A sense of responsibility The development of responsible behavior in a child is a gradual, long process. For example, to go from self-dressing to regular performance homework all the years of childhood go away. Sense of responsibility

The principle of gradual complication of musical and technical tasks At each stage of work with the choir, the tasks of forming vocal and choral skills are consistently solved. In accordance with them, the repertoire gradually becomes more complicated. At the initial stage of work with the women's choir

Guilt One morning I heard in handset the tearful voice of one mother of a child who often wakes up at night. She saw this “let the baby cry” approach in seductive packaging on TV. She started like this: "I just tried

Feeling of Oneness The demanding baby who “screams when I let her go” needs to keep the feeling of oneness with her mother going. Before birth, this baby was one with her mother. After birth, the mother knows what the child is now

CHAPTER 3. DOMESTIC PROFESSIONAL MUSICAL AND PEDAGOGICAL SYSTEMS OF THE XX CENTURY 3.1. The largest Russian piano schools of the 20th centuryIn Russian piano pedagogy of the 20th century. the branches founded by the ancestor of the Leningrad piano school L.V.

8.3. The development of emotionality in musical performance The role of emotions in musical activity is enormous: they permeate its content and the immediate process of performance. Emotions give attractiveness to music lessons, cause the emergence

Plan

Introduction

I Psychological and pedagogical foundations for the development of a sense of rhythm and the formation musical culture junior schoolchildren

1.1 Development of a child's sense of rhythm as an object of research in the literature

1.2 Psychological features musical sense of rhythm

in younger students

1.3 Music lesson - the main form of developing a sense of rhythm

1.4 Sense of rhythm as a condition for the formation of musical culture

II Work on the development of a sense of rhythm in primary school

2.1 Techniques for activating the rhythm of feeling in musical rhythmic movements

2.2 Organization of musical rhythm games using children's musical instruments

2.3 Analysis of work experience on the problem

Conclusion

Bibliography

Introduction

Relevance of the research topic.

On the present stage development of society, the contradiction between rapid technological progress and insufficient development of the humanitarian sphere becomes more and more tangible. The crisis of spirituality, leading to many negative consequences of a socio-political and economic nature, is rooted in the shortcomings of the education system. All the accelerating development of science and technology, general computerization lead to the active development of rational-logical thinking to the detriment of the formation of musical culture. Therefore, creativity is individual. Traditional public opinion considers science-intensive subjects to be the most important, primary disciplines necessary for children. At the same time, music, drawing, choreography - that is, the disciplines of the aesthetic cycle that contribute to the formation of musical culture - remain in the background. These items are considered as entertaining, complementing the main cycle. At the same time, it is imaginative thinking that should dominate at an early age (V.I. Garbuzov), the underestimation of which causes certain damage to the harmonious development of the individual.

The basic culture of a person, the foundation of all types of thinking, is laid in early school age. It was then that the foundations of aesthetic education were formed, since during this period the brain and the entire human body are most receptive to the new (G.A. Kuraev, T.N. Malyarenko, Yu.E. Malyarenko). Aesthetic education children of primary school age stimulates early creative development, harmonizes a growing person, helps to develop psychological functions and personal qualities. The problems associated with the creative development of children at the initial stage of education and upbringing in pedagogy traditionally receive considerable attention. Pedagogical studies of the development of primary school age are based on the works of well-known domestic psychologists: L.A. Wenger, L.S. Vygotsky, L.V. Zankova, A.V. Zaporozhets, A.N. Leontiev, A.N. Lyublinskaya, S.L. Novoselovoy, S.L. Rubinstein, D.B. Elkonin and others.

The teachers N.A. Ansarina, K.D. Hubert, M.I. Kistyakovskaya, M.M. Koltsova, N.M. Kononova, M.I. Lisina, M.G. Ryss, R.G. Sorochek, Z.V. Uvarova, N.M. Shchelovanov and others.

From the point of view of the pedagogical theory of a holistic approach to the formation of personality (A.V. Mudrik, L.I. Novikov, V.A. Slastenin). And from the point of view of sociology, musical culture is a kind of creative culture and is studied as the life of music in society (B. Asafiev, R. Gruber, M. Kogan, L. Kogan, V. Tsukerman, G. Ermakov).

In the psychological and pedagogical literature, the components of musical culture are studied, the criteria and levels of formation, the ways of development in individuals of various age groups. Approaches to solving the problem are offered by: E.B. Abdullin, Yu.B. Aliev, L.V. Goryunova, R.I. Gruber, T.S. Zinoviev, E.D. Kritskaya, R.A. Telcharova, V.F. Tsannkai-si, L.V. Schoolboy.

The perspective of the direction of musical and pedagogical research in the field of musical culture requires its further development. Especially relevant is the study of the musical culture of children of primary school age, since from a psychological and pedagogical point of view this period is the most sensitive in the formation of the structure of the personality and its culture (L.S. Vygotsky, A.N. Leontiev, A.G. Kovalev, A. .A. Lublinskaya).

However, the problem of the purposefulness of the formation of the musical culture of younger schoolchildren in unity, the development of a sense of rhythm and forms of work has not been fully studied.

The novelty and persuasiveness of the modern formulation and solution of the problem of teaching art disciplines at school, the increasingly recognized need to form the musical culture of primary school students on the basis of unified conceptual approaches to music lessons, forms of musical education largely predetermined the choice of the topic "Development of a sense of rhythm as a condition for the formation of musical culture of younger students.

Purpose of the study. Theoretically substantiate and practically test the ways of developing a sense of rhythm as a condition for the formation of the musical culture of younger students.

Object of study. Formation of musical culture of junior schoolchildren.

Subject of study. Development of a sense of rhythm in the process of forming the musical culture of younger students.

Hypothesis. The development of a sense of rhythm will be effective condition formation of the musical culture of younger students in the process of realizing its capabilities, which include:

In the development of memory, thinking, activity, observation, purposefulness, logic, intuition;

In creating conditions for experiencing personal well-being;

In the development of students in the unity of inner experience and outer expression.

To achieve this goal and test the proposed hypothesis, it is necessary to solve the following tasks:

1. To carry out an analysis of the psychological and pedagogical and musical literature on the problem under study.

2. Consider the content of the concept of "Sense of Rhythm" and determine the ways of its development in relation to the process of formation of the musical culture of younger students.

3. To develop and carry out the process of developing a sense of rhythm as a condition for the formation of the musical culture of younger students.

CHAPTER 1 Psychological and pedagogical foundations for the development of a sense of rhythm and the formation of a musical culture of younger students

1.1 Developing a child's sense of rhythm

as an object of study in the literature

Rhythm is one of the primary sources, primary elements of music, always vital for musical art. AT centuries of history In European music, in parallel with the development of harmony, melody and all other elements, the development of the rhythmic side also went on, sometimes leading to a sharp breakdown of the established, traditional means, rhythm, to a change in “rhythmic thinking”, the evolution of rhythmic prompted theoretical thought to describe new rhythmic phenomena, to establish a pattern rhythm, develop compositional rules of rhythm and explain its essence. The need for theoretical substantiation of the phenomena of rhythm was especially felt during periods of sharp qualitative shifts in rhythm. One of these periods came in the middle of the 20th century, when radical changes affected all the main elements of the musical language (6.25).

In modern psychological and pedagogical science, more and more attention is paid to the age-related dynamics of the child's emotional development. In his studies, L.I. Bozhovich, N.I. Nepomnyashchaya and other developments are divided into three stages that characterize the originality emotional life art.

It is at the first stage of education that children are characterized by a lively enthusiasm for the learning process itself. At the same time, the emotional experiences of children are closely connected with visual images and ideas.

In musical pedagogy, the features of the emotional life of children are associated with their natural expression and the development of the ideological and moral qualities of the individual.

The musical activity of schoolchildren is a variety of ways, means of children's knowledge of musical art (and through it, the surrounding life, and themselves), with the help of which musical and general development is carried out.

At the heart of the musical education of younger schoolchildren is the idea of ​​such teaching of musical art, which would combine the specifics of the nature of a child of primary school age with the nature of art itself. For a younger student, this is, first of all, an interest in imaginative sensory impressions brought from preschool childhood and emotional responsiveness to them, a willingness to treat everything as if it were alive, a rich gaming experience.

Based on the works of O.P. Radynova and A.I. Katinen about the features of the musical activity of children, we will also note the features of the development of a sense of rhythm.

Emotional responsiveness to music can manifest itself in children very early, in the first months of life. The child is able to react animatedly to the sounds of cheerful music - with involuntary movements, exclamations - and perceive calm music with calmness, concentration, and attention. Gradually motor reactions become more voluntary, coordinated with music, rhythmically organized.

The following tasks are defined in the concept of a sense of rhythm: to teach to determine and accurately reproduce a rhythmic pattern, to select movements that correspond to the nature of the image of a musical work.

The sense of rhythm can be formed not only in musical rhythmic movements, but also in other activities, primarily in singing and playing musical instruments.

To overcome rhythmic inaccuracies, the reproduction of rhythm in claps does not always give a positive result. Rhythm is an integral part of the expressiveness of music, therefore, it is the awareness of its expressive meaning (using figurative meanings, musical rhythmic games) that often has a greater developmental effect.

The development of a sense of rhythm is possible in all types of musical activity (according to the definition of O.P. Radynova, activity is an active process of mastering experience) perception of music, performance (singing, musical rhythmic movements, playing musical instruments), creativity (improvisation, composition).

Psychologist A. I. Leontiev in his book “Activity. Consciousness. Personality." notes that the development of activities leads to the expansion of their "catalog", the formation of a figurative "dictionary of emotions" in the child, which allows expanding the idea of ​​a person's feelings expressed in music related to life. Musical and rhythmic movements acquire refinement and beauty. Playing children's musical instruments develops hearing, promotes creative music-making.

The development of a musical-rhythmic feeling, its formation in students in the learning process, is one of the most important tasks music pedagogy and at the same time - one of the most difficult. Bearing in mind the real difficulties with which musical and rhythmic education is associated, some experts tend to be skeptical about the very prospects and potentialities of this education.

In his reflections, A.B. Goldenweiser spoke about the possibility of developing a full-fledged rhythmic feeling in children with a very weak rhythm.

Other teachers, however, turn to those objective difficulties that really involve musical and rhythmic education. First of all, in the fact that in a complex stimulus, which is sound, duration is a weaker (indefinite) component, compared to pitch - a stronger (definite) component. The height, in principle, can always be fixed quite clearly, which determines the exact location of a particular sound on musical staff; As for the duration of a sound, its "life in time", this lends itself only to more or less relative (not to say conditional) fixation. The duration of sounds cannot be measured by anything other than the direct rhythmic feeling of a person. B. Golden-Weiser develops the thesis of "poor education" of the musical-rhythmic ability. A whole note is twice as long as a half note, which can only be explained by spatial analogies.

In the works of I. P. Pavlov, we find that everything can be achieved, changed for the better, when the appropriate conditions are created. They proved that nothing in the sphere of higher nervous activity does not remain motionless, unyielding.

The primary, leading type of musical activity of children is the perception of music. In children of primary school age, the auditory "piggy bank", "personal stock of associations and images - a kind of dictionary - thesaurus" (definition by E. V. Nazaikinsky "On the psychology of musical education." - p. 358) is just beginning to fill up. In the surrounding area, he hears the rhythmic clatter of the wheels of a tram, a train, the pulse of his heart, the stamped step of the military, the variety of musical rhythms of popular pop music. In the classroom, at music lessons, the teacher must analyze and organize knowledge and skills, where the rhythm of the wheels is reflected in a dotted rhythm (which is not easily absorbed by schoolchildren), a chased step - with even quarter durations. So you can learn the elements of musical writing, musical notation at the initial stage, in creative tasks, improvise, compose your own musical “pictures”.

When planning systematic classes, the teacher takes into account:

Aesthetic design of the class;

Technical equipment of the office;

Proper selection of repertoire (funny, joyful pieces expressing children's World, live poetic content, simple and clear form, brightness of the image, beautiful and aesthetic sound, 1-1.5 minutes for the duration of 1 work).

At the age of 6-7 years, listening preferences are just being formed, the quality of the works that children listen to and the level of their performance become important. The quality must meet the highest standards of artistry, since first impressions are very important for all subsequent musical activity.

According to N. A. Vetlugina, musical education depends on the level of musical and general development child.

At primary school age, when the experience of perception is still small, as a rule, several listenings are required in order for the perception to become more meaningful, felt. The auditory attention of children becomes more active every year, the skills of arbitrary listening are acquired.

The basis of musical and rhythmic education is the development in children of the perception of artistic images of music, the ability to reflect them in motion, the ability to move in accordance with their character. Moving in accordance with the temporal course of a piece of music, the child simultaneously perceives pitch movement, i.e., a melody-theme in connection with all expressive means. It reflects the character and tempo of a piece of music in movement, responds accordingly to dynamic changes, starts, changes and ends movement in accordance with the beginning and end of music, that is, the form of a piece of music, and reproduces a simple rhythmic pattern in movement. Consequently, the child, perceiving the expressiveness of musical rhythm, perceives the entire musical work as a whole and cannot but react to the perception of all interconnected means of musical expression available for reproduction in motion. In his auditory-motor reaction, he conveys the emotional nature of a musical work with all inseparable components (development and change of musical images, structure of the work, changes in tempo, dynamics, registers, etc.).

The subject of rhythmic development are both aesthetic and physical roots, which are in close connection and interaction. Music is emotion, rhythm, and rhythm is that component of music that is most widely reflected in movement. Therefore, musical-rhythmic activity is liked by schoolchildren, attracts them with its emotionality and the ability to actively express their feelings.

The performing activity of children of primary school age is specifically different from the performing activity of children of other ages. It's within their power age characteristics reproduction of elementary melodies (voice, on musical instruments), musical and rhythmic movements, which is distinguished by expressiveness and at the same time preserves the naturalness of a child's spontaneity. Often children's performance does not carry value for further musical development.

Children's performance requires certain training actions: repetitions, exercises.

One of the main tasks is to ensure that children do not lose interest in musical activities. All exercises that are given to master certain skills and abilities must be in a playful form, be figurative. Sense of proportion, variability, alternation of reproducing and creative actions of children, listening to music are important here. On this occasion, D.B. Kabalevsky wrote that in music lessons at school there should not be any rules and exercises that require multiple repetitions.

The development of musical rhythmic feeling is also facilitated by children's musical creativity. These are compositions and improvisations: song, dance, instrumental. Children are able to compose rhythmic motifs, improvise on a given topic on children's musical instruments. Researchers O.P. Radynova and A.I. Katinenya is given the task of coming up with a march and playing on wooden sticks, playing “rain” on a metallophone, etc. It should be emphasized once again: all tasks and exercises should be carried out in a playful way so that children feel free and are satisfied with their results. This type of musical activity satisfies one of the important needs of the child - self-expression. And here it is necessary (according to A.V. Zaporozhets, N.A. Vetlugina, I.L. Dzerzhinskaya and others) the reasonable influence of the teacher in the form of positive assessments, such interference only encourages creativity.

Speaking about the development of a sense of rhythm in children aged 6-7 years (Grade 1) in musical figurative activity, relying on other types of musical activity, it is more expedient, as recommended by O.A. Apraksin to limit the meter-rhythmic concepts at first to only two durations (quarters and eighths), the ratio of strong and weak beats, the concept of measure and bar line.

It is important to form the concept of rhythm as one of the means of expressiveness of music (smooth, calm rhythm in melodious, affectionate music and sharp, dotted - in marching works, etc.), the definition of the expressive essence of rhythm on the material of familiar works. Diagrams, tables, metronome can be used to help the teacher. This shows that thanks to the rhythm, we can distinguish the waltz from the polka, polonaise, etc.

The development of a sense of rhythm - the ability to actively (motorly) experience music, feel the emotional expressiveness of musical rhythm and accurately reproduce it - involves the use of musical and motor games and aids related to the reproduction of the rhythmic pattern of a melody in claps, on musical instruments and the transfer of a change in the nature of music with the help of movements.

To develop ideas about the positivity of sounds, it is advisable to use manuals and board games, modeling these relations of sounds, with simultaneous playback of the melody. (Short and long sticks or small and large objects can correspond to short and long sounds).

Since the sense of rhythm, along with the modal sense, forms the basis of emotional responsiveness to music, all types of games (board, mobile, round dance) are used to convey the rhythm and character of music in movements. Mobile games can be both plot and non-plot.

Great opportunities in the development of a sense of rhythm have creative games in which the child recreates a certain image of the character or freely combines the movements known to him, the advanced character and rhythm of the music, which change throughout the piece of music.

Naturally, due to these features, the possibilities for the musical development of children aged 6-7 in the lessons are not the same.

The musical development of children depends on the forms of organization of musical activity, each of which has its own capabilities. Various forms organizations enrich and diversify the content of activities and methods of managing it.

According to B.V. Asafiev, famous composer, a scientist, the planning of a music lesson should include listening to a piece of music, “practical assimilation of music”, and the development of creative skills. The provisions he made have retained their significance in the future.

In the post-revolutionary years, new activities were introduced into the content of the lesson: listening to music, moving to music (rhythm), children's creativity which before the revolution took place in the work of only individual teachers (B. L. Yavorsky, V. N. Shatskaya, N. Ya. Bryusova). Attention was paid to the psychology and physiology of childhood.

In studying the problems of musical education important role played work famous psychologist B. M. Teplov "Psychology of musical abilities" (1947). It gave a classification of musical abilities, revealed the basic conditions for their development.

He believed that the study of rhythm to a greater extent contribute to the improvement of the musical-rhythmic feeling.

B.M. Teplov also showed that the manifestation of musical abilities is individual for each child.

BM Teplov's book still has not lost its significance for understanding the musical development of schoolchildren, showing that learning is fruitful when it somewhat exceeds the capabilities of students. This position, put forward by the famous Russian psychologist L. S. Vygotsky, later becomes the main one for school didactics.

M.A. Rumer for the first time makes an attempt to consider musical education with the help of music-making (highlighting the elements of musical speech), psychology (musical-auditory representations and elementary musical abilities) and general didactics.

OA Apraksina in her works puts forward the problem of the correlation of upbringing and education in the process of musical education, the specific refraction of general educational tasks in the music lesson.

The development of scientific thought, the complex of sciences that make up the methodological basis of school music pedagogy, stimulated experimental work to create school programs in music at the end of the 20th century under the guidance of the composer D. B. Kabalevsky and Professor Yu. B. Aliyev. Since it is these programs that are actively used in school practice today.

The greatest success of D. B. Kabalevsky and his co-authors was the elementary school program. Persuasive wording of topics, their sequence and content. It is here that the essential properties of music are revealed. positive side The thematic content of the program is a consistent disclosure of the specifics of music, interesting didactic findings to explain the essential properties of musical art (an explanation in an accessible form for students of the genre basis of music, genre content through the concept of "three pillars"). The basis methodological system Kabalevsky laid down the thesis that music should not be a studied, but an observable phenomenon, justified by the fact that the main goals of music lessons at school are the general spiritual development of students based on their communication with music and the acquisition of musical culture. In the future, this direction of pedagogical research was called "pedagogy of art" or "art pedagogy".

In the music program developed by the team of authors under the guidance of Professor Yu. B. Aliyev, much attention is paid to choral singing schoolchildren, a variety of types of musical activity of students, interdisciplinary connections. To the greatest extent, Yu. B. Aliyev developed a problematic methodology aimed at developing the ability of schoolchildren to distinguish between styles.

Applied to musical education E. B. Abdullin concretized the elements of content as the experience of an emotional and moral attitude to reality, embodied in music, musical knowledge, musical skills and abilities, manifested in the creative activity of schoolchildren. In the material of the IV quarter of the 1st grade (the topic “What is musical speech”), E. B. Abdullin gives students the opportunity to perceive and comprehend the expressive meanings of the elements of musical speech based on the accumulated auditory experience and knowledge. E. B. Abdullin considers it necessary to develop a rhythmic sense and other musical abilities and knowledge, based on the works of V. A. Sukhomlinsky: “A child must know that melody, intonation, mode, rhythm, harmony reflect the reality around us - nature, the world of human feelings, history, the future of mankind. .

Thus, the sense of rhythm is the perception and reproduction of temporal relationships in music. Big role accents play in the division of musical movement and perception of the expressiveness of rhythm.

The sense of rhythm develops, first of all, in musical-rhythmic movements, corresponding in nature to the emotional coloring of the music. The consistency of the rhythm of movements and music is also one of the conditions necessary for the development of this ability. Rhythm classes allow you to feel and express in movements the change of moods in piece of music, improve the sense of rhythm through the coordination of movement and music. It is important to subordinate this lesson to the development of children's abilities, musical perception, and not just to teaching motor skills.