation of motor skills by A. I. Burenina suggests variable game forms of organization of the pedagogical process based on the cooperation of a child and an adult and includes the following stages:

1st stage: children imitation exemplary execution of movements by the teacher ( "engaging show")

2nd stage: development of the ability to independently perform individual movements, exercises and entire compositions. (The reception is used we: showing performance by a child, showing conditional gestures and facial expressions, verbal instructions, "provocations", i.e. special errors of the teacher to activate the attention of children).

3rd stage: creative self-expression.

(Formation of the ability to independently select and combine familiar movements and invent their own, original ones).

gaming technology the formation of creative music-making skills by T. E. Tyutyunnikova allows you to preserve and develop the natural musicality preschoolers on the basis of equal, interpersonal, creative, joint game interaction, non-judgmental musical process.

Stages:

1st stage: teaching the simplest elements of the game on musical tools and the ability to apply them in practice;

2nd stage: creative music making - improvisational appeal with familiar material, the ability to use it in your own way, combine it in various ways, experimenting and fantasizing;

3rd stage: concert music - performance by an ensemble of children of some works of classical, children's and folklore music.

Usage technology musically- theatrical activities (A. S. Burenina, M. Rodina, M. D. Makhaneva, E. G. Churilova) on the musical classes helps to introduce children to theatrical culture, arouses interest in theatrical and gaming activities.

Stages:

1st stage: Expansion and systematization of children's knowledge about the theater topics:

Features of theatrical art,

Types of theatrical art,

The birth of the play

Theater inside and out

The culture of behavior in the theater.

2nd stage: "Theatrical Game"- is aimed not so much at acquiring professional skills and abilities as a child, but at developing playful behavior, aesthetic sense, the ability to be creative in any business, to be able to communicate with peers and adults in various situations. Includes:

Games for the development of auditory attention, creative imagination and fantasies

Games with improvised noise instruments;

Finger game training;

Games for the development of the perception of the nature and content of music. works

Games for the development of visual attention

Games with household items and toys

Exercises with attributes for the development of fine motor skills, attention, memory, imagination

Action games with imagined objects or memory of physical actions

Exercises for the formation of expressiveness of performance (development of facial expressions, pantomime)

Etude games for the development of emotions

Sketch games for the development of creativity imagination

Games-etudes for communication

Exercises and games for the development of culture and speech techniques(breathing and articular exercises)

Tongue Twisters

Exercises for the development of intonational expressiveness

Creative word games

Dramatization of poems

Preparation and acting out various mini-dialogues, nursery rhymes, songs, poems, varied fairy tales and dramatizations

3rd stage: Work on the play(nine basic steps):

1. Choosing a play or dramatization and discussing it with the children.

2. Dividing the play into episodes and retelling them by children.

3. Work over individual episodes in the form of sketches with improvised text.

4. Quest musically- plastic solution of individual episodes, staging of dances. Creation of sketches of scenery and costumes with children.

5. Transition to text plays: working on episodes. Clarification of the proposed circumstances and motives for the behavior of individual characters.

6. Work over the expressiveness of speech and the authenticity of behavior in stage conditions; consolidation of individual mise-en-scenes.

7. Rehearsals of individual paintings in different compositions with details of scenery and props (can be conditional, with musical arrangement.

8. Rehearsal of the entire play with elements of costumes, props and scenery. Specifying the tempo of the performance. Appointment of persons responsible for changing scenery and props.

9. Premiere of the play. Discussion with the audience and children, preparation of an exhibition of children's drawings based on the play.

Application modern educational technologies at the OD in music education solve the problem of the overall development of children by means of music, enrich the inner and spiritual world of the child, develop emotional responsiveness, form an elementary idea of ​​the arts, national traditions and holidays. Application of these technologies correspond to GEF DO in educational educational process.

The use of game techniques and methods in non-standard, problematic situations that require a choice of solutions from a number of alternatives, in children forms flexible, original thinking. For example, in the classroom, writing musical stories, fairy tales, pupils gain experience that will allow them to then play games - inventions, games - fantasies. So way, modern gaming technologies are closely connected with all aspects of educational and educational work kindergarten and the solution of its main tasks.

Conclusion: Usage modern educational technologies undoubtedly gave a positive result. Children have a desire to musical activity, and not only sing, dance, but also listen musical works. They speak quite skillfully about the character, genre of the work, know and use a special musical terminology(within your age). Children independently monitor their posture during classes, observe the protection of their voices, and are active during games and exercises.

musical entertainment

"Trip to "Play - city"

(for children of the middle group)

Target: encourage children to actively participate in all activities.

Tasks:

Educational: to develop the ability to perform movements in accordance with the character music; sing expressively, conveying the character of the song.

Educational: to consolidate the ability to perform the simplest rhythmic pattern with claps; play on musical instruments; continue to learn to sing in a natural voice, without tension, start and end the song together, hear the intro; perform dance movements together as shown by an adult.

Educational: develop interest in music.

preliminary Work: reading a fairy tale "Teremok"; step-by-step learning with children on the roles of a fairy tale; hearing musical works, of a different nature; card making "Emotions".

Equipment: musical instruments, cards with emotions, multimedia equipment, music Center, Puppet Theatre, "quest box".

The course of educational activities:

Children are free to enter the hall with the teacher.

Muses of hands: Hello guys!

Children: hello!

Muses. hands: I'm glad to see you! Today we have guests in class, let's say hello to everyone.

Children: Good morning!

Good afternoon!

That's how nice we live! Hello!

Muses. hands: Guys, I would like to know if you like to play?

(children's answers)

Muses. hands Q: What games do you like to play?

(children's answers)

Muses. hands: I asked you about the game is not accidental. This morning I received a letter from my friend musician who lives in magic "Play City". Its inhabitants love to play, sing and have fun. The funniest of them all is Princess Igrul. But lately she has become sad, does not play with anyone, but only cries. The inhabitants of the city were upset because of this and also sad. My friend asks us to help, cheer up the princess and return laughter and joy to the city. Let's help the residents "Play - cities"? But only friendly and kind guys can do this. How do you think you will cope with this task? Why do you think so?

(children's answers)

Muses. hands: then you can go. I know the way and I will lead you. Unfortunately, in "Play - City" only kids can get in, so you guys need to slam (scheme of rhythmoslogs) and say magic syllables so that I turn into a child. And so ready.

Scheme of rhythmoslogs (Game technology

Children: (clap)

(music hand puts on a bow)

Muses. hands: Well, I'm ready! Let's go now to the city in which the main guest is the GAME! Went…

Dance - warm-up "What is Kindness" (Technology

Muses. hands: guys, look, and here is the gate "Play - cities". The gates are closed. My friend musician warned that there is a castle on the gate, and there should be nearby "Chest of tasks". The lock will open if you complete the task.

They find a chest with music in it. tools and puppets. Open and complete tasks.

1 task:

Tell a story with these musical instruments, and the dolls will help you (the fairy tale "Teremok")

(Technology development of creative abilities of preschoolers in musically-theatrical activities of A. S. Burenin, M. Rodin, M. D. Makhanev, E. G. Churilov)

Muses. hands: well done! The gates are open, you can enter the city. And here is "Emotion Lane". Residents live here "Play - Cities" and look out the windows, and their mood is different. Let's determine together what mood someone is in, this will help us music. Let's listen to 1 melody and choose the right card.

Children are listening music D. Kabalevsky "Rezvushka"

We listen to 2 melody and select the desired card.

Children are listening music D. Kabalevsky "Crybaby"

We listen to 3 melody and select the desired card.

Children are listening music D. Kabalevsky "Evil"

(Technology development of perception music Oh. P. Radynova)

Muses of hands: well done, we guessed the mood of the residents "Play - Cities". And so that the mood of all the inhabitants was joyful, let's teach them the game "Mouse and mice"

The game "Mouse and mice" (rhythm game)

Musical hands .: we continue our journey. And here is the area "Joys" and "Palace of Happiness". And the princess of Igrul herself. But look, she's sad. Let's cheer her up and dance "Polechka".

Dance "Polka"

(Technology formation of motor skills by A. I. Burenina)

Muses of hands: look, our princess smiled and the inhabitants "Play - cities" rejoice too! Clap for you! Let's take musical instruments and together we will all rejoice, play them.

(Gaming technology formation of skills of creative music-making by T. E. Tyutyunnikova)

Muses. hands: guys, we cheered princess Igrulya, and now in "Play - the city" everyone is having fun again. And it's time for us to return to kindergarten, we were late. And the autumn song will help us with this. We will sing it and find ourselves in kindergarten.

Song "Autumn"

Muses. hands: Here we are at home. Oh guys, they forgot about me, I need to turn into an adult. Rather turn me where our musical schemes, you need to clap and say magic syllables. Ready?

(scheme of rhythmoslogs)

Muses. hands takes off the bow.

Muses. hands: Thanks. Tell me, where have we been today? What good did they do?

Well done boys. Our journey has come to an end. Let's say goodbye to our guests. Goodbye, guys!

References

1. Merzlyakova, S. I. "The role of integrated classes in the development of preschoolers" //« Musical director» 2010.- No. 2.- p. 2

2. Radynova, O. P. “Preschool age: how to shape the foundations musical culture» // « Musical director» 2005.- №1. -With. 3

3. Radynova O.P. "Preschool age - tasks musical education» // Preschool education 1994.- No. 2, p. 24 - 30

4. Skopintseva, O. A. Development musically- artistic creativity of older preschoolers " / Skopintseva O. A. - Volgograd, 2010

5. Tarasova, K. V. “Development musical abilities in preschool childhood" // « Musical director» 2010 - No. 1. - With. ten

6. Tyutyunnikova, T. E. "Simple, fun, easy" // « Musical director» 2009.- No. 5.-p. four

7. A. I. Burenina "Rhythmic Mosaic" 2012 « musical palette» St. Petersburg.