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The role of the educator in the organization of musical activities of preschoolers consultation on the topic. Consultation for educators on the topic: “The role of the educator in the musical activity of children The role of the educator in the musical education of children

The role of the educator in the organization of musical activities of preschoolers consultation on the topic. Consultation for educators on the topic: “The role of the educator in the musical activity of children The role of the educator in the musical education of children

10.07.2019

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Introduction

1. Musical education

1.1 Tasks of musical education

2. The role of the educator in the musical education of preschool children

2.1 Functions and duties of an educator in musical education

2.2 Music lessons

2.3 Independent musical activity of children

2.4 Festive matinee

Conclusion

Bibliography

Introduction

Music plays an important role in the upbringing of a child. Children come into contact with this art from birth, and they receive purposeful musical education in kindergarten - and later at school.

The influence of music in the development of children's creative activity is very great. Music evokes an emotional response in children before other forms of art. Music gives pleasure even to a 3-4-month-old baby: singing, the sounds of a metallophone cause the baby to first concentrate, and then smile. The older the children, the brighter and richer the positive emotions caused by music.

Music accompanies a person all his life.

The purpose of the work: to consider the role of the educator in the implementation of the process of musical education of preschool children.

· Collect and study the literature on this topic.

The relevance of this topic is that the role of the educator in the musical

The upbringing of preschool children is an important component of the development of the child's personality.

1. musicalupbringing

The basis of the theory of musical education of children is the enormous cognitive and educational possibilities of musical art.

Musical education is the purposeful formation of a child's personality through the influence of musical art, the formation of interests, needs, abilities, and an aesthetic attitude to music.

Musical education in kindergarten is one of the most important educational means. In order to carry out this work purposefully and in depth, the entire teaching staff should be responsible for it. Kindergarten does not set itself the task of educating future professional performers. Its goals are to educate the child's feelings, his character and will by means of musical art, to help music penetrate into his soul, evoke an emotional response, a lively meaningful attitude to the surrounding reality, deeply connecting him with it.

In our country, musical education is considered not as a sphere accessible only to selected especially gifted children, but as an integral part of the overall development of the entire younger generation.

It is very important to start musical education as early as possible in order to familiarize the child with the whole variety of musical culture.

Preschool age is the period when the basic abilities of the child are laid, his hidden talents begin to appear, and the personality develops actively. A child at this age is most receptive to information and is able to realize himself in almost any field. Music opens the way for the child to creativity, allows you to get rid of complexes, "open" yourself to the world. Music has an impact not only on the development of children's musical abilities directly, but also contributes to the socialization of the child, prepares him for the "adult world", and also forms his spiritual culture.

Acquiring in the classroom in kindergarten, in the family certain knowledge about music, skills and abilities, children are introduced to the art of music. It is necessary to ensure that in the process of musical education, the acquisition of this knowledge, skills and abilities is not an end in itself, but contributes to the formation of preferences, interests, needs, tastes of children, that is, elements of musical and aesthetic consciousness.

The purpose of musical education is to arouse interest in music, develop the emotional and musical abilities of the child.

The role of the musical education of preschool children is very important, because during these years the foundation is laid, on which knowledge of a person’s artistic preferences will later be made.

1.1 Tasksmusicaleducation

Based on the goals of musical education, music pedagogy sets itself the following tasks:

1. Cultivate love and interest in music. This task is solved by

development of musical susceptibility, musical ear, which help the child to feel and comprehend the content of the heard works more sharply. Music has an educational effect.

2. Enrich children's experiences by introducing them to specific

organized system with a variety of musical works and the means of expression used.

3. Introduce children to a variety of musical activities,

forming the perception of music and the simplest performing skills in the field of singing, rhythm, playing children's instruments. To acquaint with the initial elements of musical literacy. All this will allow them to act consciously, naturally, expressively.

4. Develop children's overall musicality (sensory ability,

pitch hearing, sense of rhythm), to form a singing voice and expressiveness of movements. If at this age a child is taught and involved in active practical activity, then all his abilities are formed and developed.

5. Promote the initial development of musical taste. On

On the basis of the received impressions and ideas about music, a selective and then an evaluative attitude towards the performed works is manifested.

6. Develop a creative attitude to music, especially in such

activities accessible to children, such as the transfer of images in musical games and round dances, the use of new combinations of familiar dance movements, improvisation of chants. Independence, initiative and the desire to use the learned repertoire in everyday life, play music on musical instruments, sing and dance are formed. Of course, such manifestations are more typical for children of middle and older preschool age.

The main task of the musical education of preschool children is to develop emotional responsiveness to music, instill interest and love for it, and bring joy. And joy is an emotion that expresses a feeling of great spiritual pleasure. It arises only when a person satisfies his needs. Consequently, in music lessons, the child should experience a sense of satisfaction and pleasure from performing various types of musical activities, become a person capable of creating, thinking creatively.

The tasks of musical education relate to the entire preschool age. At each age level, they change and become more complicated.

2. Rolewake uptatelyaVmusicaleducationchildrenpreschoolage

It is important for a teacher-educator not only to understand and love music, to be able to sing expressively, move rhythmically and, to the best of their ability, play musical instruments. The most important thing is to be able to apply your musical experience in raising children.

Meanwhile, the responsibility for conducting musical education in the group with which he works is not removed from the teacher, even if there is a very experienced music director in the kindergarten.

2.1 FunctionsAndresponsibilitieseducatorVmusicaleducation

The success of the musical development of preschoolers largely depends on

only from the music director, but also from the teacher.

The educator must:

Develop children's independence, initiative in performance

familiar songs, round dances in various conditions (for a walk, morning exercises, classes), to help children express their musical impressions in creative games.

Develop children's ear for music, sense of rhythm in the process

conducting musical and didactic games.

Deepen children's musical experiences by listening to music

in the audio recording.

Know all program requirements for musical education, all

the repertoire of your group and be an active assistant to the music director in music classes.

Conduct regular music lessons with the children of your group in

in case of absence of the musical director (due to vacation or illness).

The teacher should carry out musical education using all forms of work: singing, listening, musical and rhythmic movements, playing musical instruments. The educator receives skills for such work during special training in educational institutions and through communication with the music director at various consultations, seminars and workshops.

Working with the teacher, the music director reveals to him the content of the upcoming music lessons. Learn practical material. Of course, the music director introduces the educators to the immediate tasks that he sets in the process of working on the content of the training program. This helps them to observe the progress of each child together. Identify those children who need additional help, outline the ways of this help. In addition, such work allows the music director, taking into account the capabilities of each teacher, to skillfully use it in the process of music lessons.

2.2 Musicalclasses

It happens that one moves well, but sings out of tune. The other has a good voice, but is not rhythmic. Excuses of educators from participating in music classes with reference to the inability to move or undeveloped hearing are not at all convincing. If the teacher has weak auditory ideas, insufficiently pure intonation, he can, knowing the program material and repertoire, constantly involve children who sing well in singing songs, and he himself can only sing along with them. To listen to music, he can use an audio recording.

The participation of the educator in a musical lesson depends on the age of the group, the musical preparedness of the children and the specific tasks of this lesson. It is especially important for the teacher to participate in work with younger groups, where he plays the main role in the game, dance, song. The younger the children, the more active the educator has to be - to help the child, to make sure that the children are attentive, to observe who and how manifests himself in class. In the senior and preparatory groups, children are given more independence, but still, the help of a teacher is needed.

No matter how high the pedagogical qualifications of the music director, none of the main tasks of musical education can be satisfactorily resolved if it is carried out without the participation of the educator. And also, if music sounds for children only on those days when the music director comes, if they sing, play and dance with children only at music lessons.

What should the teacher do during a typical frontal lesson?

In the first part of the lesson, his role in the process of learning new movements is great. He participates in the demonstration of all kinds of exercises along with the music director, which allows children to develop their visual and auditory perception at the same time. The teacher sees all the children, can give appropriate instructions and make comments in the course of the action. The teacher must offer accurate, clear and beautiful patterns of movements in all types of exercises, with the exception of figurative ones. In figurative exercises, the teacher gives exemplary samples, since these exercises are aimed at developing the creative activity of children.
In the second part of the lesson, when listening to music, the teacher is mostly passive. The music director performs a piece of music and conducts a conversation on it. The teacher can help children in analyzing music with leading questions, figurative comparisons, if the children cannot answer.

Mostly, the educator, by personal example, shows the children how to listen to music when necessary, makes comments, monitors discipline. While learning a new song, the teacher sings with the children, showing the correct articulation and pronunciation. To introduce children to a new song, a teacher who has good musical data - voice, pure intonation, can perform the song solo. As a rule, such an acquaintance with a new work causes a lively emotional response in children.

The ability of a music director to sing, dance, play an instrument for children is natural, while such skills of a teacher arouse great interest and a desire to imitate.

At the second stage of learning the song, the teacher sings with the children, at the same time checking whether all the children are active, whether they correctly convey the melody, pronounce the words.

Outside of music lessons, when fixing a song, you can’t teach children words without a melody. Musical accents do not always coincide with textual ones. When singing a song in a lesson with accompaniment, children will experience difficulties. Such nuances are worked out by the music director in group or individual lessons with educators.

At the third stage of learning the song (at 5-6 lessons), when the children are already expressively singing the song, the teacher does not sing with the children, since the task of this stage is independent emotionally expressive singing without the support of an adult's voice. Children must independently start the song after the introduction or without it, perform all the dynamic shades, and finish singing in a timely manner. The exception is singing songs with children of younger groups, where the experience of choral activity has not been formed and adult assistance is needed. musical education aesthetic matinee

When learning non-plot games with children, the teacher gives explanations, instructions, comments during the game, can join the game at its first performance or when the game requires an equal number of pairs of children. The teacher plays with the kids at all stages of learning the game.

In story games, the teacher is either only an observer, gives instructions, or (in a complex game, as well as in younger groups) takes on one of the roles. Children's play should not be interrupted. After the game is over, the teacher gives the necessary explanations, instructions and the children play again. The teacher, watching the children play, helps the music director with advice - suggests that it still doesn’t work, what movements should be learned in exercises for further improvement.

The teacher acts in the same way during the performance of dances. A new dance - a pair dance, in threes, the elements of which the children learned during the exercises, the teacher shows together with the musician or with the child, if the dance is performed to the accompaniment of the music director. In the process of learning, the teacher gives instructions, helps to perform movements correctly, suggests a change of movement, paying attention to changes in music, dances with children who do not have a partner. At the final stage of learning, children dance on their own. In dances - improvisations conducted with older children, the teacher does not participate, since they are held in order to develop the creative initiative of children. He can write down the sequence of movements composed by the children and at the end of the dance he can approve or make comments if the children did not show their individuality in solving the task, the movements were all the same or monotonous. But usually these remarks are made by the music director. In dances with the participation of an adult, where the actions are fixed by the author of the movements, the teacher always dances with the children in all age groups.

In the final part of the lesson, the teacher usually does not participate (with the exception of younger groups), since the music director gives an assessment of the lesson. The teacher helps the children in rebuilding, monitors discipline.

In classes of a different structure, the role of the educator depends on the types of children's activities and corresponds to the methodology for its implementation.

In addition, the main role in musical education is assigned to the educator in the independent activities of children.

2.3 Independentmusicalactivitychildren

This type of activity requires the creation of external conditions, a certain material environment. It is important for children to have their own musical corner - with a small number of musical instruments, musical - didactic games.

When planning an independent musical activity, the teacher looks at the children at the beginning of the school year. Who is interested in anything (singing, dancing, playing an instrument), are there any children who do not take part in music making?

Sometimes the leading roles go to the same children. This is partly due to the child's desire to be a leader rather than his interest in music. Other children are drawn to music, but they are timid, indecisive. The teacher must create optimal conditions for each child. The highest quality of work can be ensured where educators, constantly improving their musical and pedagogical qualifications, become active and skillful assistants to the music director, use musical material in their daily work with children, are able to independently conduct simple music classes if necessary - in the absence of a music director . When the educator already has some experience in observing and analyzing music lessons, as well as the experience of conducting them independently, he will make his proposals when discussing the methodological methods of conducting classes, stimulate the creativity of children, suggest a topic, distribute roles, outline the development of the plot in games and dramatizations. Such a qualification is constantly acquired by the educator, as a result of a systematic analysis of the work of a specialist with children, his instructive sessions with the staff, and the performance by the educator of the increasingly difficult tasks of the music director.

Bearing in mind the constant and comprehensive improvement of the musical and pedagogical qualifications of the staff, the musician must not only teach educators singing, movements, the correct method of presenting musical material, but also improve the general culture of educators, teach them to understand the elementary features of music - in the nature of the work, in musical form ( sing, refrain, phrase.)

It is advisable to inform the team about significant musical dates, news in the musical education of children and other issues of musical life.

2.4 Festivematinee

Considering another important form of musical and aesthetic education of children - a festive matinee, which includes almost all types of creative activities of children and the teaching staff.

The matinee is part of all educational work carried out in kindergarten. Here the tasks of moral, mental, physical and aesthetic education are carried out. Therefore, preparation for the holiday, holding it and consolidating the impressions received by children can be considered as links in a single pedagogical process.

The activities of the educator at matinees are very diverse. Great pleasure is given to children by solo and group performances of educators. They can show various dances, sing songs, play the role of a character. Educators who do not play any roles are with the children of their group. They carefully monitor how children perceive this or that performance. They sing along with them, prepare attributes, details of costumes, change children's clothes on time, help them, if necessary, during the game and dance. After the holiday, children remember the performances they liked for a long time. The educator should strive to consolidate these impressions by linking them with the topics of their classes. He invites children to draw or sculpt a character they like, come up with a new plot with the characters of the matinee, conduct conversations, repeat their favorite songs, games, and dances in a group and on a walk. The teacher can independently learn the game with the children, put on a small theatrical performance, which can then be included in a musical lesson or in the program of a festive matinee.

The quality of the musical work of the educator, the development of his activity depend not only on his abilities and experience in this area. An important role here is played by the ability of the music director to take into account the character traits of each educator: to approve the shy, to inspire them with confidence in their abilities, to find a form of criticism that does not hurt pride and causes a desire to correct the mistakes made. It is necessary to accustom to punctuality those who are frivolous in their duties, to encourage further improvement of those who are satisfied with what has been achieved.

Conclusion

Based on the foregoing, it can be concluded that the goal set at the beginning of the work was achieved.

There is no doubt about the role of the educator in the musical activity of children. The educator, along with the musical director, is of great importance in the matter of musical and aesthetic education. As for duties, there is no need to draw a clear line - this should be done by the educator, and this is the responsibility of the music director. Only joint activity, a joint creative approach to this issue will be able to bear fruit. It is important for the educator to be interested and captivated by musical activities. It is necessary to arouse in him a desire to study music, to engage in it, then the teacher will be the best assistant to the music director.

Listusedliterature

1. A. N. Zimina "Fundamentals of musical education in preschool".

2. E. I. Yudina "The first lessons of music and creativity."

3. N.A. Vetlugin "Methods of musical education in kindergarten".

4. S. I. Bekina, T. P. Lomova, E. N. Sokovnina Music and Movement.

5. T. S. Babadzhan “Musical education of young children”.

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THE ROLE OF THE EDUCATOR IN THE PROCESS OF MUSICAL EDUCATION OF PRESCHOOL CHILDREN

How actively do kindergarten teachers participate in the musical education of children? And do they all realize the importance of such participation? Alas, often the educator considers it his duty to just be present at the music lesson - in order to maintain discipline. And some do not even consider it necessary to be present - as if during this time they will be able to do some things in the group ... Meanwhile, without the active help of the educator, the productivity of music lessons is much lower than possible. 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:

ü Know all program requirements for musical education.

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

ü To assist the musical director in mastering the program musical repertoire by children, to show examples of the exact execution of movements.

ü Learn movements with lagging children.

ü Deepen the musical experience of children by listening to music in a group using technical means.

ü Possess elementary skills in playing children's musical instruments (metallophone, timbre bells, wooden spoons, etc.).

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

ü To develop independence, initiative of children in using familiar songs, round dances, musical games in the classroom, walking, morning exercises, in independent artistic activities.

ü Create problem situations that activate children for independent creative manifestations.

ü Involve children in creative games that include familiar songs, movements, dances.

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

ü Take an active part in the preparation and holding of holidays, entertainment, musical leisure, puppet shows.

ü Prepare thematic collections of poetic material for entertainment and musical matinees.

ü To assist in the manufacture of attributes, musical design
hall for holidays and entertainment.

At a music lesson, the role of the educator, the alternation of his active and passive participation, are different depending on the parts of the lesson and their tasks.

Listening to music:

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

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

Singing, singing:

ü Does not participate during quick interrogation exercises;

ü Does not participate in chanting, so as not to knock down children;

ü Sings with children, learning a new song, showing the correct articulation;

ü Supports singing while performing familiar songs, using the means of mimic and pantomimic expressiveness;

ü While improving the learning of a song, he sings along in difficult places;

ü Does not sing with children with independent emotional and expressive
singing (exception - singing with children of early and younger age);

Musical-rhythmic movements and games:

ü Participates in showing all types of movements, giving appropriate recommendations to children;

ü Gives accurate, clear, aesthetic standards of movements (exception -
exercises for the development of children's creative activity);

ü Takes a direct part in the performance of dances, dances, round dances. In older preschool age, familiar dances and dances are performed by children on their own;

ü Corrects the performance of movements by individual children during the dance
or dancing;

ü Explains and controls the fulfillment of the conditions of the game, contributing to the formation of behavioral skills during the game;

ü Takes one of the roles in the story game;

The leading role in music lessons belongs to the music director, because he can convey to the children the features of musical works.

Misunderstanding of the educational tasks of music by the educator can nullify all the efforts of the music director. Where the educator loves music, loves to sing, and children are very interested in music lessons. In addition, in the “Musical and rhythmic movements” section, the music director is constrained by the instrument and the teacher must show the movements.

The leading role of the music director in no way reduces the activity of the educator.

Teachers often make the following mistakes in class:

The teacher sits with a blank look

The teacher interrupts the performance

Give verbal directions on a par with the music director (although there cannot be two centers of attention)

Violates the course of the lesson (enters and leaves the hall)

The activity of the educator depends on three factors:

ü From the age of the children: the smaller the children, the more the teacher sings, dances and listens on an equal basis with the children.

ü From the section of musical education: the greatest activity is manifested in the process of learning movements, somewhat less in singing, the lowest - when listening.

ü From the program material: depending on the new or old material.

The teacher must be present at every music lesson and actively participate in the process of teaching children:

Sings with children (without drowning out children's singing). When singing, the teacher sits on a chair in front of the children in order to show, if necessary, movements, the pitch of sounds, clap the rhythm, etc.

When teaching children musical and rhythmic movements (especially in younger groups) - participates in all types of movements, thereby activating the kids. In older groups - as needed (showing this or that movement, reminding the formation or giving separate instructions in the dance, game)

Directs independent musical activity, including music in games, walks, work process, using the material learned with the music director.

The teacher must be able to play all the instruments that are used by children in music classes in order to be able to correctly show the children how to produce sound on each instrument.

He repeats the words of songs with children, and does not memorize them like poetry, but sings with children.

Repeats the movements of dances, having previously recorded the music on an audio medium.

Knows the tricks of puppetry.

The more actively the educator does this work, the more new children can learn in music lessons, otherwise music lessons turn into an endless repetition of the same thing, i.e. "marking time"

The success of the educator largely depends on the intensity of the work of the music director with him. The less prepared the educator is, the more the music director has to work directly with the children.

The role of the educator in the musical education of children.

Successes in the musical development of children, their emotional perception of music are closely related to the work of the educator. It is the educator who has a broad outlook, a certain musical culture, who understands the tasks of musical education of children, is the conductor of music in the daily life of the kindergarten. A good business relationship between a music director and an educator has a beneficial effect on children, creates a healthy, friendly atmosphere, equally necessary for both adults and children.

The main form of musical education and training of a child in a preschool institution is music lessons. In the process of classes, children acquire knowledge, skills in listening to music, singing, musical and rhythmic movements, playing the DMI.

Music lessons -

this is an artistic and pedagogical process that contributes to the development of the child's musicality, the formation of his personality and the development of reality through musical images. Music lessons play an important role in the development of endurance, will, attention, memory, in the education of collectivism, which contributes to the preparation for schooling. They carry out systematic education of each child, taking into account his individual characteristics.

Conducting music lessons is not the monopoly of the music director, but is part of the pedagogical work that the teacher is doing.

The participation of the educator in a musical lesson depends on the age group, the musical preparedness of the children and the specific tasks of this lesson. It is especially important for the teacher to participate in work with younger groups, where he plays the main role in the game, dance, song. The younger the children, the more active the educator has to be - to help each child, to make sure that the children are not distracted, to be attentive, to observe who and how manifests himself in class. In the senior and preparatory groups, children are given more independence, but the help of a teacher is still needed. He shows the movements of the exercises together with the music director, performs a dance with a child who does not have a partner, monitors the behavior of children, the quality of the performance of all program material. The teacher should be able to sing songs, show any exercise, game or dance, know the music for listening from the children's repertoire. During music lessons, the teacher monitors the posture of children, the pronunciation of words in the song, the quality of assimilation of the material. The role of the educator varies depending on the content of the music lesson. If the lesson plan outlines an acquaintance with a new song, the teacher can sing it if he first learns it with the music director. This option is also allowed: the music director performs the song for the first time, and the educator again. The teacher monitors whether all the children actively sing, whether they convey the melody of the song correctly, pronounce the words. Since the music director is near the instrument, he is not always able to notice which of the children sang this or that word incorrectly. If the lesson is devoted to listening to music, the teacher can talk about the content of the piece of music that the music director will perform, during the performance, monitor how the children perceive the music. When children speak little about what they hear, the teacher helps them with leading questions. When conducting musical and rhythmic movements with children of younger groups, the teacher plays with them, shows dance and imitation figures. In older groups, he carefully monitors whether the children perform the movements correctly and which of them needs help. Being present at the lessons, actively participating in them, the educator not only helps the children, but also learns the material himself. It is necessary that both teachers take turns attending the classes. Knowing the repertoire, they can include certain songs, games in the daily life of children.

The life of a child becomes more colorful, fuller, happier, if not only in music lessons, but also in the rest of the time in kindergarten, conditions are created for the manifestation of his musical inclinations, interests, abilities.

Skills acquired in the classroom must be consolidated and developed outside of them as well. In various games, on walks, during the hours allotted for independent activity, children, on their own initiative, can sing songs, dance, listen to music, pick up the simplest melodies on the metallophone. Thus, music enters the child's life, musical activity becomes a favorite pastime.

At music lessons, new information about musical works is communicated, singing and musical-rhythmic skills are formed, and consistent musical development of all children is ensured according to a certain system. In the daily life of the kindergarten, the emphasis is on individual work with children - the development of their musical abilities, the formation of pure intonation, teaching children to play DMI. The leading role here belongs to the educator. Taking into account the age of children, he determines the forms of including music in the daily routine. Many aspects of kindergarten life allow a connection with music and acquire great emotional fullness from this.

Music can be used in plot-role-playing creative games for children, morning exercises, during some water procedures, during a walk (in summer), entertainment evenings, before going to bed. It is allowed to include music in classes for various types of activities: fine arts, physical education, familiarization with nature and speech development.

The game, of course, is the main activity of the child outside of classes. The inclusion of music in the game makes it more emotional, interesting, attractive. There are various options for using music in games.

In some cases, it is, as it were, an illustration of the actions of the game. For example, while playing, children sing a lullaby, celebrate housewarming, dance. In other cases, children reflect in games the impressions received at music lessons, holidays. Conducting role-playing games with music requires a very careful and flexible guidance of the educator. He, watching the course of the game, encourages children to sing, dance, play on DMI. Many role-playing games arise only when children are given a toy TV, a piano, a theater screen. Children begin to play "musical classes", "theater", perform concerts on "television".

Music can be included as an integral part and in different activities. The aesthetic perception of nature gives rise to love for the Motherland in children. Music also helps them to more deeply emotionally perceive the images of nature, its individual phenomena. At the same time, observing nature deepens the perception of music. It becomes more understandable and accessible. For example, if, going for a walk in a park or forest, children pay attention to a beautiful slender birch, then the teacher should invite the children to carefully examine it, remember a poem about it, and even better, sing a song or dance. Thus, the educator consolidates children's impressions received from direct observation of nature with the help of a piece of music. In addition, the teacher can play games with singing during summer walks. This adds value to the walk. Musical material related to the theme of nature, learned in advance in music classes, allows children to be more attentive when observing. Children begin to understand that every natural phenomenon, every season is beautiful in its own way. Music, depending on the tasks set by the educator, either precedes observation or reinforces children's impressions.

It is advisable to include music in speech development classes, for example, when telling a fairy tale. But at the same time, care must be taken that the music does not violate the integrity of the fairy-tale image, but rather complements it. It is convenient to introduce music into such fairy tales, on the text of which operas or children's musical games are written. ("The Tale of Tsar Saltan",

"Teremok", "Geese-swans"). The performance of songs in the course of fairy tales gives them a special emotionality.

Music can also be used in conversations on various topics. (About the seasons, the upcoming holiday, about the Motherland, etc.)

In close connection with musical education is the work on speech. Singing improves the pronunciation of words and helps to eliminate speech defects.

It is also easy to establish a relationship between musical education and visual activity. On the one hand, music deepens the impressions that children expressed in drawing or modeling. On the other hand, it provides material for its implementation. The theme of drawings, modeling, appliqués can be the content of a well-known song or software instrumental work. Thus, the combination of musical and visual activities helps the child in the perception of each type of art.

Music, included by the educator at various moments in the daily life of children, causes them positive emotions, joyful feelings, creates an upbeat mood. It is recommended to use folk songs and jokes more often. Their subtle humor, vivid imagery have a much greater impact on the child's behavior than moralizing or direct instruction.

Forms of work of a music director and educator

1. Individual consultations:

Acquaintance with the tasks of the upcoming classes

Assimilation of the repertoire (it is checked how the teacher performs children's songs, dances)

Thinking through the forms of individual work with children

Thinking about bringing music into everyday life

Conversations about the activity of the educator at the music. classes

2. Group consultations:

Acquaintance with new methodological issues (song creativity, motor creativity, learning to play instruments)

Composition of the scenes of the holiday

Thinking about surprises

Open music lessons (for young teachers)

Learning songs to listen to or to sing at parties (paying attention to purity of intonation and diction)

Performing independent tasks (compose a dance or exercise to a certain music)

Teaching educators to use TCO, improve knowledge in the field of musical literacy, so that he can perform a children's song on musical instruments from notes, sing it

Training in puppetry.

The role of the host at the children's party

The role of leader is very important . The presenter is the person who manages the festive matinee, unites all the elements of the holiday into an organic whole, explains to the children what is happening, and is the link between the audience and the performers. The mood of the children at the holiday, the interest of the program being performed depends to a large extent on the presenter.

The main task of the leader is to carefully prepare for the performance of his duties. The host should know the program of the matinee well, should know the songs, dances, games of children and, if necessary, help the children perform a dance or dramatization.

Before the matinee, the host must lay out all the attributes necessary according to the scenario, check their number, put the required number of chairs.

At the matinee, the leader should be free, naturally. It shouldn't be verbose. What needs to be communicated to children should be stated simply and clearly. An appropriate joke, a question for children, teachers, guests (for example: “Have you seen how our kids dance with handkerchiefs?”)

At the matinee, you need to speak loudly enough, clearly and expressively. The leader not only informs what songs, dances will be performed, but also explains what is happening. The matinee should be held at a good pace. The protracted speech and pauses tire the guys.

The leader must be resourceful! Unforeseen moments may arise at the matinee (the children did not have time to change clothes, the composition of the performers changed, the character appeared out of time, they missed the musical number, etc.). In such cases, the presenter must quickly find a way out of a difficult situation (jokes, riddles, involving the audience in resolving difficulties).

It is necessary for the host to learn how to finish the holiday in an organized way! After the treat - thank the guest (adult character), say goodbye to him, be sure to remind everyone on what occasion they gathered in the hall (once again congratulate everyone on the holiday), invite the children to leave the hall in an organized manner (if the script does not provide another option) i.e. stand one after another or in pairs and go out to the music, and not run to your parents

A teacher who does not play any roles is with the children of his group . He sings and dances with the children. The teacher should also know the program and the entire course of the holiday well and be responsible for the area of \u200b\u200bwork assigned to him (prepare attributes, details of costumes, change clothes for children in time, adjust costumes if necessary).

Great pleasure gives children solo and group performances of educators (songs, dance, character). Adult characters also participate in games and dances (pair up with children)

Costumes for the holiday are taken by educators in advance so that you can check everything: wash, hem, make the missing parts. If parents are instructed to sew or decorate a costume, prepare attributes, parents must bring them in advance so that educators can check them, otherwise it may happen at the holiday that the elastic bands on the parsley caps will break, the attributes will break, etc.

The holiday is over, but the holiday impressions live in the memory of children for a long time. They share them with their comrades, educators, parents, reflect them in their games, drawings, modeling. The teacher strives to consolidate the most colorful impressions related to the theme of the holiday. Children repeat their favorite dances, songs, actions of individual characters. You can also conduct a reinforcing music lesson (leave the decoration of the holiday, costume details, attributes for games and invite them to remember what they liked, exchange impressions. Some performances can be repeated 2-3 times with a change of performers). You can perform festive numbers in front of children of younger groups.

Parents can also take part in the preparation of the holidays: help in decorating the room, making costumes, playing small roles or reading poetry, performing musical numbers with their children.

Parents are welcome guests at the celebration. Parents must be warned that they need to bring a change of shoes. After the matinee, educators can invite parents to write down their impressions in the Guestbook.

"The role of the educator in music classes in early age groups"

The influence of music in the development of children's creative activity is very great. Music evokes an emotional response in children before other forms of art. Musical education contributes to the development of speech, emotions, movements, gives children joy, encourages activity, enriches with vivid artistic impressions. Music gives pleasure even to a 3-4-month-old baby: singing, the sounds of a metallophone cause the baby to first concentrate, and then smile. The older the children, the brighter and richer the positive emotions caused by music.

Preschool childhood is the best time to introduce a child to the world of beauty. In this regard, the personality of the educator is of great importance. The final result of the upbringing of a preschooler depends on his moral character, level of knowledge, professional skills and experience.

It is important for a teacher-educator not only to understand and love music, to be able to sing expressively, move rhythmically and play musical instruments to the best of their ability. The most important thing is to be able to apply your musical experience in raising children.

Raising a child by means of music, the teacher must understand its significance for the comprehensive development of the personality and be its active guide in the life of children. It is very good when children dance in their free hours and sing songs. Select melodies on the metallophone. Music should permeate many aspects of a child's life. Directing the process of musical education in the right direction can only be the one who works inseparably with children, namely, the educator. But for this, the teacher must have the necessary knowledge in the field of music. In preschool secondary and higher educational institutions, future educators receive extensive musical training: they learn to play an instrument, sing, dance, master the methodology of musical education. In kindergarten, the music director conducts work to improve the level of musical knowledge, develop the musical experience of a team of teachers.

A musical lesson is the main organizational form for the implementation of the tasks of musical education and development of children.

In music classes, a versatile education of children is carried out (mental, aesthetic, physical)

Mental: Children gain knowledge about various aspects and phenomena of the surrounding reality, that is, knowledge about the seasons, holidays and everyday work of people. Life experience is systematized.

Moral-volitional: A feeling of love for the mother, the Motherland is brought up, skills of cultural behavior are formed (in organizational moments, the ability to listen, sing, dance in a team is brought up. Purposefully engage in, the ability to bring the work started to the end, overcome difficulties

Physical: In dances and games, certain motor skills are formed that develop certain muscle groups.

Aesthetic: To be able to listen and understand music, you need to feel it, to know the beautiful.

Singing skills: Purity of intonation, breathing, diction, coherence of singing intonations.

The educator needs to know:

Listening to music:

2. Monitors discipline;

Singing, singing:

1. Does not participate in singing

Teachers often make the following mistakes in class:

1. The teacher sits with a blank look

2. The teacher interrupts the performance

3. Give verbal instructions on a par with music. leader (although there cannot be two centers of attention)

4. Violates the course of the lesson (enters and leaves the hall).

The teacher carries out basically all the pedagogical work in the kindergarten - therefore, he cannot remain aloof from the musical and pedagogical process.

The presence in the kindergarten of two teachers - muses. leader and educator, does not always lead to the desired results. If all musical education comes down to just conducting music classes, and the educator considers himself free from the musical development of children, then in this case musical education is not an organic part of the whole life of children: dancing, playing music is not included in the child's life. The educator, underestimating the importance of musical education in pedagogical work, does not show interest in it and does not know how to arouse interest in children.

The leading role in music lessons belongs to the muses. leader, because he can convey to the children the features of musical works.

Misunderstanding of the educational tasks of music by the educator can nullify all the efforts of the music director. Where the educator loves music, loves to sing, and children are very interested in music lessons. In addition, in the "Movement" section, music. the leader is shackled by the instrument and here the teacher must show the movements.

The role of educators and musical director on holidays

I would also like to talk about holiday matinees, which are regularly held in each age group.

A holiday in a kindergarten is, first of all, a lot of work done by the whole team, since many kindergarten employees are involved in this event: educators, specialists, a housekeeper, cooks, medical workers, administration, etc. Therefore, a holiday is a common cause ! But everyone has their own role, their own responsibilities. And it can be very difficult to separate the responsibilities of a music director and an educator, because the successful holding of a holiday depends on the joint organized work of teachers.

2. Before the matinee in the group, it is necessary to observe a festive atmosphere: decorate the group room, hang colorful posters, turn on appropriate music, etc.

4. When preparing for the holiday, involve all the children if possible: try to find a role for everyone, a poem, etc.

7. The presenter needs to pronounce the text emotionally, loudly, clearly, without fear of the guests, maintaining a friendly atmosphere at the holiday.

8. During the performance of dances and round dances by children, perform movements with them.

9. At the end of the holiday, educators need to gather all the children and leave the hall in an organized manner (with the exception of the New Year holidays, when children are photographed with Santa Claus).

10. A request to educators - to help decorate the hall for the holidays and clean up all the attributes after your matinee (preferably in place).

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The role of the educator in teaching preschoolers to play children's musical instruments

Consultations for educators

The role of the educator in teaching preschoolers

playing children's musical instruments

The success of the musical development of preschoolers largely depends not only on the music director, but also on the educator. After all, he communicates with children more often than a music director, he knows the inclinations of each child better.

The joint work of the music director and educator helps to fill the life of children with songs, games, playing children's musical instruments.

Children acquire the initial skills of playing musical instruments in the process of music lessons. And if the teacher is looking forward to these classes with joy, eagerly preparing for them together with the children, is active throughout the entire musical lesson, then his mood is transmitted to the children.

If we talk about children of primary preschool age, the role of the educator in musical work with them is exceptionally great, he is a participant in all types of children's activities: he sings and dances with the children, he is active in playing the tambourine. A pipe, on rattles, makes musical riddles.

The initial musical independent manifestations in babies are not yet stable. Therefore, the educator supports their interest in a musical toy and some instruments, shows how to use them. Together with the music director, she plays musical and didactic games in the classroom. For example, when introducing children to the musical didactic game “Bird and Chicks” by E. Tilicheeva, the teacher plays the metallophone, and the music. the leader plays the accompaniment.

Together with the children, he performs rhythmic exercises on rattles, bells, tambourines, accompanied by music. leader.

Then, in various play situations, he uses these musical toys with the children in the group. The teacher teaches the kids to respond to quiet and loud sounds, to hear and distinguish between children's muses. instruments (drum, tambourine, rattle).

In the middle group, the teacher, together with the music. leader introduces children to music. instruments - a metallophone, a triangle, etc. At the same time, he necessarily performs a melody with a child, since the music. the leader plays piano accompaniment. The teacher helps to master the skills of playing the instrument. He plays with the children even if the melody is learned and it is being consolidated.

Often, getting acquainted with new plays, children listen to the game on the muses. musical instruments. leader and educator.

The musical activities of children outside of classes are very diverse. It takes place on someone's creative initiative, it can be different in form. And it is very important to determine the role of an adult in this activity. The educator directs independent music. children's activities, includes the music of the game, in the program, the labor process, using the music learned from the music. the leader of the material, if necessary, tells the children how to unfold the game.

At music lessons, children are given tasks to work out in a musical corner, the vocals that they must learn on some musical instrument are specifically indicated. Children independently learn simple melodies, help each other. The teacher monitors the game and, if necessary, comes to the aid of the children.

In his free time, the teacher can play a familiar melody on the instrument. This brings him closer to the children, creates a friendly, relaxed atmosphere.

The teacher, knowing well the individual abilities of children, carefully monitors the progress of the children in learning to play, notices those who are lagging behind, organizes help for them, and identifies the most capable children. The participation of the educator is especially necessary when children begin to play in an ensemble.

The use of folklore in speech therapy groups.

In recent years, interest in folk art has increased significantly. Folklore holidays and entertainment are held everywhere. In working with children with speech disorders, the following are used: folk songs for listening, round dances, dances, folk games, nursery rhymes, proverbs, riddles, fairy tales, ritual folklore. The meaning of folklore is as follows: folk art performs an educational function; promotes the development of memory: in the works of oral folk art there are many repetitions, this helps to better remember the content; affects the health of the child as a whole. Some nursery rhymes bring joy and help children massage their hands and feet on their own, as well as influence biologically active points located on the feet and hands. A number of nursery rhymes can be used to develop fine motor skills, and some have turned into word games, which are so important for children with speech disorders. Works of folk art, especially small forms, influence the development of children's speech, enriching the vocabulary, developing the articulatory apparatus, phonemic hearing, giving models for compiling descriptive stories. Folk songs, round dances, singing games can be used without musical accompaniment, which allows them to be included in independent and play activities, and for teachers and parents in everyday life. It is necessary to remember the complexity of the perception and reproduction of the learned material. Children must understand the content of the text as a whole and the meaning of each word. It is better sometimes to refuse any nursery rhyme, song or other folklore material.

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Advice for kindergarten teachers.

"The use of elements of logorhythmics in musical activity"

Municipal preschool educational institution Kindergarten No. 5 "Crane"

Speech therapy rhythmics is a complex technique that includes the means of speech therapy, musical-rhythmic and physical education. The three pillars on which logorhythmics stands are movement, music and speech.

It helps to overcome a wide variety of speech disorders.

In logarithmics, there are two main directions in working with children.

1. Development of non-speech processes: improvement of general motor skills, coordination of movements, orientation in space; regulation of muscle tone; development of musical tempo and rhythm, singing abilities; activation of all types of attention and memory.

2. Development of children's speech and correction of their speech disorders. This work includes the development of breath, voice; development of a moderate rate of speech and its intonational expressiveness; development of articulatory and mimic motor skills; coordination of speech with movement; education of the correct sound pronunciation and the formation of phonemic hearing.

I offer all kinds of lorhythmic games and exercises to children in combination with some kind of rhythmic basis: to music, to counting or verbal, often poetic accompaniment.

At the preparatory stage, developmental exercises are used:

Exercises for the formation of a sense of rhythm, tempo and memory (motor, visual and auditory) are various musical and rhythmic exercises and exercises;

Exercises that contribute to the formation of phonemic perception (by distinguishing noise, and then musical sounds);

Outdoor games with a variety of didactic tasks (the formation of motor skills, emotional and volitional qualities, as well as the expansion of vocabulary and the consolidation of certain grammatical structures in children's speech)

All these types of tasks are combined with exercises for the development of general and fine motor skills, orientation in space, coordination of movements and regulation of muscle tone.

The purpose of logorhythmics: correction and prevention of existing deviations in the development of the child.

Development of general, fine and articulatory motor skills;

Formation of correct breathing;

Development of the ability to navigate in space;

Development of clear coordinated movements in conjunction with speech;

Development of phonemic hearing, prosodic components;

Formation of relaxation skills;

Development and correction of musical-rhythmic movements.

Musical-rhythmic movements are one of the forms of correction of violations of the syllabic structure.

Develop attention, orientation in space, coordination of movements, sense of rhythm, speech-auditory memory, help develop the correct breathing rhythm

For example: alternating walking on toes, in a semi-squat:

“Bushes, shrubs” (theme “Trees”);

Breathing exercises: help to develop diaphragmatic breathing, increase lung capacity, duration and strength of exhalation.

For example: Goose (topic “Poultry”)

Inhale through your mouth, exhale through your mouth. As you exhale, pronounce the sound “Sh-Sh-Sh”

Exercises for the development of fine motor skills.

Scientists have established a direct relationship between the development of a child's speech and the coordination of finger movements. Developing fingers - developing speech!

Games for the development of phonemic hearing.

Phonemic hearing is a subtle systematized hearing, the ability to recognize and distinguish between the sounds that make up a word. Without a developed phonemic hearing, the correct pronunciation of sounds is impossible.

(The word is given to the teacher - speech therapist.)

Mimic exercises: contribute to the development of mobility of the facial muscles; develop the ability to express an emotional state using non-verbal means of communication.

For example:

Source nsportal.ru

Preview:

"THE ROLE OF THE EDUCATOR IN THE PROCESS OF MUSICAL EDUCATION OF PRESCHOOL CHILDREN"

1. Know all program requirements for musical education.

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

3. To assist the musical director in mastering the program musical repertoire by children, to show examples of the exact execution of movements.

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

5. Learn movements with lagging children.

6. Deepen the musical experience of children by listening to music in a group with the help of technical means.

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

8. Possess elementary skills in playing children's musical instruments (metallophone, bells, tambourine, spoons, etc.).

9. To carry out the musical development of children, using all sections of the work: singing, listening to music, musical and rhythmic movements, playing on the DMI, musical and didactic games.

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

11. To develop independence, initiative of children in the use of familiar songs, round dances, musical games in the classroom, a walk, morning exercises, in independent artistic activity.

12. Create problem situations that activate children for independent creative manifestations.

13. Involve children in creative games that include familiar songs, movements, dances.

14. Use the children's musical skills and abilities in the classroom for other activities.

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

16. Take a direct part in the diagnostic examination of their pupils to identify musical skills and abilities, the individual capabilities of each child.

17. Take an active part in holding holidays, entertainment, musical leisure, puppet shows.

18. Prepare poetic collections of poetic material for entertainment and musical holidays (poems, skits, staged.)

19. To assist in the manufacture of attributes, the design of the music hall for holidays and entertainment.

The role of the educator in the music class

The role of the educator, the alternation of his passive and active participation, are different, depending on the parts of the lesson and tasks.

Listening to music:

1. By personal example, he brings up in children the ability to listen carefully to a piece of music, expresses interest;

2. Monitors discipline;

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

Singing, singing:

1. Does not participate in singing

2. Sings with children, learning a new song, showing the correct articulation

3. Supports by singing while performing familiar songs, using the means of mimic and pantomimic expressiveness.

4. When improving the song being learned, sings along in “difficult places”.

5. Does not sing with children during independent emotional and expressive singing (exception - singing with children of early and younger age)

Musical-rhythmic movements and games:

1. Participates in showing all kinds of movements, giving appropriate recommendations to children.

2. Gives clear, precise, aesthetic standards of movements (with the exception of exercises for the development of children's creative activity).

3. Takes a direct part in the performance of dances, dances, round dances. In older preschool age, familiar dances and dances are performed by children on their own.

4. Corrects the performance of movements by individual children during dance, exercise, play.

5. Explains and controls the fulfillment of the conditions of the game, contributing to the formation of behavioral skills during the game.

6. Takes one of the roles in the story game.

7. Monitors discipline throughout the entire music session.

On this topic:

More details on the site nsportal.ru

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TOPIC: THE ROLE OF THE TEACHER IN MUSIC CLASSES AND HOLIDAYS

Among the many recent problems related to preschool education, the problem of interaction between educators and specialists stands out. And the problem of pedagogical interaction between the educator and the music director is one of the most important: the success of the process of not only musical, but also the general aesthetic development of preschoolers depends on its solution.

We, music directors, would like to see the interest of educators in the process of music lessons. When a child sees that the educator performs all the tasks with interest, he himself is included in the process with even greater inspiration. After all, the teacher is an absolute authority for him, and no matter what happens in the classroom, the child will constantly focus on the teacher.

How is the interest of the educator in the music lesson manifested? First of all, the educator needs to understand that in a music lesson he is the same participant as the children, and not the warden. Imagine that you are a child, you are interested in everything and you and your children sing songs cheerfully, dance fervently, listen to music thoughtfully ... And you do it not as a duty, but with your soul, but do not forget that there is a pedagogical process that needs to be controlled.

Now let's move on from aesthetics to organizational issues.

1. At a music lesson, children should be smartly dressed,

comfortable shoes on the feet, girls must wear skirts.

2.starting from the middle group of children, it is necessary to build, alternating

boy and girl.

3. You should come to the lesson 2-3 minutes before the start in order to

line up and set up the children for the lesson.

4. The teacher brings with him a notebook with a hard cover for

spirals and a pen to write down the words of songs, games, movements

5. During the lesson, it is advisable not to leave the hall, so as not to

skip any material.

6. Do exercises with the children. Dance movements, games,

sing songs etc.

7. Monitor the correct performance of movements by children

8. Before class, it is necessary to observe musical silence: do not

turn on the tape recorder, as children have impaired hearing

perception and focus

9. In free activity, consolidate the material received in the lesson.

TOPIC: The role of educators and musical director on holidays

And now it's time to talk about holiday matinees, which are regularly held in each age group. This is the holiday of Autumn, New Year, March 8 and the graduation party in the group preparatory to school.

A holiday in a kindergarten is, first of all, a lot of work done by the entire team, since many kindergarten employees are involved in this event: educators, specialists, a housekeeper, cooks, medical workers, administration, etc. Therefore, the holiday is a common cause!

But everyone has their own role, their own responsibilities. And it can be very difficult to separate the responsibilities of a music director and an educator, because the successful holding of a holiday depends on the joint organized work of teachers.

1. For the holiday, children dress smartly and according to their wishes, if the costumes are not specified in the holiday script.

2. Before the matinee in the group, it is necessary to observe a festive atmosphere: decorate the group room, hang colorful posters, turn on appropriate music, etc.

3. Educators must be smart, have suitable shoes, meet children in high spirits.

4. When preparing for the holiday, involve all the children if possible: try to find a role for everyone, a poem, etc.

5. While learning poems and roles with children, control the correct pronunciation, stress in words, and punctuation.

6. Both teachers must be present at the holiday itself.

7. During the holiday, do not touch the children with your hands, but in order to rebuild them, you just need to tell them about it.

8. The presenter needs to pronounce the text emotionally, loudly, clearly, without fear of the guests, maintaining a friendly atmosphere at the holiday.

9. During the performance of dances and round dances by children, perform movements with them.

10. At the end of the holiday, educators need to gather all the children and leave the hall in an organized manner (with the exception of the New Year holidays, when children are photographed with Santa Claus).

11. A request to educators - to help decorate the hall for the holidays and clean up all the attributes after your matinee (preferably in place).

And finally, I would like to say that the holiday is, first of all, a demonstration performance of our children, including us, so please treat it with great responsibility. And then everything will work out for us!

TOPIC: "THE ROLE OF THE EDUCATOR IN THE PROCESS OF MUSICAL EDUCATION OF PRESCHOOL CHILDREN"

How actively do kindergarten teachers participate in the musical education of children? Are they all aware of the importance of such participation?

The implementation of the process of musical education requires a lot of activity from the teacher. When educating a child by means of music, preschool teachers should understand well its significance in the harmonious development of the personality. To do this, one must clearly and distinctly imagine by what means, methodological methods one can lay the foundation for the correct perception of music.

The educator needs to: