Vocal and singing development in preschool children. Singing activity of preschoolers The problem of forms of organization of singing activity

Traditionally, in the domestic system of musical education, singing activity occupies a leading place. This is due to a number of reasons (M. S. Osenneva, L. A. Bezborodova and others):.

■ the song beginning of Russian musical culture: all folk holidays, rituals, all church services were accompanied by singing;

■ the adequacy of singing to the psychological and age characteristics of children, their desire for active forms of mastering art, their active nature;

■ special accessibility for perception due to the synthesis of words and music;

■ the importance of educating the feelings of human community in the modern world - singing unites people, creating conditions for emotional communication.

The importance of singing activity can hardly be overestimated in child's personal development. Singing develops aesthetic perception, aesthetic feelings, artistic taste, musical and musical-sensory abilities and above all musical and auditory performances. It contributes to the formation aesthetic attitude to the environment, enriching the experience of the child, his mental development. Expands horizons, the amount of knowledge about the environment. Enriches the vocabulary of the child, improves his articulatory apparatus and speech.

Singing classes help develop socio-personal And communication qualities, to unite the children's team, to bring up the will, organization, endurance. The influence of singing on moral development expressed in the fact that the songs convey a certain content and attitude towards it. Singing gives rise to the ability to experience the moods reflected in the songs.

Singing is viewed as body strengthening agent preschoolers. It forms proper breathing, strengthens the lungs and vocal apparatus. According to doctors, singing is the best form of breathing exercises. Singing activity contributes to the formation of correct posture.

In the field of musical psychology, singing is considered as one of the forms of music therapy that affects the emergence of various emotional states.

Traditionally, the tasks of teaching preschoolers to sing are the following (A. N. Zimina, O. P. Radynova, etc.):

■ to educate the basics of singing and general musical culture: to form aesthetic emotions, interests and vocal and choral skills and abilities;

■ develop musical abilities and, above all, the distinction between intonationally accurate and inaccurate singing of sounds in height, duration;

■ promote the all-round spiritual and physical development of children.

Singing for the development of musical perception:

Listening to songs intended for their subsequent performance;

Singing melodies and exercises to develop ideas about the height, timbre, duration, strength of sounds (development of sensory abilities).

Song performance:

Singing with and without accompaniment;

Singing with own accompaniment on children's musical instruments;

Singing to accompany movements (round dances). Singing in musical and educational activities:

Singing exercises to acquire singing skills and musical knowledge;

Pedagogical analysis of songs (the most vivid expressive means, structure, character, etc.). Song creation:

Improvisation;

Composition of melodies to given texts;

Composition of round dances.

Various types of singing activity are closely related to each other, have a mutual influence: singing and listening to songs, singing and exercises, listening to songs and songwriting, etc. The forms of their organization are also diverse: classes (collective and individual), independent activities, holidays and entertainment.

Purpose and tasks of singing activity. The main goal is to educate children in singing culture, to introduce them to music. The tasks of singing activity follow from the general tasks of musical education and are inextricably linked with them. They are as follows:

1. Develop musical abilities (emotional responsiveness to music, modal feeling, musical and auditory representations, a sense of rhythm).

2. To form the foundations of singing and general musical culture (aesthetic emotions, interests, assessments, vocal and choral skills and abilities).

3. Contribute to the comprehensive spiritual and physical development of children.

These tasks are solved on the basis of a certain song repertoire, the use of appropriate teaching methods and techniques, and various forms of organizing children's musical activities.

Song repertoire includes:

- exercises for the development of singing voice and hearing;

Songs for various types of musical activity (listening, choral and solo singing, singing with movements, playing musical instruments with singing, musical literacy, creativity).

The repertoire must be selected so that it corresponds to the physical, mental characteristics of the child, performs aesthetic and general educational tasks. Both music and lyrics play an important role here.

Singing exercises should be used in a specific system. Their main goal is the development of singing technique, musical ear. Each exercise has some basic narrow task: the development of breathing, diction, range, etc., but it is solved against the background of the whole complex of skills. In order for the work on the basic skills to be systematic, the sequence of exercises is important. We can recommend the following order of development of singing skills (conditionally): diction and articulation, breathing, sound production, range expansion, sound knowledge.

At the beginning of the school year, in all age groups, it is proposed to sing exercises for the development of diction and articulation. (This is especially important for younger groups, since there are children with speech defects in them.) Many teachers believe that good diction contributes to the purity of intonation, the beauty of the sound of the voice. First, children sing exercises to help overcome speech defects, then - to align vowels and syllables with consonants.

Next, exercises are taken to develop singing breathing. The quality of the sound, the singing of phrases, the purity of intonation depend on the correct breath (calm, but active). Inhalation is recommended to be done simultaneously through the nose and mouth. The exhalation should be calm and slow so that the breath lasts until the end of the phrase. For the development of breathing, all exercises are given in the following sequence: first, singing two-bar chants, songs at an average tempo in 2/4 time, then the phrases are lengthened. There are also exercises with pauses for taking the right breath.

Exercises for correct sound formation (natural singing, relaxed, melodious, light) also take into account the importance of developing a “soft attack” of sound in children (the initial moment of sound formation). Children should be able to sing calmly, without jerks. A "hard attack" harms a child's voice, the correct singing sound: it is rarely allowed, only as a performing technique. Among the exercises for children 3-6 years old should not be "beating" on the vocal cords. You need to teach the guys to sing long, melodious.

For the development of singing ranges, the same exercises are used, but transposed into other keys.

Vocal skills (sound production, breathing, diction) are acquired simultaneously with choral skills (purity of intonation, ensemble). Purity of intonation is the most difficult singing skill. It is associated with the development of hearing (modal sense and musical-auditory representations), the feeling of a melody's attraction to stable sounds, and the presentation of a melodic pitch pattern. Unclean intonation in singing is often the result of a small vocal range. In such cases, it is useful for the child to sing in a comfortable range so that he can catch the melodic pattern and reproduce it.

The feeling of the ensemble also requires auditory attention, the ability to listen to each other. In order for children to be able to listen to singing, it is important to sing quietly, at an average pace.

Songs without accompaniment. From the age of 3, children sing without instrumental accompaniment in small groups and individually with the support of an adult's voice. These are onomatopoeia, folk songs, small songs. Melodic moves, rhythm are very simple, easy for intonation. The melody consists of one or two repeated motifs. Children 4-6 years old sing more difficult songs, with a wider range, interesting rhythms, and melody. The main purpose of unaccompanied singing is to develop purity of intonation; therefore, it is necessary that the technical side of the performance does not require much effort and that children can focus on pure intonation.

Songs with accompaniment. At the beginning of the school year, preschoolers sing simple, uncomplicated songs to restore those skills that have been forgotten over the summer. The melody of the song is accurately duplicated by the instrument; melodic moves are convenient for intonation, written in medium tessitura, with a narrow range.

At the next stage of training, songs with a more complex rhythm and melodic structure are offered. In older groups, instrumental accompaniment can only partially duplicate the melody, sound in a different register. Songs are used with an introduction, conclusion, pauses, chorus, chorus of a different nature, which requires melodious or moving singing, the use of all singing skills.

Another group of songs, more difficult, is designed for children 5-6 years old. These are songs of a two-part or three-part form (parts may have a different character). There are already unexpected pauses, short durations, chanting (two notes per syllable), wide ranges (septim, octave), long phrases. These songs are performed by more capable children (soloists or small groups) with and without instrumental accompaniment.

Songs to accompany movements. When selecting a repertoire for this type of activity, it must be borne in mind that singing is incompatible with fast, abrupt movements; therefore, songs should be calm, smooth, in nature.

Movements activate the emotional manifestations of children. Children always sing songs with movements willingly. Such songs are learned already in the younger groups.

Songs to accompany movements (round dances) have a simple melody, they are lighter than those offered in the "Songs with Accompaniment" section. Combining singing and movements requires great physical effort from children, concentration and distribution of attention. At the beginning of the school year, songs with short phrases are used, simple, of a small range, then - more detailed (two-part or three-part form), of a different nature, with varied, but calm movements. It is important to remember that sudden movements lead to increased breathing, and singing becomes intermittent and inexpressive.

Songs for playing musical instruments. This repertoire is intended for middle and senior groups. At the beginning of the year, children improvise on a given topic (“Bells”, “Rain”, “Brook”, etc.). The purpose of these exercises is to introduce the instrument, to let them play with it like with a toy. Then the children play rhythmic exercises on one or two notes and hum. Gradually, the guys learn to select melodies by ear from a familiar repertoire (chants from several sounds).

Sample songs for teaching children the basics of musical literacy. The repertoire for various types of singing activities can be used in teaching the basics of musical literacy. Drawing the attention of children to the direction of movement of the sounds of the melody, their length, the nature of the performance of the song, the teacher gives the children some information about the height and duration of sounds, timbre, tempo, rhythm, dynamics, etc. To develop ideas about the height and duration of sounds, characteristic rhythmic or melodic turns from already familiar works. Children reproduce them as exercises, for example, clap, tap with a stick or play a rhythmic pattern of a melody on one plate of a metallophone, sing melodic turns into syllables la-la, doo-doo, mi-mi, mo-mo etc. so that the text does not distract from the reproduction of the pitch of the sounds.

Singing teaching methodology. The singing abilities of preschoolers (singing ranges, features of singing breathing, articulatory apparatus) in each age group are different.

Three age periods can be distinguished in accordance with the general and musical development of children: up to 3 years, from 3 to 5 and from 5 to 6 (7) years. In the first age period, babies accumulate the experience of perceiving music, initial musical impressions, the experience of sensory-auditory and rhythmic representations, intoning the melody with their voice. In the second age period, the coordination of hearing and voice, music and movements, the combination of knowledge and skills take place. At the age of 5 to 6 (7) years, practical actions are supported by knowledge about music, enriched with it, elements of an aesthetic attitude to singing and music in general are formed and visibly manifested.

In classes with the youngest children, singing and small songs that are imitative in nature (voices of birds, animals, sounds of the surrounding reality, repetitive intonations) are used. With their help, hearing develops, diction and articulation are formed. It is desirable that there are sounds in the text w, w, h, r. Melodies should be simple, built on 2-4 sounds, in the fourth range (re "- salt"), the rhythmic pattern should consist of quarter and eighth durations, the tempo and strength of the sound are medium, and the breathing is short.

In children 3-4 years old, as a rule, the range of singing re - la the first octave, breathing is still uneven, short, not everyone has developed articulation, diction, some find it difficult to pronounce individual sounds. At 4-5 years old, the range of singing expands:

re - si the first octave, breathing becomes more stable, children can sing longer phrases (two measures at an average pace), pronounce words better. In this age period, songs and round dances about nature, the surrounding reality are selected, singing exercises are built on a text that is feasible for the children. They help the formation of diction, articulation, singing breathing, ensemble. For the development of coordination of hearing and voice, singing breathing, it is important to choose songs that have not only uniform, but also lingering sounds. By the age of 5, children already use different types of breathing (clavicular, thoracic, lower costal, and also mixed). Melodies are sung more complex, at a slow and medium pace, the dynamics are quiet and moderately loud.

At 5-6 (7) years, the range is even wider: re first octave - before second octave (sometimes even re first octave - re second octave). Children have a better command of singing breathing - they can sing phrases of two measures at a slow pace. During these years, musically gifted children appear, they are noticeably ahead of their peers. This is revealed in the following: purity of intonation, sonorous voice, artistically expressive singing, artistry, interest in music.

At the age of 5 to 6 (7) years, a more varied song repertoire is used, the tempo is from slow to moving, the dynamics are from quiet to moderately loud. Singing loudly is not recommended. The strength of the sound of children's voices is moderate, since the vocal cords are not yet formed.

The most suitable material for classes with children of all ages is folk songs, songs, round dances. Their melodies are simple and accessible to preschoolers. They are often performed unaccompanied, contribute to the development of hearing, form taste, and can be used in various life situations.

The work on the song can be conditionally divided into several stages, each of which has its own methods and techniques.

At the first stage of work on the song (acquaintance, perception), visual and verbal methods are used. With the help of an expressive performance of a song, a figurative word, a conversation about the nature of music, the teacher seeks to arouse interest in it, the desire to learn it. It is important that the children feel the moods conveyed in the music, speak about the nature of the song as a whole, the change of moods in its parts. Only a bright, expressive performance of a teacher can evoke positive emotions in children, an experience of the content of music. A conversation about the emotional and figurative content of the song helps to set the guys up for its expressive performance, the choice of sound formation, diction, and breathing corresponding to the nature of the song. So, if the children defined the nature of the music as affectionate, gentle, calm, they are explained to them that it must also be sung in a melodious, drawling voice.

At the second stage, the actual learning of the song begins (for 3-5 lessons). In addition to the visual and verbal methods, the practical method is of great importance here. Children master the necessary singing skills, memorize and reproduce the melody, rhythm of the song, expressive nuances. At this stage, exercises play an important role. At first, the guys learn by imitation, so the teacher's demonstration of performance techniques and their consolidation in the exercises are very important. Exercises are given as chanting, before singing songs. With their help, difficult melodic moves found in the song are learned. For example, before singing the song “Herringbone” by L. Beckman, starting with a move up a sixth, you can use the chant from the “Musical Primer” by N. A. Vetlugina “Echo” to prepare children for playing this difficult interval.

Working on difficult melodies based on the material of the song itself requires multiple repetitions, which inevitably reduce children's interest in the song. The exercise, given in a playful way, helps to overcome difficulties, to acquire singing skills. Exercises that have a playful character, children sing with pleasure not only in the classroom, but also in independent activities and at home. Children like songs related to the world close to them. These are melodies from folklore, imitation of the voices of birds, animals, tongue twisters, nursery rhymes, counting rhymes.

When performing singing exercises, children constantly train their singing voice, develop an ear for music, coordination of hearing and voice, and purity of intonation.

Very simple exercises are also used, built on one or two intervals. For example, the exercise "cuckoo" is built on a minor third. Children come up with their own words for this interval. This is how auditory representations are formed, which are important for the development of modal feeling. (The interval of a minor third is included in the tonic triad, which forms the basis of the mode.) Other exercises can be created in a similar way.

Learning to sing requires a lot of willpower from a child. To maintain interest in the song, to focus the attention of children, it is important to be able to create game situations, use musical and didactic games, problem tasks. On average, a song is learned in 8-9 lessons. Children show the greatest interest in the first three lessons, then interest may fall. It is necessary to support it with the help of various pedagogical techniques, to connect singing with other types of musical activity: movements, playing musical instruments.

At the second stage of work on a song, children master the skills of sound production, breathing, diction, purity of intonation, ensemble.

To form the skill of correct sound formation, such methods and techniques are used as a figurative word, a conversation about the nature of music, and a demonstration of performance techniques. The melodiousness is connected with sound formation. From a young age, it is important to teach children to draw out vowels, the ends of musical phrases, and learn songs in slow motion. Melodies are helped by singing melodies without words, into a consonant m or l combined with vowels u, oh In older groups, exercises in which syllables dominate are useful. coo-coo, mo-mo. Mobile light sound formation is facilitated by exercises that begin and end with consonants (ding-ding, knock-knock). The method of comparing sound with musical instruments is also used (smooth sound of a pipe, jerky and light - a bell).

To help children master correct breathing, they are explained and shown where and how to take breath, how to use it according to musical phrases. For proper breathing, the singing attitude is important - the landing is straight, without raising the shoulders.

To develop correct diction, the following techniques are used: expressive reading of the text, clarification of the meaning of some unfamiliar words, their correct and distinct pronunciation, reading the text in a whisper, with clear articulation. It is important to develop the mobility of the articulatory apparatus (lips, tongue, palate, lower jaw) in children with the help of exercises. Meaningful pronunciation of the text makes singing more expressive. This is facilitated by the clear sound of consonants, soft endings of phrases, semantic accents, etc.

The purity of intonation in singing requires constant work on improving the ear from an early age:

from the development of auditory concentration to the distinction and reproduction of sounds in height, the reproduction of the direction of movement of the melody. So that children can easily determine the direction of movement of the melody, modeling is used (showing the movement of sounds with the hand, didactic games, demonstrating the sounds of the melody on the flannelograph, etc.).

Techniques help to get the purity of intonation in singing: tuning on the first sound of the song; singing of one melody by the teacher (children's perception of the melody from the voice); performance of a melody on the piano and other instruments; learning a melody in parts, phrases, in slow motion. They usually begin to learn a song from simpler, more memorable fragments, for example, from a chorus. In addition, the auditory attention of children is necessary. They should sing quietly, expressively, listening to themselves and others. It is useful to sing in small groups and solo.

It is important for the teacher to understand the causes of impure intonation. It can be an underdeveloped hearing, articulation deficiencies, a diseased vocal apparatus. It is recommended to deal with children with impure intonation individually.

One of the reasons for incorrect intonation is the low range of the voice. In this case, the transposition of the melody into a key that is convenient for the child helps. If he manages to catch the pattern of the melody and reproduce it in a comfortable tessitura, he can begin to sing correctly and together with other children, in a higher sound. Gradually, the range expands, starting with primary (i.e., comfortable for humans) sounds.

Along with this technique, the reverse also helps - “opening up” the sounds of the upper register of a child’s voice (la, si first octave, before, re second octave). First, children perform onomatopoeia exercises. (coo-coo, doo-doo) then they sing jokes. Moreover, it is desirable that the melody goes from top to bottom: this immediately sets the voice apparatus to a high sound. The third way - along with the strengthening of low sounds - immediately expand the upper register of the child's voice, accustoming him to high sounds (R. T. Zinich).

N.A. Metlov advised seating children for singing so that children with impure intonation would sit in the first row, behind them - medium intonation and in the third row - well-singing children. At the same time, children with poor intonation better adjust to the correct intonation: in front they hear the sound of the instrument and the singing of the teacher, and behind them - purely intonation children.

Establishing the purity of intonation in singing is facilitated by the systematic repetition of the learned songs both with and without accompaniment, listening to songs well performed by adults and children.

The feeling of the ensemble (from the French ensemble - together) is also necessary for choral singing. The teacher shows the children the moment of entry, encourages auditory attention, coherence of sound. One should strive not only for the simultaneity of singing, but also its expressiveness: soft endings of phrases, dynamic shades, semantic accents, the quality of sound science corresponding to the nature of the music. Therefore, the bright performance of the song by the teacher and the figurative word are also important at the second stage of work on the work, when learning it.

In the third stage, the songs are repeated. Children have already mastered singing skills and freely perform the learned repertoire. If the song is loved, the guys sing it at will, not only in the classroom. They remember it for a long time, include it in games, and “perform” in front of the audience with pleasure.

MUSICAL AND PERFORMING ACTIVITIES

STUDENTS

1.2.1. Vocal and choral activities of students

The theory of music education in its provisions reveals the focus of vocal and choral activity, the theoretical and didactic foundations of the work of a musician-teacher with a children's choir, including in the conditions of being busy in music lessons. University courses: "Choral Studies and Choral Arrangement". "Choral class and practical work with the choir", "Choral conducting class", "Solo singing class" significantly complement the knowledge and form the basic skills of the future music teacher in this area.

The methodology of music education, based on theory, is designed primarily to reveal the features of the content of vocal and choral work in the conditions of a music lesson and extracurricular activities with students of different ages, the essence of the methods and techniques for managing vocal and choral activities, which are embodied in the practical skills and abilities of the teacher. music.

Tasks and content of vocal and choral activities

Vocal and choral activity of students at the stage elementary general education is designed to promote:

becoming vocal and choral culture of schoolchildren;

development students have an interest in vocal and choral classes; singing voice, musical ear, musical memory, figurative and associative thinking, imagination; musical perception and creative abilities in the process of vocal and choral activity;

development students: vocal and choral works and knowledge about vocal and choral art; methods of choral and solo singing with and without accompaniment; singing with a focus on musical notation; vocal-

English means of translating the musical image of a work; types of vocal improvisation; :*.publication students: practical vocal and choral skills and I for the implementation of the musical and performing design and expressive attitude to the musical work; the experience of theatricalization of cheering, the use of game forms of musical and creative performance

when learning and performing songs; italy students: musical taste; moral attitudes and: their feelings, love for a person, for one's people, for the Motherland, respect 1. for traditions, vocal and choral culture of the native people and peoples of the countries of the world, emotional and value attitude to vocal choral creativity.

Music classes in elementary school provide for students to learn the songs of their people and other peoples of the world, and simple samples of professional music accessible to children: songs and foreign composers, choral and solo fragments of operas, musicals, etc. I drink the development of students' singing voices mastering the necessary choral skills and abilities in the content of classes, including also complexes of vocal and choral exercises and chanting. Experience of a musical and creative vocal and choral worker I and students acquire in the process of choral and solo singing with and without accompaniment, in singing with a focus on musical notation in search of expressive means for the realization of a musical work being taught, in its performance, as well as in the staging of vocal improvisation. An important and constantly relevant task of vocal and choral education at which stage of education is to work with children with poor intonation. called "hooters"). As experience shows, first of all, it is impossible to find out the reason for such a phenomenon in a particular student: hearing loss, insufficient coordination of voice and hearing due to the lack of musical experience in singing, or a disease of the vocal cords. § In the first two cases, various methods of work are offered, including singing of the features of the primary sound zone in a given child with a gradual expansion of the range of the “working voice” into the performances of interesting and simple melodies with gradual progression. It is also recommended to use methods of attacking the sounds of the upper one (sing “like a bell”, “like a little sparrow”) in order to exclude the transfer of a low conversational voice into singing. In all cases, in order for weakly intoned children to sit next to well-toned and listen to their singing, in the third case, the help of a laryngologist is needed, the removal of the pain and then re-examination of the child. By the end of elementary school, the teacher will have to prepare

xia to ensure that they: hush/understood:

Basic rules for solo singing and singing in the choir, protection of the singing

conductor's instructions (taking and holding the breath, the beginning and end of singing, designations of the proposed tempo and dynamics of the performance of the work, phrasing, accents, etc.);

on the need to match the nature of the performance with the nature of the music:

were able to:

sing along the teacher's hand, in unison with the class;

observe the singing installation;

articulate correctly;

perform songs with a beautiful, rounded, melodious sound;

feel, understand and expressively convey the mood of the music and its changes in the process of singing;

perform vocal works with and without accompaniment, monophonic and with elements of two-voice, while showing a desire for creative self-expression;

perform solo several folk and composer songs (at the student's choice).

Vocal and choral activity of students at the stage main general education is aimed at:

A) upbringing emotional and value attitude to vocal and choral activities; musical and artistic taste of the student, his intellectual-figurative and emotional sphere, creativity, imagination, thinking;

b) further development singing voice and general musicality (ear of music, musical memory, ability to empathize; figurative and associative thinking);

V) improvement practical skills and abilities of vocal and choir activities;

G) formation sustainable interest in this activity, the vocal and choral traditions of their people and the world vocal and choral culture.

All this together contributes to becoming vocal and choral culture of schoolchildren as an integral part of the entire musical culture.

In connection with the further development of singing voices and the need to acquire more complex vocal and choral skills and abilities, the complex of vocal and choral exercises and chanting used in the classroom is enriched.

Experience in musical and creative vocal and choral activities students acquire in the process of choral and solo singing with and without accompaniment, monophonic and polyphonic; in search of means of expression, including stage means for embodying the musical image of the piece being studied; in singing with orien

: musical notation; in the vocalization of the main themes of instrumental

in dramatization of songs and in vocal improvisation, at the end of primary school education, the teacher should build on the knowledge and skills acquired by children in primary school, and prepare students to: /understood:

how many examples of Russian folk songs and songs of other peoples of the world, vocal and choral works by Russian and foreign composers, as well as works by contemporary composers;

^ perform strikingly solo vocal works (with accompaniment - accompaniment), including the National Anthem of Russia, several

songs, songs of classical and modern composers (- at the choice of students); perform your part in the choir in the simplest two-voice (three-voice - with the exception of "mutated" youthful voices) works, observing the rules and requirements for singing in the choir;

offer your own version (variants) of the performing interpretation of the vocal work;

compare different interpretations and reasonably choose from them her preferred option; ■ : evaluate the quality of the embodiment of the chosen interpretation in one's own work;

worsen auditory control and self-control over the process of creating a different image, the quality of sound in singing with and without accompaniment (singing set, sound production, singing breathing,

shiya), following the conductor's instructions of the teacher. Although the solution of the tasks set, the teacher must be competent in the methods of organizing the singing activities of children and working with the 1st choir. At the same time, competence presupposes not only knowledge of different methodological approaches, but also the ability to competently apply them in a given singing experience.

Methodological approaches to the selection of content and organization of aocal-choral activities

There are various methods of developing the singing voice, the formation of choral skills and abilities. Let us consider from these positions the methodological system proposed T.N. Ovchinnikova. IN compressed form, it can be

as follows 1 . A prerequisite for the correct operation of the vocal apparatus during is the observance of the singing installation: the direct position of the body

Description of the main conceptual methodological provisions and specific recommendations - ! It is based mainly on an explanatory note to the author's program on choral "five extracurricular and extracurricular activities. See: Ovchinnikova T.N. Choir // Programs of collegiate institutions and general education schools. Music. M., 1986.

sa, hands down along the body or on the knees if the children are sitting; your shoulders are turned and lowered, the stomach is slightly drawn in. The main way of sound formation for young children should be considered a soft attack. Breathing should be moderately active, inhalation is calm, without raising the shoulders, exhalation is calm, without tension and “air leakage”.

Work on diction in the choir is of great importance for the formation of the correct pronunciation of words and the development of the mobility of speech-forming organs. Quite often, especially in the first months of classes, children need to be reminded that the lyrics of a song or exercise should be for the listeners, so the words should be pronounced actively and clearly. To train clear pronunciation, you can use exercises in which the imitation of the cries of animals and birds is raised (for example, improvisation and “question-answer”: “How does the crow sing?” - “Kar-kar-kar.” “How does the frog sing?” "Kwa-kva-kva"),

The vocal apparatus of babies is still very fragile. The voices of children of this age are characterized by a head sound, a small volume of sound. Therefore, it is very important to pay attention to work on the quality of sound - the development of ringing, flight, evenness of sound science.

Already at this age, some children are distinguished by great singing and visuality. They can be entrusted with the performance of the solo part. However, s. one should be careful and allow only solo parts that are very uncomplicated in terms of intonation, so that there is not even a hint of excitement, tension of the child when singing in these cases.

The initial stage of vocal and choir lessons should be considered as important for the individual singing development of each participant x Here the following skills and abilities are taught: compliance with the singing installation process, correct sound formation (me] attack); maintaining a stable position of the larynx; developing a skill from a quiet breath without raising the shoulders, maintaining the "inhalation state" of singing, the implementation of a calmly active, economical exhalation.

During this period, the process of formation in all children of the foundations of the properties of the singing voice (sonority, flight, evenness in timbre, and vibrato), the preservation of the individual pleasant timbre identified by the teacher in each participant; teaching the ability to sing actively, but forced by the strength of the sound, naturally, naturally; flexible voice.

Of particular importance is the correct formation of vowels and teaching them a clear, rapid pronunciation of consonants; the development of the voice range in younger students, mainly within mi - si of the first octa “singing” of this zone with an orientation towards “mixed sound”, equalization of singing sound in terms of timbre and voice strength based on pure sounds of hundredth intonation from the “central” sound la first octave up down; the development of a unison, the teaching of two-voice using various techniques for the ego, the sequence of which and the connections are established depending on the characteristics of the composition of the children.

As you learn to sing, more and more attention should be paid to singing accompaniment, the ability to listen and control yourself when singing, listening to the whole part, the whole choir, merging with the general sound in terms of pitch, p

without standing out in strength, retaining the individual beauty of its timbre, shortcomings in the technique of performance and in the sound of the voice; it is important to develop skills simultaneously with the whole party or choir to increase or decrease sonority, to maintain a constant tempo, and if necessary, together with everything, to speed it up or slow it down; correctly perform a rhythmic pattern, intermittently with a part, chorus; clearly pronounce the consonants, start and finish the performance of the piece.

this period is the learning of the ability to analyze and briefly characterize the performed work; develop creative abilities, using improvisation and joining the understanding of the interpretation of the work

In the process of studying with teenagers and older students, decay, consolidation and further deepening of previously acquired values ​​and skills occur. Of great importance is the further development of a strong attitude of students to their singing and comrades, to the performing rules of singing in the choir, the protection of the voice, especially in connection with the cationic, mutational and post-mutational periods, which is characteristic of these age groups. It is necessary to continue the work aimed at solving all the tasks - from the beginning of training: the development of a singing attitude; the development of calmly active, economical breathing, which provides for this age the flexibility of the voice and is freely used in speeches of a different nature; expanding the range of voice for each student - up to about one and a half octaves; achievement on the entire range of the voice - that sound (mixed) with the manifestations of elements of "adulthood" inherent in the youthful voice in relation to its timbre; versatile and dchnoe development of musical and vocal hearing; achievement of a soft-harmonious, sonorous, with the presence of vibrato, a singing voice, to the best of

and having individuality of timbre coloring. This period becomes possible at a new level: a) the achievement of emo- tionality and expressiveness in singing, clear diction, pure intonation when singing in unison and polyphonic singing, skillful performance of movements, different in tempo and rhythmic pattern, system, ensemble, evke; b) the formation of taste in the performance of works; c) better and fulfillment of the requirements of his leader - the conductor; d) the ability to correctly evaluate and interpret what is being performed; or a work being put out; e) manifestation of the need for vocal choral performance; f) the formation of singing culture as a whole, taking into account the pitifully existing learning conditions.

GP Stulova pays primary attention to the problem of the development of the singing voice. One of the central issues for the author is the singing sound, the search for methodological approaches that contribute to the optimal development of children's voices.

The gog musician proposes a system of ways to control sound formation in various voice modes using a number of factors: tes-dynamics, type of sound attack, sound guiding method, articulation, initial mood. Detailed disclosure is obtained in the works of the author of the mevocal work: concentric, phonetic, explanatory

illustrative in combination with reproductive, the method of mental (internal) singing and comparative analysis.

Since the coverage of these issues is presented in the author's university textbooks: "Theory and practice of working with a children's choir", "Acoustic and physiological foundations of vocal work with a children's choir" and their consideration is supposed to be in another educational university discipline, in this section we will limit ourselves to only indicating the data works I.

Of particular importance is the problem of staging and protecting a child's voice in vocal work with boys. G.G.Pg- relshteinas emphasizes that “the singing apparatus of boys is subject to more drastic changes and is more easily vulnerable to improper operation than the singing apparatus of girls. Therefore, all vocal work with boys should be carried out very carefully and attentively. Her methods must be flexible and change in accordance with the changes taking place in the singing apparatus of boys. It should be borne in mind that with a wide chest manner of singing, the upper sounds are difficult to form in the boy's voice, but the lower ones are strengthened. With the relief of the lower tones and with a higher manner of singing, the ranges of the voice expand towards high sounds.

To protect the fragile voices of children, it is necessary to protect them in every possible way from screaming, and also to orient them to singing in a high singing position, since such singing “guarantees the normal and natural further development of the voice” III.

IN pre-mutation period it is very important to teach the boys how to breathe correctly when singing, not allowing deep breaths and rapid exhalations. At the same time, it is necessary to work on the flight of sound, which is achieved by strengthening the high position and the ability of children to send their sound over a long distance. All exercises for developing the feeling of fixed and flying sound, as emphasized by G. G. Perelypteinas, are sung with dynamics tezo / oPe.

At this time, work is underway to deepen the skill of singing breathing. The focus is on the singing support, which involves active breath holding and the formation of vowels. Careful attitude to the voice of the child in the heyday of the voices of boys is to reduce the singing load. This delays the onset of mutation.

In general, work during the pre-mutation period should be reduced to teaching boys to sing naturally, freely, in their natural voice. One should not impose any special manner on them, since a child's goal only then develops well if he is not raped, if he is not tried to be placed in some special, unnatural conditions. This applies to all elements of the singing process: breathing, articulation, diction, intonation.

In parallel with the "purely vocal" work, it is necessary to develop the child's musicality, his emotionality and expressiveness. infusion

vociferous singing contributes to the formation of good vocals, enriched with new timbre colors. Emotionally colored helps to find the position in which the voice flows freely and sounds

chikov who entered latent mutation period(some tue - in the voice, hoarseness, sometimes coughing without signs of a cold, difficulty singing high sounds, trebles lose their upper sounds, the upper sounds are truncated in the violas, the "lower classes" are getting stronger), should be limited to pe- Liskants sing in the alto group, violas should be forbidden to sing higher la, hey octaves.

heriod acute muta a c i i in the colloquial speech of boys, separate masculine notes creep in, the so-called “roosters” often appear, well, during the period, colloquial speech is an immature male. Sing during this period luet. By the end of the period, real masculine notes of ene appear at the trebles. mi-si small octave while partially preserving the falsetto yin in the range do-fa, salt of the second octave. Violas often also have an ischelet sound and masculine notes are formed in the range F small I - before, re first octave.

Hundreds of boys in their development pass this period, or it is so short that neither the teacher nor the student himself has time to die.

heriod of stabilization of the youthful voice and formation1lamale voice an even sound without a sip appears on the neem range (fifths, sixths), which gradually expands, the appearance of the future adult voice (tenor, bari) clearly crystallizes. At this time, the young men should sing in a relieved voice. sings the exercise “husband” in a sufficiently strong voice without hoarseness and tension in the range

I» The main rule of working with young men is not to rush to form adult voices. Much attention should be paid to the deepening of breathing, singing on. During this period, the performance of works with a bright climax, loud marching songs should be avoided. The sound of the voice should be soft and rounded 2 . It should also be noted that if there are already confused boys in the class, the teacher faces the problem of combining heterogeneous timbre sounds into a single choral sound, in essence, the creation of an incomplete mixed choir. This requires the teacher to be able to arrange musical material - I. to be taught in the classroom, taking into account the singing range of the group of voices.

children's choirs in general. So, for example, to develop a high vocal position, the teacher recommends:

a) most vocal exercises are sung in a downward direction:

b) in the upward direction, sing exercises only on 5(accaGo;

c) sing low sounds only quietly and with a feeling of high sounding;

d) select the repertoire so that it helps to develop a high position;

e) do not sing a lot of marching songs or songs with a chased rhythm;

f) not to allow a sound that is oversaturated in brightness in the choir, since it will inevitably lead to a low singing position over time.

In citing these methodological recommendations, it should be emphasized that the problem selection of exercises and them alignment along the line of complication - one of those in the solution of which it is necessary to clearly distinguish between strategic and tactical tasks. And if sufficiently stable sets of exercises can be allocated to solve strategic problems, then to solve specific problems facing a given team in a particular lesson, it is necessary to quickly make changes to the composition of the proposed exercises. Such changes should reflect the focus of the planned vocal and choral work, the readiness of the students to learn the proposed material, the state of their vocal apparatus at the time the lesson began.

An example stable The following can serve as vocal choral exercises for singing:

Sing from top to bottom five sounds in syllables mi-ma(in the most convenient range for this composition of students). combination of syllables mi-may. sound translation willow allows "close" And with its characteristic sonority, move into A, retaining ringing in a wider resonator. In addition, the use of vowels And And A along with a consonant m precisely fixes the beginning of the sound contributes to the correct singing tuning.

Sing the scale from top to bottom in syllables mi-ma, or per syllable lu, or from ma. Such an exercise helps to develop evenness and sonority of the sound.

Sing in the zone of primary tones each individual note on the tree uh-uh. The exercise allows you to develop the same timbre coloring of different vowels.

It is expedient to carry out these exercises systematically, from the lesson lesson, improving the skills of breathing, sound production, flight, voice.

Yu.B. Aliev. IN the most complete form of his concept is presented in the book “Singing at music lessons: lesson notes, turnip; ar, technique "I . The author analyzes and summarizes the rich experience of music teachers accumulated in this area, as well as his own many years of experience working with schoolchildren. At the same time, the problems raised by the music teacher are illuminated from the standpoint of theory, methodology and practice.

From the whole variety of problems under consideration, let us dwell on the non-slip development of which the author's individuality is clearly manifested and receive the most complete methodological coverage in a whole series of problems. Among such problems, one should first of all include approaches to “about polyphonic singing, as well as the use audio and video ways of teaching schoolchildren choral singing. The author sees the reason for the absence of polyphonic singing in the practice of many music teachers in the underdevelopment of students' harmonic hearing, polyphonic singing is contained "not so much in singing as such, but in the ability to hear" 1 . That is why, already at the initial stage of training, it is proposed to select musical material that would allow one to feel the polyphonic sound. Aztor agrees with the point of view that far from everyone can be such material. Thus, if its constituent voices form a tertiary relationship with each other in the full ignorance of the rhythm, then this is not learning, since it is difficult for students to keep their part.

it is preferable to start work on mastering the polyphonic from the canons, which are characterized by the independence of movement, the holographic material and the simplicity of the melody. At the same time, it is emphasized that, since the melodic lines of voices have already been mastered by children, it is desirable to perform the canons not with words, but on some syllable or with a closed one. This is due to the fact that with such a performance it sounds especially clear: musical fabric, which helps to strengthen the harmonic slu-. development of skills of polyphonic singing.

Considering the problem of teaching children polyphonic singing, Aliyev considers it necessary to draw the attention of music teachers to the fact that from the first lessons choral singing should be simultaneously worked on unison and polyphony. A very common opinion that the transition to polyphonic singing is possible after reaching the first, coordinated sound in monophonic singing, in my opinion, is erroneous.

The teacher-musician argues this point of view as follows: in the fact that, developing for a long time on unison singing (and so you can achieve something in this matter!), students, and sometimes even involuntarily begin to look at two-voice singing as on a difficult target. Every mistake, every difficulty that inevitably arises at the first stage, is presented as a significant obstacle, practically insurmountable. Realizing that it is easier and more pleasant to sing in one voice, classy choirs return forever to "the bosom of uyiso-closing their way to musical and choral development" 2. The author also points out that unison and polyphonic singing, the future types of choral singing, require At the same time, “work on polyphony can activate the formation of melodic (so to speak, “unison”) hearing, and work

above unison contributes to the purity of intonation and in the process of singing in several voices ”I.

Yu.B. Aliyev considers the use of a tape recording, which “captures” the process of learning choral parts (according to their number in the studied work) by the best students, to be an effective method to help children master the skills of polyphonic singing 1 . It is also proposed to use audio and video tools in the process of teaching choral singing in order to get acquainted with a new work, to compare different interpretations, to use it as a phonogram, to record the performance of the choir with a subsequent analysis of its shortcomings and advantages, I to draw students' attention to the most important moments of performance, such as the accuracy of the introduction, pronunciation, stretching out the “endings”, evenness of voices, etc.

It should be noted that the position of Yu.B.Aliyev regarding teaching children both monophonic and polyphonic singing is consistent with the opinion of many, including foreign music teachers. This approach, in particular, is inherent in the Hungarian education system.

At the same time, the majority of domestic musical teachers, as noted, believe that the transition to polyphony is possible if a harmonious unison is achieved in the choral sound.

With all the seemingly opposition of these points of view, it is stated that the essence of the disagreement lies in the fact that what polyphonic singing is meant.

If we talk about polyphony, which is based on sufficiently developed types of harmonic and polyphonic writing, then it is unlikely that it can become an object of development without first mastering the ability of children to sing in unison. If we talk about elementary types of two-voice, for example, as a dialogue of two parts, when one voice picks up the melodic line of another voice, but at the same time they do not sound yet; two-voice, in which one of the parties performs the function of bourdon and some others, then their performance is not very difficult for children.

Moreover, such types of the simplest two-voice create favorable conditions for the involvement in the performance process of those children who have a limited or “shifted” (in relation to other children) voice range, which still does not allow them to sing the melody correctly as a whole.

In the future, most teachers adhere to the following sequence in working on mastering the skills and abilities of two-voice: First, singing in two voices is offered, one of which (the most difficult) is performed by a teacher or a group of musically advanced class students. So the students gradually get used to the two-voice] sound, in the performance of which they take the most active part. The main thing is that they listen more and more attentively not only to the singing of their own

Next, it is recommended to move on to mastering the skill of singing. canon. After rs, how the melody was learned, which in the future will be performed by kano on the. it is necessary to make sure that before the beginning of each new phrase in the hand, the teachers learn to take longer than usual breaths. Then you can try to perform the canon, in which the teacher sings in an auto-voice. Further, the parties change (that is, the second voice is performed by the students), and now the function of the voice performed by the teacher can be a small group of the most talented students in the choral sense. Finally, the teacher divides the class into two relatively equal groups and there is no readiness for each of them. to take part in singing with the canon, using the previously mentioned techniques again, when a confident performance of the canon is achieved, it is necessary to increase the expressiveness of the performance, which includes changes in the dark dynamics and a softer, shorter display of holding the breath before

rotting of each of the voices. After the class has mastered this skill, as a rule, it is significant to move on to mastering other types of two-voice, and then three-part singing. The successful solution of this problem can be facilitated by the systematic, purposeful work of the teacher, associated with orientation ■ to her musical notation in the process of choral singing. Mastering the elementary techniques of singing a well-known melody with name notes contributes to the development of not only the pitch hearing of children, but also the development of harmonic hearing. Such a technique is the ability to perform simple works for two, and then for three: without accompaniment and with accompaniment. At the same time, an important role is played by the etched and constant work of the teacher to achieve choral: 2 mb l and building.

determining the content and organization of the vocal and choral worker-children, the implementation of the principle unified artistic and technical both in the process of assimilation of vocal and choral skills and abilities, and in the process of comprehending and incarnating-! figurative content of the work. At the same time, often even in methodological manuals one can see the division of vocal and choral work into<еский и художественный уровни. Данное разделение является весьмаус- I, так как предполагает соответствующие акценты в содержании вокаль- эвой работы, но не означает, что работа может вестись над «чистой» кой без осмысления ее выразительного значения. И наоборот: работа над ельностью исполнения всегда требует нахождения и применения тех- приемов, соответствующих данному конкретному материалу. К этой связи необходимо обратить специальное внимание на проблему п о д -говки учащихся к выразительномуп е н и ю. То, что пение дол- >to be expressive - an axiom that all music teachers accept - why is it so often possible to hear the inexpressive singing of classy and hysterical choirs? How can one explain the fact that many choirs limit the transmission of the general emotional content of the work mainly: but through facial expressions, pantomime, the introduction of elements of theater

lysis? From the richest resources of performing means musical expressiveness in children's singing, mainly dynamic shades are used, but they are also represented as if by large strokes. It is much less common to hear various strokes in their performance, not to mention agogic nuances, a variety of sound-guiding methods, complementary statics and dynamics in the intonation conjugation of sounds, depending on the logic of the intonation development of the melody, etc.

Of course, one of the reasons for inexpressive singing is the insufficient mastery of singing skills and abilities by schoolchildren. But the matter is not only in this. Such singing can be heard even when, technically, the work is quite accessible to students. The reason seems to be that for some teachers the main criterion for expressive!* performance is the transfer by singers general mood of the piece. And if the song is cheerful, and the children sing joyfully, then they sing expressively.

Of course, children's smiles and other manifestations of facial expressions, as well as pantomimes, are one of the expressive means of performance, if they correspond to the artistic image of the work. But in most cases, they characterize not so much the expressiveness of the performance as the attitude of children to a particular work and, above all, to its verbal text. This is also important, but it cannot replace actual musical expressiveness, when children consciously strive for a certain singing style? sounding in order to reveal the artistic image precisely by musical and [performing] means.

Understanding this, most teachers set themselves the task children to such singing, which is not only emotionally colored and corresponds to the performed work, but also testifies to meaningful interpretation of the verbal text by identifying in it especially meaningful words and its development as a whole. This allows I to achieve a qualitatively different, higher level of performance expressiveness through the targeted use of certain performers. some means, in particular, conscious musical phrasing.

For all the importance and expediency of this approach, it has some | shortcomings. The main attention is paid to the verbal text, and the musical side turns out to be, as it were, secondary, since attention is paid to the special and nature of the conjugation of musical sounds in each specific moment of development only in those cases when they are aimed at identifying semantically important words. Getting used to the composition of the performance plan of the work to focus primarily on] words, students often find themselves unprepared to reveal the musical expressiveness of the musical material being studied, which comes not from words, but from the music itself. As a consequence of this, if in the performance there are long, and even more so multiple chants of a syllable *, | repetitions of words and phrases, different text or unequal subtext in different parts - children find it difficult to create a performing plan.

The orientation of students when working on the expressiveness of performance, mainly on words, is gradually transferred to listening to samples

and music, when all attention is focused not on the formation of the linen-poetic image of the work, but only on the content of its text. In addition, this approach does not sufficiently prepare students for the performance of vocalizations, vocal and choral works, incompletely unfamiliar language, and instrumental music. In order to avoid such negative consequences both in singing and lely practice, it is necessary to constantly draw the attention of children to the fact that in a vocal work an artistic image is born in a voice. synthesis of words and music, therefore, without awareness of the semantic ion of the verbal text, the features of the intonational musical and their relationship, it is impossible to achieve true expressiveness of the eniya.

Preparing students for conscious expressive intonation I most fruitful if the vocal and choral work is carried out simultaneously in two directions."The first direction, indicated above, has been worked out quite well, I mean leading students to expressive performance before through comprehension of the verbal text of the work, followed by post-its relationship with the musical text. For this purpose, samples of music with the semantic unity of verbal and musical text are included in the educational material. During their learning, the following tasks are set:

: to limit the general nature of the work, noting its constancy or changes in the process of development of the musical image;

offer a performance plan for the work as a whole and in more detail - specify it by phrases;

take part in determining the possible options for performing k and choose the best of them;

To get more and more expressive and technically accurate intonation - striving for the implementation of the accepted collective performance plan

“to learn to give a correct assessment and self-assessment of the quality of the performance of earthly musical material, including the expressiveness of singing intonation.

The essence of the second direction is to prepare children to comprehend the wholeness of music and to express its intonation with the main features. directly through the comprehension of the musical intonation itself. To this end, the curriculum includes:

d. identical samples of vocal-choral music without words (vocalises);

samples of folk songs with a pronounced chant, which is manifested by a large number of long-sung syllables or songs with undertones, which are based on long-lasting repetitions of syllables, etc.;

works in which words perform mainly a coloristic function, etc.

Thus, children are placed in conditions where the priority in revealing the artistic image of a work or the expressiveness of a training exercise is precisely the musical side for them. Therefore, while learning such material, they cannot approach its conscious expressive intonation otherwise than through comprehending the expressiveness of musical intonation without help or with minimal support from the verbal text.

It should also be borne in mind that vocal and choral activities also have great potential in terms of the accumulation of creative and performing experience by students.

Paying special attention to this issue, A. Zaruba offers the following methods:

Start developing creative abilities with the performance of folklore songs. In order for their performance to become expressive and creative, it is necessary to invite students to determine who sings, for example: a fox, a bear, a hare, a wolf, etc. Depending on “whose image” the teacher or students sing, the nature of the performance, tempo, stroke , sound coloring, etc. At the same time, it is important to listen more to the opinion of the guys, without imposing on them once already found options. This technique can be used to perform simple children's songs, and in the future to determine the hero and when performing vocal works by classical composers.

To find several interpretations of the same work, the presence of which gives the learning process a creative character and makes learning alive. Even when performing a simple chant, it is advisable to sing it on behalf of at least two heroes in order to feel how the same work can sound differently. This is useful in understanding different interpretations of the same classical work.

To build the dramaturgy of the performance of a vocal work, so that there is a plot, and development, and a climax, and a finale. This will enable students to express their attitude to performance development, giving it an emotional-figurative integrity I.

Types of work of a teacher in the preparation and organization of vocal

choral activities

Thinking over the content and organization of students' vocal and choral activities, one should proceed from the fact that it includes four types of work:

Tuning to the singing process and chanting.

Learning the work.

Performance of the work.

Vocalization of a fragment/fragments of instrumental works.

Tuning to the singing process and chanting

Tuning and chanting are aimed at preparing students for penikg. Sometimes tuning and chanting are confused with each other. Despite their relationship,

1 are somewhat different: the tuning to the singing process is designed to bring the students’ voices into unison both in pitch and vocal, and also to prepare students for solving those vocal and choral tasks focused on the specific production of which began on previous lesson, or to a new lesson; chanting should, if possible, bring voice alert over the entire operating range. Before the start of singing, the teacher checks whether the children follow the singing instructions: they maintain the correct position of the body and head while singing. ?^_calculation of tasks related to tuning to the singing process,> m depends on the teacher's vocal-intonational display, including > how he will concentrate the attention of students, make the necessary before the first sung sound, and, of course, the main thing - How He will perform this one. He must be intonation extremely accurate (sharp) and rounded - soft, expressive in sound. At the first lessons, the decision to fix the class setting turns out to be very difficult due to the initial vocal and choral training of students, the following methods can be effective in this regard:

Systematic tuning of students in the process of choral singing, before the first sound of each phrase. 5- short individual lessons with students with poor intonation, professionally performed tuning, including an emotional attitude to singing, play a very important role in all vocal work, because they are aimed at shaping choral system, ensemble - 1d., without which the development of the choral culture of students is impossible. Supervision of the teacher's work related to chanting It can be entirely personal: it depends, firstly, on the age of the students, and secondly, on the vocal and choral training of a particular class. With the systematic-eocal-choral work of the teacher-choirmaster, the content and process of

in elementary and basic schools differ significantly, elementary school chanting, as a rule, is based on simple cantilena songs, which children perform in different 1st verses, both without accompaniment and with harmonic support on the rum. At the same time, it is desirable, especially at first: ■ to use the same chants, gradually “singing” them and at the same time developing a soft, “supported”, cantilena character of the sound in the > th singing position;

Cherish, as in tuning, special attention to the extremely accurate and spruce display;

apply the method of comparing the wrong sound (as non-*e children sing) with the correct one (the teacher's singing);

to involve in the demonstration of the correct sounding the most capable of “in the form of activity, both individual students and groups of children.

the main school, along with the mentioned methods and techniques, is taught by a musician who has already introduced children to the rehearsal process, and a much wider range of singing, including exercises,

aimed at expanding the range, improving diction, sound production, breathing, etc. I

So, if the teacher feels that many students in the class do not breathe correctly when singing (for example, there is thoracic or clavicular breathing associated with raising the shoulders, the inability to hold the breath after inhalation or use it sparingly when singing, etc.), then it is advisable to use special exercises , and performing them at first without singing.

You can get acquainted with one of these exercises aimed at strengthening the “vocal-respiratory apparatus” of students by viewing a fragment from the lesson conducted by A. Samoilova. At the same time, one can note a vivid demonstration of the teacher himself, demonstrating these exercises, as well as the energy that is immediately transmitted to students and in many ways helps to master the exercise being learned. .

It should be emphasized that in the process of chanting the main goal is to develop beautiful, expressive, aesthetically filled sound, which the teacher achieves as a result of special purposeful work.

Turning to the video materials, you can pay attention to the chanting. which is carried out by M. Samkurashvili. Possessing a beautiful bass, well-versed in the skill of cantilena singing and rounded sound, he demonstrates the ability to sing students competently and in a short time. At the same time, the well-known in the world practice of vocal singing is used on the same sound with syllables. "ma-me-mi-mo-mu", moving up the semitones and down. This exercise helps to achieve a rounded sound and cantilena. From the very beginning, the teacher orients the students towards singing “on a yawn”. ■ The guys try to follow his instructions. Since the following song has a relatively small range, the performance of this exercise is quite sufficient to prepare children for singing. .

M.Konovskaya sings for a short time on the entire singing working range inherent in this class (descending triads::: and pentachords in several keys). At the same time, the teacher closely monitors the performance of the first sound by the children, singing with a lean breath and cantilena sound. The teacher himself is very active at this time and seeks to convey this activity to the children. Adjustment carried out by M. Konovskaya. is a clear example of the “live” vocal tuning of the students in the class, when there is a transition from a “breathless” and colorful sound to a fairly collected and rounded one.

To this end, the teacher applies the technique of comparing “how not to and how to” perform the first sound, while demonstrating activity and concentration. M.Konovskaya with all her appearance emphasizes the mood for the professional process of conducting the lesson. At the same time, it is obvious that the teacher makes demands that are commensurate with the abilities of the children. All this leads to the fact that literally within one or two minutes the children are psychologically ready for the exciting process of choral singing [ U/1, fragment1].

l. Petrovska works in a slightly different way. At first glance, she is not active compared to M. Konovskaya, but her vocal display is<со выразителен, что дети «волей-неволей» воспринимают и адекватно эизводят ее манеру пения. В конечном итоге это приводит к искомому зезультату: учащиеся вполне готовы в вокальном и интонационном отноше- fp to the beginning of the song.

And one more point needs to be paid attention to: the chanting, devoted to A. Petrovska, is based on the leitmotif of the play by the Latvian commander, which children will listen to in the future, highlighting the main |g in it. The music teacher thus shows a perfect example of the obsolescence of unity and the relationship between the process of performing and listening.

. The chanting performed by N. Zemskova is fundamentally different in a “silly respect” in that it is based on the folk manner of sounding. And this should be borne in mind that for the students of the class with which the 1st teacher conducts, the folk style of vocal performance is fundamentally new. Nevertheless, it is obvious that the teacher, with his bright show, shows the children a desire to try to play music in a new manner, and he succeeds quite quickly with him. The result is facilitated by a pronounced opposition: the teacher to the imagery of the performance, and the technical tasks, as it were, remain in them. But this is only at first glance: two or three minutes are artistically carried out by the teacher of the process of singing as a process of play and at the same time such a teacher, children can master both the academic and at the same time folk style of singing, while in the theory of vocals it is still mostly denied . V. Upryamova, in the process of tuning-singing the class, uses a number of gayems that help in a relatively short period of time to bring the class-choir into working condition. This is both singing with a closed mouth (with attracted vibration of the lips, located in a certain way, which contributes to sounding in a “close position”), and singing in syllables. "mi-la"(in order to achieve a rounded sound), and singing a melodic turn (descending entachord) successively on different syllables "mi", "re", "la", with a gradual return by semitones to the original key with an effective sound filikay. In general, we can note the tuning and chanting, carried out by V. Upryamova, as the most vivid and professionally performed<ер этого вида работы в данном пособии [U/2, fragment 5].

Of course, the development of vocal and choral skills is carried out not only and not so much in the process of singing, but also in all other forms of vocal and choral activity.

Learning a piece

Learning a song is a process carried out in very different ways and approaches, among which it is hardly possible to recommend any one as universal. However, in this work it is advisable to adhere to the following time-tested recommendations I.

To develop in oneself the ability, the habit of performing vocal works for children in an environment close to a concert performance. In this process, it is necessary to strive for professionalism, artistry of performance.

Make sure, before learning the melody of the song (or during * this process), that its text, every word is understandable to children. The tempo of learning a song is chosen by the teacher in accordance with the musical and general capabilities of the children of this class, and the transition from the previous phrase to the next is made when the children have sufficiently firmly and confidently coped with the main vocal and choral tasks in each phrase.

Remember that a music teacher, moving on to choirmaster work, is called upon to actualize in himself a special kind of internal energy that allows him to lead the class, to captivate children with the rehearsal process.

Apply, as already noted, the method of contrasting visual demonstration “how to and how not to perform” when solving problems related to sound production, diction, breathing, etc.

Anticipate and warn in time the possibility of errors and difficult places. For example, several times performing difficult places, first by the teacher himself, then by the most capable students. It is useful to learn fragments high or low in tessitura “in transport”, choosing the optimal key and gradually, as the melody is mastered, return to the previous key.

Apply extremely precise and active conductor's gesture. Pay attention to the fact that the formal adherence to the scheme (2/4, 2/8, etc.), and even more so the gesture of the movement of the melody along the "ladder" often destroys the phrasing, which should always form the basis of conducting. At the same time, it should be borne in mind that the choirmaster's gesture is very different from the gesture used by the choirmaster teacher when performing a piece. on concert: the choirmaster's gesture used in the process of rehearsal is more technological, while the conductor's "concert" gesture is more "large" and is aimed primarily at the expressiveness of the performance, achieving integrity in the transfer of the artistic image.

Sing along with the children, demonstrating the standard of sound in the case when the class is not developed in terms of intonation, and thus support it, lead it. In all other cases, it is advisable that the teacher

he only actively, but soundlessly imitated sounding with his lips, if necessary, somewhat exaggerating the work of the "dictionary apparatus".

Do not abuse singing without accompaniment (which, in principle, is absolutely necessary), if the students of the class are poorly developed in terms of intonation; as well as constantly using accompaniment: helping children by playing a melody on an instrument with one hand, and lyric with the other. At the same time, it is desirable to find time during the break to work out at least for a minute with two or three students individually. Having found the cause in letonation, it is necessary to direct the child's singing in the right direction. Experience shows that even such "express work" often gives good results.

Evaluate the quality of children's performance of songs in the process of learning works, supporting them in time or, conversely, pointing out shortcomings. It is important, however, that the word of the teacher does not prevail in time over the shadow of the children and the vocal display of the teacher. It is necessary to give students the opportunity to sing and, most importantly, to enjoy this process.

Remove the fatigue of children in the process of working on a song with the help of jokes. Turning on game moments, switching to another type of activity.

It should be especially emphasized that the method of working on a work largely depends on what tasks the teacher sets when learning a particular song or me, since these tasks can be related:

a) with a “short-term perspective” (learning and performing a simple song during one lesson);

b) with a “medium perspective” (learning a song for several ideas);

c) with a “long-term perspective” (gradual learning of a piece over a period of half a year or a whole year).

Let us briefly dwell on the methodological approaches corresponding to a particular task.

Learning a very simple song in one lesson (example *short term") is usually carried out at the request of students in connection with a new song that has appeared, for example, on radio, television, and a song they love. The teacher, as a rule, meets the request of the children if the song is artistic enough in content and the text does not contradict the age of the children.

In the process of learning such a song (which the teacher previously learns and performs with accompaniment in the appropriate character and tempo, I can be asked to perform it to one of the students or a group of children. In this case, the teacher mainly plays the role of an accompanist and carefully monitors the correct performance of the melody. In If errors appear, you must immediately correct them (it is best if such a task is done before class during a short rehearsal).

In the future, if possible, it is advisable to give the initiative in learning the song to the most musically capable children, bearing in mind that classes of this kind arouse great interest and activity among students. Of course, at the same time, it is necessary to unobtrusively manage the whole process, making sure that the pace and sequence of learning are logical and accessible for assimilation.

Turning to the video materials of the textbook, let's focus on the work of M. Konovskaya. At the lesson, a new miniature song for children is being taught” by N. Strelnikov to the words of L. Dymova “Water Lily”, which is a sobo4 | one-part construction without repetition.

At first, the teacher expressively sings the song, then teaches the children words by phrases in the tempo and character of the song, correcting diction inaccuracies along the way.

The control of the sound of the choir is carried out by means of a conductor's gesture in the same way as in the management of the singing process.

Further, the song is learned by separate melodic turns and phrases. The teacher does it first, then the students. At the same time, he carefully monitors the correct intonation, diction, competent breath taking and its delay. Accurate vocal and conductor performances of the teacher and his tenacious vocal ear, which determines the professional quality of vocal and choral work, contribute to success.

When learning, the technique of singing with accompaniment is also used. Moreover, the teacher is constantly turned to the children and demonstrates the ability to lead the choral performance of students, while simultaneously playing the accompaniment.

In conclusion, the children perform the entire song from beginning to end, psi accompaniment of the teacher, carefully following all his instructions.

It should be noted that while working on the choral miniature "Water Lily", the teacher builds the entire process of learning and performing the work on a variety of methods and techniques of work. The process of learning a work takes place mainly on the basis of the reproductive method - a constant demonstration of how to and how not to sing each phrase” [of this work.

After the choral miniature is textually learned, M. Konovsk proceeds to embody the figurative structure of the work. The reproduction method is replaced by a problem-search one: the teacher resorts to figurative associations (“strive for a bright sound”); highlighting key words, which are decisive in finding the necessary means of expression (imagine how “a water lily floats”, how “a water lily dreams”, etc.); draws close attention to the coloring of the singing sound inherent in the tribute to the musical image.

The solution of the tasks set is facilitated by the intonation of the body's statements, which is close in nature to the musical intonation, as well as the expressive accompaniment and the conductor's gesture. And perhaps the decisive condition * contributing to the fact that directly in the lesson there is a qualitative change in the level of vocal and choral performance is the excellent vocal ear of the teacher himself. He is the tuning fork that helped him determine the sound quality of a cool xc at a professional level and find the necessary techniques to help children achieve intonationally clear and expressive sound. .

A. Petrovska, while learning the Latvian song with children and completing it in advance, pays great attention to the process of mastering the pronunciation of words in the Latvian language and their content by students (they are written out on the board in Russian transcription). At the same time, it is important for the teacher that those *

was pronounced intonation correctly by repeating it many times after the teacher. At the same time, already in the process of learning words, attention is paid to the melody, the expressiveness of pronouncing the poetic text in a language unfamiliar to students. This contributes to the fact that they instantly and correctly grasp the speech intonation, which is distinguished by its soft sound. After that, it is not difficult for the teacher to move on to learning the melody of the song, which the students have already preliminarily comprehended and pronounce correctly. Let's note one point: learning the song is carried out on the basis of children, following the teacher's demonstration, following each other, fragment phrases and whole phrases. If the motive from the first time is performed by students in intonational, rhythmic and vocal terms, then the teacher goes further. If not, he simply repeats the motive once again without any instructions - and almost every time in this case the children already sing correctly. Attentive and diligent repetition of a motive, a phrase by children after learning is the main technique when learning a song. At the same time, it should be borne in mind that "unobtrusive" training, outwardly not similar to the professional style of work, turns out to be a very effective method and will allow you to achieve the best result in the shortest period of time. However, the result is possible only under the condition of full contact of the teacher with the child - the extraordinary expressiveness of the teacher's vocal performance and its "esque" (energetic) influence on students. Before proceeding to the final performance of the song, dedicating the Baltic Sea, the teacher asks the children to resort to musical intonation, depicting the “living sea” with hand movements. this song sounds especially expressive and heartfelt .

V Samkurashvili is working on a song accompanied by a crude folk instrument panduri. Before starting to learn it, a recording of a beautiful choir performing this song is played. The teacher tells the children that listening to this song will set them up well for their own performance. Indeed, following the professional singers, from the very beginning they sing with the appropriate mood and sounds.

The song has already been learned. At the same lesson, it was only required to repeat each part, making sure that the students were ready to perform the pronunciation with the whole choir. *

In the process of rehearsal, it turns out that the teacher knows how to support children in time, to make him more lean on his breath thanks to his own show. Attention should also be paid to how, during his performance, the performer expressively intones one or another place that causes labor for children. An objection can only be raised by the fact that while the teacher is singing, the teacher himself sings. In general, M. Samkurashvili manages to competently conduct preparatory for the subsequent beautiful performance of the song by children for three voices, panduri accompaniment and without accompaniment . T. Kravchenko does not set any tasks in relation to the repertoire in his lesson. Its purpose is to properly configure

to encourage children to embody the character of this or that work, and she brilliantly achieves this. Behind all this one feels a huge, pro-; previous work. As soon as the teacher reminds the children with his vocal performance, playing the piano or even a verbal appeal about the image, how the children instantly transform, adequately tune in to the muses. This can be seen not only in the expression of their faces, but, first of all, in the sound - whether it is Yaroslavna's aria or the choir "Fly away on the wings of the wind" from the opera A.P. Lr-; birthplace of "Prince Igor".

The teacher achieves results thanks, firstly, to masterful ataling with his own voice; secondly, the constant deepening of children's perception of highly artistic music, which they not only listen to. Sh and perform; thirdly, the professional qualities of a vocal teacher 1KShch fragments 3 and5].

If the song being learned is included in the category "medium perspective" is learned over the course of several lessons or the entire quarter), this process can be carried out in the traditional way. They mean:

preliminary word of the teacher;

his performance of the song;

learning a song from phrases for no more than one verse in a lesson or yes for one verse, if, for example, the song sounds unaccompanied or in the voice of the voice.

This, however, does not at all rule out other tricks on the part of body.

Turning to the fragment of the lesson by E. Koroleva, in which the teacher is learning the song “Happiness” by D. B. Kabalevsky with the children, let us pay attention to the fact that the main task is to combine the soprano and alto parts learned in the previous lesson. First, each voice is repeated separately and the shortcomings are eliminated both in vocal and intonation respects. Then the teacher sequentially builds each intg^m shaft (two-voice song), giving the students the opportunity to get used to joint singing and feel the beauty of the many-voiced sound of the choir. The final stage of this work in this lesson is an attempt by him to complete the verse of the song from beginning to end. It is assumed that ■ the next lesson will focus on expressiveness and freedom of execution. .

Thus, in this case, one of the variants of vocal choral work is proposed, in which there is some differentiation of technical and artistic tasks. Such an approach, obviously, is admissible under the condition of achievement as a result of the expressiveness of the performance produced * as the ultimate goal.

Works placed in category "far perspective", sh as a rule, appear at the end of education in elementary and in the period of study ■ basic school. Such works are learned gradually, over a long period.

As an example, the work of V. Obryamova on a three-layered women's choir with accompaniment of S. V. Rachmaninov's "Glory" can be cited. Ash choral work requires, according to its figurative structure, a rich sound. The work had already been learned earlier, at the same lesson

working out difficult places in terms of performance with the subsequent ! execution from start to finish. The possibility of performing this pro at a professional level in the conditions of a general education school with an in-depth study of music can be considered as the realization in [of the slogan proclaimed by D. B. Kabalevsky: “Every class is a choir!” The first thing you want to pay attention to is the vocal ear of the teacher, the ability to hear inaccuracies in the intonation of individual melodic songs by one or another part in vocal plan. Among many errors, he manages to select and work on those that require priority attention and the elimination of which has a positive effect on the entire rehearsal process, which manifests itself, for example, in working on the sound with violas at the very beginning of the rehearsal, -second, a favorable role is played by the ability of the teacher to clearly and express<о исполнить тот или иной фрагмент, в котором, по его мнению, име- то недостатки вокально-хорового плана. Так, например, после демон- ш учителем того, как должна звучать партия альтов, качество интони- существенно улучшается. В-третьих, это хоровой слух учителя, его способность в многоголосном выделить неудовлетворительно звучащую партию, поработать с нею, эить аккорд или последовательность аккордов, что особенно ярко про­ся на последнем этапе репетиционного процесса. Наконец, важное значение имеет фортепианная подготовка учителя, не ьо свободно исполняющего аккомпанемент, но и способного одновре- управлять хором на заключительном этапе занятия, ачале учитель просит исполнить фрагмент хоровой партии альтов на слог После первой попытки В.Упрямова просит спеть ее вновь более густым присущим альтам; показывает, как это должно звучать, и учащиеся с ■юстью откликаются на поставленную задачу. Далее альты поют этот фрагмент с сопрано на слог"lu". After the first, the teacher notices that the violas sang uncertainly, and asks to sing the first sound of the violas again; then they all sing together and very harmoniously. All further preparatory work before a holistic performance is devoted to singing the most difficult passages. After a relatively short time, all problems are solved. This is facilitated by a clear dei-teacher, who unmistakably feels not only the most vulnerable menos and knows how to correct them thanks to the precise vocal and his own purposeful energy. As a result, at a decent level, the students of the class perform a complex three-voice work by Rachmaninov “Glory” [ U/2, fragment6]. An example of vocal and choir work on one work with an increasingly complex range of musical tasks assigned to students is the rehearsal work of the teacher-musician Celma (Latvia) with students of the choir of the secondary school No. 4 of Jelgava.

Using the example of learning the Latvian folk song “My goat”, a gay of just a few measures, the teacher shows how a simple unpretentious folk song transforms using a variety of means of choral writing and how an original author’s choral composition can be created on its basis. First, the teacher-musician invites children to listen only to the main monophonic melody of this song, and then they themselves participate in the process of creating a choral composition based on it by gradually enriching the choral texture with certain musical and compositional means, including those typical for choral music of the 20th century.

The form of variations chosen by the teacher, when each subsequent performance of the theme appears in a new choral presentation, helps students feel the expressiveness of each of the newly introduced means and master the necessary vocal and choral skills and abilities [ VI/2].

Another example of in-depth vocal and choral work on one work is a rehearsal conducted by the master of children's choral singing, professor of the Madrid Conservatory X. Philippe with one of the choirs of school No. 324 in Moscow with an in-depth study of music. When learning the Russian folk song “Oh, mountain ash” in the processing of V. G. Sokolov, the musician-teacher pays special attention to achieving the unity of the word and musical intonation, developing inner hearing for solving important choral tasks, mastering the skill of chain breathing, expressiveness of performance in general. The process of rehearsal work is brightly creative. As a result, an original interpretation of the famous work is born. At the same time, this rehearsal is only one of the links in the long work that is necessary to prepare students for the concert performance of this work. .

Performance of the work

The performance of vocal and choral works learned in the class is the most important part of all choral work, since it is here, on the basis of previous work, that tasks such as the embodiment of the artistic image of the work by students are solved; the gradual formation of a sense of style; development of the ability of emotional and aesthetic response in the process of singing; a feeling of unity with the team of performers of each of its participants - that is, everything that, in the end, makes choral singing a wonderful art, one of the most fascinating forms of musical art in general.

The foregoing does not mean at all that the above tasks are solved only in the process of performing a song. The teacher-choirmaster knows that such an approach is impossible: an emotional and aesthetic response to a work, a feeling of a sense of its style, etc. - all this arises already at the first acquaintance of students with a work, develops and grows stronger in the process of learning it, and in all of the above elements. However, it is in the process of performance by students of the work that all these tasks are solved to the greatest extent.

When performing a song to accompaniment, the teacher should in no case only play the role of an accompanist: it is important to continue to be a conductor and lead the class, using facial expressions, movements of the

Showing signs of taking a breath, phrasing, ending singing, ak-, changing dynamics, tempo, etc. Here the energy teacher-conductor, his artistry (which, by the way, is necessary both when and when learning a song) acquires a special role. One of the most important performance problems of choral singing in the conditions of an educational school is the creative approach of the teacher-musician to the interpretation of the work, the departure from the uniformity of interpretations, including in relation to compositions that are relatively simple in their figurative composition. At the same time, it is understood that the solution of this problem has a favorable effect on the development of a creative attitude towards the performed works, activates their attention and interest in studies in general, and contributes to the formation of an idea of ​​choron art as lively, unique, fascinating pro-with e, available not only for professionals, but also for music lovers. The success of vocal and choral work is also facilitated by the performances of students with their repertoire in front of the public: these can be final lessons for parents, participation in various competitions, festivals,

As experience shows, children's concert performances almost always lead them to further studies, provide an opportunity feel like musicians.

Vocalization of a fragment/fragments of instrumental works

B.L. Yavorsky and N.L. Grodzenskaya were among the first musician-teachers who actively included the learning and performance of fragments of instrumental (vocalization), as well as vocal and choral works in the process of general musical rank. This method immediately attracts attention, since it fundamentally expanded the idea of ​​​​and the possibilities of choral singing, organically linking it with the development of gia music. Subsequently, this method was implemented and developed by D. B. Kabalevsky's amme, and, therefore, in the practice of a large number of music students. What does this method give?

First, to immerse yourself in the world of major works directly, in all their performances, in the case when a holistic performance of these performances is impossible. Singing even small fragments from such works allows the student to experience their wickedness in a special way.

purulent, aesthetic, spiritual influence and impact; secondly, to understand and feel the intonational basis of the fragments chosen for shading and the expressive features of the musical language;

gay opportunity to perform them at a higher artistic level.

Thirdly, to comprehend and embody the intonational and stylistic features of another work at the level of the composer's style, the national historical style. The ability not only to feel this or that, but also the ability to convey it in the performance of at least a small fragment

testifies to the level of musical taste of students- one of the most important indicators of musical culture in general.

So, characterizing the content and organization of vocal and choral work, it should be noted that choral singing enables students, on the one hand, to feel the power of unity of people in the process of performance, to see the connection between music and life in a new way, to experience the joy of direct contact with the art of music. On the other hand, the performance (vocalization) of small fragments of classical instrumental and large vocal-choral works, in a special way, allows one to penetrate into the intonational world of music - the basis of musical art. Of course, in this case, there is a close and organic relationship between the performance of fragments of classical works by children with the subsequent acquaintance with these works on a larger scale from audio recordings. At the same time, the strategy and tactics of vocal and choral work largely depend on the level of vocal and choral abilities of a particular class, professional choirmaster abilities and perseverance to teach music. In the presence of all this, as practice shows, even with extremely limited time in the music lesson, the teacher can achieve significant results in a few years. Evidence is, for example, the lesson "of music teacher T.N. Kravchenko (Penza) and many others.

TASKS FOR INDEPENDENT WORK

Describe the content of the vocal and choral activities of students in elementary school.

Describe the content of the vocal and choral activities of students in the basic school.

Open the methodological positions of T.N. Ovchinnikova, G.P. Stulova, G.G. Perelshteinas, Yu.B.

Describe the features of vocal and choral work with students during the mutational period.

Explore different approaches to mastering polyphonic singing in music lessons.

Read the article by G. V. Khoroshailo "The problem of emotionally conscious intonation of choral chants (based on the methodological principles of vocal and choral work by Professor A. V. Mikhailov)" and describe the essence of his proposed approach to setting and solving artistic problems in the process of vocal and choral work over chanting (Music at school. 2004. No. 5).

Indicate what is the pedagogical purpose of vocalization by students of fragments of instrumental works.

Describe the content and organization of students' adjustment to the singing* process, as well as chanting, and analyze the following fragments of the lessons from these positions: A. Samoilova , M. Samkurashvili , A.Petrovska , N.Zemskova , T.Kravchenko [U/3, fragment4], V. Stubborn [ U/2, fragment 5].

Describe the content and organization of the process of learning a vocal and choral work and analyze the following fragments of the lessons from these positions: M. Konovskaya [U/1, fragment1], A. Petrovska , T. Kravchenko [ U/3, fragments 3 and 5], E. Koroleva , V. Stubborn [U/2, fragment6]. 11. Highlight the common and special in the work with the children's choir L. Celma [ VI / A and X. Fi- [U1/I

".1. Simulate the process of vocal-choir work in primary school. 15. Simulate the process of vocal-choir work in primary school.

"Recreate in your pedagogical practice the content, methods of organizing vocal and choral activities, demonstrated in methodological trends and in the video materials of the textbook. Analyze the results of this area of ​​work.

"Identify the students of the class, which initially differ in the absence of: a * interest in participating in the choral singing of works of art; I the ability to sing in unison with the class;

a> the desire to sing solo, even if it is false.

IN In accordance with this, try in the future to pay special attention, ke and after it, to at least one or several of the students you have identified, but:

choose interesting for them and at the same time artistically valuable musical material;

find a primary tone in the student and gradually expand the singing range of the melody he is intoning; -

sit the student with whom you are specially engaged next to a well-interacted child so that he tries to sing in unison with him.

By the end of the teaching practice, compare the initial and final results, while determining the degree of effectiveness of the teaching you use and the methods of developing students with an initially low level of vocal activity.

Ш "Identify the students of the class in which you are teaching practice,

viciously different: 1 interest in singing classical works, folk music; c) a bright singing voice and the ability to accurately intonate melodies;

ability to interpret performed works. IN In accordance with this, try in the future to pay attention to at least one or several of these students, inventing special tasks for them, exchanged for the development of creative initiative, activity, the development of singing En, singing without accompaniment. Fix the musical material and the methods that you apply to these children, and evaluate the effectiveness. (or inefficiency) of the work you are doing. By the end of the pedagogical session, compare the initial and final results, having determined at I the degree of effectiveness of the content and methods of development you use for the development of students with an initially high level of vocal and choral activity.

Abdullin E.B., Nikolaeva E.V. Theory of Music Education: Textbook

[stud. higher ped. textbook establishments. M., 2004. Aliev Yu.B. Singing at music lessons: lesson notes, repertoire, methodology. 3005.

Stulova G.P. Theory and practice of working with a children's choir: a textbook for

ev ped. higher textbook establishments. M., 2002. "Sheremetiev V. A. Singing and raising children in the choir. Chelyabinsk. 2005.

ADDITIONAL

Aliev Yu.B. Methods of musical education of children (From kindergarten to elementary school). Voronezh. 1998.

Apraksina O.A. Methods of musical education at school: Textbook. M., 1983.

Apraksina O.A., Aliev Yu.B., Beloborodova V.K. etc. Methodological recommendations for music lessons. M., 1971.

Ovchinnikova T.N. Choir // Programs for out-of-school institutions and educational schools. M., 1986.

Perelshteinas G.G. Some questions of musical education in the choir of boys and youths // Musical education at school / Comp. O.A. Apraksina. - Issue. 5. M., 1966.

Ponomarev A.S. The life of the children's choir // Education with music: From work experience Comp. T. E. Vendrova, I. V. Pigareva. M., 1991.

Rachina B.S. Everyone can sing in the choir // Education with music: From op work / Comp. T.E. Vendrova, I.V. Pigareva. M., 1981.

Struve G.A. School choir. The book for the teacher. M., 1981.

Tevlina V.K. Methods of work on the song (elementary classes) // Musical education at school. Issue. 17: Collection of articles / Comp. O.A. Apraksina. M., 1986.

Reader according to the method of musical education / Comp. O.A. Apraksina. . 1987.

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Introduction

Chapter 1. Theoretical foundations of singing activity

1.1 Singing as a type of children's performing musical creativity

1.2 Characteristics of the child's singing activity, its types

1.4 The educational value of singing in kindergarten

Chapter 2

2.1 Methods and techniques for teaching singing

2.2 Methods of teaching singing to children of primary preschool age

2.3 Methods of teaching singing to children of the middle group

2.4 Methods of teaching singing to children of the senior group

Conclusion

Bibliography

Introduction

Singing is the main means of musical education. It is the closest and most accessible to children. When performing songs, they deeply perceive the music and actively express their feelings and experiences. The song is a vivid and figurative form of an in-depth understanding of the surrounding reality. The performance of the song evokes in the child a positive attitude towards everything beautiful and good, convinces him more than information received in another way. The process of learning to sing requires a lot of activity and mental stress from children. The child learns to compare his singing with the singing of others, to listen to the melody performed on the piano, to compare the different nature of musical phrases, sentences, to evaluate the quality of performance. Singing has a beneficial effect on the child's body, helps to develop speech, deepen breathing, and strengthen the vocal apparatus.

The song teaches and educates a person. The song accompanies a person all his life and the winged words of A.V. Gogol "A Russian man swaddles, marries and buries to the song" is an eternal confirmation of this. No wonder psychologists say that now many children suffer from emotional deafness, they are often cruel and indifferent, stunned by the media, carrying lack of spirituality and low culture. It is the song that plays the role of a “spiritual catalyst”, “... in the song there is something that educates the soul and, in particular, the feeling,” said K.D. Ushinsky. Teaching children to sing is one of the most important tasks of the musical director of the kindergarten. In addition, this is one of the most difficult tasks that require highly professional teachers. Unfortunately, little attention has been paid to the development of children's voices in kindergartens in recent years. When preparing for the holidays, the main emphasis is on staging bright, spectacular numbers and learning effective, modern songs that correspond to the script, but not to the child’s capabilities, so the problem of forming a high-quality sound of a child’s voice while singing at preschool age is very relevant. The problem under consideration is also relevant because it is connected with the search for new ways of aesthetic education of the child by means of music through the most accessible and active type of musical activity, which is singing.

Musical and pedagogical activity in kindergarten is determined by the idea of ​​teaching a child to sing well, clearly, distinctly, with love and mood, and most importantly, beautifully, with great dedication. Systematic work allows you to take into account the physiological and vocal characteristics of each child, thus. In our work, we consider an individually differentiated approach to the abilities of each child as a priority.

The object of the study is the musical education of preschool children.

The subject of the research is the development of singing skills and abilities of preschool children.

The purpose of the study is to study and substantiate the importance of developing singing skills and abilities in preschool children.

This goal is specified in the following tasks:

Consider singing as a type of musical activity for preschoolers.

Analyze the characteristics of the child's singing activity.

Consider the educational value of singing in kindergarten.

To systematize the methods and techniques of teaching singing in different age groups.

Chapter 1. Theoretical foundations of singing activity

1.1 Singing as a type of children's performing musical creativity

Singing occupies a special place in children's creativity and belongs to the type of musical art that can be called the most widespread and accessible. Its educational impact is very great due to the unity of music and words in the song and due to the very nature of the natural singing sound, which evokes strong emotions.

Singing is the main type of musical art, which is consistently taught in a nursery, kindergarten, school and various amateur and professional groups for adults. At any stage of education, children are taught correct sound formation, clear pronunciation, clean, harmonious singing (system) and unity of sound, the same in time, strength, character (ensemble); form singing breath. Mastering these skills is the way to expressive performance to the formation of hearing and voice.

The development of melodic ear is especially intensive in the conditions of learning to sing. Musical development is activated if the necessary interaction of hearing and singing voice is established. Hearing controls the quality of singing, and vocalization requires training in auditory attention. Singing occupies one of the leading places in the child's activity, which ensures his versatile musical development.

Thanks to the lyrics, the song is more accessible to children in terms of content than any other musical genre. Singing unites children, creates conditions for their emotional musical communication. Children love to sing. They sing willingly, with pleasure, which contributes to the development of their active perception of music, the ability to sincerely, deeply express their feelings and experiences. The song accompanies the life of a child from an early age.

It affects the feelings of children, fills their leisure time, contributes to the organization of the game, in a bright, imaginative, entertaining form deepens their ideas about the surrounding reality.

A good children's song is one of the means of raising a child. Meeting with the song, communication with it are colored for children with bright joy, evoke positive emotions. Folk songs, songs of classics and especially Russian composers reveal to children a whole world of new ideas and feelings. The child develops an interested attitude to music, emotional responsiveness to it.

Songs are deeply perceived and realized by children due to the unity of the artistic word and music. Singing develops children's musical abilities, ear for music, memory and sense of rhythm, and broadens their general musical horizons.

By accustoming children to joint actions in the process of singing, uniting them with a common mood, the teacher educates the children in friendly relations, a sense of collectivism.

Singing not only develops aesthetic perception, aesthetic feelings, artistic and musical taste and the whole complex of musical and musical sensory abilities, especially musical and auditory representations of pitch relationships. Singing contributes to the formation of an aesthetic attitude to the surrounding reality, enrichment of the child's experiences, his mental development, as it reveals to him a whole world of ideas and feelings. It expands the child's horizons, increases the amount of knowledge about the surrounding life, * events, natural phenomena.

The importance of singing in the development of a child's speech is great: his vocabulary is enriched, the articulatory apparatus is improved, and children's speech improves.

Singing classes help develop social, personal and communicative qualities, help organize and unite the children's team. In the process of singing, such important personality traits as will, organization, endurance are brought up. The influence of singing on moral development is expressed, on the one hand, in the fact that certain content and attitude to it are conveyed in songs, on the other hand, singing gives rise to the ability to experience the moods, state of mind of another person, reflected in songs.

Singing is considered as a means of strengthening the body of preschoolers. It forms proper breathing, strengthens the lungs and vocal apparatus. According to doctors, singing is the best form of breathing exercises. Singing activity contributes to the formation of correct posture.

In the field of musical psychology, singing is considered as one of the forms of music therapy that affects the emergence of various emotional states.

A.N. Zimina, O.P. Radynova and others identify the following tasks for teaching preschool children to sing:

1. To educate the basics of singing and general musical culture: to form aesthetic emotions, interests, on the one hand, and vocal and choral skills and abilities, on the other.

2. To develop musical abilities, and, above all, the distinction between intonational accurate and inaccurate singing of sounds in height, duration, listening to yourself while singing and correcting your mistakes.

3. Contribute to the comprehensive spiritual and physical development of children.

Singing has a greater power of emotional impact on children.

First of all, it is a live, direct communication between the performer and the children.

The expressive intonations of the human voice, accompanied by appropriate facial expressions, attract the attention of the smallest listeners. In singing, as well as other types of performance, the child can actively show his attitude to music. Not even fully aware of the content of the text, children react to song intonations: they sing along, dance to cheerful music, fall asleep, listening to the melody of a lullaby. Singing plays an important role in musical and personal development.

The singing voice is compared to a musical instrument that a child can use from an early age. The expressive performance of songs helps to more vividly and deeply experience their attitude to music, to the surrounding reality. In addition, children receive various information about music, acquire skills and abilities. In singing, the musical needs of the child are realized, since he can perform familiar and favorite songs at will at any time.

As the child develops - the formation of his thinking, the accumulation of new ideas and the development of speech - his emotional experiences become more complicated, and interest in the content of music increases. The lyrics help the child to comprehend this content. Singing is closely related to the overall development of the child and the formation of his personal qualities. Children, perceiving the character of a musical work in unity with the word, approach the understanding of the image more deeply and consciously. Singing not only affects children, but also gives them the opportunity to express their feelings. Singing develops aesthetic and moral ideas, activates mental abilities, and has a noticeable, positive effect on the physical development of children. The influence of singing on the moral sphere is expressed in two aspects. On the one hand, the songs convey a certain content, an attitude towards it; on the other hand, singing gives rise to the ability to experience the mood, state of mind of another person, which are reflected in songs. The formation of musical abilities is inextricably linked with mental processes.

Systematic and systematic teaching of the simplest singing skills in kindergarten prepares children for classes at school, where singing is one of the courses.

Singing folk songs introduces children to the national traditions of the people, to their song past. Their systematic execution contributes to aesthetic education, develops artistic taste in children, awakens a sense of love for the Motherland, native nature. The folk song enriches the speech of children, improves diction and articulation, and has a positive effect on the expressiveness of speech.

The simplicity of melody construction, vivid imagery, humor create a desire to sing even in the most shy and inactive children. Folk songs evoke positive emotions in a child. Sometimes, at the mere mention of the name of the song, the children's faces are lit up with smiles, and they sing it with pleasure.

Introducing children to modern song is of great importance for their mental and moral development. The impact of singing on the physical development of children is obvious. Singing affects the general condition of the child's body, causes reactions associated with changes in blood circulation and respiration.

Aesthetic education is aimed at developing children's abilities to perceive, feel and understand beauty, notice good and bad, act creatively on their own, thereby joining various types of artistic activity. One of the brightest means of aesthetic education is music.

In order for it to fulfill this important function, it is necessary to develop general musicality in the child. What are the main features of general musicality?

The first sign of musicality is the ability to feel the character, mood of the song, empathize with everything that is sung in the song, show an emotional attitude, understand the musical image of the song.

The second sign of musicality is the ability to listen,

compare, evaluate the most striking and understandable musical phenomena. This requires an elementary musical and auditory culture, arbitrary auditory attention directed to certain means of expression. For example, children compare the simplest properties of musical sounds (high and low), while learning the melody of a song, they distinguish the simplest structure of a musical work (song of a song and chorus), note the expressiveness of contrasting artistic images (affectionate, lingering nature of the sing-along, chorus, energetic).

The third sign of musicality is the manifestation of a creative attitude to the song. When performing a song, the child presents an artistic image in his own way, conveying it in singing.

With the development of general musicality in children, an emotional attitude to music is manifested, hearing is improved, and creative imagination is born.

During singing, mental abilities are activated.

Children listen to the sound of the melody of the song, compare similar and different sounds, get acquainted with their expressive meaning, note the characteristic semantic features of artistic images, learn to understand the structure of the song. Answering the teacher's questions about the content after it has sounded, the child makes the first generalizations and comparisons: determines the general nature of the song, notices that the literary text of the song is clearly expressed by musical means.

Developing the child aesthetically and mentally, it is necessary to support even minor creative manifestations that activate perception and representation, awaken fantasy and imagination.

To a certain extent, the song also affects the physical development of children. Singing increases the amplitude of breathing, pulmonary ventilation, raises the emotional tone and improves the performance of the body. Diverse in nature and complexity, the songs enrich the child's musical experience, contribute to the development of emotional responsiveness to music, the development of auditory representations, and a sense of rhythm.

Singing activities contribute to the overall development of the child's personality. Emotional responsiveness and a developed ear for music allows children to respond to good feelings and deeds in accessible forms, help to activate mental activity.

1.2 Characteristics of the child's singing activity, its types

The development of singing abilities is one of the main tasks of the musical education of children. The main goal of singing activity is to educate children in singing culture, to introduce them to music.

Singing activities must be carried out in the following ways:

Singing for the development of musical perception:

Listening to songs not meant to be sung;

Listening to songs intended for their subsequent performance;

Singing melodies and exercises to develop ideas about the height, timbre, duration, strength of sounds (development of sensory abilities).

Song performance:

Singing with and without accompaniment;

Singing with own accompaniment on children's musical instruments;

Singing to accompany movements (round dances).

Singing in musical and educational activities:

Singing exercises to acquire singing skills and musical knowledge;

Pedagogical analysis of songs (the most vivid expressive means, structure, character).

Song creation:

Improvisation;

Composition of melodies to given texts;

Various types of singing activities are closely related to each other, have a mutual influence: singing and listening to songs, and songwriting. The forms of their organization are also diverse: classes (collective and individual), independent activities, holidays and entertainment.

Thus, singing activity is a vivid, figurative form of an in-depth understanding of the surrounding reality.

In all modern author's programs of musical and aesthetic development of preschool children, great attention is paid to singing activity. For example, in the program "Tuning Fork" Kostin E.P. In singing activities, the following tasks are distinguished:

1. Encourage children to perceive songs, causing a desire to listen to the mood, intonation of the song and the characteristic features of the musical image.

2. Encourage emotional responsiveness to the expressive (character, mood) and visual (means of musical expression) features of the music of the song.

3. To develop children's musical and sensory hearing, encouraging them to perceive and distinguish between high and low, quiet and loud sounds of musical sounds.

4. Attach to expressive singing.

5. Attach to elementary singing skills:

melodious, drawn-out singing;

Correct singing diction;

Consistent singing in accordance with the characteristics of musical sound;

Simultaneous start and end of the song.

6. To introduce to solo and collective performance, to independent singing and joint singing with adults, with and without accompaniment.

7. Encourage the development of the initial musical and creative singing manifestations (sing a lullaby for a bear, a dance for a hare).

The tasks of the musical development of a child in the 3rd year of life become more complicated. At this stage it is necessary:

To take care of creating a store of musical impressions in the child, to reveal his musical preferences.

Consider the conditions for the full musical development of the baby.

These tasks are solved on the basis of a certain song repertoire, the use of appropriate teaching methods and techniques, and various forms of organizing children's musical activities. Also, to solve the above problems, it is necessary to teach children the skills and abilities, which include singing, vocal and choral skills.

The singing attitude is the correct posture. While singing, children should sit straight, without raising their shoulders, without hunching over, leaning slightly on the back of a chair, which should correspond to the height of the child. Put your hands on your knees.

Vocal skills are the interaction of sound production, breathing and diction. The inhalation should be quick, deep and silent, and the exhalation should be slow. Words are pronounced clearly and clearly. It is important to monitor the correct position of the tongue, lips, free movements of the lower jaw.

Choral skills are the interaction of ensemble and tuning. Ensemble translated from French means "unity", i.e. the correct ratio

the strength and height of the choral sound, the development of unison and timbre. The system is an accurate, pure singing intonation.

Teaching vocal and choral skills to preschool children has a number of features.

Sound formation with the correct setting of the voice should be sonorous and light. However, one must take into account the imperfection of the child's voice, its rapid fatigue. Children cannot sing long and loudly. Toddlers sing "talk", they have no melodiousness. Older children can sing in a singsong voice, but sometimes show loudness and tension. In preschoolers, breathing is shallow and short. Therefore, they often take a breath in the middle of a word or musical phrase, thereby breaking the melody of the song.

Diction (clear pronunciation layer) is formed gradually. Many children have speech defects: burr, lisp, which take a long time to eliminate. The lack of clear and distinct diction makes singing languid and weak.

It is difficult for children to sing in an ensemble. Often they are ahead of the overall sound or behind it, trying to outshout others. Toddlers, for example, only sing the last words of phrases.

It is even more difficult for children to master the skill of harmonious singing - pure intonation. In this case, individual differences are especially noticeable. Only a few easily and accurately intonation, while the majority sing inaccurately, arbitrarily choosing intonation. You need to work on developing this skill.

Vocal and choral skills are acquired in the process of learning songs. Skills become more complex and modified as more and more complex pieces are learned.

1. 3 Age features of hearing and voice of the child

Singing is a complex process of sound formation, in which the coordination of hearing and voice is very important, i.e. the interaction of singing intonation (non-false sound) and auditory, muscular sensation. Noting that a person not only experiences, remembering the musical sound, but always sings these sounds “to himself” with muscle tension, the Russian physiologist I. M. Sechenov also emphasizes the instinctive onomatopoeia inherent in the child: a child with a measure to which he adjusts his own sounds and, as it were, does not calm down until the measure and its likeness become identical.

Children imitate the speech and singing intonation of adults, try to reproduce the sounds made by pets and birds. In this case, hearing controls the correctness of sound imitation.

Studies of the relationship between hearing and voice are being conducted by many scientists. Dr. E.I. Almazov, who studies the nature of a child's voice, emphasizes the special importance of a developed ear for correct vocal intonation. Analyzing the imperfect quality of children's singing, he names the causes (hearing defects, sore throat, lack of connection between hearing and voice) and talks about the need for timely, medical examinations and treatment of these diseases.

Hearing improves if training is delivered correctly. In the younger groups of the kindergarten, the attention of the children is drawn to the exact reproduction of the melody: to sing simple, small songs, songs built on two or three notes. An example is always the expressive, correct singing of the teacher and the sound of a well-tuned instrument. The child listens, then sings along with the adult, as if "equalizing" the vocal intonation. Gradually, the stability of auditory attention is developed and subsequently pitch-tone hearing develops.

At older preschool age, children get acquainted with some initial pitch and rhythmic concepts that are formed in the course of constant exercises that develop melodic hearing, determine movement, melodies up and down, compare sounds of different heights, durations, sing, intervals, chants. The child's hearing constantly controls the correctness of the sound.

Due to the incomplete closure of the vocal cords and the fluctuation of only their edges, the singing sound is characterized by lightness, insufficient sonority and requires careful treatment.

The right choice of repertoire helps to study the range of sounding of a child's voice. The singing range is the volume of sounds that

determined by the interval (distance) from the highest to the lowest sound, within which the voice sounds good.

Range table:

year mi - la,

year re - la,

4-5 years re-si,

5-6 years re-si (before),

6-7 years (before) - re - before).

The range in children is formed with age, that by the older preschool age in children, the singing range is expanded only from "re" of the first octave to "do" of the second octave, and the "working" range, where children achieve the lightest sound, is limited to the sounds "mi - si » of the first octave.

When teaching preschoolers to sing, one should first determine the range of each child's voice and strive to systematically strengthen it so that most children can freely own their voice. Along with this, it is important to create a favorable “sound atmosphere” that contributes to the protection of the voice and hearing of the child. It is necessary to constantly ensure that children sing and talk without tension, not imitating the excessively loud singing of adults, to explain to parents the harmfulness of loud singing and talking in children, and not to allow them to sing outside in cold and damp weather.

To protect the singing voices in the classroom, it is necessary to use some health exercises: first of all, a variety of breathing exercises, a combination of singing and passive movement, chanting, rhythmic reading - alternating short and long syllables along the hand (“in the forest, a Christmas tree was born” , “she gave birth in the forest-a-a-s-e-e-herringbone”), a combination of speech intonation with musical, etc.) This helps a lot for children with weak speech data.

In a simple accessible form, children are explained how to protect their voice, how to breathe. In the classroom, breathing exercises are always carried out, special exercises are done for the vocal cords, larynx, interesting poems and songs are selected, the content of which reflects the importance of proper breathing for the child.

1.4 The educational value of singing in kindergarten

From the first day of birth, the child receives a number of impressions, among which there are musical ones. First of all, this is the voice of the mother with lulling or lively intonations, the sounds of children's musical toys. Music has the ability to cause active actions of the child. He singles out music from all the impressions he receives, distinguishes it from noise, focuses his attention on it, revives, listens, rejoices, sometimes starts singing along with an adult early. Consequently, if music has such a positive influence on the child already in the first years of his life, then it is naturally necessary to use it as a means of pedagogical influence. In addition, music provides rich opportunities for communication between an adult and a child, creates the basis for emotional contact between them.

The voice of a child is a natural instrument that he possesses from an early age. Therefore, singing is always present in the life of a child, fills his leisure time, helps to organize creative, plot games. Often, singing is accompanied by other types of musical activities: dance, round dance, playing children's musical instruments.

The song is a bright, figurative form of an in-depth idea of ​​the surrounding reality. The performance of a song evokes in the child a positive attitude towards everything beautiful, kind, and sometimes convinces him more than information received in another way.

Modern music education programs for preschool educational institutions note that the goal of music classes is to educate preschoolers in musical culture as part of their spiritual life. By instilling a love for music in children, developing their musical abilities, the music director contributes to a conscious attitude towards it.

Music has long been called the "language of feelings", no other type of art is capable of such a deep penetration into the spiritual world of people, such a subtle transfer of the entire diverse range of human feelings in their movement and development is not subject to.

In a piece of music, thoughts, feelings, and moods of a person are embodied. The musical image conveys the general nature of the phenomena of reality through the expression of the emotions of specific people, a specific nation, transmitted by these phenomena. Therefore, the music of each people has its own distinctive qualities associated with the socio-historical conditions of life, with the peculiarities of the artistic thinking of this people.

Work on the musical education of the child, on teaching him to sing is a responsible matter. To teach children solo ensemble and choral folk singing and teach them to overcome difficulties in the performance of folk song, a system is needed.

At music lessons, singing skills are instilled in children gradually, according to a well-known principle - from simple to complex. The basis of the repertoire for teaching children should be works of children's musical folklore, as they are well known to children.

Game and dance songs - figuratively bright, melodious, poetic. Performing these songs with children, you can arrange improvised round dances and dances, highlighting, first of all, a pronounced playful beginning. The desire for the game, for acting is inherent in children. The game gives them joy. Therefore, elements of the game in one way or another can be introduced into almost any song. Then singing can be accompanied by acting out the action according to the plot of the song. In other words, the elements of folk drama, embedded in many game and dance songs, are played out.

Singing is the most accessible performing type of musical activity for preschool children. They love to sing. They sing willingly, with pleasure, which contributes to the development of their active perception of music, the ability to sincerely, deeply express their feelings and experiences.

Meeting with the song, communication with it are colored for children with bright joy, evoke positive emotions. The child develops an interested attitude to music, emotional responsiveness to it. Singing develops children's musical abilities, ear for music, memory and sense of rhythm, and broadens their general musical horizons. By accustoming children to joint actions in the process of singing, uniting them with a common mood, the teacher educates the children in friendly relations, a sense of collectivism.

Singing introduces children to the national traditions of the people, to their song past. Their systematic execution contributes to aesthetic education, the development of artistic taste in children, induces a feeling of love for the Motherland, for native nature.

The song enriches the speech of children, helps to improve diction and articulation, and has a positive effect on the expressiveness of speech.

The simplicity of melody construction, vivid imagery, humor create a desire to sing even in the most shy and inactive children. Folk songs evoke positive emotions in a child. Sometimes, at the mere mention of the name of the song, the children's faces are lit up with smiles, and they sing it with pleasure. In working on the length of sound, what could be better than a folk song, because wide melodiousness is characteristic of all genres of songs - from lingering to dancing.

It is necessary to expand the repertoire and at the expense of modern songs, the availability of music and text of which contributes to the rapid assimilation of the melody, develop musicality. Introducing children to modern song is of great importance for their mental and moral development.

An important task in teaching children to sing is to reveal the vital content of the song to each child, to teach him to rejoice, to receive aesthetic pleasure from his singing, and also to please others with his performance. In order for the impact of songs to become effective and children to fall in love with them, it is necessary to hold the first meeting with the song in a bright, emotional form, pay special attention to the content of the song, to the means of expression and the expressiveness of its literary text.

When learning songs, it is important to remember that the quality of the song being performed plays a big role in the process of familiarizing children with a piece of music, and educates the aesthetic taste. But the child will only feel the charm of the song when he has developed an ear for music and instilled the skills of pure intonation, when he realizes that his voice merges with other children, when he has a desire to sing not only in class, but also in everyday life.

The rich song traditions that we inherited, unique traditions, the loss of which is irreparable, need to be protected and restored. Only a child with his pure soul, virgin ear and creative thinking can master the great musical culture - the song tradition of his people, develop such a talent in himself.

One of the urgent problems of pedagogy is the problem of developing the creative qualities of the individual, songwriting is no exception. Since it is one of the most massive and essential components of traditional culture, it is determined by the need to preserve it in the context of globalization and the onslaught of the so-called "mass culture". It is during childhood that it is important to realize the creative potential of the child, to form vocal and choral skills, to introduce children to the art of singing, which contributes to the development of creative imagination.

Modern scientific research in the field of music pedagogy and the experience of many preschool institutions, as well as historical experience, indicate that vocal education has an impact on the comprehensive development of a child's personality. The education of hearing and voice affects the formation of speech, and speech, as you know, is the basis of thinking. Obviously, the impact, with systematic vocal education, has a beneficial effect on the physical development of children, on the general condition of the child's body, causes reactions associated with changes in blood circulation, the respiratory system is closely connected with the cardiovascular system, therefore, children, involuntarily doing breathing exercises, strengthen your health. Properly staged singing organizes the activity of the vocal apparatus, strengthens the vocal cords, and develops a pleasant timbre of voice.

Chapter 2

2.1 Methods and techniques for teaching singing

In the method of teaching singing, the preliminary preparation of the teacher is important. He analyzes the song, determines its artistic qualities, considers the methods of learning and the sequence of training tasks. The teacher should be interested in the content of the song - both in its literary text and musical accompaniment, to arouse the desire to sing it.

The process of learning, in turn, has two stages: the initial acquaintance of children with the song and subsequent learning, when the main work on teaching singing skills is carried out. It should be remembered that the learned song also requires its repeated repetition, consolidation of expressive performance, and most importantly, the ability to independently apply in practice.

The methods of musical education and training are the same in their pedagogical orientation. Therefore, education is both educating and developing. The knowledge and skills acquired by children in the learning process help them to actively express themselves in singing, dancing, playing instruments and, thus, successfully solve educational problems of general and musical and aesthetic development.

Famous teachers in the field of theory of general and preschool pedagogy B.P. Esipov, M.A. Danilov, M.N. Skatkin, A.P. Usova, A.M. Leushina et al. emphasized that the methods depend on learning tasks, on the content of the subject, and on the age of the pupils.

This also applies to musical education, where the applied methods of educational tasks depend on specific types of musical activity, methods of information, age characteristics of children.

Let's consider an approximate scheme, according to which it is possible to compare educational tasks and teaching methods.

Table 2.1

Learning tasks	Teaching methods
Initial acquaintance with a piece of music in the process of listening to music, singing, musical and rhythmic movement	Expressive performance by adults; explanation of the content of the nature of the work, information about the music; conversation with children; the use of visual arts
Consistent learning of songs, round dances, dances, dances, exercises and the assimilation of knowledge, skills, abilities	Showing adults the techniques of performing songs, dances; explanations and instructions to children during their performance - children's exercises in mastering skills (individual, group)
Consolidation of knowledge, skills; development of expressiveness in the performance of songs, dances, games	Repeated repetitions of individual "difficult" places and the entire work; assessment of the expressiveness of children's performance by adults and the children themselves; final conversation and evaluation of the performance of the learned work
Checking the learned repertoire and the quality of assimilation of knowledge, skills and abilities	Systematic observation of each participant in the process of collective action; individual survey during learning; selective verification of acquired knowledge and skills for a certain study period (month, quarter); performance of the learned works at holidays, entertainment, observation of the independent activities of children in order to identify their interests and the correctness of the acquired methods of creative actions

In the proposed scheme, only in general terms, methods are outlined that make it possible to complete educational tasks. Study assignments are not an end in themselves. This is only a means of educating children in a moral and aesthetic attitude to music, developing creative actions, the ability to emotionally respond to music, and express their own assessment. In practice, the educational process is complicated by the fact that each song, game, dance is at a different stage of their assimilation by children. Consequently, in the classroom it is necessary to monitor many aspects at the same time, especially how the tasks of education and development are solved in the learning process.

Despite the conditional separation of the tasks of training and development, another approximate scheme can be drawn up, according to which it is easy to trace the tasks of developing musical abilities and teaching methods that contribute to the overall musical development.

Table 2.2

Tasks for the development of musical abilities	Teaching methods
Developing an emotional response to music	Expressive performance of works of various genres and themes; comparison of musical works with works of literature and fine arts;
Development of musical-sensory abilities	Explanation and illustration of the sensory properties of music (pitch, rhythm, timbre and dynamic), their graphic representation; exercises in distinguishing these properties; application of information in the process of practical exercises; independent use of musical-didactic games with sensory tasks.
The development of modal-melodic hearing, a sense of melodic intonations	Exercises in identifying two musical sounds of different heights, the movement of a melody (up and down); familiarization with the graphic representation of the melodic line; systematic performance of singing exercises; singing without accompaniment after tuning in a given key.
Developing a sense of rhythm	Exercises in the performance of metrorhythmic tasks in the process of movement (games, dances);
Development of musical memory	Exercises in sequential alternation of singing aloud and silently; exercises in determining the titles of works by their fragments; exercises in independent performance by ear of the simplest melodies on children's musical instruments.
Development of musical creativity	Exercises for acquiring the skills of independent actions in singing, playing children's instruments of movement; exercises in independently inventing options for games, round dances, dances; teaching children search actions in exercises to develop sensory abilities; creative tasks as a method of developing song, music-play, dance creativity.

Thus, teaching methods develop musical abilities, awaken the desire for independent creativity in any kind of musical activity.

It should be noted that musical abilities are manifested unevenly in children. Their study enables the teacher to come up with tasks of varying difficulty.

Methods depend on many pedagogical conditions. Some of them seem to contradict each other at first glance. For example, for musical development, repeated repetitions of a task are important, which are often built on the basis of a demonstration. At the same time, it is important for children to develop independence of action.

Interrelation and opposition can also be traced in other methods:

The word of the educator (explanation, indication) and a visual display of works of art, techniques for their execution;

The word and actions of the educator, aimed at developing a conscious attitude to music, the ability to analyze and at the same time to develop in children the desire for emotional experiences;

Showing patterns to follow and developing the ability to act independently;

Exercises that reinforce acquired skills and develop inclinations to solve creative problems independently.

Teaching methods are closely related to methodological techniques. Reception is part of the method and plays an auxiliary role with it. There are many methods, and each teacher chooses the most effective ones.

Techniques differ depending on what the teacher teaches - singing, listening, playing, dancing and who he teaches - younger or older children. For example, when performing the work “Clowns” by D. Kabalevsky for listening in the older group, the teacher can first talk about funny clowns who are always on the move. But, performing the Russian folk melody “Don't Be Late” to the same children for the subsequent game, the teacher invites them to find out when it is necessary to change the nature of the movement. The accents appearing in the second part tell the children when to clap. Thus, the children distinguish between changes in the nature of the music and independently determine the movements corresponding to them. They are ready to play.

Teaching methods vary depending on the age of the children. Let's take songwriting as an example. Kids need to be interested in clear, concrete images. Before performing the song “Bird” by M. Rauchverger, the teacher shows a bird toy and says: “A bird flew in, sat on the window and chirped. The children began to ask - wait, do not fly away! And the bird flew away (hides the bird) - ah! Children, do you want the bird to fly? I'll call her and sing a song." The teacher puts the toy on the piano and sings. Thus, this methodological technique acquires a playful character, the image of a bird becomes accessible, visual and

complements the expressive performance of the song. In older groups, there is no need to use this technique.

In preschool didactics, the importance of methodological techniques that contribute to the development of independent activity is emphasized. These techniques are also used in listening to music, when the teacher encourages children to make statements about music, to correct, interesting remarks. Children's independence can also be manifested in the performance of tasks, in search of ways to solve them. Appropriate techniques are aimed at developing auditory self-control, at assessing the quality of performance by other children.

Independent actions of children do not exclude the demonstration of performance techniques. Even when teaching adults music, along with explanations, demonstrations of individual techniques are sometimes used. Moreover, it is necessary in the process of teaching preschoolers - to compare the sound of a melodious or moving song, to help correctly reproduce a difficult melody, to show individual movements in the dance, a characteristic feature of the musical-playing image.

Teaching methods and methodological techniques are closely related to each other. Methods indicate the ways in which the teacher transmits, and the child learns musical material, the necessary performing skills, and acquires the ability to act independently. Methodological techniques complement and concretize the methods. Using them, the educator has the opportunity to show their pedagogical skills, invention and creative initiative.

2.2 Methods of teaching singing to children of primary preschool age

The development of initial singing manifestations in the first year of a child's life begins with the fact that the baby is taught to listen to the singing of an adult and respond to it with the sounds of his voice, cooing.

In the second year of life, children already begin to sing along with the teacher individual sounds, the endings of a musical phrase.

In the third year of life, the singing voice of the child begins to form - there is still no singing sound, the breath is short. But at the same time, children willingly join in the adult's singing, singing along with the endings of musical phrases, intonation of individual sounds. The child cannot yet sing the whole song correctly, but one should strive for the correct intonation of individual motives.

In the fourth year of life, the singing voice of children sounds stronger, they can sing a simple song. Some children even vociferate. When forming a singing sound, it is necessary to ensure that children sing in a natural voice, without tension in the range (d-mi-la of the first octave).

A large place in the younger groups is given to work on diction. Children often mispronounce words without understanding their meaning. It is necessary to explain the meaning of individual, incomprehensible words, to teach the correct pronunciation.

It is difficult for children of this age to sing at a common pace: some sing slowly, others are in too much of a hurry. The teacher must constantly monitor this, accustoming them to collective singing.

By the end of the year, a child of the first younger group can sing simple songs with an adult. By the end of the fourth year of life, they should sing in a natural voice, without tension, drawlingly, clearly pronouncing the words, keep up and not get ahead of each other, correctly convey the melody in chants and songs, sing songs with the help of a teacher, with and without musical accompaniment.

These tasks are solved with the help of the song repertoire, which includes simple, melodic, easy-to-breathe songs of a small range.

Children of the third year in the songs "Cat" Ln. Alexandrova, “Sleep, my bear” by V. Tilicheeva sing along only the final phrase, the most convenient for the initial intonation. They can sing the Russian folk song "Bunny" in its entirety, as it is built on a repeating motif.

In the second younger group, the tasks gradually become more difficult, songs of a larger range are performed (re-la, mi-si of the first octave). The construction of songs, including the repetition of individual phrases, contributes to their better memorization and assimilation. Most of the songs for children of this age are performed slowly, at a moderate pace. But there are also more mobile ones (“Santa Claus” by JI. Filippenko, “Game with a Horse” by I. Kishko).

The main technique used in the work on singing with children of the younger group is the emotional expressive performance of the song by the teacher. To do this, it is necessary to think over and convey the features of the song, its character, mood.

When performing a song for the first time, the teacher uses toys, pictures that help children understand the content of the song. Game techniques are used.

While learning a song with children (as a rule, without piano accompaniment), the teacher approves the most active ones, and helps the more timid ones with his participation.

When the song is learned, you can use different playing techniques. “A bear came to us, let him sit and listen to how well we sing,” the teacher says. While singing the song “Yolka” by T. Popatenko, the children clap on the words “yes-yes-yes”, and while performing the song “Holiday” by T. Lomova (in the second verse), they show how they “play the trumpet”.

In the second younger group, teaching techniques are more often used. For example, drawing attention to the melody, the teacher sings the song 2-3 times, playing only the melody on the instrument, and invites the children to sing along with him. The most active begin to sing immediately. Gradually, everything turns on.

Particular attention is required to work on drawling singing, as many children sing with a voice. The teacher expressively sings long sounds. Children follow this example.

In the process of learning to sing, it is necessary to hear each child, to note his performance. Those who sing well should be offered to sing in a group for all children, with intoning inaccurate ones, to work out separately in order to teach them to “adjust” to the singing of an adult.

If there is an interval that is difficult to perform in a song, it can be sung to any syllable. The text of the song is assimilated along with the melody, only the most difficult words are repeated separately.

At the end of the year, it is noted whether children will be able to sing some songs with and without musical accompaniment with the help of a teacher. When forming collective (choral) singing, it is necessary to train children to start and end the song at the same time, not to lag behind in singing and not to get ahead of each other, to draw their attention to joint friendly singing.

2.3 Methodology for teaching singing to children of the middle group

In the fifth year of life, children have a certain general musical training. Their voices have strengthened, their range (re-si of the first octave) has slightly increased, breathing has become more organized, and the pronunciation of individual sounds and words has become more accurate. This allows you to expand the scope of singing skills.

First of all, it is necessary to teach children to sing naturally and without tension. The teacher is constantly working on this skill, showing a sample of soft, relaxed melodious sound. At the same time, the skill of correct, timely breathing is developed, the ability to sing a musical phrase to the end. Correct pronunciation is also given attention: the content of the song, the meaning of incomprehensible words are explained, the expressiveness of the literary text is emphasized. At the same time, articulation is developed in the classroom, children are taught to actively open their mouths while singing. The development of the skill of harmonious collective singing, which is expressed in the ability to simultaneously start and end a song, requires great attention. At this age, children still tend to get ahead of the singers or lag behind them. The teacher teaches to observe the general tempo in singing and perform simple musical shades in accordance with the content of the work.

The experience of best practice has shown the need for learning to sing without accompaniment, which should be mastered as early as possible. The lightest, most convenient songs in terms of singing become the property of children, and they successfully use them in their independent activities.

The program provides for the development of children's musical ear. The child is taught to listen to the vocal intonation of the teacher, his comrades, which will later help everyone to sing in harmony in the general choir. When teaching singing, educators systematically work on the development of children's sensory abilities, since they can already distinguish sounds in height, located at a fairly wide distance (octave, sixth).

By the end of the year, five-year-old children should master the following programming skills: sing expressively, in a natural sound, without tension, sing long, take a breath between short musical phrases, pronounce words clearly, correctly, start and end a song together, correctly convey a simple melody. Sing in concert within the re-si of the first octave, listen to the voices of others, distinguish sounds by their pitch, sing with and without instrumental accompaniment.

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G. A. Semyachkina

FEATURES OF THE ORGANIZATION OF SINGING ACTIVITY AS A MEANS OF DEVELOPING MUSICAL ABILITIES

JUNIOR SCHOOLCHILDREN

The work is presented by the Department of Pedagogy of Primary Education of the Pedagogical Institute of the Yakut State University.

Scientific adviser - Doctor of Pedagogical Sciences, Professor A. A. Grigoryeva

The article discusses the features of the organization of singing activity as a means of developing the musical abilities of younger schoolchildren, the age patterns of the child's voice, methods of vocal education.

The article considers the peculiarities of organization of singing activity as a means of development of junior schoolchildren’s musical abilities, age conformities of a child voice, methods of vocal education.

The tendency to update the content of education, in which the creation of a system of additional musical and aesthetic education of children takes not the last place, testifies to the awareness

of the enormous role of art in the formation of man. Appeal to pedagogical experience and its rethinking, analysis of pedagogical conditions for the development of musical abilities and creative art

their use in the modern system of education and upbringing will contribute to the solution of many pedagogical problems.

The most accessible type of musical activity, in the process of which the whole complex of musical abilities of schoolchildren develops, is singing. It occupies a special place in children's performance. The substantiation of the significance of singing is done from various angles and thus emphasizes the wide and varied functions in the musical development of children.

General scientific progress and the development of the science of voice could not but affect vocal techniques. We find links of vocal teachers to the scientific data of their time in many manuals on teaching singing almost a century ago. This does not mean that the facts and methods of singing obtained by the former science should be rejected. Much of the old, especially the effective methods of outstanding teachers and singers, are still relevant today2.

Acquaintance with the activities of vocal teachers of the past and present gives us the opportunity to compare methodological requirements with our own, to trace the unity of methodological requirements.

A. S. Varlamov, one of the founders of the Russian vocal school, spoke about the need to teach children from primary school age the correct vocalization. He believed that if a child is taught to sing from childhood, while being careful in his studies, his voice acquires flexibility and strength, which are difficult for an adult3. This idea has been repeatedly emphasized in the works of modern researchers (E. A. Arkina, V. A. Bagadurova, I. I. Levidov) devoted to the child's voice.

Primary school age is favorable for the development of emotional hearing. Research by psychologists and biologists (V. Morozova, E. Serebryako-

howling, A. Pashina) showed that insufficiently developed emotional hearing provokes a delay in phonetic and, as a result, the rate of development of speech, and, consequently, singing abilities and communication skills of a child4.

Since singing is a psycho-physiological process associated with the work of vital systems such as breathing, blood circulation, the endocrine system, etc., it is important that voice formation is correct, natural, organized, so that the child feels comfortable, sings easily, with pleasure. Otherwise, with an incorrect mode of voice formation, violation of hygiene standards, the child experiences tension in the larynx, his voice gets tired, which will sound heavy and ugly. Under these conditions, serious diseases of the vocal apparatus can occur. Scream, noise spoil the voice, dull the hearing and adversely affect the nervous system of children. With loud singing, the work of the entire singing mechanism is disrupted: breathing becomes tense, convulsive, the soft palate is passive. It is difficult for the vocal cords to resist a large air flow, the cords lose their elasticity and uniformity of vibration5.

The well-known children's vocal teacher E. M. Malinina believed that the development of children's vocal abilities should not go along the path of maximum exploitation of the capabilities of the child's voice, but along the path of the most rational development of these capabilities, that is, as if preparing the vocal abilities of an adult: “Voice can develop correctly in cases where its nature of today and not tomorrow is used. We must teach our younger generation to sing “for the future”, and not “for the need””6. Unfortunately, this basic principle of the vocal education of children is often violated in the pursuit of excessive professionalism in children's singing.

E. I. Almazova and N. D. Orlova argued that the correct development of hearing and voice should begin as early as possible, “in order to gradually cultivate a love for music, to protect it from screaming, from straining the vocal organs, which should be healthy”7.

Studies conducted by A. D. Voynova, N. A. Vetlugina, A. I. Katinene on the development of hearing and voice revealed their relationship. They singled out some features of the formation of singing skills and emphasized the significant role of auditory-vocal coordination in the development of the musicality of schoolchildren. The process of musical education, understood as the formation of a singing function in organic unity with the formation of a modal and metro-rhythmic feeling, in connection with the organization of movements turns out, especially at the initial stage of training, not as “fast” as one would like. But this slowdown is only apparent and temporary. It is associated with natural patterns in the development of the singing apparatus and the child's body as a whole.

Singing develops coordination of hearing and voice, improves children's speech, thereby helping to form musical and auditory ideas. Since modal feeling is also manifested in sensitivity to the accuracy of intonation, it can develop during singing, when children listen to themselves and to each other, control the correct intonation with their ears. When singing a melody, modal gravity is always felt, helping the child to distinguish sounds in height and reproduce them. The sense of rhythm can also be formed primarily in singing8.

tonation, so that, solving the first, we

we sew the second one.

The development of the voice proceeds in the joint, closely conditioned work of the larynx and the articulatory apparatus, which should be developed from the very beginning, bearing in mind that “the formation of a singing word is decided on the basis of the correct formation of a singing sound”10. The criterion for the correctness of articulation is its naturalness in connection with the expressive sound of the voice, timbre.

According to A. Berkman, there are people with two kinds of difficulties. Their musical ear is not sufficiently prepared for the assimilation and memorization of relatively complex melodies. The vocal apparatus does not have the necessary degree of training, the vocal cords are not developed, and a separate system of auditory-motor connections has not yet been formed11. The reason for the lack of coordination between hearing and voice may be unskilled singing training; imitating the bad singing of adults; violation of the functions of the soft palate (it is inactive); motor muscle stiffness. These reasons are, in turn, the cause of poor intonation. It can also be acute and chronic diseases of the ear, throat and nose, as well as any disturbances in the coordination of nervous and physiological processes and motor coordination (for example, cross-eyed children most often sing uncleanly, strabismus is corrected - intonation is corrected)12. Without knowing them, it is impossible to eliminate the consequence. Deficiencies in the voice are often accompanied by deficiencies in gait, movement of the fingers. That is why the correct development and perception of movements should be considered both as a means of helping the correct development of the voice, and as a means of correcting its shortcomings. The correct development of articulatory and facial muscles is closely related to the general development of movements. The process of singing should always be based on a smile that

First of all, the teacher himself must master. Children see a friend in a smiling teacher, and they like learning more. The smile of the child himself is very important in the lesson. It is known that when sound is sent into space, the lips stretch into a smile, bringing it closer to the teeth, forcing the use of the anterior resonator, i.e., the front half of the oral cavity. If the child sings and smiles, then due to this, the sound becomes light, clear and free. Gradually, its qualities are transferred to the personality of the child as a result of constant training of a smile. Soon the outward smile becomes an inward smile, and the younger schoolboy looks at the world and people with it.

D. E. Ogorodnov invented "algorithms" for vocals, the task of which is to combine visual sensations, muscle sensations with the reproduction of vocal sound, he has good results in vocal work with children. Its algorithm consists in developing singing breathing, intonation attention, self-control, the ability to hear and listen to oneself.

N. B. Gontarenko is tirelessly searching for new accelerated methods in revealing the singing voice. The methods that helped her open her voice seemed strange to many and went beyond the generally accepted vocal settings. For example, she began work on singing breathing in a prone position, used silent exercises and

vocal gymnastics with relaxation.

The physiology and structure of each person is different. This means that there is no single methodology for everyone, and, of course, the statement of the famous Italian teacher Heinrich Panofka is true.

(1807-1887) that "it was necessary to write as many methods as there were students"15.

The teacher should not have a false idea about the natural predisposition for the development of the child's musical abilities. As pedagogical observations show, the diagnosis of the development of musical abilities significantly depends on various factors and the development of individual personality traits. Sometimes it is necessary to simply wait until the musical development from a latent (lalent) state turns into a process that is tangible for the teacher16.

Psychologists argue that abilities develop in the process of activity, and above all in such an activity that cannot be carried out without the presence of certain abilities. A child with average data at one stage or another of learning may suddenly show musical abilities. As N. A. Vetlugina wrote, each child “has a variety of combinations of internal organs, their functions, originality and the way they are formed, but their condition is obvious.

laziness to external influences".

Thus, we see that the role of a children's vocal teacher, who requires him to have the necessary professional literacy, and above all knowledge of age-related patterns and characteristics of children's voice function, is accompanied by a great responsibility for the quality of children's vocal education. Well-thought-out consistent work on teaching children to sing expands each child's understanding of music, contributes to the development of musical abilities, and has a positive effect on the overall development of the child.

NOTES

1 Almazov E.I., Orlova N.D. On some causes of poor intonation // Izvestiya APN RSFSR. 1958. Issue. 100. S. 49.

2 Morozov V.P. The art of resonant singing // Music at school. No. 3. 2003. P. 22.

3 Varlamov A. S. Complete school of singing. Moscow: Education, 1953. 115 p. S. 94.

4 Lobanova E. A. Possibilities of the lesson as a means of implementing health-preserving technologies // Music at school. No. 3. 2005. S. 36-53.

5 Vendrova T. E., Pigareva I. V. Education with music. M.: Enlightenment, 194 p. S. 67.

6 Morozov V.P. Decree. op. S. 23.

7 Almazov E. I., Orlova N. D. Decree. op. S. 47.

8 TeplovB. M. Psychology of musical abilities // Izbr. works. M .: Pedagogy, 1985.T. 1. S. 118.

9 Artobolevskaya A. N. The first meeting with music. M .: Soviet composer, 1989. S. 6.

10 Ostromensky VD Perception of music as a pedagogical problem. Kyiv: Musical Ukraine, 1975. S. 16.

11 Berkman A. Musical development of the child in the process of learning to sing. Moscow: Education, 1984. 65 p.

12 Vendrova T. E., Pigareva I. V. Decree. op. S. 96.

13 Lobanova E. A. Decree. op. S. 50.

14 Gontarenko N. B. Solo singing: the secrets of vocal mastery. Rostov-on-Don: Phoenix, 2006, p. 7.

15 Ibid. S. 14.

16 Skryleva S. S. Childhood is impossible without music // Music at school. 1983. No. 2. S. 55.

17 VetluginN. A. Musical development of the child. M.: Enlightenment. 1967, p. 6.