"THE ROLE OF THE EDUCATOR IN THE PROCESS OF MUSICAL EDUCATION OF PRESCHOOL CHILDREN"
How actively do kindergarten teachers participate in the musical education of children? Are they all aware of the importance of such participation?
Often the educator considers it his duty only to be present at the music lesson - in order to maintain discipline. Meanwhile, without the active help of the educator, the productivity of music lessons turns out to be much lower than possible. The implementation of the process of musical education requires a lot of activity from the teacher. When educating a child by means of music, preschool teachers should understand well its significance in the harmonious development of the personality. To do this, one must clearly and distinctly imagine by what means, methodological methods one can lay the foundation for the correct perception of music.
The educator needs to:
1. Know all program requirements for musical education.
2. Know the musical material of your group, be an active assistant to the music director in music classes.
3. To assist the musical director in mastering the program musical repertoire by children, to show examples of the exact execution of movements.
4. Conduct regular music lessons with the children of the group in the absence of a musical director.
5. Learn movements with lagging children.
6. Deepen the musical experience of children by listening to music in a group with the help of technical means.
7. To develop the musical skills and abilities of children (melodic ear, sense of rhythm) in the process of conducting didactic games.
8. Possess elementary skills in playing children's musical instruments (metallophone, bells, tambourine, spoons, etc.).
9. To carry out the musical development of children, using all sections of the work: singing, listening to music, musical and rhythmic movements, playing on the DMI, musical and didactic games.
10. Take into account the individual capabilities and abilities of each child.
11. To develop independence, initiative of children in the use of familiar songs, round dances, musical games in the classroom, a walk, morning exercises, in independent artistic activity.
12. Create problem situations that activate children for independent creative manifestations.
13. Involve children in creative games that include familiar songs, movements, dances.
14. Use the children's musical skills and abilities in the classroom for other activities.
15. Include musical accompaniment in the organization of classes and regime moments.
16. Take a direct part in the diagnostic examination of their pupils to identify musical skills and abilities, the individual capabilities of each child.
17. Take an active part in holding holidays, entertainment, musical leisure, puppet shows.
18. Prepare poetic collections of poetic material for entertainment and musical holidays (poems, skits, staged.)
19. To assist in the manufacture of attributes, the design of the music hall for holidays and entertainment.
The role of the educator in the music class
The role of the educator, the alternation of his passive and active participation, are different, depending on the parts of the lesson and tasks.
Listening to music:
1. By personal example, he brings up in children the ability to listen carefully to a piece of music, expresses interest;
2. Monitors discipline;
3. Assists the music director in the use of visual aids and other methodological material.
Singing, singing:
1. Does not participate in singing
2. Sings with children, learning a new song, showing the correct articulation
3. Supports by singing while performing familiar songs, using the means of mimic and pantomimic expressiveness.
4. When improving the song being learned, sings along in “difficult places”.
5. Does not sing with children during independent emotional and expressive singing (exception - singing with children of early and younger age)
Musical-rhythmic movements and games:
1. Participates in showing all kinds of movements, giving appropriate recommendations to children.
2. Gives clear, precise, aesthetic standards of movements (with the exception of exercises for the development of children's creative activity).
3. Takes a direct part in the performance of dances, dances, round dances. In older preschool age, familiar dances and dances are performed by children on their own.
4. Corrects the performance of movements by individual children during dance, exercise, play.
5. Explains and controls the fulfillment of the conditions of the game, contributing to the formation of behavioral skills during the game.
6. Takes one of the roles in the story game.
7. Monitors discipline throughout the entire music session.
The role of the educator in the musical development of children.
Successes in the musical development of children, their emotional perception of music are closely related to the work of the educator. It is the educator who has a broad outlook, a certain musical culture, who understands the tasks of musical education of children, is the conductor of music in the daily life of the kindergarten. A good business relationship between a music director and an educator has a beneficial effect on children, creates a healthy, friendly atmosphere, equally necessary for both adults and children.
The main form of musical education and training of a child in a preschool institution is music lessons. In the process of classes, children acquire knowledge, skills in listening to music, singing, musical and rhythmic movements, playing the DMI. Music classes are an artistic and pedagogical process that contributes to the development of the child's musicality, the formation of his personality and the development of reality through musical images. Music lessons play an important role in the development of endurance, will, attention, memory, in the education of collectivism, which contributes to the preparation for schooling. They carry out systematic education of each child, taking into account his individual characteristics.
Conducting music lessons is not the monopoly of the music director, but is part of the pedagogical work that the teacher is doing.
The participation of the educator in a musical lesson depends on the age group, the musical preparedness of the children and the specific tasks of this lesson. It is especially important for the teacher to participate in work with younger groups, where he plays the main role in the game, dance, song. The younger the children, the more active the educator has to be - to help each child, to make sure that the children are not distracted, to be attentive, to observe who and how manifests himself in class. In the senior and preparatory groups, children are given more independence, but the help of a teacher is still needed. He shows the movements of the exercises together with the music director, performs a dance with a child who does not have a partner, monitors the behavior of children, the quality of the performance of all program material. The teacher should be able to sing songs, show any exercise, game or dance, know the music for listening from the children's repertoire. During music lessons, the teacher monitors the posture of children, the pronunciation of words in the song, the quality of assimilation of the material. The role of the educator varies depending on the content of the music lesson. If the lesson plan outlines an acquaintance with a new song, the teacher can sing it if he first learns it with the music director. This option is also allowed: the music director performs the song for the first time, and the educator again. The teacher monitors whether all the children actively sing, whether they convey the melody of the song correctly, pronounce the words. Since the music director is near the instrument, he is not always able to notice which of the children sang this or that word incorrectly. If the lesson is devoted to listening to music, the teacher can talk about the content of the piece of music that the music director will perform, during the performance, monitor how the children perceive the music. When children speak little about what they hear, the teacher helps them with leading questions. When conducting musical and rhythmic movements with children of younger groups, the teacher plays with them, shows dance and imitation figures. In older groups, he carefully monitors whether the children perform the movements correctly and which of them needs help. Being present at the lessons, actively participating in them, the educator not only helps the children, but also learns the material himself. It is necessary that both teachers take turns attending the classes. Knowing the repertoire, they can include certain songs, games in the daily life of children.
The life of a child becomes more colorful, fuller, happier, if not only in music lessons, but also in the rest of the time in kindergarten, conditions are created for the manifestation of his musical inclinations, interests, and abilities.
Skills acquired in the classroom must be consolidated and developed outside of them as well. In various games, on walks, during the hours allotted for independent activity, children, on their own initiative, can sing songs, dance, listen to music, pick up the simplest melodies on the metallophone. Thus, music enters the child's life, musical activity becomes a favorite pastime.
At music lessons, new information about musical works is communicated, singing and musical-rhythmic skills are formed, and consistent musical development of all children is ensured according to a certain system. In the daily life of the kindergarten, the emphasis is on individual work with children - the development of their musical abilities, the formation of pure intonation, teaching children to play DMI. The leading role here belongs to the educator. Taking into account the age of children, he determines the forms of including music in the daily routine. Many aspects of kindergarten life allow a connection with music and acquire great emotional fullness from this.
Music can be used in role-playing creative games for children, morning exercises, during a walk (in the summer), entertainment evenings, before going to bed. It is allowed to include music in classes for various types of activities: visual, physical education, familiarization with nature and speech development.
The game, of course, is the main activity of the child outside of classes. The inclusion of music in the game makes it more emotional, interesting, attractive. There are various options for using music in games.
In some cases, it is, as it were, an illustration of the actions of the game. For example, while playing, children sing a lullaby, celebrate housewarming, dance. In other cases, children reflect in games the impressions received at music lessons, holidays. Conducting role-playing games with music requires a very careful and flexible guidance of the educator. He, watching the course of the game, encourages children to sing, dance, play on DMI. Many role-playing games arise only when children are given a toy TV, a piano, a theater screen. Children begin to play "musical classes", "theater", perform concerts on "television".
Music can be included as an integral part and in different activities. The aesthetic perception of nature gives rise to love for the Motherland in children. Music also helps them to more deeply emotionally perceive the images of nature, its individual phenomena. At the same time, observing nature deepens the perception of music. It becomes more understandable and accessible. For example, if, going for a walk in a park or forest, children pay attention to a beautiful slender birch, then the teacher should invite the children to carefully examine it, remember a poem about it, and even better, sing a song or dance. Thus, the educator consolidates children's impressions received from direct observation of nature with the help of a piece of music. In addition, the teacher can play games with singing during summer walks. This adds value to the walk. Musical material related to the theme of nature, learned in advance in music classes, allows children to be more attentive when observing. Children begin to understand that every natural phenomenon, every season is beautiful in its own way. Music, depending on the tasks set by the educator, either precedes observation or reinforces children's impressions.
It is advisable to include music in speech development classes, for example, when telling a fairy tale. But at the same time, care must be taken that the music does not violate the integrity of the fairy-tale image, but rather complements it. It is convenient to introduce music into such fairy tales, on the text of which operas or children's musical games are written. (“The Tale of Tsar Saltan”, “Teremok”, “Geese Swans”). The performance of songs in the course of fairy tales gives them a special emotionality.
Music can also be used in conversations on various topics. (About the seasons, the upcoming holiday, about the Motherland, etc.)
In close connection with musical education is the work on speech. Singing improves the pronunciation of words and helps to eliminate speech defects.
It is also easy to establish a relationship between musical education and visual activity. On the one hand, music deepens the impressions that children expressed in drawing or modeling. On the other hand, it provides material for its implementation. The theme of drawings, modeling, appliqués can be the content of a well-known song or software instrumental work. Thus, the combination of musical and visual activities helps the child in the perception of each type of art.
Music, included by the educator at various moments in the daily life of children, causes them positive emotions, joyful feelings, creates an upbeat mood. It is recommended to use folk songs and jokes more often. Their subtle humor, vivid imagery have a much greater impact on the child's behavior than moralizing or directindication.
How actively do kindergarten teachers participate in the musical education of children? Are they all aware of the importance of such participation?
Often the educator considers it his duty only to be present at the music lesson - in order to maintain discipline. Meanwhile, without the active help of the educator, the productivity of music lessons turns out to be much lower than possible. The implementation of the process of musical education requires a lot of activity from the teacher. When educating a child by means of music, preschool teachers should understand well its significance in the harmonious development of the personality. To do this, one must clearly and distinctly imagine by what means, methodological methods one can lay the foundation for the correct perception of music.
The educator needs to:
1. Know all program requirements for musical education.2. Know the musical material of your group, be an active assistant to the music director in music classes.
3. To assist the musical director in mastering the program musical repertoire by children, to show examples of the exact execution of movements.
4. Conduct regular music lessons with the children of the group in the absence of a musical director.
5. Learn movements with lagging children.
6. Deepen the musical experience of children by listening to music in a group with the help of technical means.
7. To develop the musical skills and abilities of children (melodic ear, sense of rhythm) in the process of conducting didactic games.
8. Possess elementary skills in playing children's musical instruments (metallophone, bells, tambourine, spoons, etc.).
9. To carry out the musical development of children, using all sections of the work: singing, listening to music, musical and rhythmic movements, playing on the DMI, musical and didactic games.
10. Take into account the individual capabilities and abilities of each child.
11. To develop independence, initiative of children in the use of familiar songs, round dances, musical games in the classroom, a walk, morning exercises, in independent artistic activity.
12. Create problem situations that activate children for independent creative manifestations.
13. Involve children in creative games that include familiar songs, movements, dances.
14. Use the children's musical skills and abilities in the classroom for other activities.
15. Include musical accompaniment in the organization of classes and regime moments.
16. Take a direct part in the diagnostic examination of their pupils to identify musical skills and abilities, the individual capabilities of each child.
17. Take an active part in holding holidays, entertainment, musical leisure, puppet shows.
18. Prepare poetic collections of poetic material for entertainment and musical holidays.
19. To assist in the manufacture of attributes, the design of the music hall for holidays and entertainment.
The role of the educator in the music class.
The role of the educator, the alternation of his passive and active participation, are different, depending on the parts of the lesson and tasks.
Listening to music:
1. By personal example, he brings up in children the ability to listen carefully to a piece of music, expresses interest;
2. Monitors discipline;
3. Assists the music director in the use of visual aids and other methodological material.
Singing, singing:
1. Does not participate in singing.
2. Sings with children, learning a new song, showing the correct articulation.
3. Supports by singing while performing familiar songs, using the means of mimic and pantomimic expressiveness.
4. When improving the song being learned, sings along in “difficult places”.
5. Does not sing with children during independent emotionally expressive singing (an exception is singing with children of early and younger age).
Musical-rhythmic movements and games:
1. Participates in showing all kinds of movements, giving appropriate recommendations to children.
2. Gives clear, precise, aesthetic standards of movements (with the exception of exercises for the development of children's creative activity).
3. Takes a direct part in the performance of dances, dances, round dances. In older preschool age, familiar dances and dances are performed by children on their own.
4. Corrects the performance of movements by individual children during dance, exercise, play.
5. Explains and controls the fulfillment of the conditions of the game, contributing to the formation of behavioral skills during the game.
6. Takes one of the roles in the story game.
7. Monitors discipline throughout the entire music session.
For the implementation of musical education requires special training on the part of the educator. The educator receives musical training at a college, an institute where he learns to play an instrument, sing, dance. Getting to know the basics of physical education.
Even if there is a music director, the teacher is not relieved of responsibility for conducting music classes in the group in which he works. When educating by means of music, the teacher must understand its all-round significance. The teacher should be able to arouse interest in music, its content, direct the feelings of children caused by music, monitor and guide the development of children's creative musical abilities.
The teacher should carry out musical education in sections: singing, movement, listening, playing music. However, it should be said that not a single educator is released from the obligation to sing with children, conduct dance miniatures, games, etc. e. References to insufficiently developed hearing, lack of voice and insufficient preparedness for movement are very unconvincing.
In practice, there were cases when educators did not have an ear for music, yet they achieved excellent results. The role of the educator can be very diverse, depending on the program content that children need to master. And also, and from the age of the children of the group. Different sections of musical work require different participation of the educator in it, for example, singing does not require active intervention on the part of the educator.
The music director should be in the center of attention of children. The teacher sings with the children. Moreover, his voice should not sound louder than children's voices. In senior and middle groups, he sings at the moment of learning with children, the task is to sing a song on his own.
If the teacher has a good voice, then by agreement with the music director, he can perform a new song in class. In this case, his role is more responsible. The teacher plays the most active role in carrying out rhythmic movements in music classes. At the same time, the degree of his participation depends both on the content of the task and on the age of the children. So, in the younger group, the educator, by direct participation in the dance, in the game, activates the children, brings an emotional lift. Children laugh merrily, looking at the teacher depicting a "bear", and the game goes on naturally. They dance together, repeating after the teacher. This, of course, does not mean that children dance, play, only imitating the teacher. At a certain moment, the show stops. And the kids are on their own. For example: the children dance a familiar dance, and the teacher, encouraging them, claps his hands. In older groups, the active role of the educator is already changing. So during the game, the teacher turns on only as needed. If the children find it difficult to move, the teacher helps by showing. For example: if the child runs hard, the teacher runs with him. Paying attention to this, when learning the movement, the teacher helps the children by standing next to him with his example, or helping with separate instructions. At the same time, the teacher notes which of the children needs help in the future. It is also a constant change of activities, which allows you to constantly use the involuntary attention of children.
At a holiday in our kindergarten, children's performances are a variety of speech activities.
From the point of view of general pedagogy, children need holidays to relax and have fun, relieve emotional and psychological stress.
named after I.P. Vyucheisky
TEST
by disciplineMethods of musical education
topic The role of the educator in the musical education of a preschooler.
Completed by: Aydogdu A.A.
2nd year student
specialty: "Preschool education (PSE)
Lecturer: Dresvyankina N.B.
Naryan-Mar
2013
Plan:
Introduction…………………………………………………………………………….3
1. Musical education…………………………………………………...4
A) the tasks of musical education………………………………………………6
2. The role of the educator in the musical education of preschool children…………………………………………………………………………………8
A) the functions and duties of the educator in musical education……….9
b) music lessons………………………………………………………. eleven
c) independent musical activity of children………………………..15
d) holiday party……………………………………………………….. ..17
Conclusion……………………………………………………………………..19
List of used literature……………………………………………….. 20
Introduction.
In my work, I will consider the concept of musical education, the tasks of musical education, the functions and duties of the educator in the musical education of preschoolers.
Music plays an important role in the upbringing of a child. Children come into contact with this art from birth, and they receive purposeful musical education in kindergarten - and later at school.
The influence of music in the development of children's creative activity is very great. Music evokes an emotional response in children before other forms of art. Music gives pleasure even to a 3-4-month-old baby: singing, the sounds of a metallophone cause the baby to first concentrate, and then smile. The older the children, the brighter and richer the positive emotions caused by music.
Music accompanies a person all his life.
The purpose of the abstract: to consider the role of the educator in the musical education of preschool children.
Tasks:
Collect and study literature on this topic.
The relevance of this topic is that the role of the educator in the musical education of preschool children is an important component of the development of the child's personality.
Musical education.
The basis of the theory of musical education of children is the enormous cognitive and educational possibilities of musical art.
Musical education is the purposeful formation of a child's personality through the influence of musical art - the formation of interests, needs, abilities, and an aesthetic attitude to music.
Musical education in kindergarten is one of the most important educational means. In order to carry out this work purposefully and in depth, the entire teaching staff should be responsible for it.
Kindergarten does not set itself the task of educating future professional performers. Its goals are to educate the child’s feelings, his character and will by means of musical art, to help music penetrate into his soul, evoke an emotional response, a lively meaningful attitude to the surrounding reality, deeply connecting him with it.
In our country, musical education is considered not as a sphere accessible only to selected especially gifted children, but as an integral part of the overall development of the entire younger generation.
It is very important to start musical education as early as possible in order to familiarize the child with the whole variety of musical culture.
Preschool age is the period when the basic abilities of the child are laid, his hidden talents begin to appear, and the personality develops actively. A child at this age is most receptive to information and is able to realize himself in almost any field. Music opens the way for the child to creativity, allows you to get rid of complexes, "open" yourself to the world. Music has an impact not only on the development of children's musical abilities directly, but also contributes to the socialization of the child, prepares him for the "adult world", and also forms his spiritual culture.
Acquiring in the classroom in kindergarten, in the family certain knowledge about music, skills and abilities, children are introduced to the art of music. It is necessary to ensure that in the process of musical education, the acquisition of this knowledge, skills and abilities is not an end in itself, but contributes to the formation of preferences, interests, needs, tastes of children, that is, elements of musical and aesthetic consciousness.
The purpose of musical education is to arouse interest in music, develop the emotional and musical abilities of the child.
I believe that the role of the musical education of preschool children is very important, because during these years the foundation is laid, on which knowledge of a person’s artistic preferences will later be made,
The tasks of musical education.
Based on the goals of musical education, music pedagogy sets itself the following tasks:
- Cultivate love and interest in music. This task is solved by developing musical susceptibility, musical ear, which help the child to feel and comprehend the content of the heard works more sharply. Music has an educational effect.
To enrich the impressions of children by introducing them in a specifically organized system to a variety of musical works and the means of expression used.
To introduce children to various types of musical activities, forming the perception of music and the simplest performing skills in the field of singing, rhythm, playing children's instruments. To acquaint with the initial elements of musical literacy. All this will allow them to act consciously, naturally, expressively.
To develop the general musicality of children (sensory abilities, pitch hearing, a sense of rhythm), to form a singing voice and expressiveness of movements. If at this age a child is taught and involved in active practical activity, then all his abilities are formed and developed.
To promote the initial development of musical taste. On the basis of the impressions and ideas about music received, first a selective and then an evaluative attitude towards the performed works is manifested.
To develop a creative attitude to music, especially in such activities accessible to children as the transfer of images in musical games and round dances, the use of new combinations of familiar dance movements, and the improvisation of chants. Independence, initiative and the desire to use the learned repertoire in everyday life, play music on musical instruments, sing and dance are formed. Of course, such manifestations are more typical for children of middle and older preschool age.
The tasks of musical education relate to the entire preschool age. At each age level, they change and become more complex.
The role of the educator in the musical education of preschool children.
It is important for a teacher-educator not only to understand and love music, to be able to sing expressively, move rhythmically and play musical instruments to the best of their ability. The most important thing is to be able to apply your musical experience in raising children.
Raising a child by means of music, the teacher must understand its significance for the comprehensive development of the personality and be its active guide in the life of children. It is very good when children dance in their free hours and sing songs. Select melodies on the metallophone. Music should permeate many aspects of a child's life. Directing the process of musical education in the right direction can only be the one who works inseparably with children, namely, the educator. In kindergarten, the music director conducts work to improve the level of musical knowledge, develop the musical experience of a team of teachers.
Meanwhile, the responsibility for conducting musical education in the group with which he works is not removed from the teacher, even if there is a very experienced music director in the kindergarten.
Functions and duties of the educator in musical education.
The success of the musical development of preschoolers largely depends not only
from the music director, but also from the educator.
The educator must:
- To develop independence, initiative of children in the performance of familiar songs, round dances in various conditions (during a walk, morning exercises, classes), to help children express their musical impressions in creative games.
To develop an ear for music, a sense of rhythm in children in the process of conducting musical and didactic games.
Deepen the musical experience of children by listening to music in audio recordings.
Know all the program requirements for musical education, the entire repertoire of your group and be an active assistant to the music director in music classes.
Conduct regular music lessons with the children of your group in the absence of the music director (due to vacation or illness).
The educator receives skills for such work during special training in educational institutions and through communication with the music director at various consultations, seminars and workshops.
Working with the teacher, the music director reveals to him the content of the upcoming music lessons. Learn practical material. Of course, the music director introduces the educators to the immediate tasks that he sets in the process of working on the content of the training program. This helps them to observe the progress of each child together. Identify those children who need additional help, outline the ways of this help.
Besides. Such work allows the music director, taking into account the capabilities of each teacher, to skillfully use it in the process of music lessons.
Music lessons.
It happens that one moves well, but sings out of tune. The other has a good voice, but is not rhythmic. Excuses of educators from participating in music classes with reference to the inability to move or undeveloped hearing are not at all convincing. If the teacher has weak auditory ideas, insufficiently pure intonation, he can, knowing the program material and repertoire, constantly involve children who sing well in singing songs, and he himself can only sing along with them. To listen to music, he can use an audio recording.
The participation of the educator in a musical lesson depends on the age of the group, the musical preparedness of the children and the specific tasks of this lesson.
It is especially important for the teacher to participate in work with younger groups, where he plays the main role in the game, dance, song. The younger the children, the more active the educator has to be - to help the child, to make sure that the children are attentive, to observe who and how manifests himself in class.
In the senior and preparatory groups, children are given more independence, but still, the help of a teacher is needed.
No matter how high the pedagogical qualifications of the music director, none of the main tasks of musical education can be satisfactorily resolved if it is carried out without the participation of the educator. And also, if music sounds for children only on those days when the music director comes, if they sing, play and dance with children only at music lessons.
What should the teacher do during a typical frontal lesson?
In the first part of the lesson, his role in the process of learning new movements is great. He participates in the demonstration of all kinds of exercises along with the music director, which allows children to develop their visual and auditory perception at the same time. The teacher sees all the children, can give appropriate instructions and make comments in the course of the action. The teacher must offer accurate, clear and beautiful patterns of movements in all types of exercises, with the exception of figurative ones. In figurative exercises, the teacher gives exemplary samples, since these exercises are aimed at developing the creative activity of children.
In the second part of the lesson, when listening to music, the teacher is mostly passive. The music director performs a piece of music and conducts a conversation on it. The teacher can help children in analyzing music with leading questions, figurative comparisons, if the children cannot answer.
Mostly, the educator, by personal example, shows the children how to listen to music when necessary, makes comments, monitors discipline.
While learning a new song, the teacher sings with the children, showing the correct articulation and pronunciation.
To introduce children to a new song, a teacher who has good musical data - voice, pure intonation, can perform the song solo. As a rule, such an acquaintance with a new work causes a lively emotional response in children.
The ability of a music director to sing, dance, play an instrument for children is natural, while such skills of a teacher arouse great interest and a desire to imitate.
At the second stage of learning the song, the teacher sings with the children, at the same time checking whether all the children are active, whether they correctly convey the melody, pronounce the words.
Outside of music lessons, when fixing a song, you can’t teach children words without a melody. Musical accents do not always coincide with textual ones. When singing a song in a lesson with accompaniment, children will experience difficulties. Such nuances are worked out by the music director in group or individual lessons with educators.
At the third stage of learning the song (at 5-6 lessons), when the children are already expressively singing the song, the teacher does not sing with the children, since the task of this stage is independent emotionally expressive singing without the support of an adult's voice. Children must independently start the song after the introduction or without it, perform all the dynamic shades, and finish singing in a timely manner. The exception is singing songs with children of younger groups, g
etc.................
CONSULTATION
"The role of the educator in the musical activity of children in younger groups."
Musical education in kindergarten is an organized pedagogical process aimed at nurturing musical culture, developing the musical abilities of children in order to develop the creative personality of the child. All this can be achieved through the development of perception of music. The acquisition of knowledge, skills, and abilities should not be an end in itself, but should contribute to the formation of preferences, interests, needs, tastes of children, i.e. elements of musical and aesthetic consciousness.
The influence of music in the development of children's creative activity is very great.
Music evokes an emotional response in children before other forms of art. Musical education contributes to the development of speech, emotions, movements, gives children joy, encourages activity, enriches with vivid artistic impressions. Music gives pleasure even to a 3-4-month-old baby: singing, the sounds of a metallophone cause the baby to first concentrate, and then smile. The older the children, the brighter and richer the positive emotions caused by music.
Preschool childhood is the best time to introduce a child to the world of beauty. In this regard, the personality of the educator is of great importance. The final result of the upbringing of a preschooler depends on his moral character, level of knowledge, professional skills and experience.
It is important for a teacher-educator not only to understand and love music, to be able to sing expressively, move rhythmically and play musical instruments to the best of their ability. The most important thing is to be able to apply your musical experience in raising children.
Raising a child by means of music, the teacher must understand its significance for the comprehensive development of the personality and be its active guide in the life of children. It is very good when children dance in their free hours and sing songs. Select melodies on the metallophone. Music should permeate many aspects of a child's life. Only the one who works with children incessantly, namely, the educator, can direct the process of musical education in the right direction. But for this, the teacher must have the necessary knowledge in the field of music.
Successes in the musical development of children, their emotional perception of music are closely related to the work of the educator. It is the educator who has a broad outlook, a certain musical culture, who understands the tasks of musical education of children, is the conductor of music in the daily life of the kindergarten. A good business relationship between a music director and an educator has a beneficial effect on children, creates a healthy, friendly atmosphere, equally necessary for both adults and children.
The main form of musical education and training of a child in a preschool institution is music lessons. In the process of classes, children acquire knowledge, skills in listening to music, singing, musical and rhythmic movements, playing the DMI.
A musical lesson is the main organizational form for the implementation of the tasks of musical education and development of children.
Music lessons play an important role in the development of endurance, will, attention, memory, in the education of collectivism, which contributes to the preparation for schooling. They carry out systematic education of each child, taking into account his individual characteristics.
Music lesson consists of several sections:
1. Musically - rhythmic movements:
Movements to music create a cheerful, cheerful mood, improve posture, coordination of arms and legs.
2. Development of a sense of rhythm.
3. Finger gymnastics.
4. Listening to music.
5. Chanting, singing.
6. Dance
7. Game
The teacher carries out basically all the pedagogical work in the kindergarten - therefore, he cannot remain aloof from the musical and pedagogical process.
In music classes, a versatile education of children is carried out (mental, aesthetic, physical)
Mental:
Children gain knowledge about various aspects and phenomena of the surrounding reality, that is, knowledge about the seasons, holidays and everyday work of people. Life experience is systematized.
Moral-volitional:
The feeling of love for the mother, the Motherland is brought up, the skills of cultural behavior are formed (in organizational moments), the ability to listen, sing, dance in a team is brought up. Purposefully engaged, the ability to bring the work started to the end, to overcome difficulties
Physical:
Dancing and games form certain motor skills that develop certain muscle groups.
aesthetic:
To be able to listen and understand music, you need to feel it, emotionally respond to it.
Singing skills:
Purity of intonation, breathing, diction, coherence of singing intonations
Types of musical activity:
1. Listening is the main type of musical activity.
As an artistic word or a picture, music should become an accessible means of expressing feelings, thoughts, and experiences for children.
Listening to music in children develops interest, love for this type of art, expands musical horizons.
When listening to music with children of younger groups, it is necessary to attract attention with a bright toy. You can bring a bunny (or other toy). Bunny greets children. Children stroke his ears, touch his tail. Then we listen to a song about a bunny: "Hare, bunny, little bunny, long ears, fast legs." The bunny hides at the words “Bunny Coward”. Children at this moment, as a rule, freeze. And the bunny looks out from one side, then from the other. Children smile. Here you can sing the song again.
The children listen to the song more attentively. This is the first introduction to the song.
It is very good to turn to each child through music, create a friendly atmosphere, evoke positive emotions in children not only from communicating with a toy, but also from listening to music.
The task that we face in working with children of the first younger group is formulated as follows:
“Cultivate interest in listening to short songs, pieces of music performed on musical instruments and recorded.
To teach children to listen carefully to calm and cheerful songs, musical plays of various nature, to understand what is being sung about.
In working with children of the first younger group, various techniques and methods of teaching listening are used - this is listening to music, showing a toy, verbal explanation. Before starting the song, you need to tell the children what they will hear about: that this song is about a bunny or about a horse, etc.
Talking about music is the most important method. The word conveys the character, the mood of the music. Children of this age have a small vocabulary, little life experience, they themselves cannot formulate the mood conveyed by music, but they can feel it.
Children come to life when cheerful music sounds: “Oh, you, canopy, my canopy!”, “Machine”.
And when the song “Bayu-bye” sounds, the children calm down. Even after the end of the song, they behave quietly, calmly. The impression of the listened music can be expressed in words: “What kind, quiet music!”, “What cheerful music!” etc. Then repeat the same words, but in the form of a question: “Merry music?” "Cheerful!" - children answer.
Before listening to a new work, it is not enough to tell the children only its name. In order for the content of the new song (its text and melody) to be perceived by children, it is necessary to set them up for listening.
“Guys, I will sing you a song about winter. In winter, everything around is white, because there is a lot of snow.
And Vanya took the sled and began to ride down the hill. Then I will sing a song, ask questions about the content. "Who rode the slides?" "Is it fun to ride the slides?" “That's why the music is fun.” Loan plays the final part of the melody.
In some songs, piano accompaniment gives a vivid musical image, for example, in the song “Horse” by Rauchverger or in the song “Kitty” by Vitlin, it is necessary to draw the attention of children to these musical fragments. Ask about whom the music told, how did you guess? And once again play the musical fragment with onomatopoeia.
Children love to listen to the song "Machine". At the introduction, they make sounds similar to the sound of an engine, make movements with their hands, as if they were driving. These actions happen by themselves, they are dictated by the music. The child listens to music, sings along, dances, claps his hands..
In order to develop the ability to listen to music in children, you can conduct exercises to distinguish between musical sounds (timbre, height of dynamics, duration). For this purpose, we recommend using musical instruments and playing the games “Quiet-loud”, “Doll walks and runs”, “Guess what I play?”, “Who walks in the forest”. So children learn to listen to the melody, the words of the song.
Throughout the year, the musical repertoire is expanding and enriching. Children learn to compare musical works of different nature. For this purpose, contrast should be used. Let them listen to a fun, fast piece, and then a slow, sad piece. In order for the musical image to be fixed in the mind of the child, we suggest using a toy. Actions with a doll or a bunny illustrate the content of the music: a cheerful, cheerful melody - the doll is walking, quiet, slow - the doll is sleeping. The nature of the music and the actions with the toy are discussed.
As a result of the work done, by the end of the first junior group, children are able to listen to music, determine the character, and can answer the question about the content of the song. “Autumn Song” by A. Alexandrov “Lullaby” by Razorenov, “Hare” by M. Krasev definitely influence them with their sad, calm melodies; “My Horse” by Grechaninov, “The Song of Petrushka” by Fried “Horse” by Potolovsky evoke animation, smiles, physical activity.
According to B.M. Teplov "The content of music is feelings, emotions, moods" ("Psychology of musical abilities"). If a child emotionally responds to a particular piece of music, then part of the task of musical development has been completed. This activity, being independent, at the same time is an obligatory component of any form of music-making, any kind of musical activity. For the aesthetic development of preschoolers, mainly 2 types of music are used: vocal, instrumental music. For the early and younger age, the vocal form of sound is more accessible.
2. Singing and songwriting is one of the most favorite types of music for children. activities. Choral singing unites children, creates conditions for their emotional communication.
At the first stage, children can only sing along and reproduce onomatopoeia (a cat meows, a dog barks, a bird sings)
To introduce children to a new song, a teacher with good musical data - voice, clear intonation, correct articulation and pronunciation performs the song solo. As a rule, such an acquaintance with a new work causes a lively emotional response in children. The ability of a music director to sing, dance, play an instrument for children is natural, while such skills of a teacher arouse great interest and a desire to imitate.
At the second stage of learning the song, the teacher sings with the children, at the same time checking whether all the children are active, whether they correctly convey the melody.
Educators teach kids to listen carefully to a song, try to make them want to take part in onomatopoeia, speaking, singing and singing.
Children are taught:
Sing without tension, in a natural voice, do not force the sound and do not shout out individual words;
Start and end singing together, sing without leading or echoing, pause, listen to the introduction and conclusion;
It is true to convey the general direction of the melody and the rhythmic pattern of the song (this is within the power of the children of the first junior group).
You should not expect the same success in singing for all children of the same group, as well as for children of two groups formed from babies of the same age. A lot depends on when this group was formed, how many children attending the nursery for the second year, how many new, "home" children who are less prepared for music lessons. The musical hearing of children of two or three years old is influenced by many factors - speech, coordination of movements (articulation also depends on it), general development, etc.
It must be remembered that by the end of the third year of life, babies know and use five to six times more words than in two or two years 1-2 months.
The text of songs for kids should be understandable, short, expressive, interesting, the melody should be in the range of voices of the children of this group, be comfortable in tessitura and breathing. ON THE. Metlov noted that the concept of "accessible song" is inadequate to the concept of "easy song". "Easy songs" alone cannot contribute to the musical development of children. This means that when choosing songs, it is necessary to be guided by the rule of a gradual transition from the learned to the unfamiliar.
The youngest children move from talking and onomatopoeia to singing and singing.
Having picked up a song, the teacher learns it by heart - and not only the melody, but also the accompaniment. This greatly facilitates the process of teaching children to sing. The kids have unstable attention. Only looking at the kids, seeing everyone and everyone, the teacher concentrates their attention, encourages, and involves them in singing.
It is necessary to sing with children to piano accompaniment: in terms of timbre, sound quality, piano accompaniment is better. But to listen to the melodies of songs familiar to children performed on various musical instruments - triplet, recorder, xylophone, harmonica, metallophone, children's harp - is desirable and necessary. This develops melodic and timbre memory, inner ear for music, teaches kids to understand, love music, enjoy it.
Often educators, working with kids, sing very slowly, almost in syllables, explaining it this way. "For everyone to understand." And the result is sometimes the opposite: the connection between syllables is lost - the word disappears, the meaning disappears, the connection between the sounds of the melody is lost - the melody disappears.
So how do you sing with kids? You should sing at a pace convenient for the kids, all the time listening to their singing and singing. You can invite the children to repeat the song they just sang a little faster. To do this, you must first sing one phrase to the adult at the suggested pace, then sing with the children, listening to how they coped, whether it is convenient for them, decides whether to leave this pace in further classes. You should not artificially speed up or slow down the tempo so much that the song "falls apart".
The kid is two years old. Just a week or two he was in kindergarten. The adaptation period passed quickly and easily. At a music lesson, the child watches and listens with interest as the music director and teacher sing.
The teacher offers him: "Sing a song with us!". The kid is silent. Fears? Doesn't want to? Does not understand? Yes, he does not understand what exactly he was asked to do. At home, adults did not involve him in singing (“Mal, speaks poorly”), and when he was offered to sing at a music lesson, the kid did not understand the meaning of the verb “sing”. Therefore, the educator needs to say before and after singing the song: “This is how I sing the song”, “I will sing”, “How did Aunt Olya sing?”, That is, it is necessary to associate the verb “sing” with a specific action. If two songs were sung in the lesson, then before and after the performance of each of them, do not forget to say: “We will sing” and “We sang a song.” After two lessons, the child already understands the meaning of the verb "sing". He listens, looks at the teacher, asks: “More”, but he does not sing himself.
A lot of practice with young children helped to identify those songs that kids are most willing to start singing.
The chant “Our Tanechka sings, sings” is one of them.
Performed to the melody of the Russian folk song "The nightingale sings, sings"
The children sit on chairs arranged in a semicircle, the music director calls Tanechka to him, hugs her, looks at everyone affectionately and sings without musical accompaniment:
Sings, sings our Tanya,
Sings, sings, good.
Good, pretty.
Sings, sings his song:
La-la, la-la, la-la-la, la, la.
The teacher offers Tanechka to sing "la-la ..."
At the first lesson, Tanechka (or Olechka, Vovochka) willingly stands next to the music director, enjoys attention and affection, but may not want to sing. Patiently and skillfully, the music director tries to involve the child in singing along.
Here's luck: one of the kids sang! Look at the children's reactions. They immediately switch their attention to the singing child, look at him with surprise and interest. Adults understand: this is a victory. Now other children are joining in the singing. If two or three children began to sing along in a group, this is a guarantee that in a week the rest will sing (of course, with the help of adults). You can invite several kids to sing, and then the whole group, using these words:
Sing, sing my children
Sing, sing good.
good, pretty,
Sing, sing their song:
La-la, la-la, la-la-la, la-la,
La-la, la-la, la-la-la, la-la.
If in the song “Our Tanechka sings, sings”, the kids sing along only “la-la”, then in the next song (“Bear”) some repeating words begin to sing along. So, a song-singer with repeated words is included in a simple and interesting game for children, and the kids easily begin to sing along.
Singing "Bear"
A bear (toy) is sleeping on a bench. Children with a teacher come up to him and wake him up:
Bear, bear, why are you sleeping so long?
Bear, bear, why are you snoring like that?
Bear, bear, bear, get up!
Bear, bear, play with us!
The teacher picks up the bear, he “wakes up and growls”, the children run away. The bear walks around, looking for children, saying: “Who here sang songs, didn’t let the bear sleep?” When the bear "falls asleep" again, the teacher and the children repeat the song. The game is fun, understandable to kids, and they willingly join in singing along.
“In musical games, the singing activity of children is the greater, the more obvious, the more visual the result of their singing” (Babajan T. Musical education of young children. - M., 1967. - P. 53).
Of course, not all children sing a song from beginning to end in the very first lessons. At first, the kids sing along with repeating words (“Bear, bear”), and then some phrases.
The short couplets included in the game help the singing a lot. Although they are not accompanied by music, the children joyfully, unanimously speak in chorus (in a singsong voice). So, in the musical-movement show “Natasha’s Bathing” (Russian folk mel., lyrics by N. Frenkel, movements by I. Plakida / We love music. Issue 6. - M., 1967) there is such a couplet:
Vodichka - squelch squelch squelch,
Natasha - kup-kop-kop.
These lines are not sung, but are repeated in conversation between the singing of verses. Such choral speaking is important as a stepping stone to learning to sing along.
This is how adults attract babies of one and a half to two years old to sing along and begin to sing with children of the third year of life (especially in cases where the group is formed from new "home" children).
Two weeks after learning the song “Our Tanya sings, sings” and playing with the song “Bear”, you can start working on the song “Birds”. Ukrainian folk melody.
Singing "Birds"
Fly, birds, to us, to us, to us.
I will give grains to the birds, ladies, ladies.
With beaks of a bird - key, key, went.
I look at the birds and sing:
La-la-la-la, la-la, la-la-la,
La-la-la-la, la-la, la-la-la.
The text of the song is understandable to children. Repeating words help them engage in singing. The words "I look at the birds and sing" allow you to continue the song. Everyone repeats the verse, singing “la-la”, which makes it possible to better remember the melody. The song is best sung without any instrumental accompaniment. Later, the melody can be offered for listening, performing it at music lessons on a pipe, flute, metallophone, harp, etc .; It is advisable to ask the children to recognize and name this song.
In the song repertoire for kids, the song "Birds" is one of the best: it has an expressive melody, clear text, and repetitive words. It is with its help that we teach children not only to sing along with individual words, but also to sing phrases, the whole song. Maybe we should not “enrich” it with additional rhythmic tasks and entertain children?
To develop a sense of rhythm in babies, to teach them individual movements to music, there is a large selection of instrumental and vocal music (starting with Ladushki),
Songs with onomatopoeia help to involve kids in singing and singing, for example, “Bobik” (music by T. Popatenko, lyrics by I. Naydenova / / Songs for kindergarten. Issue 1. - M., 1965). Children quickly and willingly imitate the barking of a dog. First, they lengthen the line, breaking the phrase, and then, in the process of practicing, the onomatopoeia sounds more amicable and the rhythmic pattern is not disturbed. Gradually, the kids begin to sing along some words, and then the whole song.
Musical classes with children are held twice a week, which is not enough for successful learning to sing. The more often the baby hears a song performed on various musical instruments or in voice, with or without words, the faster his musical abilities develop.
The purity of intonation depends not only on the musical ear of the child, but also on the degree of his attention while singing. Sometimes the baby is prevented from singing by shyness, poor articulation.
3. Musical and rhythmic movements include dances, dance creativity, musical games, round dances, exercises. Children learn to move in accordance with the nature of the music, with the means of musical expression. Develop a sense of rhythm, develop artistic and creative abilities.
In this part of the lesson, the role of the educator is great. In the process of learning new movements, he participates in the demonstration of all types of exercises along with the music director, which allows children to simultaneously develop their visual and auditory perception. The teacher, since he does not sit at the instrument, sees all the children, can give appropriate instructions and make comments in the course of the action. The teacher must show accurate, clear and beautiful patterns of movements in all types of exercises, with the exception of figurative ones. In figurative exercises, the teacher gives exemplary samples, since these exercises are aimed at developing the creative activity of children.
When learning dances, a teacher's show is also necessary. In the future, only verbal instructions are given in the course of execution, errors are corrected. Children learn to convey various images (birds fly, horses jump, bunnies jump). The educator verbally helps to more accurately convey movements, similarities with characters. Consequently, the creative activity of children develops through purposeful learning, expanding musical experience, activating feelings, imagination, and thinking.
The participation of the educator in a musical lesson depends on the age group, the musical preparedness of the children and the specific tasks of this lesson. It is especially important for the teacher to participate in work with younger groups, where he plays the main role in the game, dance, song. The younger the children, the more active the educator has to be - to help each child, to make sure that the children are not distracted, to be attentive, to observe who and how manifests himself in class.
The teacher should be able to sing songs, show any exercise, game or dance, know the music for listening from the children's repertoire. During music lessons, the teacher monitors the posture of children, the pronunciation of words in the song, the quality of assimilation of the material.
The educator must:
To develop independence, initiative of children in the performance of familiar songs, round dances in various conditions (during a walk, morning exercises, classes), to help children express their musical impressions in creative games.
To develop an ear for music, a sense of rhythm in children in the process of conducting musical and didactic games.
Deepen the musical experience of children by listening to music in audio recordings.
Know all the program requirements for musical education, the entire repertoire of your group and be an active assistant to the music director in music classes.
Conduct regular music lessons with the children of your group in the absence of the music director (due to vacation or illness).
The teacher should carry out musical education using all forms of work: singing, listening, musical and rhythmic movements, playing children's musical instruments
The educator receives skills for such work during special training in educational institutions and through communication with the music director at various consultations, seminars and workshops.
No matter how high the pedagogical qualifications of the music director, none of the main tasks of music education can be satisfactorily resolved if it is carried out without the participation of the teacher, and also if music sounds for children only on those days when the music director comes, if with children sing, play and dance only in music classes.
When learning non-plot games with young children, the teacher plays at all stages of learning.
In dances with the participation of an adult, where the actions are fixed by the author of the movements, the teacher always dances with the children in all age groups.
In classes of a different structure, the role of the educator depends on the types of children's activities and corresponds to the methodology for its implementation.
In addition, the main role in musical education is assigned to the educator in the independent activities of children. This type of activity requires the creation of external conditions, a certain material environment. It is important for children to have their own musical corner - with a small number of musical instruments, musical and didactic games.
When planning an independent musical activity, the teacher will take a closer look at the children at the beginning of the school year. Who is interested in anything (singing, dancing, playing an instrument), are there any children who do not take part in music making?
Sometimes the leading roles go to the same children. This is partly due to the child's desire to be a leader rather than his interest in music. Other children are drawn to music, but they are timid, indecisive. The teacher must create optimal conditions for each child.
The highest quality of work can be ensured where educators, constantly improving their musical and pedagogical qualifications, become active and skillful assistants to the music director, use musical material in their daily work with children, are able to independently conduct simple music classes if necessary - in the absence of a music director .
When the educator already has some experience in observing and analyzing music lessons, as well as the experience of conducting them independently, he will make his proposals when discussing the methodological methods of conducting classes, stimulate the creativity of children, suggest a topic, distribute roles, outline the development of the plot in games and dramatizations.
Such a qualification is constantly acquired by the educator, as a result of a systematic analysis of the work of a specialist with children, his instructive sessions with the staff, and the performance by the educator of the increasingly difficult tasks of the music director.
Bearing in mind the constant and comprehensive improvement of the musical and pedagogical qualifications of the staff, the musician must not only teach educators singing, movements, the correct method of presenting musical material, but also improve the general culture of educators, teach them to understand the elementary features of music - in the nature of the work, in musical form (singer, chorus, phrase.). It is advisable to inform the team about significant musical dates, news in the musical education of children and other issues of musical life.
Consider another important form of musical and aesthetic education of children - a festive matinee, which includes almost all types of creative activities of children and the teaching staff.
The matinee is part of all educational work carried out in kindergarten. Here the tasks of moral, mental, physical and aesthetic education are carried out. Therefore, preparation for the holiday, holding it and consolidating the impressions received by children can be considered as links in a single pedagogical process.
The activities of the educator at matinees are very diverse. The leading role is the most responsible. His emotionality, liveliness, ability to communicate directly with children, expressive performance of poetic texts largely determine the general mood and pace of the celebration. The facilitator must not only know the program, but also be able to quickly respond to unexpected random changes.
Great pleasure is given to children by solo and group performances of educators. They can show various dances, sing songs, play the role of a character.
Educators who do not play any roles are with the children of their group. They carefully monitor how children perceive this or that performance. They sing along with them, prepare attributes, details of costumes, change children's clothes on time, help them, if necessary, during the game and dance.
After the holiday, children remember the performances they liked for a long time. The educator should strive to consolidate these impressions by linking them with the topics of their studies. He invites children to draw or sculpt a character they like, come up with a new plot with the characters of the matinee, conduct conversations, repeat their favorite songs, games, and dances in a group and on a walk.
The teacher can independently learn the game with the children, put on a small theatrical performance, which can then be included in a musical lesson or in the program of a festive matinee.
The quality of the musical work of the educator, the development of his activity depend not only on his abilities and experience in this area. An important role here is played by the ability of the music director to take into account the character traits of each educator: to approve the shy, to inspire them with confidence in their abilities, to find a form of criticism that does not hurt pride and causes a desire to correct the mistakes made. It is necessary to accustom to punctuality those who are frivolous in their duties, to encourage further improvement of those who are satisfied with what has been achieved.
There is no doubt about the role of the educator in the musical activity of children. He, along with the musician, is of great importance in the matter of musical and aesthetic education. As for duties, there is no need to draw a clear line - this should be done by the educator, and this is the responsibility of the music director. Only joint activity, a joint creative approach to this issue will be able to bear fruit. It is important for the educator to be interested and captivated by musical activity in the same way as we carry children into the world of music. You need to arouse in him a desire to study music, to engage in it, then the teacher will be your best assistant.
In some kindergartens, there is a good tradition of consolidating holiday impressions in a music lesson. Children come to the hall where the decoration of the holiday is left, there are details of costumes, attributes for games. The teacher invites the children to remember what they liked at the matinee, exchange impressions and perform songs, poems, games, dances, dramatizations at will. Some performances can be repeated two or three times with a change of performers. All this helps to feel the content of the holiday more deeply, to keep good memories of it.
Holidays in kindergarten are an important part of the educational process. They actively influence the formation of the personality of a preschooler, allow him to show his skills, abilities, creative initiative, sum up a certain result of pedagogical work.
BIBLIOGRAPHY:
N. A. Vetlugina "Methods of musical education in kindergarten"
A. N. Zimina "Fundamentals of musical education in preschool"
T. S. Babadzhan "Musical education of young children"
E. I. Yudina "The first lessons of music and creativity"
S. I. Bekina, T. P. Lomova, E. N. Sokovnina "Music and movement"
Journal "Handbook of Music Director"
M. B. Zatsepina "Musical education in kindergarten"
M. B. Zatsepina "Cultural and leisure activities in kindergarten"
