Development of the lesson "Listening to music is one of the main directions for developing the ability to perceive music in children." Methodology for the development of musical perception in older preschoolers in the process of listening to musical works

Oner college - music - aesthetics

beyindegi daryndy balalarga mamandandyrylgan

mektep boarding school "kesheni" memlekettik mekemesi

State institution "Complex College of Arts - a specialized boarding school of musical and aesthetic profile for gifted children"

Teacher: Onishchenko Galina Viktorovna

Plan

1. Listening to music is one of the main directions of development

children's ability to perceive music.

1. Music listening technique.

a. Tasks for the perception of music by children of 2 years of age.

b. Musical exercises for the development of hearing in children of 3 years of age

in. age-related features of music perception by children of 4 years of age.

1. Perception of classical music by preschool children.

a. Methods and techniques for conducting classes on listening to music.

Applications:

Examples of listening to music classes with older preschool children:

P. I. Tchaikovsky: "The Sleeping Beauty"

"Swan Lake"

"Nutcracker"

Listening to music is one of the main areas of development of the abilityto children's perception of music.

Susceptibility to musical art not only enriches the inner world of the child, but also directs him to good deeds, awakens in him a sense of beauty. A person is not born with this feeling, it needs to be developed, educated. Music is fertile ground for this.

The musical development of preschool children is carried out in the following areas:

2. Playing the simplest children's musical instruments / noise and percussion /

3. Musically - rhythmic movements to music / music. games, round dances, dances/

4.Listening to music

The musical development of children should be carried out in a complex way, therefore its division into types is relative, since any of the first three types of activity implies the fourth - listening to music. Work on a piece of music, whether it be singing, musical and rhythmic movements, playing musical instruments, begins, first of all, with listening to the piece of music in its entirety, from beginning to end.

Unfortunately, music directors pay little attention to listening to music as a separate activity. However, although listening to music is associated with other areas of musical development, it needs to be given a special place. None of the types of musical activity develops the imaginative thinking of the child like listening to music. According to the kindergarten program in a music lesson, listening to music is at the beginning of the lesson and is given from 5 to 10 minutes. It should be noted that this does not always give a positive result. An experienced music worker will notice that sometimes it is advisable to listen to music in the middle, and even at the end of a musical lesson. A creatively working music director will think over the lesson and find the right place for it. It may be better to listen to music after working on musical-rhythmic movements, when the children are tired and it will be easier for them to sit still and listen carefully to what the teacher will tell them, or maybe before working on children's musical instruments.

Scientist and educator Alcira Legazpi de Arismendi, in her book “Preschool Musical Education”, notes: “All types of musical activities recommended for kindergartens and groups of preschoolers develop the musicality of children. Modern pedagogy notes the importance of various forms and types of musical activity for the overall development and upbringing of the child and for the formation of various mental functions in him. At the same time, there is a certain connection between them, for example, between listening and playing musical instruments, between listening and performing rhythmic movements"

Methodology for conducting classes on listening to music.

1. Music listening tasks for children 2-3 years old.

Two - three years old children's age is characterized by limited opportunities in movement and speech, so listening to music is one of the main types of musical activity with kids. This age is characterized by instability of attention, and one of the main tasks is the use of techniques that activate attention:

1. All kinds of movements that emphasize the nature of the piece of music / “The birds have flown” - they wave their hands, “The palms dance” - they rotate with their hands. /

1. Visual material / toys, finger theatre, rattles, masks, etc. /
2. Illustrations / paintings, posters /
3. Use of auxiliary items / flags, balls, etc. /

At this age, the speech of children is not developed, and this complicates the work on singing. Therefore, in order for children to perceive music more easily, it is necessary to include works accompanied by a literary text in the program for listening to music. The text is performed by the music director or educator. When repeated, encourage children to sing along to phrases, or the end of the words of the song.

At this age, it is necessary to develop a skill in children - to distinguish the nature of music. It is recommended to listen to music of a contrasting nature at each lesson. It is offered to children to “Sleep” / putting their hands together under their cheeks and closing their eyes / to calm music and jump, or dance to cheerful music of a dance character.

One of the tasks of listening to music with children of this age is also to teach children to distinguish between high and low sounds and registers. The “cat” meows like this ... / tunes are performed in 1 octave /, and the kitten like this ... / sounds of 2 octaves /. The "big cockerel" crows like this... ./1 octave/, and the little one like this... .12 octave/.

An important point is dynamic changes in music, and the teacher must repeatedly draw the attention of children to these changes. For example: "The bear is sleeping" ... how do we walk? / the music plays quietly, the children walk on tiptoe, sneaking so as not to wake the Bear. But then Mishka caved in, how do we run away? / the music plays loudly, quickly the children run away with noise and hide /. The ability to distinguish the dynamics of a piece of music is also one of the tasks of listening to music.

It is necessary to develop in children a sense of desire to listen to music. One of the important requirements in working with children of 2-3 years of age is the ability of a music director to encourage kids to emotionally respond to music. It depends on how their figurative perception of music will develop. Here, the music director must show the qualities of an "actor", be able to draw the attention of children to himself and to what he is doing.

The basis of listening to music can only be a very expressive performance of musical works. This is one of the tasks of work in this direction. Mistakes, stops in execution are not allowed. the integrity of the musical work, the musical image is violated, and consequently the perception of music by children. The speech of the teacher should be calm, soft, expressive, conveying the nature of the music.

A very important point in working on listening to music is repeated repetition. Each piece of music must be given several lessons, gradually complicating the task. For example:

At the 1st lesson, a preparatory conversation is held that there will be a holiday soon, all the children will come dressed, beautiful. Everyone will be very happy about the holiday, cheerful music will sound like this ... Popatenko's "Festive" is being performed.

In lesson 2, repeat the conversation, listen to the work and invite the children to walk to the music.

In lesson 3, supplement walking with movements with flags / wave, lift up, etc.

Thus, there is a consolidation of the musical perception of this work. In the future, the music director, playing music, asks the children to guess what we will do to this music? In the same way, it is necessary to build work with musical works of a different nature / lullabies, dance / Thus, the ability to distinguish music of a calm nature, dance, solemn and game is fixed in children.

The method of listening to music involves the development of musical perception from simple to more complex. If at the age of 2-3 years, musical works of a simple form /period, couplet form/ are taken to listen to music, then at the age of 3-4 years, they are more complex /two periods, the couplet form is more complex, simple one- and two-part forms/. For example: “Whose house?”, “Quiet and loud bells” by Tilicheeva.

Exercises for the development of hearing and perception of music in children three, four -

summer age.

The methodology of these exercises is aimed at teaching children to listen to music, listen carefully and with desire, be able to distinguish between its various shades and character. They help prepare children for listening to more serious classical and folk music, develop ear, musical memory and rhythmic abilities, the ability to coordinate certain movements with characteristic music. The basis of these exercises is the motor abilities of children. The kid not only hears the change in music, but also remembers what movement is associated with it. The task of the music director is to skillfully select movements that are diverse in nature in the process of work.

If you look at the musical repertoire for children from one to three years old, it is easy to see that it is based on samples of dance music: dance, game, round dance or close to them. This is explained by the fact that work on listening to music with children of this age is carried out on a game basis and is associated with movement to music. Active listening to music develops children's ability to understand music. For example: children are told “Let's play! ”And the children of the“ mouse ”run around the room to cheerful, fast music. But now the music changes, it becomes slower, smoother, more graceful - this is a “cat” that went for a walk. Children should feel the change and hide from the "cat" in their "houses", behind the chairs, so that the "cat" does not catch them. Even those who gape, or did not catch the changes in the music, performing the movement together with other children, gradually begin to distinguish between the music of “mice” and “cat”.

Practice shows that it is necessary to take into account what exactly is at the center of each lesson, which will require more focused attention of children: a story illustrated by music, or a dance, song, or the most difficult element of a future game, etc. The music director must think through the lesson in advance, be creative, and not be captive to the once drawn up plan of the music lesson. Many music directors begin with a musical warm-up, march and run exercises, and then sing along. But let's think! After running, the children's breathing quickens, becomes intermittent and uneven, but for singing, calm, even breathing is necessary.

Literary text exercises are more understandable to children, so they love them very much. For example: the Russian folk song “Zainka, dance.” Each verse of the song is accompanied by some kind of movement, the text of the song helps, suggests which movements should be performed. These exercises are more emotional, therefore, they contribute to the best assimilation of the material.

It is advisable to use exercises accompanied by instrumental music, such as "Stukalka", "Hopachok". After listening to the melody, the leader shows what movements need to be performed, relying on the strong beat. Listening to the melody, the children themselves will soon be able to perform movements, guessing what needs to be done according to the musical accompaniment.

How to work on exercises?

First of all, the music director should get acquainted with the musical material in this section. When choosing exercises, the teacher must take into account not only the age, but also the characteristics of the development of children / the level of training, health, physical development /. Well, if the exercise will solve several problems / the formation of the ability to listen to music, distinguish its character, timbre, register, dynamics, perform movements /.

It is necessary to select in advance the movements characteristic of this musical material, because even small inaccuracies in the teacher's display can confuse children. It is necessary to achieve not only the beautiful execution of movements, but also the precise execution of the rhythmic pattern assigned to each musical fragment.

In addition, the leader must master the technique of a delayed display, because. it is this technique that is a step from performing the exercise together with the teacher, to independent performance by children.

Delayed display.

Children perform a new exercise together with the teacher for several lessons. After mastering the material, at the discretion of the music director, a delayed display is introduced: the music begins to sound, and the teacher is late with showing the movement. Some of the children themselves begin to perform movements, and some are waiting for clues. The teacher starts the show, and the children pick up. From lesson to lesson, the children are more and more confident doing the exercise themselves, and the teacher is more and more late. Then the display is completely excluded.

Conducting listening to music with children of four, five years.

Children of four, five years of age are more active, their actions are more conscious, independent. Therefore, the program requirements for the perception of music become more complicated.

Children have their own ideas, which should be directed by the music director, but not imposed. In the fifth year of life, children easily guess familiar songs, plays, distinguish the most vivid expressive means, emotionally respond to music, listen with interest to its sound, and distinguish character.

Attentive and active listening to music teaches children not only to distinguish, but also to determine the timbre, pitch, strength and duration of sound. Determining the properties of sound plays an important role in the development of children's perception of music. Already established ideas become the basis for the formation of new musical perceptions in the future.

Since children best learn new information in the game, it is proposed to beat listening to the piece. Invite the children to shake, lull the doll to the “Lullaby” by A. Grechaninov. Soon, having heard a familiar melody, the children themselves will remember what kind of music it is, and will independently perform the movement. In order for the children to feel and hear the ringing of bells in W. Mozart's play “The Bells Are Ringing”, conduct a conversation, let them listen to how a real bell sounds, and in the next lesson, distribute the bells to the children and ask them to help the bells sound louder. They will be happy to perform the piece together with the music director.

The technique of telling fairy tales to music is effective, but it requires a lot of creative feedback from the music director. It is necessary to select a fairy tale in advance / a small one, for example, “Rocked Hen”, “Turnip” / and select musical accompaniment for it. These tales fit well with Russian folk music. It’s good if the music director can come up with music for the fairy tale, but you need to take into account that the structure of the fairy tale and music must match: the plot, development, climax and denouement. Accents, pauses, character changes and dynamics should also match.

Perception of music by children of five, six years.

When working with children of this age to listen to music, the tasks facing the music director become more complicated. Children of senior preschool age can distinguish not only the character, tempo, number of parts, but also the general emotional coloring of music, its expressive intonations / interrogative, affirmative, asking, formidable, etc. /. Children can identify expressive accents, melody and accompaniment in music. But this is not enough. At this age, it is important not only to state expressive means, but to identify their role in creating a musical image. It is necessary to explain to children that music has its own language, its own musical speech, which tells, but not with words, but with sounds. To understand what the music is about, you need to carefully listen to its sound.

An introductory conversation plays an important role in children's perception of a piece of music. A lot depends on the attitude given by the teacher before listening to music. The music director must have the skill of engaging children in conversation about the material being listened to. The conversation may consist of telling the title of the work, showing a portrait of the composer, a picture or a toy that personifies the character of the play, and when listening again, revealing pictorial moments and plot. Sometimes it happens that the music director does not tell the children the name of the play, but offers to answer questions like: “What do you imagine listening to this piece of music?”, “What would you call this piece?”. A prominent musician - psychologist B.M. Teplov pointed out the inadmissibility of such a methodological technique. He believes that instead of listening to music as an expression of a certain content / expression of feelings, emotions, moods /, children begin to look for pictorial outlines in it, to be deciphered in the manner of a rebus. It is not surprising if the result is a view of music as a language that is dark, ambiguous, indefinite, if not completely meaningless. Teplov emphasized that guessing the program is an anti-musical activity, because it is based on the desire to approach music not as an art of expression, but as an art of representation or designation. The name of the play must be given to the children before listening to it. The conversation may include: information about music as an art form, about the composer, about the genre.

Listening to music with older preschool children is proposed to be carried out based on three interrelated topics: “What feelings does music convey?”, “What does music tell about?”, “How does music tell?”. This sequence can be used as an outline for several lessons. At the same time, the conversation should each time begin with determining the nature of the work as a whole or its parts.

Musical art is meaningful. What do we mean by the content of music? In his book "Psychology of musical abilities" B.M. Teplov writes that in the most direct and direct sense, the content of music is feelings, emotions, mood. The basis of the content of music is the expression of the content of these feelings and moods. Therefore, it is important to start the conversation with the definition of the emotional-figurative content of music. The pronounced descriptiveness of the children's repertoire is explained by the desire to make music more accessible to children, more understandable, to bring it closer to life phenomena. However, if children get used to always observing only pictorial moments in music, then later, when listening to classical music, in which programmatic and pictorial quality is far from always presented, children do not always understand it. It is not necessary to refuse programming and visualization. It is important to let children understand that by depicting any specific phenomena of life, music nevertheless expresses

mood, emotions, feelings. The noise of the wind can be conveyed in music caressing, gentle, or it can be formidable, scary, sweeping away everything in its path. So the pictorial picture conveys mental confusion, anxiety. Music should not be forced on a child.

At the initial acquaintance with a piece of music, it is proposed to share the mood and feeling expressed in music. The teacher tells the name of the play, names the author, invites the children to determine its character, performs the work in its entirety, supplements the children's answers and performs it again. In the second lesson, she performs only a fragment of this work. Children remember its name and author. Then a re-installation is given to determine the nature of the work as a whole, as well as its parts. Pictorial moments are associated with the character, mood of the music. The work is performed in its entirety and in fragments. The children's answers are clarified and supplemented. In the third lesson, it is proposed to distinguish between the means of musical expression, the genre of the work, to determine their role in creating a musical image. The characteristic of the emotional-figurative content is specified and supplemented.

This scheme can be designed for more classes, depending on the complexity of the material being studied, the preparation and capabilities of the children, and be supplemented with various other methods.

Techniques for the development of musical perception:

1. Reception of contrasting comparison of musical works. It is proposed to listen to two works with the same name /two marches, two different “Rain”/, contrasting works within the same mood /two different cheerful, two different sad/.
2. Comparison of works of the same genre /dances, songs, marches/.
3. Works with the same names are compared / D. Shostakovich "The Barrel Organ" and P. Tchaikovsky "The Organ Grinder Sings". In both works there are pictorial moments that convey the monotonous, monotonous sounds of a hurdy-gurdy, but what a different mood, different feelings are expressed in them. A similar technique can be used in comparison of R. Schumann's plays "The Bold Rider" and "The Rider", P. Tchaikovsky's "Neapolitan Song" and "Italian Song". Before singing V. Vitlin's song "Father Frost", children listen to R. Schumann's play "Father Frost". The song is calm, kind, joyful, and the play is disturbing, severe, terrible, “Santa Claus catches up snowstorms, blizzards.” The same technique is used in comparing the songs of T. Popatenko “Leaf Fall” and N. Krasev “Leaves are falling”, E. Tilicheeva "Mother's holiday" and "Mom on the day of March 8". >
4. The difference in shades of the same mood helps to distinguish the nature of the music more deeply, more subtly, to listen carefully to its sound. For example: G. Sviridov "Guy with an accordion" - cheerful, dancing, lively, and P. Tchaikovsky "A man plays the harmonica" - marching, important, heavy.
5. Reception "color - mood". A certain color / small cards made of colored paper / is associated with the corresponding mood of the music: pastel colors of blue, pink - with a gentle, calm character of the music; dark, thick tones of blue, brown - with gloomy, disturbing; intense, bright tones of red, orange - with a decisive, solemn. Children are given cards of various colors, explain that they must raise the card corresponding to the music they hear. Unfamiliar words should be explained first. /Dictionary of emotional-figurative content of music is attached/.
6. The use of technical means for listening enriches the process of perception of music. Their use is especially effective in comparison with "live performance". So, the performance of a piece of music by a teacher on the piano

can be compared to the sound of an orchestral or choral recording. It is important to draw the attention of children to the difference in sound.

1. Combining different types of art: music, poetry, painting greatly enriches perception. It is necessary to select the characteristic material correctly and use it only after listening to music, so as not to pre-direct the emotional-figurative perception of children, but to encourage them to express their own feelings.
2. Acceptance of orchestration. The main role in this technique is played by the timbre coloring of different sounding instruments. For example: D. Kabalevsky "Clowns", Levy "Little Waltz". The method of orchestration allows diversifying the structure of the lesson, as well as most clearly highlighting the expressive means of music.
3. One of the effective methods for developing musical perception is the transfer of the nature of music in motion (staging, dance movements). Listening to changes in music, the child chooses movements that convey different images, expressive intonations, colors of music.
4. Reception of listening to symphonic music, accompanied by the story of the music director. For example: ballets - fairy tales by P. Tchaikovsky "The Nutcracker", "Sleeping Beauty", "Swan Lake". Sample lessons are attached.
5. Reception of music accompaniment of free drawing.

Listening to music should take place only in silence so that children can listen to the sound of music without distracting each other. The duration of the lessons varies from 10 to 20 minutes, depending on the preparation and attention of the children.

Children's perception of classical music.

In order to develop in children the ability to listen and understand music, it is necessary to use not only the works recommended by the program. Classical music greatly enriches the experience of perceiving music in children. The child is very receptive to everything genuine, beautiful, he is open, he has not developed the stereotypes of thinking and tastes inherent in society, he has not yet learned to adapt, therefore it is so important to develop aesthetic taste in childhood using examples of masterpieces of world musical art.

For listening to music at preschool age, the following works by classical composers are recommended:

Albums of piano pieces for children by Tchaikovsky, Grieg, Schumann, Maykapar, Prokofiev, Sviridov.

Music by Vivaldi, Handel, Bach, Mozart, Beethoven, Mendelssohn. Taking into account the age characteristics of childhood, small works or fragments with pronounced melody, characteristic rhythmic pattern are taken. With repeated listening, you can slightly lengthen the fragment, depending on the reaction of the children. It is important to observe a sense of proportion, not to bore the children, to go from their desire and manifestation of interest.

When working on this material, you can use 8 and 9 methods for developing musical perception on the examples of Tchaikovsky's ballet music, Chopin's waltzes, etc.

Children easily perceive rhythmic marching music, for example, "March" from the suite of J. Bizet "Children's Games", fragments of marching finals from concerts and symphonies of L. Beethoven. Children easily convey the nature of the march by rhythmic walking - marching.

Teaching children about classical music is not easy. The music director must have a good knowledge of musical literature, think over how best to present the material to children, what techniques to use. The most important thing in this work is to teach children to feel the moods, experiences expressed in music, their change, interconnection.

A rich fairy-tale world is opened to children by symphonic music. But before you start listening to this music, you need to give the children basic concepts: what is an orchestra, what instruments are included in it, how they sound. This should be done gradually in each lesson, introducing children to only one instrument. Thus, children will be prepared to listen to symphonic music. This can be done on the example of Prokofiev's symphonic fairy tale "Peter and the Wolf". It very vividly and figuratively shows the sound of all the instruments, each character of the fairy tale corresponds to one of the instruments that characteristically performs the hero's melody. Musical characteristics very accurately draw the heroes of the fairy tale. After that, you can move on to listening to symphonic music, using the methods of developing musical perception.

Dictionary of emotional and figurative content of music

Cheerful

Joyful

perky

playful

funny

bouncy

Sunny

sparkling

Plyasovaya

sad

sad

Complaint

dreary

mournful

Offended

crying

begging

tender

Affectionate

thoughtful

dreamy

transparent

flustered

Uptight

Swift

Blizzard

Anxious

hasty

Calm

friendly

leisurely

soothing

Lullaby

melodious

lingering

Solemn

Festive

Marching

distinct

victorious

Courageous

Fearless

Courageous

resolute

Bogatyrskaya

Soldier's

confident

mysterious

fabulous

magical

shy

Cautious

wary

Mysterious

Creeping

jerky

terrible

angry

Dissatisfied

serious

Restrained

hardy

The complex process of development of children's musical perception involves the use of artistic performance of works, the teacher's words and visual aids.

Performance of music and the teacher's word - teaching methods

Artistic performance of music is expressiveness, simplicity, accuracy. Here, various kinds of simplifications and distortions are unacceptable, which deprive the children of the necessary emotional experiences. Since preschoolers listen to vocal and instrumental works, it is important that the sonority and tempo are moderate (without spectacular variety), and the sound is natural and soft.
The word of the teacher about music should be short, bright, figurative and aimed at characterizing the content of the work, the means of musical expression. Live perception of sound should not be replaced by excessive talk about music, its features. Conversations that encourage children to formal responses can be considered devoid of pedagogical meaning: music is loud, quiet, fast, etc. But before listening to songs and plays, a leader's guiding word is necessary.
The word of the teacher should explain, reveal feelings, moods expressed by musical means. Even the voice of the teacher during explanations is emotionally colored depending on the nature of the work. Warmly, affectionately tells about a lullaby, joyfully, with enthusiasm about a festive, solemn march, playfully, cheerfully about dancing.
The forms of verbal leadership are different: short stories, conversations, explanations, and questions. Their use depends on the specific educational and educational tasks, the type of musical work (vocal, instrumental), the moment of acquaintance (initial or repeated listening), genre, nature of the work, age of young listeners.
Directing the attention of children to the perception of vocal music, the teacher builds a conversation based on the unity of the musical and poetic text. Introducing instrumental music, he makes small explanations of a more general nature. If a play has a program, it is usually expressed in the title, for example, P. Tchaikovsky's March of the Wooden Soldiers. Performing it for the first time, the teacher explains: "The music is clear, light, because the soldiers are small, wooden - this is a toy march." When listening again, he draws attention to the fact that when the soldiers come closer, the music sounds louder, and when they leave, the sound fades. Later, children independently distinguish between dynamic shades, comprehending their expressive meaning.
Explanations of the teacher in the classroom with the kids are limiting, short, focused on the main image. “The music is cheerful, dancing, and our dolls are dancing merrily,” the teacher says, performing a folk dance melody, or reminds: “Yesterday we walked with you and heard: the birds were singing. How do they sing, how do they chirp? The children answer. The teacher finishes: “And I will sing you a song about a bird.” After that, he first performs the piano accompaniment of M. Rauchverger's song "Bird", so that the children feel the pictorial nature of the music, and then the whole song. Note that the musical introductions and conclusions of songs from the repertoire of younger groups of kindergarten are often pictorial in nature. Brief explanations of the teacher, immediately accompanied by musical examples, help children feel the artistic image. Here are some examples.

Cockerel
Russian folk joke

Arranged by M. Krasev
[Leisurely]

birdie
Music by M. Rauchverger

[Lively]

Drummer

Music by M. Krasev

[Moderately]

The teacher's explanations, based on visual musical examples, draw the attention of the kids to the peculiarities of the piano presentation, which conveys the images of a cockerel, a bird, a little drummer.
In work with children of middle and especially older preschool age, the conversations are more detailed, attention is drawn to the development of the artistic image, the expressive purpose of musical means is explained.
Consider, for example, P. Tchaikovsky's play "Kamarinskaya". It is built on a folk melody presented in the form of variations. Each variation changes the melody in its own way, and children have the opportunity to perceive these expressive features. The play very figuratively and vividly conveys the nature of the provocative Russian dance, which gradually develops and, as if breaking off, ends. Increases and decreases the sound volume. Therefore, in a conversation, the teacher can note the musical shades and explain their expressive meaning. Children are told that the dance begins with light, graceful movements, which then become wider and faster. Suddenly the sound subsides, as if the dancer slows down and ends the dance. In a conversation, one can note the image

Kamarinskaya

Music by P. Tchaikovsky

[Soon]

the solid character of music that conveys the sound of folk instruments. In the first variation, they play the pipe, in the second, the balalaika joins it, then the harmonica.
The conversation is accompanied by playing individual variations, musical phrases. Music is perceived in a developing form, children begin to feel and understand "musical speech".
In verbal instructions, the teacher repeatedly (with the help of a figurative, short story or an expressively read poem) notes the connection of music with those phenomena of life that are reflected in it.

Visibility is a teaching method

The use of visual techniques to enhance musical perception depends on the source of additional information about music. If this is a literary work (poetry, a quote from the poetic text of a song, from a story, a riddle, a proverb) or a fragment of a performed work (recall the musical introduction to the songs “Cockerel”, “Bird”), then we can talk about the use of visual-auditory techniques. These techniques are addressed to the child's hearing. Visualization is understood as a method of learning music. Living contemplation is not necessarily visual. For the development of musical perception, musical and literary quotations are very valuable, aimed at emphasizing any characteristic features of music. It is also useful to use the recording.
It should be noted that direct communication with the performer facilitates the child's perception. But listening to recorded music has its advantages. If the children listen to a piece performed by the teacher several times, then, having heard it then in an orchestral presentation, they will receive additional visual representations that will significantly expand and enrich their horizons.
The perception of musical works will also be helped by pictorial illustrations, art toys, manuals, that is, visual-visual techniques.
In the methodology of working with kids, art toys are widely used, they “move”, “talk” with children, participate in various events. It turns out, as it were, small theatrical performances, during which children listen to music. Book illustrations, prints are more often used in work with older preschoolers. Poetic pictures of nature, human labor, social events, conveyed by means of fine and musical art, complement children's performances.
Various methodological aids can also be used that activate musical perception, for example, small cards depicting dancing and marching children (listening to a dance or march, the guys show a card with a symbol), a running boy and a slowly walking person (perceiving a two- or three-part form piece, characterized by a change of tempo, the children mark the beginning of each part with the corresponding image on the flannelgraph).
You can also focus on the muscular-motor sensations of children in order to form visual representations of some musical phenomena. When listening to music of a cheerful or calm nature in younger groups, you can use movements with sticks, flags, cubes. In older groups, offering children to distinguish parts, phrases of the work, high, medium, low registers, rhythmic features, you can also use various motor elements: tapping, clapping, raising, lowering hands, etc.
Listening to the same plays, songs must be repeated many times, providing for such a technique that each time the child rejoices, learns something new about them.
The first acquaintance with music provides for a holistic perception, comprehension of its general mood. Therefore, it is important to expressively perform the work as a whole, to give a brief description of the content, to note its most striking features.
When listening again, the attention of children (especially older ones) is drawn not only to the artistic embodiment of the general idea, but also to individual means of musical expression. At each lesson, new tasks are set that activate children's perception.

Here is the sequence of the initial and repeated listening to P. Tchaikovsky's play "The Song of the Lark". The music director talks to the children.
Lesson 1.“You must have heard how beautifully and loudly the birds sing? There is such a bird - a lark. She sings especially well. I will play the play "Song of the Lark". (Performs piece.) How does the lark sing? What did the music say about him? Finds out with the children that the lark sings beautifully, loudly, gently and flies easily, quickly. Children get a holistic view of music, its most characteristic features.
Lesson 2.“I will read you a poem, listen to it:

The dark forest glowed in the sun,
In the valley of steam, thin whitens.
And sang an early song
In azure the lark is sonorous.
V. Zhukovsky
We know the play "Song of the Lark". Here's how it sounds. (Plays.) This music was written by Pyotr Ilyich Tchaikovsky, the great Russian composer. (Shows a portrait.) He was very fond of children and created a lot of beautiful music for them. Remember, I played Kamarinskaya for you. (Performs a play.) This is cheerful dance music, and the "Song of the Lark" is calm, gentle. Thus, by comparing with the play of a contrasting nature, the general mood of this work is emphasized for the second time.
Lesson 3.“Listen to the “Song of the Lark” and tell me if he sings and flies the same way all the time ... (Plays.) Now closer, then farther sounds his voice. I'm still glad to play, and where the lark sings softly, hide your hands behind your back. Children complete the task, thereby determining the dynamic shades and the three-part form of the work.
Lesson 4.“I will play the song of the lark you know. Listen to what the music says at the end: did the lark fly away or did it stay? The code is being executed, i.e. with. final part. Children feel and determine the final character of this fragment.
Jam 5."What did I play for you? (Performs the coda of the play "Song of the Larks.") The children will learn - the lark has flown away, the music no longer sounds. "Yes, that's the musical conclusion."

song of the lark
(excerpt)
Music by P. Tchaikovsky

Thus, the perception of music requires various methodological techniques that activate the experiences of children and develop an understanding of the features of the musical language.
An indicator of an elementary developed musical perception can be the child's attitude to this or that music. The teacher marks the children's favorite works, the desire to listen to them. To listen to kids, you can choose from two works the one that you like best. In older groups, you should find out what the guys prefer and why they like this or that song or play.

Forms of work

Work on the development of music listening skills is carried out in the classroom, entertainment, in the course of the child's independent activity. Listening to music in the classroom should be given great importance. The results of this work are not as obvious as in singing and rhythm. However, introducing children to musical works, developing their ear, broadening their horizons, educating an active listener, is necessary consistently and systematically in each lesson.
Concerts are a very important form of emotional enrichment for young listeners. They fill with impressions, create an upbeat, festive mood. The content of concerts is usually associated with the program of classes. They, as it were, summing up the material covered, introduce them into the circle of new interests. For example, concerts dedicated to a composer (P. Tchaikovsky, D. Kabalevsky) allow the teacher to widely and multifacetedly acquaint preschoolers with the work of a great master. The concert "Musical Instruments" gives children the opportunity to learn about various musical instruments, how to play them, and sound features. Such concerts include various "Musical riddles", a recording is used.
The next form of work is the use of music in the child's independent activity. In order for the process of musical perception to have a developing, continuous impact on children, the educator needs to have a kind of music library in the group room. It should contain a set of records with recordings of program works corresponding to the age of the children, cards with drawings illustrating the content of instrumental plays or songs, etc. Knowing the material available in the library, children examine it, choose their favorite works, listen to them. Sometimes the initiative belongs to the teacher, who offers to listen to music, solve a musical riddle, talking with the guys about a particular work.
The effectiveness of the results of the organization of listening to music is achieved by the expressive performance of musical works, the interaction of verbal and visual methods, the consistent setting of various tasks that activate children's perception.

Methods of musical education in kindergarten: “Doshk. education "/ N.A. Vetlugin, I.L. Dzerzhinskaya, L.N. Komissarov and others; Ed. ON THE. Vetlugina. - 3rd ed., Rev. and additional - M.: Enlightenment, 1989. - 270 p.: notes.

Listening to music as a means of comprehensive development of a preschooler.

Introduction

3. Methods and techniques of work on listening to music.5 Types and forms of work on listening to music. The role of the educator in organizing and conducting work on listening to music

Practical part

Conclusion

Bibliography

Introduction

Among many types of art, music rightfully occupies a special place in aesthetic and artistic education and in the entire system of formation of a comprehensively and harmoniously developed person. The palette of music is rich, its language is flexible and diverse. Everything that is not subject to the word, does not find its expression in it, is reflected in music. She sings especially vividly of the great harmony of nature.

Preschoolers show a special love for the art of music and can be involved in activities that are feasible for their age, the goals of which are to develop interest in music, the correct perception of its content, structure, form, as well as the awakening of the need for constant communication with it and the desire to actively express themselves in this sphere.

Under the guidance of an adult, the child learns to empathize, fantasizing and imagining in the process of perceiving music, he strives to express himself in singing, dancing, playing musical instruments. Everyone is looking for a unique character of movement, depicting a cheerful bird and a buzzing bumblebee, a clumsy bear and a cunning fox.

Experience has shown how useful it is for the overall development of children to involve them in independent activities, to cultivate a creative attitude towards music. By teaching children, we develop their interest, imagination, i.e. immediacy of actions, enthusiasm, the desire to convey the image in one's own way, to improvise in singing, playing, dancing.

In the process of listening to music, children get acquainted with instrumental, vocal works of a different nature, they experience certain feelings. Listening to music develops interest, love for it, broadens the musical horizons, increases the musical susceptibility of children, brings up the rudiments of musical taste.

Music lessons contribute to the overall development of the child's personality. The relationship between all aspects of education develops in the process of various types and forms of musical activity. Emotional responsiveness and a developed musical ear will allow children to respond to good feelings and deeds in accessible forms, help to activate mental activity and, constantly improving movements, will develop preschoolers physically.

1. Age features of the musical development of children of early and preschool age

A child's abilities develop in the process of active musical activity. To properly organize and direct it from early childhood, taking into account changes in age levels, is the task of the teacher. Otherwise, sometimes there is a lag in development. For example, if children are not taught to distinguish musical sounds by pitch, then by the age of 7 a child will not be able to cope with a task that is easily performed by a younger one.

The most significant features of musical development are:

auditory sensation, musical ear;

quality and level of emotional responsiveness to music of various nature;

The simplest skills, actions in singing and musical-rhythmic performance.

fifth year of life. It is characterized by the active curiosity of children. This is a period of questions: “why?”, “why?”. The child begins to comprehend the connection between phenomena and events, can make the simplest generalizations. He is observant, able to determine: the music is cheerful, joyful, calm; sounds high, low, loud, quiet; in the part of the piece (one is fast and the other is slow), on which instrument the melody is played (piano, violin, button accordion). The child understands the requirements: how to sing a song, how to move in a calm round dance and how to move in a dance.

Mastering the basic types of movement - walking, running, jumping - enables children to use them more widely in games and dances. Some seek, without imitating each other, to play a role in their own way (for example, in a story game), others show interest in only one type of activity, depending on the individual inclinations and abilities of each.

sixth and seventh years of life. This is the period of preparation of children for school. Based on the knowledge and impressions gained, children can not only answer the question, but also independently characterize the piece of music, understand its expressive means, and feel the various shades of mood conveyed by music.

The child is capable of a holistic perception of the musical image, which is very important for the education of an aesthetic attitude to the environment. But does this mean that analytic activity can be detrimental to holistic perception? Studies conducted in the field of sensory abilities and musical perception of children have shown an interesting pattern. The holistic perception of music is not reduced if the task is to listen, highlight, distinguish the most striking means of the "musical language". The child can allocate these funds and, given them, act in a certain way when listening to music, performing songs and dancing movements. This contributes to musical and auditory development, assimilation of the necessary skills to prepare for singing from notes.

In children of 6-7 years old, the vocal apparatus is even more strengthened, the range expands and levels out, greater melodiousness and sonority appear. Songs, dances, games are performed independently, expressively and to some extent creatively. Individual musical interests and abilities are more pronounced.

2. The role of listening to music in the comprehensive development of preschool children

Music, like other art forms, reflects reality. In opera and ballet, it characterizes the actions, relationships, experiences of the characters. In pictorial music, which can be called "musical painting", magnificent pictures of nature are "drawn". In everyday life, music accompanies a person, reveals his attitude to the world around him, enriches him spiritually, helps to work, relax. According to the composer B. V. Asafiev, music is “a figurative and sound reflection of reality”. Lively speech is heard in it - an excited or calm story, intermittent or smooth narration, questions, answers, exclamations.

The strength of the influence of music depends on the personality of a person, on his preparedness for perception. It is necessary to develop the perception of music as an active activity, like singing, playing instruments. But this is a difficult work, as it is connected with subtle, deep inner experiences. They are difficult to identify and difficult to observe, and especially difficult to form. It is necessary, first of all, to understand what the music “tells” about. Naturally, the listener, as it were, mentally follows the development of musical images.

Music is called the "language of feelings", it provides incomparable opportunities for the development of the emotional sphere of children.

Musical art also includes an intellectual beginning. B.V. Asafiev wrote: “While listening, we not only feel or experience certain states, but also make a selection, evaluate, therefore, think.” With the perception and analysis of music, the child develops thinking and imagination, arbitrariness and cognitive activity.

In the process of talking about music and analyzing it, preschoolers develop speech, which becomes much more meaningful, figurative and expressive.

Listening to music is a universal activity. In music programs for preschoolers, it is singled out as an independent section, without listening it is impossible to imagine other types of musical activity: before learning a song, dance, orchestral piece or starting work on a game - dramatization, they must be listened to. Listening to music, children get acquainted with musical works of various genres, bright means of expression.

For the development of the ability to listen and perceive music, an important role is played by the musical-sensory perception of the child. It involves the development in children of the perception of sounds of various colors and heights in their simplest combinations. In preschool childhood, sensory abilities develop in the process of conducting various musical and didactic games. They find a place for sound combinations that express the emotional and semantic content of the work. Pitch, rhythmic, timbre and dynamic properties of sound are the means of musical activity.

Systematic listening to well-selected, accessible music for children will be of great benefit. Children will love music, they will develop an ear, there will be a need to listen to music, to enjoy it. And in the future we will not have to observe such phenomena that often occur in opera houses - conversations during the performance of music. This is due to the lack of musical culture. It should be taught to children from an early age.

3. Methods and techniques for listening to music

Performance of music and the teacher's word - teaching methods

Artistic performance of music is expressiveness, simplicity, accuracy. Here, various kinds of simplifications and distortions are unacceptable, which deprive the children of the necessary emotional experiences. Since preschoolers listen to vocal and instrumental works, it is important that the sonority and tempo are moderate (without spectacular variety), and the sound is natural and soft.

The word of the teacher about music should be short, bright, figurative and aimed at characterizing the content of the work, the means of musical expression. Live perception of sound should not be replaced by excessive talk about music, its features. Conversations that encourage children to formal responses can be considered devoid of pedagogical meaning: music is loud, quiet, fast, etc. But before listening to songs and plays, a leader's guiding word is necessary.

The word of the teacher should explain, reveal feelings, moods expressed by musical means.

The forms of verbal leadership are different: short stories, conversations, explanations, and questions. Their use depends on the specific educational and educational tasks, the type of musical work (vocal, instrumental), the moment of acquaintance (initial or repeated listening), genre, nature of the work, age of young listeners.

Directing the attention of children to the perception of vocal music, the teacher builds a conversation based on the unity of the musical and poetic text. Introducing instrumental music, he makes small explanations of a more general nature. If a play has a program, it is usually expressed in the title, for example, P. Tchaikovsky's March of the Wooden Soldiers. Performing it for the first time, the teacher explains: "The music is clear, light, because the soldiers are small, wooden - this is a toy march." When listening again, he draws attention to the fact that when the soldiers come closer, the music sounds louder, and when they leave, the sound fades. Later, children independently distinguish between dynamic shades, comprehending their expressive meaning.

Explanations of the teacher in the classroom with the kids are limiting, short, focused on the main image.

In work with children of middle and especially older preschool age, the conversations are more detailed, attention is drawn to the development of the artistic image, the expressive purpose of musical means is explained.

The conversation is accompanied by playing individual variations, musical phrases. Music is perceived in a developing form, children begin to feel and understand "musical speech".

In verbal instructions, the teacher repeatedly (with the help of a figurative, short story or an expressively read poem) notes the connection of music with those phenomena of life that are reflected in it.

Visibility is a teaching method

The use of visual techniques to enhance musical perception depends on the source of additional information about music. If this is a literary work (poetry, a quote from the poetic text of a song, from a story, a riddle, a proverb) or a fragment of a performed work (recall the musical introduction to the songs “Cockerel”, “Bird”), then we can talk about the use of visual-auditory techniques. These techniques are addressed to the child's hearing. Visualization is understood as a method of learning music. Living contemplation is not necessarily visual. For the development of musical perception, musical and literary quotations are very valuable, aimed at emphasizing any characteristic features of music.

The perception of musical works will also be helped by pictorial illustrations, art toys, manuals, that is, visual-visual techniques.

In the methodology of working with kids, art toys are widely used, they “move”, “talk” with children, participate in various events. It turns out, as it were, small theatrical performances, during which children listen to music. Book illustrations, prints are more often used in work with older preschoolers. Poetic pictures of nature, human labor, social events, conveyed by means of fine and musical art, complement children's performances.

Various methodological aids can also be used that activate musical perception, for example, small cards depicting dancing and marching children (listening to a dance or march, the guys show a card with a symbol), a running boy and a slowly walking person (perceiving a two- or three-part form piece, characterized by a change of tempo, the children mark the beginning of each part with the corresponding image on the flannelgraph).

You can also focus on the muscular-motor sensations of children in order to form visual representations of some musical phenomena. When listening to music of a cheerful or calm nature in younger groups, you can use movements with sticks, flags, cubes. In older groups, offering children to distinguish parts, phrases of the work, high, medium, low registers, rhythmic features, you can also use various motor elements: tapping, clapping, raising, lowering hands, etc.

Thus, the perception of music requires various methodological techniques that activate the experiences of children and develop an understanding of the features of the musical language.

4. Types and forms of work on listening to music. The role of the educator in organizing and conducting work on listening to music

Forms of work

Work on the development of music listening skills is carried out in the classroom, entertainment, in the course of the child's independent activity. Listening to music in the classroom should be given great importance. The results of this work are not as obvious as in singing and rhythm. However, introducing children to musical works, developing their ear, broadening their horizons, educating an active listener, is necessary consistently and systematically at each lesson.

Concerts are a very important form of emotional enrichment for young listeners. They fill with impressions, create an upbeat, festive mood. The content of concerts is usually associated with the program of classes. They, as it were, summing up the material covered, introduce them into the circle of new interests. For example, concerts dedicated to a composer (P. Tchaikovsky, D. Kabalevsky) allow the teacher to widely and multifacetedly acquaint preschoolers with the work of a great master. The concert "Musical Instruments" gives children the opportunity to learn about various musical instruments, how to play them, and sound features. Such concerts include various "Musical riddles", a recording is used.

The next form of work is the use of music in the independent activity of the child. In order for the process of musical perception to have a developing, continuous impact on children, the educator needs to have a kind of music library in the group room. It should contain a set of records with recordings of program works corresponding to the age of the children, cards with drawings illustrating the content of instrumental plays or songs, etc. Knowing the material available in the library, children examine it, choose their favorite works, listen to them. Sometimes the initiative belongs to the teacher, who offers to listen to music, solve a musical riddle, talking with the guys about a particular work.

The effectiveness of the results of the organization of listening to music is achieved by the expressive performance of musical works, the interaction of verbal and visual methods, the consistent setting of various tasks that activate children's perception.

The role of the educator in organizing and conducting work on listening to music.

The implementation of the process of musical education requires a lot of activity from the teacher. Raising a child by means of music, teachers - "preschoolers" should understand well its significance in the harmonious development of the individual. To do this, one must clearly and distinctly imagine by what means, methodological techniques one can lay the foundations for the correct perception of music.

The educator needs to:

Know all program requirements for musical education.

Know the musical repertoire of your group, be an active assistant to the music director in music classes.

To assist the musical director in mastering the program musical repertoire by children.

Conduct regular music lessons with the children of the group in the absence of a musical director.

To deepen the musical experience of children by listening to musical works in a group with the help of technical means.

To develop the musical skills of children (melodic ear, sense of rhythm) in the process of conducting didactic games.

Take into account the individual abilities and abilities of each child.

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.

Create problem situations that activate children for independent creative manifestations.

Include musical accompaniment in the organization of classes and regime moments.

Be artistic, inventive, emotionally mobile.

Listening to music:

1 Personal example brings up in children the ability to listen carefully to a piece of music, expresses interest;

Follows the discipline;

Assists the music director in the use of visual aids and other methodological material.

music preschool age children 5-6 years old.

2. Practical part

Musical didactic game

Listen carefully (for older children).

game material. Recording instrumental music familiar to children; pictures with musical instruments (piano, accordion, violin, etc.).

Game progress. Children are divided into 2 or 3 teams and they are seated at tables on which there are pictures with musical instruments. They include a familiar piece of music, after listening, the children must determine which instruments perform this piece and find them on the table, the team that finds all the instruments correctly and faster than other teams wins.

The game is held at a music lesson in order to consolidate the material covered by listening to music, as well as during leisure hours.

Conclusion

A child's abilities develop in the process of active musical activity. To properly organize and direct it from early childhood, taking into account changes in age levels, is the task of the teacher. Otherwise, sometimes there is a lag in development.

Understanding the age characteristics of musical development allows the teacher to clarify the sequence of tasks and content of musical education of children at each age stage.

Music, like other art forms, reflects reality. In opera and ballet, it characterizes the actions, relationships, experiences of the characters. In pictorial music, which can be called "musical painting", magnificent pictures of nature are "drawn". In everyday life, music accompanies a person, reveals his attitude to the world around him, enriches him spiritually, helps to work, relax.

Listening to music is a unique kind of musical activity. Its uniqueness lies in the developmental opportunities that listening provides both in terms of musical and general mental development of the child. Listening to music, the child learns the world in all its diversity, since music reflects it in sounds in a versatile and complete way.

Music is, first of all, the language of feelings. Introducing the child to works of bright emotional coloring, he is encouraged to empathize, to think about what he heard.

The method of teaching the skills of listening to music is a complex process of developing children's musical perception involves the use of artistic performance of works, the teacher's words and visual aids.

Work on the development of music listening skills is carried out in the classroom, entertainment, in the course of the child's independent activity.

Raising a child by means of music, teachers - "preschoolers" should understand well its significance in the harmonious development of the individual.

Experience has shown how useful it is for the overall development of children to involve them in independent activities, to cultivate a creative attitude towards music.

Music lessons contribute to the overall development of the child's personality. Emotional responsiveness and a developed musical ear will allow children to respond to good feelings and deeds in accessible forms, help to activate mental activity and, constantly improving movements, will develop preschoolers physically.

Bibliography

1. Vetlugina N.A. Methods of musical education in kindergarten - M .: Education, 1989. - 270 p.

Kononova N.G. Musical - didactic games for preschoolers - M .: Education, 1982. - 96s

Metlov N.A. Music for children - M.: 1985

Metlov N.A Listening to music №1. The program of the concert on the theme of spring.

The program of education and training in kindergarten / Ed. M.A. Vasilyeva - M .: Mosaic - synthesis, 2009.-208s.

Radynova O.P. We listen to music - M .: Education, 1990.

Conference: Modern lesson. Methodology and practice

Organization: Branch of MBU DO DSHI No. 1

Location: YNAO, Nadymsky district, Yagelny settlement

Relevance.The content and objectives of music education at the Children's School of Art are determined by the general goals of the comprehensive development of the individual. These include:

introducing children to activities in the field of art;

education of love and interest in art;

formation of musical taste;

development of perception of music;

development of musical abilities;

development of artistic and creative abilities of children.

In order to fulfill the above tasks, it is necessary to teach students not only to play music, but also to listen, i.e. perceive it emotionally and consciously. The most favorable subject for developing the skills of emotional responsiveness and musical perception is the lesson of listening to music in grades 1-3 of the Children's School of Art.

Despite the large number of theoretical developments on this topic, the practice of music education at Children's School of Art shows that when organizing the educational process in music listening lessons, not enough attention is paid to the development of students' musical perception. Typical disadvantages include the excessive use of explanatory and illustrative methods in the classroom, the monotony of forms and activities. Ways of developing active and conscious musical perception of students most often remain out of sight of the teacher.

This made it possible to turn to the search and selection of effective methods of music education for the development of musical perception in the lessons of listening to music in children's art schools.

The problem of musical perception in psychology and pedagogy

Musical perception (perception of music) is a particular kind of aesthetic perception.The problem of musical perception is one of the most difficult in musical pedagogy due to the subjectivity of this process and, despite the mass of research in this area, has not yet been solved in many respects.

In scientific sources, the concepts of "perception of music" and "musical perception" are often identified.

O.A. Apraksina identifies the concepts of "musical perception" and "perception of music" in terms of content. In her opinion, “perception of music” (musical perception) is a particular kind of aesthetic perception, and this is especially important to keep in mind, since, perceiving music, a person must feel its beauty, distinguish between the sublime, the comic…, i.e. Not every listening to music is already a musical-aesthetic perception. We can say that musical perception is the ability to hear and emotionally experience the musical content (musical images) as an artistic unity, as an artistic and figurative reflection of reality, and not as a mechanical sum of different sounds” 1, p.173].

V.N. Shatskaya points out that a full-fledged musical perception is associated with emotional responsiveness to music and the simultaneous ability to judge it.

N.L. Grodzenskaya singles out the assessment as the most important component of musical perception: “To understand ... music means to perceive it consciously, to be aware of its content and, to some extent, in its form” .

The same idea is expressed by V. K. Beloborodova, saying that “musical perception is a process of reflection, formation of a musical image in the human mind”, which is based on “an evaluative attitude to the perceived work”.

In these definitions of musical perception, much attention is paid to the unity of the emotional and rational moments. The essence of the perception of a new musical work lies in the listener's desire to feel and understand the position of the composer, to reveal the idea of ​​the work, to give a social and artistic assessment of this work in the context of the modern development of musical culture. In this regard, the largest music theorists L.A. Mazel, A.N. Sohor, Yu.N. Tyulin and teacher-musicians O.A. Apraksina, N.L. Grodzenskaya, M.A. Rumer, V.N. Shatskaya and others see experience-understanding-evaluation among the most important components of musical perception.

In various scientific and methodological sources, psychologists-musicians offer to distinguish between the concepts of "perception of music" and "musical perception".

According to B.M. Teplov, the first term “perception of music” is more consistent with the psychological tradition, where perception is understood not as all forms of reflection of reality by a person, but only one of them - a reflection of sensory (in the case of music - sound, audible) signs of a particular object. Here, the subject of the action is a person with normal hearing, and the acting object is acoustic signals. The comprehension of a musical work in this case represents an ordinary type of perception - the perception of a non-professional, which can be interpreted as« sentient » (B.M. Teplov's term): emotional reaction to music through moods, extra-musical associations that are distantly related to musical structures. Such perception is characterized by fragmentation, fragmentation, the inability of the perceiver to systematically present the entire set of sound relations and form a holistic artistic image of a musical work.

Musical perception is a process aimed at comprehending music as an aesthetic artistic phenomenon. It is not limited to feeling. B. M. Teplov noted that the finest separation of individual aspects of the sound fabric cannot yet be called musical perception, if it is only the distinction of sound complexes, and not their expressive meaning. On the other hand, an emotional experience will only be musical when it is an experience of the expressive meaning of musical images, and not just emotions during music.

Musician-psychologist E. V. Nazaykinsky also proposes to distinguish between two terms: musical perception and perception of music. He calls musical perception a deeply felt and meaningful perception aimed at comprehending the meanings that music has as an art, as a special form of reflection of reality, as an aesthetic and artistic phenomenon. In the opposite case, the perception of music by E.V. Nazaikinsky considers it as acoustic perception, where music is perceived as sound signals, as something audible and acting on the hearing organs.

Musical perception is associated with the characteristics of life, everyday life, upbringing, development of musical abilities, musical ear, readiness and desire to understand the art of music.

E. V. Nazaikinsky writes that “any piece of music is perceived only on the basis of a stock of specific life, including musical impressions, skills, habits.”

According to V.D. Ostromensky, musical perception is a complex artistic and cognitive act that arises in the process of comprehending musical art and implies that a person has special abilities, musical knowledge, skills and abilities for subjective and creative perception of phenomena embodied in musical images.

It has now been established that the psychological processes involved in musical perception include the entire spectrum of consciousness - from the simplest sensations to the most complex operations of musical thinking. This includes memory, attention, emotional experiences, creative imagination, apperception, and synesthesia (mixing of feelings).

It is necessary to note one more component, without which the perception of music, if possible, is extremely impoverished. This is the ability of the listener to co-create, in which such a mental process as imagination plays a huge role. Perceiving a piece of music, the listener, thanks to his imagination, creates, on the basis of his ideas about music, an image of a particular piece of music being listened to at the moment. Upon perception, the listener's imagination creates its own, subjectively colored, new "variant" of the image created by the composer.

Thus, the process of perception of music can be called co-creation of the listener and the composer; accompaniment and internal recreation by the listener of the content of the work; empathy enriched by one's own life experiences and feelings.Musical perception is based on the unity of the emotional and the rational.

The intensity of musical perception depends on the following factors:

1) initial installation on perception;

2) the attractiveness of the work for the perceiver;

3) the strength of the emotional reaction to the work;

4) the degree of novelty of the aesthetic information contained in the work;

5) musical-auditory experience and the availability of musical-theoretical knowledge, that is, the laws of the musical language.

Anyone with simple physical hearing can tell where music is playing and where it's just noise. But to hear in the sounds of music the reflection of spiritual movements and the expression of serious experiences is not given to everyone. To do this, one should develop musical perception, which means to teach the listener to experience the feelings and moods expressed by the composer with the help of sounds specially organized, and also to learn to understand by what means the musician, composer, performer achieves the aesthetic effect of the impact. The main line of development of perception consists in an ever greater deepening into the essence of what is perceived: from a simpler process of a quick grasp of a piece of music to a reaction of detailed vision, which is facilitated by repeated listening.

Musical perception, as aesthetic in its orientation, is a purposeful holistic perception of works of musical art as an artistic value.

2. Features of the perception of music by students of primary school age

Researchers of the process of perception distinguish several types of perception of art and music, including where each type of perception corresponds to a certain age period.

Naive-realistic perception is the initial or first step towards aesthetic perception. It is typical for preschool children and some younger schoolchildren. With a naive-realistic perception, the child's self-consciousness is based mainly on the egocentric thinking of children. A child emotionally experiencing a work of art perceives the situation described in it as actually happening in reality, and takes his characters for real-life or existing people. The main task for this stage in the development of children's aesthetic perception of works of art is to assist in identifying certain heroes of a particular piece of music that can be represented by musical intonations.

The intuitive-aesthetic type of perception of art is the next stage in the development of perception in children. It is more suitable for students of primary school age. At primary school age, children form and develop reflective abilities, thanks to which the child has the opportunity to focus on himself. Artistic reflection (E.A. Averkina) includes an assessment of the personal "I" and an assessment of the "I" that survived the work of art. "Aesthetic reflection" is revealed as a child's self-assessment of himself in the process of perceiving aesthetic objects. The ability to compare their own emotional experiences and the experiences of another person also leads children to an intuitively realistic type of perception of art. Students already independently, without preliminary reflection, come to the conclusion that a work of art has been created by someone. But often this authorship is attributed to an ordinary person (mother, brother, teacher, etc.), and not to a creative artist who has a special gift. Communication consists of subjects: a child - a hero - an author. With the intuitive-aesthetic perception of art, this communication is no longer taken by students for an exact copy of life. A real-life author who created a work of art allows younger students to draw a line between vitality and fiction.

A higher level of development of the perception of art, when the image of the author (E.I. Vysochina, I.S. Levshina, B.S. Meilakh, E.M. Toshilova, etc.) is “included” in its process, is actually aesthetic perception. Revealing the image of the author, the child comes to understand him as an unreal person, whose ideas, feelings and experiences are embodied by him in content and artistic form [ibid.].

At present, aesthetic perception is interpreted as a “humanized” perception of art and is the subject of consideration by scientists in the field of art education for children (L.V. Goryunova, G.N. Kudina, A.A. Melik-Pashaev, B.N. Nemensky, Z N. Novlyanskaya, L.V. Shkolyar and others). The works of these authors emphasize the need for “humanizing” the perception of not only life, but also artistic phenomena - works of art, the main subject of which is a person in his relationship to the world.

As for musical art, it also acts as "humanized". In music, as in art in general, the main subject is a person. V. V. Medushevsky believes that “there is no music where there is no person behind the sounds. To understand it with your heart means to be a musician at heart, and not just a composer, performer, listener.

Music is an art that is inseparable from the sensual abilities of a person, thanks to which, through a complex of emotional and semantic intonations, the listener can recreate both the image of a certain person and the complex of his feelings and experiences.

Musicologist A.N. Sokhor in his work considers the aesthetic foundations of musical art and describes possible ways of “humanization” in such a specific art form as music.

A person in a work of musical art, according to A.N. Sohora, can be represented by:

1. An emotional portrait. A.N. Sohor notes that music is the most lyrical of all art forms. In it, composers embody various emotions and feelings of other people and themselves.

2. Emotional-objective (event) situations. What prompted the composer to compose this particular piece of music, what event, what subject is behind this composer's emotion.

3. Portrait musical (sound) image. A.N. Sohor writes: “You can directly depict a person in music by reproducing the intonation of his speech, as well as the rhythm of his movements (gestures, gaits). Through them, the features of his character and temperament, revealed in speech and actions, and volitional qualities are revealed.» [ 24].

Let us consider another point of view on the possibilities of musical art in revealing certain qualities of a person, presented in the works of V.V. Medushevsky. The author notes that music can be a kind of key to a person, since there are different types of subjective information in it: about oneself (manner of speaking, timbre of voice, features of movement, temperament), about nationality, about gender (female, soft intonations, heroic , male), about age, about the mental and physical states of a person, about a situational reaction (replicas of characters different in emotional state). All these types are certain types of intonations and are inseparable in works.

These directions of the possibility of embodiment in music of a person are quite accessible for perception by students of primary school age. It should be borne in mind that in the process of perceiving a musical work, a child, in particular a primary school student, adequately perceives those artistic emotions and situations that cause certain associations that he can compare with his own life emotions and situations.

Primary schoolchildren are dominated by the sensorimotor nature of musical perception and a tendency to direct empathy, emotional identification with the characters of musical works..

The formation of conscious musical perception in younger students is a complex, uneven process that depends on age characteristics. Children of seven years old are characterized by the desire for self-expression in various forms: sound, visual, verbal, motor. Their visual-event impressions prevail over auditory ones. These students actively convey the character of music in movements, draw musical images. Children of eight or nine years old are capable of a more differentiated auditory perception of music. With purposeful work, they can realize the expressive role of the pitch line of melody, rhythm, meter, mode, etc. By the age of nine, children acquire the experience of oral statements about music, but there is an insufficiently formed vocabulary. Hence, purposeful work is needed to expand the vocabulary of students.

FROM the ability to musical perception in younger students consistently develops, passing through certain stages that do not have very clear boundaries, but still stand out.

The first stage (7-8 years old, grades 1-2 of the Children's School of Art). Students' musical perception is brightly emotional, generalized, concrete-figurative. They perceive well the general character of a piece of music, the main means of musical expression (tempo, dynamics, register, mode, timbre, etc.). They prefer cheerful music that tells about the familiar world of childhood, with vivid images, simple and clear language and form. Able to carefully listen to music for 1.5-2.5 minutes.The students' musical thinking and hearing are not yet sufficiently developed, and their life experience is also small.

Second stage (9-10 years old, grades 3-4 of the Children's School of Art). The emotionality of perception is complemented by the desire to understand the meaning of music: what it is about, to get explanations (title, plot, history of creation). Children of this age like music on heroic themes, folk music. Able to carefully listen to a piece of music for 3-5 minutes.

Primary school students are restless, monotonous, monotonous activity is contraindicated for them due to their age characteristics. Given this, teachers in music listening lessons should constantly alternate between different types of activities (singing, listening to music, talking about a piece of music, playing musical instruments, plastic intonation) in order to resist the dulling of their attention and perception, to prevent quickly onset fatigue., and at the same time the state that is defined in children by the word "boring."

3. Methods for the development of musical perception in the lessons of listening to music in children's art school

The effectiveness of the development of musical perception in the lessons of listening to music is largely determined by the use of appropriate teaching methods by the teacher.

In the lessons of listening to music, both general didactic methods and specific methods are used.

There are many classifications of general didactic methods. According to the source of obtaining knowledge, such methods are distinguished as: verbal, visual and practical.

The verbal method allows you to convey a large amount of information in a short time, pose problems, show ways to solve them and draw conclusions. The word activates the memory, imagination and feelings of students. V. V. Medushevsky noted that the word in a musical conversation should be a revelation that evokes a vivid emotional attitude of the students. The word, if found successfully, in many ways activates the perception of the child, contributes to an adequate understanding of music. It is useful to precede listening to music with an introductory word. teacher - concise, capacious in content, able to interest students. Before introducing children to a new piece of music, you can briefly talk about the composer, about interesting episodes in his biography, about the circumstances associated with the creation of this piece. Verbal methods help to reveal the content of musical works, prepare conscious listening to music, guide the aesthetic experiences of students, tune in to the perception of musical works.

Visual method (visual-auditory and visual-pictorial)involves the creation of visual representations in students in the form of an image of the studied object or action with the aim ofactivation of perceptionand development of their knowledge, skills and abilities.In modern didactics, visual aids can be divided into types:pictorial - drawings, portraits, photographs, reproductions; conditionally graphic - tables, diagrams, flowcharts; multimedia applications - audio recordings and video materials. Due to the sound nature of musical art, the visual-auditory method is widely used in music lessons, which involves the demonstration of musical works, both in live sound and using audio and video recordings, which allows children to get acquainted with the timbres of various instruments, performers. So, for example, the use of fragments from films helps to feel a specific era in the creation of a particular work, and the demonstration of video films of operas and ballets contributes to the perception of these genres as synthetic art forms. However, in order to activate the musical perception of students, direct, “live” performance of music by the teacher is still preferable. The primary condition for this is a good, professional performance of music.

In the lessons of listening to music with younger students, the visual-graphic method is also widely used. To prepare younger schoolchildren for the perception of music and enrich musical impressions with visual associations, reproductions of paintings are used, mainly those canvases that coincide in their emotional tone and artistic imagery with the content of music. Such illustrations, if they are well chosen, of course, have an impact on the process of musical perception, enlivening and strengthening it. Similar functions are performed by children's drawings about music and to music.Visual clarity is of secondary importance here. It is used to enhance students' musical experiences, to conjure visual images that are close to the music, or to illustrate unfamiliar phenomena or images.This method of work contains the so-called interdisciplinary connections, which are very relevant and effective in the “pedagogy of art”.

Practical methods include methods aimed at obtaining information by students in the process of actions that form practical skills. Perception develops most effectively if not only auditory, but also visual and motor-motor activity is included. In this connection, among the actions with which a student can reflect the perceived music, vocalization, as well as plastic intonation, playing children's musical instruments, occupies a special place. All this helps to emotionally feel the music, more accurately understand the composer's intention, and remember it more firmly and quickly. Of particular value for the development of perception is its performance by the students themselves: choral singing, singing of individual themes-melodies, vocalization, music-making, conducting, plastic intonation, etc.

AND I. Lerener and M.N. Skatkin classify didactic methods depending on the nature of the cognitive activity of students in mastering the material being studied. They distinguish explanatory-illustrative, reproductive methods of teaching, as well as the method of problem presentation, reproductive-search, partial-search and research (productive methods).

The essence of explanatory-illustrative, reproductive methods is that the teacher communicates the finished information by various means, and the students perceive, understand and fix it in memory. The teacher communicates information with the help of a spoken word(story, explanation, lecture), printed word (textbook, additional aids), visual aids (pictures, diagrams, video materials, presentations), practical demonstration of methods of activity (demonstration of experience, methods of solving a problem).

reproductive method- this is a method where the application of what has been learned is carried out on the basis of a pattern or rule. Here, the activity of trainees is algorithmic in nature, i.e. is carried out according to instructions, prescriptions, rules in situations similar to those shown in the sample. This may be a characteristic by students of the main means of musical expression in different musical works.

The most effective methods of teaching in music listening lessons are: reproductive-search method, method of problem presentation, partial-search (heuristic) method.

With the reproductive-search method, an explanatory and illustrative presentation of theoretical knowledge is combined with the search activity of students. The creation of problematic situations in the lessons of listening to music is provided by asking questions before listening to musical works, as well as by gradually complicating questions and tasks, the solution of which requires the establishment of new connections between phenomena. The structure of musical questions of a problematic nature puts forward as a prerequisite the reliance of students on emotional-figurative and musical-auditory representations that reproduce the content of a musical work.

The method of problem presentation is transitional from performing activity to creative activity. At the initial stage of education, younger students are not able to solve problematic problems on their own, so the teacher himself poses the problem and solves it himself, showing the way of solution, the train of thought. At the same time, students mentally follow the logic of presentation, mastering the stages of solving integral problems. At the same time, they not only perceive, comprehend and memorize ready-made knowledge and conclusions, but also follow the logic of evidence, the movement of the teacher's thought. In younger students, in the process of implementing the problematic method of teaching, there is a need for independent completion of tasks, and a psychological readiness for work is formed.

A higher level of independence carries in itself a partially search method, in which knowledge is not offered to students in finished form, they must be obtained independently. The teacher states the task, divides it into auxiliary ones, outlines steps to help, and the steps themselves are performed by the students. It is important, says D.B. Kabalevsky, so that the solution of new issues takes the form of short interviews between the teacher and students. In each such interview, three inextricably linked points should be clearly felt: the first is a task clearly formulated by the teacher; the second is the gradual solution of this problem together with the students; the third is the final conclusion, which the students themselves must make and pronounce. The partial-search method of teaching assumes, on the basis of the joint efforts of the teacher and the student, the resolution of the "conflict situation" in the educational task. The keywords in the implementation of this method are the words: correlate ...; list…; tell…; formulate…; install…; describe how you feel about…; demonstrate...; and others. The partial-search method is aimed at including students in an independent solution of individual parts of the problem.

Along with the general didactic teaching methods developed by the leading teachers of our country, musician-researchers have proposed specific methods, determined by the aesthetic essence and intonational nature of music, and contributing to the activation of students' musical perception.

The methods of music education that contribute to the development of musical perception include the following group of methods.

Method of thinking about music(D.B. Kabalevsky) relies on the general pedagogical method - partially search. Its use does not imply the assimilation of ready-made knowledge by students, but the choice of a problem by the teacher and its presentation to students for independent solution. Comparison is a common way of thinking about music. When analyzing a piece of music, students should listen to it, follow the change in sound and the development of the musical image, be aware of their impressions and draw conclusions.

Empathy Method(N.A. Vetlugina, A.A. Melik-Pashaev) lies in the fact that art is revealed to students as a treasury of spiritual contents that students perceive, refracting them through their own life emotional experience [ibid.]. A necessary condition for the emergence of empathy is the formation of a certain context of consciousness, when the listener is given the impression of contemplating works of art. At the same time, while awakening inner empathy in students, the methodology should be aimed at tactfully supporting aesthetic impressions.

(N.L. Grodzenskaya) is the most common for the development of musical perception, not only because its use allows you to create situations that are of interest to students. The fulfillment of creative tasks involves the analysis of music, forcing students to listen, follow the change in sound and the development of the musical image, be aware of their impressions and draw conclusions. This method allows you to activate the auditory attention of students, helps to find differences first in contrasting works, and then features in similar moods.

The method of contrasting comparisons of works(O.P. Radynova), promotes awareness of the perception of music, the creation of problem situations, deepens emotional responsiveness to music, develops the imagination and creativity of children. The implementation of the method is based on the comparison of contrasting works of the same genre, pieces with the same titles, contrasting works within the same mood (definition of shades), intonation of music and speech, various interpretations of one work (orchestral sound and solo, options for performing interpretation on the piano).

The method of assimilation to the nature of the sound of music, developed by O.P. Radynova, involves the activation of various creative actions aimed at understanding the musical image. As likenings to the sound of music, there can be motor-motor, tactile, verbal, vocal, mimic, timbre-instrumental, intonation, color, polyartistic and other types of likenings.

The method of comparing one's own life emotions with artistic ones(S.D. Davydova, N.G. Tagiltseva) involves a comparison of emotional experiences associated with the perception of music with emotions and feelings caused by other types of art, as well as with life's emotions. Life experience allows the child to build the content or determine the artistic image of musical works.

Method of emotional dramaturgy(E.B. Abdullin, D.B. Kabalevsky, L.M. Predtechenskaya) is aimed at activating the emotional attitude of students to music and contributes to the creation of enthusiasm and keen interest in the art of music. The method of emotional dramaturgy allows schoolchildren to more successfully accumulate, “absorb” the spiritual experience contained in music, and increase their cognitive activity. This method is important because it helps to reveal the presence of a pronounced conflict in music, which is revealed in the development of musical images. Listening to music, students should feel the contrast of images, the struggle of contradictory principles and the ongoing changes in the development of the musical image of the work.

(T.E. Vendrova) - based on the development of methods of "active listening". A feature of this method is the holistic perception of music through the motor skills of your body. The method of plastic intonation allows students through active action with the image to go from themselves to the image, and from the image to themselves, as if asking him questions. Plastic intonation, conducting, gestures, facial expressions of children, expressing the feeling of sounding music, help to better understand the author's intention. The ability to perceive and comprehend what is perceived turns out to be at a higher level for students if they find motor analogues for their sensation of music (for example, “free conducting” in the process of perceiving music).

Method of rhythmoplastyinvolves the awareness of the genre features of music by students. With the help of movements, it is easier for younger students to feel the music “with the whole body”, to realize its character. Students are offered the task of marching or plastically expressing the essence of the waltz with the movement of the body and hands. Those works that were accompanied by movements are remembered by students better.

Auditory Development Methods(A.F. Lobova) include melodic fantasy, graphic fantasy, plastic fantasy, rhythmic fantasy and timbre fantasy. These methods are based on melodic, graphic, plastic, rhythmic and timbre improvisation, which stimulate students' listening activity.

Method for creating an artistic context(L.V. Goryunova) is aimed at developing the musical culture of the student through “exits” beyond the boundaries of music. In the process of developing musical perception, this method allows enriching the child's ideas about the connections of perceived music with other types of art or phenomena of reality. The means of implementing this method are literary, poetic works, paintings, as well as life situations. The musical culture of the student is enriched at the same time by identifying the general and the special in the specifics of both the musical and the pictorial or literary image. As a result, the child understands and feels the emotional structure of musical works more deeply.

Method for modeling the artistic and creative process(L.V. Shkolyar) lies in the fact that students are put in the position of a creator-composer, a creator-poet, a creator-artist, as if re-creating works of art for themselves and for other people. This method requires the manifestation of the student's independence in the process of creativity, when the student, based on musical experience and imagination, fantasy, intuition, compares, compares, transforms, chooses, creates, which contributes to the development of the ability for individual hearing and creative interpretation.This method directs the perception of students in the direction of identifying the origins of the origin of the phenomenon under study. Modeling the artistic and creative process is the passage of the path of the birth of music, recreating it, as it were, "from the inside" and living this very moment. This is especially important when mastering and perceiving large classical compositions by children.

The "running ahead" method(perspective method) and the method of "return" to the past(retrospective method) is aimed at developing a holistic view of music in children. In the program of D.B. Kabalevsky, this method is implemented at several levels: establishing a connection between the stages of training, themes of quarters and musical works in the process of studying the topics of the program. The advantages of this method are that it becomes easier to master a new topic on already familiar material; the material covered rises to a higher level of a new topic, to a level of greater complexity and greater content; links are established between various musical phenomena.

essence method of intonation-style comprehension of music(E.D. Kritskaya) - comprehension of memory and control over it, which contributes to the formation of "inquisitive hearing" - hearing, which is understood as artistic and cognitive activity. Students should distinguish between the era in musical works, the personal style of the composer, and some features peculiar only to him. This method ensures the representation in the content of the program for listening to music of various layers of musical culture in intonation-figurative comparisons, epochal, national, individual styles.

Method of emotional - descriptive analysis(“general emotional” - B. M. Yarustovsky) contains direct impressions of an emotional nature without parsing formative means. Usually such an analysis proceeds in the form of explanations by the teacher about the history of creation and the ideological and artistic image of the work. Sometimes the teacher's explanations touch upon issues related to the form and means of musical expression of the analyzed work. The information obtained aims the students at the perception of music, but at the same time such mental operations as comparison, comparison, generalization, remain on the sidelines.

is aimed at students' understanding of the development of the artistic image of a musical work, revealing the meaning, the main idea through a comprehensive analysis of all components of musical speech in their totality and in close connection with a specific historical situation, with artistic movements, trends, events of that period. At the same time, the emotional side of the analysis remains the leading one in the performance of all mental operations. Such an analysis involves mastering the following skills: 1) consideration of the content of a musical work in close connection with the socio-historical conditions, the achievements of the musical culture of the era; 2) identification and differentiation of the main means of musical expressiveness; 3) tracking and characterization of the development of melodic movement, thematic material, textural changes and formative elements; 4) understanding the development of the musical image of the work in close connection with the means of musical expression.

Thus, the development of musical perception in the lessons of listening to music in children's art school is promoted by the use of various methods. These primarily include productive teaching methods and methods of music education. The choice of methods depends on the skill of the teacher, the age characteristics of the students, the level of development of their musical and life psychological experience.

4. Implementation of methods for the development of musical perception in the lessons of listening to music in children's art school

In the previous chapter, progressive methods of musical education and upbringing were presented, aimed at enhancing the musical perception of primary school students. The most effective of them, in our opinion, are:

- a method of thinking about music (D. B. Kabalevsky);

- method of empathy (N. A. Vetlugina, A. A. Melik-Pashaev);

- method of comparing musical images (N. L. Grodzenskaya);

- a method of comparing one's own life emotions with artistic ones (S. D. Davydova, N. G. Tagiltseva);

- method of emotional dramaturgy (D. B. Kabalevsky, E. B. Abdullin, L. M. Predtechenskaya);

- method of emotional and semantic analysis of musical works;

- method of modeling the artistic and creative process (L. V. Shkolyar);

- method of creating compositions (L.V. Goryunova, D.B. Kabalevsky);

- method of plastic intonation (T.E. Vendrova).

The practical implementation of these methods in music listening lessons is possible with the help of specially designed and selected tasks.

Method of thinking about music.

Task number 1.The task involves the form of a conversation with students about the piece of music they listened to. Before listening to a piece of music, the teacher sets tasks - questions, then they are discussed and solved together with the class, at the end, the students draw a conclusion, choosing the most accurate and acceptable options from the answers of classmates. Musical work (M.P. Mussorgsky "Two Jews: rich and poor" from the series "Pictures at an Exhibition").

Tasks:

1. Determine the main idea of ​​a musical work:

- This is a musical story of the composer about his feelings and experiences.

- This is the image in the music of the picture of nature.

- This is a show of action, scenes between the heroes of the work.

2. Answer the questions and explain your answer:

How many characters are in the piece of music? Describe each musical character (appearance, behavior, character, etc.).

- What means of musical expressiveness characterize each of them?

- What scene between the characters did you present to the music?

- What national flavor (Russian or other people) is embedded in the melody?

- What is the name of the piece of music?

3. Make a conclusion.

Task number 2.Listen to a piece of music (A. Vivaldi's "Spring" from the cycle "The Seasons") and choose a name for it from the proposed options, arguing your choice (based on life experience). Answer options: "Winter", "Spring", "Summer", "Autumn".

Task number 3.After listening to any aria from the opera, for example, the aria of the Queen of the Night from the opera The Magic Flute by W. A. ​​Mozart, give a description of the hero of the musical fragment based on auditory perception, life experience, and imagination. Students determine whether this is a real hero or a fairy-tale one, describe appearance, clothes, age, actions, character. Through reasoning, children come to the correct definition of a musical hero.

empathy method.

Task number 4.Before listening to a piece of music (L. van Beethoven Symphony 5, part 1), introduce students to brief events from the composer's life corresponding to the period of writing this work (reception - immersing children in an emotional state). For example, the final revision of the "Fifth Symphony" was carried out in 1807-1808. At this time, Beethoven was 37-38 years old. The life of the composer was complicated and overshadowed by progressive deafness. The disease forced him to completely abandon the concert activity. Beethoven avoided people, preferred solitude, and did not even want to live.The bright music of the symphony paints a grandiose picture of a person's struggle with illnesses, hardships and hardships of life in the name of joy and happiness.At the beginning of the piece it soundsa formidable and commanding theme, like an epigraph. The composer himself said about her: "So fate is knocking at the door."

After listening to the piece, students share their feelings and impressions of the music experienced.

Method for comparing musical images.

Task number 5.Students are invited to listen and compare two contrasting pieces of music: P.I. Tchaikovsky's "Dance of the Little Swans" and a fragment of "Dance of the Knights" from the ballet S.S. Prokofiev "Romeo and Juliet" (the names of the authors and the titles of the works are not disclosed to the children). Comparison of contrasting pieces of music gives students the opportunity to compare two characters and their musical characteristics within the same genre - dance.

Schoolchildren must find the relationship between the image and the means of musical expression.

Task number 6.Listen to a piece of music (R. Schumann "The Brave Rider" from the "Album for Youth"), determine the nature and means of musical expression of this music. After that, students listen to a modified version of the piece (the tempo changed from fast to slow, the dynamics changed from loud to quiet, the register changed from medium to high, the chord accompaniment changed to harmonic figuration, the strokes changed from staccato to legato) and determine whether the image of the main the hero of a musical work after changing the means of musical expression.

Task number 7.Pupils listen to two versions (in instrumental performance and in vocal performance) of F. Schubert's musical work "Serenade", and then compare them: what is common and how are they different. Then the students share their impressions: which work they liked more; which one do they think sounds better?

A method of comparing one's own life emotions with artistic ones.

Task number 8.Students are invited to listen to two diverse works, for example, “Neapolitan Song” by P.I. Tchaikovsky and "Complaint" by A.T. Grechaninov. Then it is necessary to correlate the listened music with their own emotional state, that is, choose the piece that best suits their mood. It is possible to correlate musical experiences in music and one's own, experienced ever in life, in any situation. When listening to works repeatedly, students express their own mood with the help of colors, lines, drawings, compare their own feelings with the artistic embodiment of similar experiences in music and in their drawing.

Method of emotional dramaturgy.

Task number 9.Students listen to two contrasting or one piece of music containing several opposite images, and choose from the proposed color cards those that match the mood and character of the music. For example, the introduction to the ballet The Sleeping Beauty by P.I. Tchaikovsky.

Task number 10.Students listen to a piece of music (for example, "Rain and Rainbow" from S.S. Prokofiev's "Children's Album") and express their emotional state from the music they listened to using graphic lines, drawings, and color mosaics.

Task number 11.This is a task for the emotional juxtaposition of two types of art, namely music and painting. Students were asked to listen to two pieces of music, for example, "Bogatyr Gates" from the series "Pictures at an Exhibition" by M.P. Mussorgsky and the "Bogatyr Symphony" 1 part, main part, A.P. Borodin (the titles of the works were not reported). Then the first and second works are compared with each other in terms of emotional experiences and compared with the paintings: V. Hartman "Sketch of the city gates in Kyiv" and V. M. Vasnetsov "Three heroes".

When performing this type of task, it is necessary to correctly compare the works of musical and artistic arts and explain your answer.

Task number 12.Students need to listen to a piece of music (for example, “Sweet Dream” by P. I. Tchaikovsky from the “Children's Album”) and most accurately characterize the emotional mood of the music using detailed comparative characteristics. For example, this music is gentle, like the voice of a mother; bright as a sunny day; gentle as a breath of breeze; calm, like floating clouds in the sky; kind, like a fairy tale.

Method of emotional-semantic analysis.

Task number 13.After listening to a piece of music (for example, "The Song of the Lark" by P.I. Tchaikovsky from the "Children's Album"), students are invited to write a short essay, answering questions regarding their emotional, personal attitude to this work and characterizing their general artistic culture:

How do you understand the title of a piece of music?

What name would you give to this music?

What emotions does this music evoke in you: joy, seal, surprise, tenderness, anxiety, excitement, anger, calmness, happiness, sadness, etc.

What life situation can you relate this music to?

What does the music express or represent?

- feelings of many people;

- feelings of one person;

- a picture of nature, season, time of day.

What does this music give me:

- pleasure, consolation, support;

- the joy of communicating with the beautiful;

- helps to think about something.

What means of musical expression are the main ones here?

What other music does this piece remind you of?

9. Which poem fits this music? (suggest a few to choose from).

10. What picture does this music resemble? (offer several reproductions to choose from).

Method of modeling the artistic and creative process.

Task number 14.Schoolchildren need to try themselves in the role of a composer and verbally “compose” music based on a literary or pictorial plot, or a specific name, for example, “Procession of the Dwarves”. Having found out who the gnomes are, what they do, the students model the musical image and means of musical expression to realize their plan. Then they listen to a piece of music (“Procession of the Dwarfs” by E. Grieg) and compare whether their personal intention and means of musical expression coincided with the embodiment of this image by the composer.

composition method.

Task number 15.When studying a piece of music, in order to enhance emotional responsiveness, students are invited to orchestrate this music using children's musical instruments, the choice of which is justified by the content and nature of the music. As a musical material, you can offer children the "Chernomor March" from the opera "Ruslan and Lyudmila" by M.I. Glinka.

Task number 16.Students are invited to listen to a piece of music, for example, "Persian Chorus" from the opera "Ruslan and Lyudmila" by M.I. Glinka, and then recreate this scene from the opera in his own performance: vocalizing the theme of the choir and performing plastic movements with the body and hands, in accordance with the oriental flavor of the music.

Plastic intonation method.

Task number 17.Younger students should show the dynamic development of a musical work with the help of plastic hands (for example, “In the cave of the mountain king” from the symphonic suite “Peer Gynt” by E. Grieg).

Task number 18.Students need to listen to musical works and convey the character and behavior of the characters in music with the help of plastic movements. For example, plays from the zoological fantasy "Carnival of the Animals" by C. Saint-Saens: "Royal March of the Lion", "Aviary", "Aquarium".

Conclusion

Musical perception is a felt and meaningful perception of works of musical art. The use of effective methods of music education in the lessons of listening to music contributes to the enrichment of students' emotional and musical experience, and allows to form a more conscious perception of musical works. Such purposeful and consistent work using these methods actively develops the musical perception of students in music listening lessons.

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