Musical sensory activity. The development of musical sensory abilities in children in the process (GCD) of directly educational activities using musical and didactic games and manuals “Magic Path. “Teach nesting dolls to dance”

30.09.2019 Pregnancy

Raising a culture of behavior on the street is an urgent task of today. The formation of discipline, organization of stay on the streets and roads, in public transport must begin as early as early age, therefore, this issue should become an integral part of educational process v preschool institutions. The rules learned in childhood become the norm of behavior in the future, their observance is a need.

Our kindergarten "Spark" strives to give its pupils a quality, universal education, to ensure a high level of general culture, including culture on the road. Compliance with the rules of a safe life should become a recognized necessity. Careful educational work with children is required. And, of course, with their parents.

The work of learning the rules traffic held in close contact with parents. V kindergarten the stand "For parents about the rules of the road" was designed. Corresponding articles and brochures are placed in sliding folders. On the parent meetings traffic police are invited. The joint work of the teaching staff of the kindergarten, the traffic police and parents, of course, gives its positive results in the prevention of child road traffic injuries.

Many parents have a driver's license, drive a car, but do not always acquaint their children with the Rules of the Road. Therefore, on academic year a long-term plan of work with parents on traffic rules was created.

long term plan robots with parents to familiarize children with the rules of the road for the school year

September

Round table “Parents are an example for everything. Acquaintance with the plan of work on traffic rules with children for the school year. Listening to the report of the traffic police inspector on the statistics of road accidents involving children.

Questioning of parents "Children and the street".

Memo-booklets for parents "We educate a competent pedestrian."

Consultation "Safety of children - care of adults".

Open Day Show open class with children "The traffic police inspector visiting the guys."

Exhibition of children's drawings "Transport".

1. Folder - moving "Child in the car."

2. Presentation "The road to kindergarten and home."

3. Photo exhibition from the family archives "We are for safe movement."

Conversation with parents "Caution in ice on the road will save you."

Joint game-competition "Forward, pedestrian!".

Consultation for parents "Child on a sled".

Parent meeting "Psychophysiological characteristics of the behavior of a preschooler on the street."

Joint leisure "The rules of traffic are worthy of respect."

Information sheet "Rules of conduct with a child in public transport."

Exhibition of children's drawings "Traffic light is my friend!".

Thematic day on traffic rules (involving parents in organizing and holding this day).

Family master class "Traffic light science".

Consultation for parents "Car seat for a child".

Competition of poems on traffic rules.

Questionnaire "How do you comply with traffic rules."

Parent meeting "These cases can be avoided."

Information sheet "Child on a bicycle".

Open demonstration of the final lesson "Journey to the country of the Crossroads".

Acquisition of reflective elements for outerwear.

Watching the film "Three Colors of Life".

Situations for parents to analyze.

Joint musical leisure "The Tale of the Rules of the Road."

Family competition creative works Road and children!

The early manifestation of musical abilities indicates the need to start the musical education of the child as early as possible. The time lost as an opportunity for the formation of the intellect, creative and musical-sensory abilities of the child will go irretrievably.

At present, little attention is paid to the formation of musical and sensory abilities of children. Meanwhile, the studies of such famous scientists and teachers as Vygotsky L.S., Teplov B.M., Radynova O.P. prove the possibility and necessity of the formation of memory, imagination, thinking, abilities in all children without exception.

The use of visual-auditory and visual-visual methods in combination with verbal methods is the most effective in the musical and sensory development of preschoolers.

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State budget preschool educational institution Kindergarten No. 51

of a general developmental type with the priority implementation of artistic and aesthetic

development of children in the Kolpinsky district

Petersburg

The development of musical - sensory abilities in preschool children by means of musical - didactic games and manuals

Compiled by - Music Director

GBDOU No. 51 Kolpinsky district

St. Petersburg

Rostovshchina E.A.

Saint Petersburg

2015

Introduction ____________________________________________ 3

Abilities as individual mental properties

personality of the child _________________________________ 5

The importance of the development of musical-sensory abilities in preschool children __________________________ 6

Timbre and dynamic hearing, performing and creative abilities _____________________________ 10

in the musical and sensory development of preschoolers _________ 11

Methods of using musical and didactic games and manuals in various types activities ________________ 13

- the use of musical and didactic games and manuals in the process of singing _____________________________________13

- the use of musical and didactic games and manuals in the process of listening to music _________________________________14

- the use of musical and didactic games and manuals in the process of rhythmic movements ______________________ 14

Conclusion ___________________________________________ 16

Annex_________________________________________17

Introduction

The humanization of public life is one of the global problems of our time. It requires humanity to revise the content of the sciences that reproduce its spiritual potential.

The humanistic trend in the formation of society is inextricably linked with the idea of a "developing personality in a developing world." The solution to this problem directly depends on the level of education - the most important component of human culture.

Musical art in its creative process contributes to the accumulation of a musical thesaurus. Through familiarization with the musical art, a person’s creative potential is activated, the intellectual and sensual principles are developing, and the earlier these components are laid, the more active their manifestation will be in familiarizing with the artistic values of world culture.

Understanding musical art as a holistic spiritual world, giving the child an idea of reality, its laws, about himself, is possible through the formation of musical sensory abilities, the development of which remains relevant in modern musical education.

At present, little attention is paid to the formation of musical and sensory abilities of children. Meanwhile, the studies of such famous scientists and educators as VygotskyL.S., Teplov B.M., Radynova O.P., prove the possibility and necessity of the formation of memory, imagination, thinking, abilities in all children without exception.

The use of visual-auditory and visual-visual methods in combination with verbal methods is the most effective in the musical and sensory development of preschoolers.

Unfortunately, work on musical and sensory education in preschool institutions is not always organized at the proper level. Obviously, this is due to the lack of material base, the lack of ready-made musical and didactic manuals in the trading network.

Of course, the very organization of the use of musical and didactic games requires the teacher to understand the significance and value of the musical and sensory development of children, great creativity and skill, the ability and desire to produce and design the material aesthetically.

The systematic use of aids and games arouses an active interest in music in children, and contributes to the rapid mastery of the musical repertoire by children.

Objective is to help children actively enter the world of music, stimulate the development of musical and sensory abilities, teach them to distinguish the properties of musical sound using visual-auditory and visual-visual methods of musical education.

The purpose of the work determined and set the following tasks:

To study and analyze the scientific and methodological literature on the problem of using musical and didactic games and manuals in the domestic musical education of preschoolers.
To determine the psychological and pedagogical impact of musical and didactic games and manuals on the development of musical and sensory abilities of preschoolers.
To improve the forms and methods of teaching that develop independence, creative musical activity in the process of using musical didactic games.
To develop auxiliary musical didactic material and use it in the educational and pedagogical process.

Abilities as individual mental properties of a child's personality.

Abilities for a certain type of activity develop on the basis of natural inclinations associated with such features. nervous system, as the sensitivity of analyzers, strength, mobility and balance of nervous processes. In order for the abilities to manifest themselves, their carrier has to put in a lot of work. In the process of engaging in specific activities, the work of analyzers is improved. Musicians, for example, develop sensory syntheses that allow them to translate the images of musical and auditory representations into the corresponding motor reactions. Abilities develop only in activity, and one cannot say that a person does not have any abilities until he tries himself in this area. Often, interests in a particular type of activity indicate abilities that may appear in the future.

The person himself plays an important role in the development of abilities. One can find many examples from life when, for example, as a result of self-education and hard work on oneself, a musician can compensate for many of his lacking psychological qualities in order to perform the work that he likes or that he has to do due to life circumstances.

For musicological activities, the most important point have the ability to analyze and figurative thinking, the ability to convey one's thoughts and feelings in a good literary language - so that potential listeners would want to turn directly to music once again after getting acquainted with musicological work.

For the composer, the most important thing is the desire to translate his life impressions into the language of musical images.

But no matter what abilities a musician has by nature, he, like every person striving to achieve something in life, has to make a lot of strong-willed efforts to overcome the barriers of the internal and external plan.

So, abilities are the individual psychological characteristics of a person that meet the requirements of this activity and are a condition for its successful implementation. They develop from the inclinations of a person, natural predispositions, which are in a latent, potential form until he begins to engage in any specific activity.

A person is not born capable of this or that activity, his abilities are formed, formed, developed in a properly organized corresponding activity, during his life, under the influence of training and education. In other words, abilities are lifelong, not innate education.

The value of the development of musical-sensory

abilities in preschool children.

Researches of famous scientists, teachers prove the possibility and necessity of forming a child's memory, thinking, imagination from a very early age.

The possibility is no exception early development children have musical abilities. There is evidence that confirms the facts of the influence of music on the fetus that is formed during the pregnancy of a woman and its positive effect on the entire human body in the future.

Music has always claimed a special role in society. In ancient times, music and medical centers treated people for longing, nervous disorders, and diseases. of cardio-vascular system. Music influenced intellectual development, accelerating the growth of cells responsible for human intelligence. Music can affect the emotional well-being of a person.

The emotional impact of harmonious sound combinations is amplified many times if a person has a fine auditory sensitivity. A developed ear for music makes higher demands on what is offered to him. Heightened auditory perception paints emotional experiences in bright and deep tones. It is difficult to imagine the most favorable period for the development of musical abilities than childhood. Development of musical taste, emotional responsiveness in childhood creates the foundation of the musical culture of a person, as part of his general spiritual culture in the future.

Teachers, musicians came to the conclusion that the inclinations to musical activity everyone has. They form the basis of musical abilities. The concept of "non-developing ability", according to scientists, specialists in the field of research into the problems of musicality, is in itself absurd.

It is considered proven that if the necessary conditions are created for the musical development of a child from birth, then this gives a more significant effect in the formation of his musicality. Nature has generously rewarded man. She gave him everything in order to see, feel, feel the world around him.

Everyone is naturally musical. Every adult needs to know and remember this, since it depends on him what his child will become in the future, how he will be able to dispose of his natural gift. Music of childhood - good teacher and reliable friend for life. Early manifestation of musical abilities indicates the need to start the musical development of the child as early as possible. The time lost as an opportunity to form the intellect, creative, musical abilities of the child will be irreplaceable.

Special or basic abilities include: pitch hearing, modal sense, sense of rhythm. It is the presence of them in everyone that fills the music heard by a person with new content.

The development of musical abilities is one of the main tasks of the musical education of children.

Each person has an original combination of abilities that determine the success of a particular activity.

Music is the movement of sounds, different in height, timbre, dynamics, duration, organized in a certain way in musical modes (major, minor), having a certain emotional coloring, expressive possibilities. In order to perceive the musical content more deeply, a person must have the ability to differentiate moving sounds by ear, to distinguish and perceive the expressiveness of rhythm.

Musical sounds have different properties, they have height, timbre, dynamics, duration. Their discrimination in individual sounds forms the basis of the simplest sensory musical abilities.

The duration of sound is the basis of musical rhythm. The feeling of emotional expressiveness, musical rhythm and its reproduction form one of the musical abilities of a person - a musical-rhythmic feeling. Pitch, timbre and dynamics form the basis of pitch, timbre and dynamic hearing, respectively.

Teplov B.M. distinguishes three main musical abilities that make up the core of musicality: modal feeling, musical and auditory representations and a sense of rhythm.

The modal sense, musical-auditory representations and the sense of rhythm are the three main musical abilities that form the core of musicality.

Lazy feeling.

Musical sounds are organized in a certain way.

A modal feeling is an emotional experience, an emotional ability. In addition, the modal feeling reveals the unity of the emotional and auditory aspects of musicality. Not only the mode as a whole, but also individual sounds of the mode have their own coloring. Of the seven steps of the mode, some sound stable, others - unstable. From this we can conclude that the modal feeling is the distinction not only of the general nature of music, the moods expressed in it, but also of certain relationships between sounds - stable, complete and requiring completion. The modal feeling manifests itself in the perception of music as an emotional experience. It can be detected when recognizing a melody, determining the modal coloring of sounds. V preschool age indicators of the development of modal feeling are love and interest in music. And this means that the modal feeling is one of the foundations of emotional responsiveness to music.

Musical and auditory performances

In order to reproduce a melody by voice or on a musical instrument, it is necessary to have auditory representations of how the sounds of a melody move - up, down, smoothly, in jumps, that is, to have musical and auditory representations of pitch movement.

To play a melody by ear, you need to remember it. Therefore, musical-auditory representations include memory and imagination.

Musical and auditory representations differ in the degree of their arbitrariness. Arbitrary musical and auditory representations are associated with the development of internal hearing. Inner hearing is not just the ability to mentally imagine musical sounds, but arbitrarily operate with musical auditory representations. Experimental observations prove that for the arbitrary presentation of a melody, many people resort to internal singing, and piano learners accompany the presentation of the melody with finger movements that imitate its playback on the keyboard. This proves the connection between musical and auditory representations and motor skills, this connection is especially close when a person needs to arbitrarily memorize a melody and keep it in memory.

The pedagogical conclusion that follows from these observations is the ability to involve vocal motor skills (singing) or playing musical instruments to develop the ability of musical and auditory representations.

Thus, musical-auditory representations are an ability that manifests itself in the reproduction of a melody by ear. It is called the auditory or reproductive component of musical hearing.

Sense of rhythm is the perception and reproduction of temporal relationships in music.

As observations and numerous experiments testify, during the perception of music, a person makes noticeable or imperceptible movements corresponding to its rhythm, accents. These are movements of the head, arms, legs, as well as invisible movements of the speech and respiratory apparatus.

Often they arise unconsciously, involuntarily. A person's attempts to stop these movements lead to the fact that either they arise in a different capacity, or the experience of the rhythm stops altogether. This indicates the presence of a deep connection between motor reactions and the perception of rhythm, the motor nature of musical rhythm. But the feeling of musical rhythm has not only a motor, but also an emotional nature. The content of the music is emotional. Rhythm is one of the expressive means of music, through which the content is conveyed. Therefore, the sense of rhythm, like the modal sense, forms the basis of emotional responsiveness to music.

The sense of rhythm is the ability to actively (motorly) experience music, feel the emotional expressiveness of the musical rhythm and accurately reproduce it.

Researchers often face the question, in what types of activities do musical and sensory abilities develop?

For example, emotional responsiveness to music can be developed in all types of musical activity: perception, performance, creativity, as it is necessary to feel and comprehend the musical content, and, consequently, its expression.

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

A modal feeling can develop during singing, when children listen to themselves and to each other, control the correct intonation with their ears.

Musical and auditory representations develop in activities that require the distinction and reproduction of a melody by ear. This ability develops, first of all, in singing, and in playing high-pitched musical instruments.

The sense of rhythm develops, first of all, in musical-rhythmic movements, corresponding in nature to the emotional coloring of the music.

Timbre and dynamic hearing, performing and creative abilities.

Timbre and dynamic hearing are varieties of musical hearing that allow you to hear music in the fullness of its expressive, colorful means. The main quality of musical hearing is the distinction of sounds in height. Timbre and dynamic hearing are formed on the basis of pitch hearing. The development of timbre and dynamic hearing contributes to the expressiveness of children's performance, the completeness of music perception. Children learn the timbres of musical instruments, distinguish dynamics as an expressive means of music. With the help of musical didactic games, the pitch, timbre and dynamic properties of musical sounds are modeled.

Musical abilities in all children manifest themselves in different ways. For someone already in the first year of life, all three basic abilities are manifested quite clearly, they develop quickly and easily. This testifies to the musicality of children. In others, abilities are discovered later, it is more difficult to develop. It is most difficult for children to develop musical and auditory representations - the ability to reproduce a melody with a voice, accurately intoning it, or pick it up by ear on a musical instrument.

Of great importance is the environment in which the child grows up (especially in the first years of life). The early manifestation of musical abilities is observed, as a rule, in children who receive sufficiently rich musical impressions.

The main types of musical and didactic games and manuals

in the musical and sensory development of preschoolers

One of the important tasks comprehensive development child is the education of musical culture. Its foundations are laid already in childhood. In this regard, a large place is given to music in kindergartens - it sounds in music classes, and in independent musical activities, and during holidays and entertainment.

The perception of music is a complex process that requires attention, memory, developed thinking, and various knowledge from a person. All this is not yet available for preschoolers. Therefore, it is necessary to teach the child to understand the features of music as an art form, to consciously focus his attention on the means of musical expression (tempo, dynamics), to distinguish musical works by genre, character.

It is for this purpose that musical and didactic aids are used, which, acting on the child in a complex way, cause him to visual, auditory and motor activity, thereby expanding the musical perception as a whole.

All benefits are conditionally divided into three groups:

1. Benefits, the purpose of which is to give children an idea of the nature of music (cheerful, sad), musical genres (song, dance, march). "The sun and the cloud", "Pick up the music."

2. Benefits that give an idea about the content of music, about musical images. "Learn a fairy tale", "Pick up a picture."

3. Benefits that form in children an idea of the means of musical expression. "Musical House", "Who did the bun meet."

As practice has shown, the systematic use of aids arouses in children an active interest in music, in tasks and contributes to the rapid mastery of the musical repertoire by children.

Musical and didactic aids contribute to a more active perception of music by preschoolers, allow them to familiarize them with the basics of musical art in an accessible form.

The types of independent activities of the child in kindergarten are diverse. Among them is music. In their free time, children arrange games with singing, independently play children's musical instruments, and organize theatrical performances. One of the most important means of developing children's independent musical activity is musical didactic games and manuals. This is another of the purposes of which these games and manuals serve.

The main purpose of musical and didactic games and manuals is the formation of musical abilities in children; available game form help them understand the ratio of sounds in height; develop their sense of rhythm, timbre and dynamic hearing; to encourage independent actions using the knowledge gained in music lessons.

Musical didactic games and manuals enrich children with new impressions, develop their initiative, independence, ability to perceive, distinguish the basic properties of musical sound.

The pedagogical value of musical and didactic games and manuals is that they open the way for the child to apply the acquired knowledge in life practice.

At the core didactic material the tasks of developing musical perception in children lie, the game action helps the child to hear, distinguish, compare certain properties of music in an interesting form for him, and then act with them.

Musical didactic games should be simple and accessible, interesting and attractive. Only in this case they become a kind of stimulus for children to sing, listen, play, dance.

In the process of games, children not only acquire special musical knowledge, they form the necessary personality traits, primarily a sense of camaraderie and responsibility.

Methods of using musical and didactic games and manuals in various activities.

Music classes are built taking into account the general tasks of the musical and aesthetic education of children and are held according to a predetermined plan. At the same time, it is taken into account that the content and structure of the lessons should be varied and interesting, using a variety of techniques that help children perceive a piece of music, understand the elementary foundations of musical literacy.

The use of musical and didactic games and manuals in the classroom makes it possible to conduct it in the most meaningful and interesting way.

In games, children quickly learn the requirements of the program for the development of singing and musical-rhythmic movements and in the field of listening to music. Games that are held in the classroom act as a separate type of musical activity and have an educational character.

The use of musical and didactic games and manuals in the process of singing

The development of singing skills is one of the tasks of the musical education of children in kindergartens.

The song sounds at matinees and entertainment, musical evenings and performances puppet theater, she accompanies many games, dances, round dances. While playing, the child sings his uncomplicated melody.

Musical and didactic games held in the process of singing help teach children to sing expressively, naturally, teach them to take a breath between musical phrases, hold it until the end of the phrase.

For example, for pure intonation, the game " music phone”, which can help children expressively sing a particular song.

To consolidate familiar songs, you can use the game "Magic Top": children determine the song by the intro, chorus, which are performed on the piano, by the musical phrase sung by everyone or individually, played on children's musical instruments.

When performing any song, children are taught to correctly convey dynamic shades that help to feel the beauty of the sound of the melody. In your free time, you can also conduct musical and didactic games related to singing, for example, "Music Store".

Children convey their ideas about a particular song in drawings. Their content consists of favorite songs, musical works, instruments.

An important role in the development of hearing and rhythm in children is played by chants and chants. They can even be carried out as musical and didactic games. They are simple musical phrases from songs familiar to children.

Children are very fond of games that help them determine the movement of a melody: this is both a “musical ladder” and a flannelograph, on which, laying out circles of notes, children learn to correctly convey a melody and determine sounds in height.

The use of musical and didactic games and manuals in the process of listening to music

In the process of listening to music, children get acquainted with instrumental, vocal works of a different nature, they experience certain feelings. In order for a child to better understand a piece of music, to be able to compare musical images, words turn to musical and didactic games. The use of musical and didactic games allows children to listen to the same work several times in an unobtrusive form. For instance, " Miraculous Pouch”: toys can talk, move with kids, all this contributes to a better perception of the material, its comprehension and memorization. Thanks to the games “In the Forest”, “Find the right illustration”, “Music box”, children reinforce the material they have covered, knowledge about various musical instruments, and become familiar with the ability to distinguish and recognize dance, lullaby, march and their parts.

Russian folk melodies have a great influence on the upbringing and musical development of children. They are simple, expressive and accessible to children of all ages. These are “Ladushki”, “Cockerel”, “The Fox walked through the forest”. Children try to improvise some of them on the metallophone, xelophone. These melodies can diversify the content of many musical and didactic games.

The use of musical and didactic games and manuals in the process of rhythmic movements.

One of the types of musical activity of children is rhythmic movements.

In the process of systematic training in movement, children develop musical and auditory perception. Children have to constantly listen to music in order to accurately perform movements.

In musical and didactic games, toys are used that children willingly imitate.

The game form of learning movements helps the child to correctly perform the rhythmic pattern.

When learning dances, round dances, dances, it is better to use voiced toys and musical instruments.

The musical and rhythmic activity of children is more successful if the elements of dance movements are taught in combination with musical and didactic games with the performance of creative tasks.

The role of the educator in children's play is great: he directs it, monitors the relationship between the players.

The effectiveness of learning in a musical didactic game is created when the teacher himself actively participates in this game, becomes its full participant. The game is an excellent form of activity that contributes to instilling the ability to bring all children closer, to win over, including inactive ones.

By organizing musical games, it is necessary to provide children with more independence. Practice shows that the more you trust children, the more consciously, conscientiously they treat the assigned task.

Musical didactic games differ from manuals in that they require certain rules, game actions or a plot.

Musical and didactic aids include visual clarity (cards, pictures with movable parts).

Distinguishing the properties of musical sounds (height, dynamics, timbre) underlies musical sensory abilities.

The development of musical-sensory abilities is a means of activating auditory attention children, the accumulation of primary orientations in the language of music.

There are different qualification games and manuals. For example, N.A. Vetlugina divides games for the development of musical and sensory abilities into desktop, mobile and round dance.

Sometimes games and manuals are divided on the basis of the type of musical activity that is mastered with their help.

So L.N.Komissarova distinguishes three groups of musical and didactic aids for the development of musical perception. To distinguish between the nature of music, visual elements and means of musical expression.

Since one of the main tasks of the musical education of children is the development of musical abilities, it is possible to qualify games and manuals precisely on this basis - their capabilities in the development of each of the three main musical abilities: modal sense, musical and auditory representation and sense of rhythm.

Games and aids for the development of modal feeling help to recognize familiar melodies, determine the nature of the music, change constructions in individual parts of the work, and distinguish the genre. All kinds of games and manuals can be applied here. This and board games such as loto, where children reinforce the corresponding pattern of the melody, outdoor games are used, plot and non-plot, in which children coordinate the movements of the characters with the nature of the music, the change of genres.

Games and aids for the development of musical and auditory representations associated with the distinction and reproduction of pitch movement.

Children enjoy games that involve playing a tune with your voice or with a musical instrument.

Musical didactic aids, board and round dance games are used to activate musical and auditory representations.

Modeling the relationship of sounds in height using various means allows you to develop the ability of musical and auditory representations, linking together the auditory, visual, and motor representations of children.

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

All kinds of games are used to convey the rhythm and character of music in movements.

Thus, musical and didactic games and manuals combine a different combination of methods of musical education. A figurative, playful form, the use of various exercises allow children to maintain interest in activities, to carry them out more successfully.

The development of musical abilities in children should be constantly in the field of view of the teacher, carried out by various methods and means, including with the help of musical didactic games and manuals.

Conclusion

All used musical and didactic games and aids should be used for several lessons, gradually becoming more diverse and complex, which will allow us to judge the originality of the musical development of each child and, accordingly, adjust the content of music lessons.

Summing up, it should be noted that it is the preschool age that is extremely important for the development of the general musical abilities of the child, including musical and sensory ones. And the development of these abilities in each child should be constantly in the field of view of the educator, musical director, carried out by various methods and means. Including with the help of musical and didactic games and manuals.

Appendix.

"Kolobok"

Target: development of auditory attention, dynamic hearing, learn to change the intonation of the voice.

Game material:a bun cut out of paper, small objects depicting a haystack, a Christmas tree, a stump, a house, a mushroom, a pointer, a playing field-table, hats of a hare, a wolf, a fox and a bear.

Game progress: all items are placed on the playing field. The driver goes out the door or turns away from the players. The participants agree on which figure they will hide the kolobok, then they call the driver. The leader enters and at this time the text sounds:

The gingerbread man rolled away, the gingerbread man - a ruddy side.

How can we find it, bring it to the grandfather and the woman?

Come on, Olya ... (name of any child) walk along the path

And by the song of a cheerful bun you will find.

The players sing the song "Cranes" Partskhaladtse. The leader takes a pointer, moves it from figurine to figurine. If the pointer is far from the figure behind which the bun is hidden, then everyone sings in a low voice, if close - loudly.

Then, as a complication of the task, the children were asked to portray the heroes of a fairy tale. They were given hats so that they would better fit into the image, and they had to sing a certain phrase, changing the intonation of the voice, depending on which character they portray, and at the same time come up with movements.

For instance:

I am a gray bunny

They call me coward.

The child had to sing it with a cowardly intonation.

I am a wolf - click teeth,

Rough intonation.

I am a bear - I love to roar.

I am a red fox

I am a smart sister.

The game allows you to educate children's attention, speed of reaction, the ability to listen to children's singing. And tasks in an entertaining form contribute not only to the fact that children are very emotional and active during the game, but also to improve dynamic hearing and singing skills.

To increase interest and emotional activity in children, you can use a musical and didactic outdoor game, staging a small fairy tale, where children, depicting heroes, must distinguish between the words “loud”, “quiet”, “a little quieter”, “a little louder” and depict it.

Every time the heroes are played by children with different levels of dynamic hearing, and every day you can observe something new with elements of children's creativity.

"We've got guests"

Target: development of timbre perception, improvement of the sense of rhythm.

Game material:Adults (teacher, music director) and children depicting guests, a screen, cards depicting children's musical instruments.

Stroke: The adult says: "Today we should have guests." Knock the door.

A bear arrives (an adult in a bear costume).

“Hello children, I came to visit you. I love to dance and play. Today I came up with such a game: one of you stands behind the screen, chooses a musical instrument there, on which he will play. And the rest will guess what kind of magic tool it is.

The child goes behind the screen and, with the help of an adult, chooses the instrument that best suits the clumsy bear. In this case, it will be a tambourine. The bear dances to the tambourine, the children clap for him. At the end of the dance of the bear, the children must guess what instrument he danced to. (Cards with the image of musical instruments are preliminarily distributed).

When the children guess, other guests come, and each time different instruments are used: the bunny jumps to the quick beats of the hammer on the metallophone, the horse to the clear beats of the musical hammer or wooden spoons, the bird to the sound of bells.

This musical and didactic game reinforces children's knowledge of musical instruments, the arrival of "live guests" contributes to emotional upsurge and causes activity.

What does a musical instrument say about itself?

Target : consolidation of knowledge about musical instruments.

Game material:musical instruments, voiced and not voiced (hidden in a box), cards with the image of musical instruments.

Game progress: The tool box is behind the screen. The child approaches the screen, pulls out the tool from the box, and, without showing the children, begins to talk about it. If the child finds it difficult, the adult asks him questions: “What can the instrument do?”, “How are sounds extracted?”, “What does the sound of the instrument look like?”

Children can ask the narrator questions. The game is repeated until the children get tired, or until everyone has been in the role of the storyteller. The game can be diversified by the fact that at the end an adult reads interesting stories and tales of musical instruments.

A musical didactic game helps to diversify and improve children's knowledge of musical instruments, which in the future allows them to play with them. individual work, with the aim of teaching children to play the simplest children's musical instruments.

"Prince and Princess"

Target: improvement of dynamic perception and sense of rhythm.

Stroke: children sit on the rug facing the center of the circle, hands are removed behind their backs. A prince is chosen who closes his eyes, and at this time a beautiful bow is placed in the palms of one of the girls. She is a princess. The prince must recognize the princess by loud music. The “Waltz” by E. Dogi sounds, the prince slowly walks in a circle to the music next to the children, the adult adjusts the dynamics: from quiet to loud.

Hearing loud music, the prince points to the princess. The girl opens her hands, shows a bow.

Then, as a complication of the game, the prince and princess must dance, while inventing their own rhythmic pattern.

"Jingles"

Target: development of pitch hearing.

Game material: bells.

Stroke: An adult says: “There were three merry bells: Ding, Dan and Don. Everyone had their own song. Bell. Ding sang in a thin voice. "Ding-ding" - sounded his song. Dan sang a song in a medium voice: "Dan-dan." And the little bell Don's voice was thicker, lower than that of his brothers. “Don-don” - his song sounded menacingly (a flannelograph is used, on which three rulers and bells should be in their houses).

Children should repeat the songs in different voices; their voices should merge when 3-4 people sing at the same time.

"Think and Guess"

Target: invent details of rhythmic patterns, repetition of already familiar ones, fixing note durations.

Material: cards (according to the number of players) on which a bear, a bunny, a bird are depicted.

move : Children are given cards. Corresponding melodies sound on the piano: “Bunny” by N. Starokadamsky, “Bear” by V. Rebikov, “Sparrows” by M. Krasev. Children recognize the melodies and raise the corresponding cards.

"Walk"

Target: fixing note durations, developing a sense of rhythm.

Game material:musical instruments according to the number of players (hammers, drum, tambourine, xelophone, metallophone, bell, musical cymbals).

Game progress: Adult: “Now, guys, we will go for a walk with you, but it will be an unusual walk, we will walk, musical instruments will help us with this. Here we are going down the stairs (slow hammer blows on the table), and now we have gone outside. shines bright sun, we were delighted, ran (frequent blows on the drum or hammers on the table). We were walking, having fun, but suddenly a cloud appeared, the wind blew, thunder struck, lightning flashed, and it began to rain. At first it was rare drops, and then a frequent heavy downpour began (the rhythm accelerates, children can knock on the drum, tambourine, hammers on the metallophone, hit the cymbals, transmit rare drops of rain with a bell; all tools are used to convey the state of the weather; rare drops of rain and children convey a strong frequent downpour in a certain rhythm, as a result of which their knowledge of the duration of notes is fixed).

Adult: "The guys got scared of such weather and ran home - again quick and rhythmic beats."

"Teach nesting dolls to dance"

game material: large and small nesting dolls.

Stroke: An adult has a large nesting doll in his hands, children have small ones. “The big matryoshka teaches the little ones to dance,” says the adult. At first, a simple rhythmic pattern taps on the table. Children repeat. As rhythmic drawings, melodies of songs and dances familiar to children were used: “There was a birch in the field”, “Oh, you canopy ...”, “It's fun to walk together”, “Sunny drops”. If at first the children repeated after the adults, then they themselves began to invent simple rhythmic patterns, or the adult began, and the children finished. Examples of rhythmic patterns were very diverse.

"Determine by Rhythm"

Game material:cards, on one half of which a rhythmic pattern is depicted, and the other half is empty, cards illustrating the content of songs, children's musical instruments (spoons, tambourine, bell, drum, musical hammer).

Players are dealt 2-3 cards.

Stroke: The leader, a child or an adult, performs a rhythmic pattern of a song or dance (with the help of claps or simply knocks on the table with a musical hammer, wooden spoons, a drum are used), familiar to children: “Oh you canopy”, “There was a birch in the field” Russian folk songs, "Today mother's holiday”, Partskhaladze, “Sunny drops” Sosnin, “Colorful game”, “Sparrows” M. Krasev.

Children determine the song by rhythm and cover the empty half of the card with a picture. Rhythmic patterns can be involuntary: slow beats on the drum - a bear is coming, the ringing of a bell - a bird is flying. Children must guess by themselves, without the help of an adult.

Examples of cards and rhythmic patterns were very diverse.

"Shadow-Shadow"

Children know this song well. For a more perfect development of rhythmic feeling in children, the following tasks were used in a playful way:

The song is sung together with the children in order to consolidate the text.

Children sing and clap softly at the same time, marking the rhythmic pattern with clapping.

Each child slams their part.

Role-singing, but the role is played with the palms. They explain to the children that the voice is “hidden”, the palms “sing instead of it”.

The whole song from beginning to end is sung with palms

When the rhythm of the song is well mastered, you can lay it out in short and long strips or durations.

"Decorate the Music"

Game material:a tape recorder with a recording of "The Neapolitan Song" by P.I. Tchaikovsky, children's musical instruments that are distributed to children (tambourine, drum, bells, pipe, triangle, musical hammer).

Stroke: the child first listens to the work, determines its rhythm, mood. Then, as shown by an adult, the children try to use the orchestration technique. They repeat the rhythm of the song, as if playing along on a musical instrument. Then, at the climax of the song, the instruments all sound at the same time.

As a creative task, children are invited to show creativity: to decorate the sound. For example, somewhere you can catch the ringing of a bell, a beat on a drum or a tambourine, a metallophone.

In such a musical and didactic game, children distinguish the nature of music, their mood tries to adjust to a certain rhythm and catch its slightest changes and show creativity, which plays an important role in the development of a sense of rhythm.

"Musical and didactic games for development
musical perception.

For the development of children's perception of music (musical memory, the ability to distinguish between moods, the nature of musical works), some games can also be used. But first, read E. Koroleva's fairy tale to the children about the two main modes of music: major and minor. One of them paints the work in sad, sad tones (minor), the other loves bright, cheerful, cheerful colors (major), having become acquainted with the fairy tale, the child will more easily distinguish the major in mood sound of a musical work from the minor.

Two brothers (fairy tale)
In ancient times in fairyland under the name of Soundland, King Ding-Dong the Seventh ruled. More than anything in the world, he loved to sleep and be bored.
He used to sit on his throne and get bored, from boredom he dangles his feet,
Out of boredom, he will order cookies to be served, and the soldiers - to sing a song.
His soldiers were unusual - all, as one, excellent singers.
And for this, by the way, Ding-Don began to call them with sounds.
The Sounds will sing to the King one song, another, The King will snore, and the sounds will also go to the side.
They sleep until the morning, get up in the morning, shout "Hurrah!"
The king will wake up, turn from side to side, and everything will start anew:
Boredom, cookies, soldiers' singing from this life the sounds have become so lazy,
That they completely forgot how to sing properly. The king was terribly upset.
He even stopped being bored. Makes them sing this way and that
But they don’t want to in any way, and one day two brothers, Lada, arrived in Soundland from the distant country of Ladia. One was a cheerful dancer, laughter, the other was sad, thoughtful. The merry one was called Major, and the sad one was Minor. Major and Minor found out about the king's misfortune and decided to help him... They came to the palace, bowed to the King, as expected.
Hello, Ding Dong, they say. We want to hear from your soldiers.
And well, - the king commanded the Sounds, sing everything if you please! One, two! One, two!
Sounds sang, some in the forest, some for firewood. The brothers could not stand this music, They shouted in two voices: “Enough!”
Come on, - they say, - Ding-Don, we will help you, From your Sounds we will put together a good song. Lined up the Major Sounds in a row - The result was a scale.
Major commanded them: “Calculate on a tone-semitone!”. Sounds quickly calculated: Tone, tone, semitone, Tone, tone, tone, semitone
sing along! Major commanded. Sounds sang. We all stood in a row, a sound row turned out. Not simple - major. Joyful, perky.
Finished the Sounds to sing - Minor stepped forward. He commanded: “Calculate on a tone-semitone!”. For some reason, the sounds immediately became sad, reluctantly paid off.
Tone, semitone, tone, tone, semitone, tone, tone.
sing along! Minor commanded. Sounds sang.
We are a minor scale, a long series of sad sounds.
Sing a sad song. And now we're roaring.
Since then, there has been order in Soundland. Ding Dong began to live differently, He stopped sleeping to the new music, he will be sad - the Minor will appear, He wants to have fun - the Major will appear. Sounds began to live well, And the songs sounded well.

"Magic bag" E. Korolev

Target: Develop musical memory.
Game material:small beautifully designed pouch. It has toys : bear, dog, cat, bunny, cockerel, bird. You can use characters from the puppet theater.
Game progress: There can be any number of participants.

“Children,” the adult says, “guests have come to us. But where did they hide? Maybe here? (Shows the bag.) Now we will listen to music and find out who is there. The children are played on any musical instrument or the melodies of familiar works are sung: “Dog”, “Bird”, etc. the children recognize the music, one of them takes out a toy from the bag and shows it to everyone.

"In the woods"
The game develops the skills of perception of music.
game material: The forest is depicted on the tablet: 2-3 trees, a stump are glued to the picture with its middle part in height. This, as it were, creates volume, and, in addition, a pocket is glued to one half of the Christmas tree (tree, stump, bush), in which a bunny figurine (hedgehog, chanterelle, mouse, etc.) is placed. A figurine of a girl, cut out of cardboard, is placed next to the forest.
Game progress: “Look, what a beautiful forest,” the adult says. -Here are birches, Christmas trees. The girl Tanya came to the forest to gather mushrooms and berries. And behind the tree someone hid, probably some kind of animal. Let's help Tanya guess who is sitting there. Listen to the melody of the song and guess. Performed by an adult, in a recording or on some instrument, for example, the song “Zayinka” (Russian folk melody) is performed. To check the answer, the child is allowed to look behind the tree where the bunny figurine is located (the picture of the tree is bent along the center, there is a pocket).

"Who came to the tower"
The game develops in children the ability to memorize and distinguish musical works.

For the game you will need a picture (preferably from cardboard) with the image of a tower. Fairy-tale characters are drawn on a retractable paper ribbon on the side of the tower: a fox, a bear, a wolf, a frog, a hare, etc.
Game progress : An adult begins a fairy tale: There is a teremok in the field, a teremok, it is not low, not high, not high. Turning to the child, forgive me to listen to the melody and guess who will run up to the tower and ask to enter it. Having guessed the musical riddle, the child, using the retractable
tape, shows an adult his answer.

"Listen, listen, discern..."
Listen to music with the children (you can use a recording) and talk to them about music. Suggested game tasks activate auditory perception and help to feel the expressiveness of what is heard.
"Polka", P.I. Tchaikovsky
Everyone is well aware of the cheerful moving dance. It is performed easily, abruptly, with jumps. Listen, is the character of the music changing? Now try clapping to polka music. First, when it sounds high, clap your hands above your head, and when the music sounds lower, lower your hands and clap your knees. Tell me how to slap in the last part.
"Clowns", D.B. Kabalevsky
Ask your child what the names of circus performers who amuse the audience with various jokes are called. Of course clowns. Composer D.B. Kobalevsky composed a play for children, which he called "Clowns". Ask the child to listen and say what suits this music for clowns, why it is called that. Ask your child to draw a picture for this piece of music.

MUSICAL-SENSORY EDUCATION AND DEVELOPMENT OF CHILDREN IN PRESCHOOL PEDAGOGY.

Abilities for a certain type of activity develop on the basis of natural inclinations associated with such features of the nervous system as the sensitivity of analyzers, strength, mobility and balance of nervous processes. In order for abilities to manifest themselves, their carrier has to put in a lot of work. In the process of engaging in specific activities, the work of analyzers is improved. Musicians, for example, develop sensory syntheses that allow them to translate the images of musical and auditory representations into the corresponding motor reactions. Abilities develop only in activity, and one cannot say that a person does not have any abilities until he tries himself in this area. Often, interests in a particular type of activity indicate abilities that may appear in the future. As Goethe said, “our desires are premonitions of the abilities latent in us, harbingers of what we will be able to accomplish.”

Central to the problem of abilities is the question of their heritability. The conditionality of the manifestation of various abilities was most clearly presented in the concept of Francis Galton. He became a consistent “Darwinist” and connected in his writings the idea of inheritance of human abilities and talents with the principles of natural selection and the survival of species. But since the publication of Galton's works, the ideas expressed in them have been subjected to constant criticism and doubts about their validity. Has been accumulated a large number of data in which, on the one hand, evidence of the heritability of natural abilities is presented, and on the other hand, the dependence of the manifestations of abilities on favorable or unfavorable environmental conditions.

For musicological activity, the most important point is the ability to think analytically and figuratively, the ability to convey one’s thoughts and feelings in a good literary language so that potential listeners would like to turn directly to music after getting acquainted with musicological work.

For the composer, the most important thing is the desire to translate his life impressions into the language of musical images.

More diverse characteristics of personality traits were found in the examination of pianists. They were characterized by good adaptation to social requirements, conservatism in habits and views, low working stress, insight. But no matter what abilities a musician has by nature, he, like every person striving to achieve something in life, has to make a lot of strong-willed efforts to overcome the barriers of the internal and external plan.

A person is not born capable of this or that activity, his abilities are formed, formed, developed in a properly organized corresponding activity. They develop throughout his life, under the influence of training and education. In other words, abilities are lifelong, not innate education.

Distinguishare common andspecial capabilities. The quality of the mind, memory, observation refers togeneral abilities, as they are necessary in a wide range of activities.Special abilities find application in narrower areas of human activity. The presence of general and special abilities is necessary for the successful implementation of a particular activity.

Anatomical and physiological data indicate that children are not the same from birth, that they differ in the structure of the brain, sensory organs, movements, etc. They have a different structure of the auditory analyzer, on which hearing acuity, the ability to distinguish sounds in height, duration depend , timbre, etc. These inborn anatomical and physiological features that underlie the development of musical abilities are called inclinations.

Teachers, musicians came to the conclusion that everyone has the makings of musical activity. They form the basis of musical abilities. It should be borne in mind that on the basis of the same inclinations, musical abilities may or may not develop. Much here depends on the environment of the child, on the conditions of musical education and upbringing, and on the daily care of the parents about this. If a child, even a musically gifted one, is not introduced to the art of music, if he does not listen to music, does not sing, does not play instruments, then his inclinations do not develop into abilities. So, inclinations are innate anatomical and physiological features that underlie the development of abilities, and the abilities themselves, according to Professor B. Teplov, "are always the result of their development."

Musical abilities are not inborn, they develop in the process of human musical activity. Their development largely depends on the influence of social conditions, environment and, in particular, on the nature, content and form of musical education. Although sometimes, trying to prove the innateness of musical abilities, they give examples of outstanding abilities in representatives of the same family for many generations. There is reliable evidence that about 60 musicians came out of the Bach family, of which 20 are outstanding, including the great Johann Sebastian Bach. Of course, the world of music that dominated this family contributed in every possible way to the development of musical talents. However, it cannot be concluded from this that musical abilities are hereditary, although hereditary features of the structure of the hearing organs are possible.

It is difficult to imagine the most favorable period for the development of musical abilities than childhood. The development of musical taste, emotional responsiveness in childhood creates the foundation of a person's musical culture, as part of his general spiritual culture in the future. The possibility of early development of musical abilities in children is no exception. There is evidence that confirms the facts of the influence of music on the fetus that is formed during the pregnancy of a woman and its positive effect on the entire human body in the future.

Musical abilities are formed and manifested only in the process of musical activity. The presence of a certain fund of knowledge, skills and abilities does not make it possible to fully characterize musical abilities. The speed and quality of the acquisition of this fund is of decisive importance. Thus, the music director, assessing the child's abilities, should keep in mind that one should not draw hasty conclusions based only on the knowledge and skills that the child shows in this moment. It is also necessary to take into account how quickly and easily, in comparison with others, he acquired them.

Special or basic musical abilities include: pitch hearing, modal sense, sense of rhythm. It is the presence of them in everyone that fills the music heard by a person with new content, it is they that allow one to rise to the heights of a deeper knowledge of the secrets of musical art.

Musical abilities include: musical ear (in the unity of pitch, modal, harmonic, timbre, dynamic components), sense of rhythm, musical memory, imagination and musical sensitivity.

Musical ability is formed in the vigorous activity of musical hearing. B. V. Asafiev studied the problem of the development of musical ear, as the most important link in musical abilities. In his opinion, the human auditory apparatus has the inherent qualities of active listening; The task of a musician is to educate and develop auditory activity. The emotional impact of harmonious sound combinations is amplified many times if a person has a fine auditory sensitivity. A developed ear for music makes higher demands on what is offered to him. Heightened auditory perception paints emotional experiences in bright and deep tones.

According to experts, preschool age is a synthesistic period for the formation of musical abilities. All children are naturally musical. Every adult needs to know and remember this. It depends on him and only on him what the child will become in the future, how he will be able to dispose of his natural gift. The early manifestation of musical abilities indicates the need to start the musical education of the child as early as possible. The time lost as an opportunity to form the intellect, creative and musical abilities of the child will go irretrievably.

At different historical stages of the formation of musical psychology and pedagogy, and at the present time, there are various approaches to the development of theoretical, and, consequently, practical aspects of the problem of developing musical abilities.

B. M. Teplov in his works gave a deep comprehensive analysis of the problem of the development of musical abilities. He clearly defined his position on the issue of innate musical abilities. The musical abilities necessary for the successful implementation of musical activity, according to Teplov, are combined into the concept of “musicality”. And musicality is “a complex of abilities required for practicing musical activity, unlike any other, but at the same time associated with any kind of musical activity.” It is considered proven that if the necessary conditions are created for the musical development of a child from birth, then this gives a more significant effect in the formation of his musicality. Nature generously rewarded man, gave him everything in order to see, feel, feel the world around him.

A qualitative combination of general and special abilities forms a broader concept of “musical talent” compared to musicality. One of the signs of children's musical talent is a deep interest in music, a willingness to listen to it, sing, play instruments. The formation of a sustainable interest in music is an important prerequisite for the development of musical abilities.

Musical sounds have different properties, they have height, timbre, dynamics, duration. Their discrimination in individual sounds forms the basis of the simplest sensory musical abilities.

Modal feeling (ear of music), musical and auditory representations (musical memory) and musical and rhythmic feeling make upthree main musical abilities that form the core of musicality.

fret feeling - musical sounds are organized in a certain way.

A modal feeling is an emotional experience, an emotional ability. In addition, the modal feeling reveals the unity of the emotional and auditory aspects of musicality. Not only the mode as a whole, but also individual sounds of the mode have their own coloring. Of the seven steps of the mode, some sound stable, others - unstable. From this we can conclude that the modal feeling is the distinction not only of the general nature of music, the moods expressed in it, but also of certain relationships between sounds - stable, complete and requiring completion. The modal feeling manifests itself in the perception of music as an emotional experience, “felt perception”. Teplov B.M. calls it "perceptual, emotional component musical ear." It can be detected when recognizing a melody, determining the modal coloring of sounds. At preschool age, indicators of the development of modal feeling are love and interest in music. This means that the modal feeling is one of the foundations of emotional responsiveness to music.

Musical and auditory performances

“Active memorization of auditory representations makes the participation of motor moments especially significant,” notes B.M. Teplov.

Thus, musical-auditory representations are an ability that manifests itself in the reproduction of a melody by ear. It is called the auditory or reproductive component of musical hearing.

Musical-rhythmic feeling is the perception and reproduction of temporal relationships in music.

Often they arise unconsciously, involuntarily. Attempts by a person to stop these movements lead to the fact that they either arise in a different capacity, or the experience of the rhythm stops altogether. This indicates the presence of a deep connection between motor reactions and the perception of rhythm, the motor nature of musical rhythm. But the feeling of musical rhythm has not only a motor, but also an emotional nature. The content of the music is emotional. Rhythm is one of the expressive means of music, through which the content is conveyed. Therefore, the sense of rhythm, like the modal sense, forms the basis of emotional responsiveness to music.

The sense of rhythm is the ability to actively (motorly) experience music, feel the emotional expressiveness of the musical rhythm and accurately reproduce it.

So, Teplov B.M. identifies three main musical abilities that make up the core of musicality: modal feeling, musical-auditory representations and musical-rhythmic feeling. All abilities are characterized by a synthesis of emotional and auditory components. Their sensory basis lies in the recognition, differentiation, comparison of sounds that are different in height, dynamics, rhythm, timbre, and their reproduction.

N.A. Vetlugina names two main musical abilities: pitch hearing and a sense of rhythm. This approach emphasizes the inseparable connection between the emotional (modal feeling) and auditory (musical-auditory representations) components of musical hearing. The combination of two abilities (two components of musical ear) into one (tone pitch) indicates the need for the development of musical ear in the relationship of its emotional and auditory foundations. Concretizing the concept of pitch hearing, it should be emphasized that we are talking about the ability to perceive and reproduce a melody, to feel stable, reference sounds, completeness or incompleteness of a melody.

Researchers often face the question, in what types of activities do musical and sensory abilities develop?

A modal feeling can develop during singing, when children listen to themselves and to each other, control the correct intonation with their ears.

The sense of rhythm develops, first of all, in musical-rhythmic movements, corresponding in nature to the emotional coloring of the music.

Timbre and dynamic hearing.

It happens that if any ability lags behind in development, then this can slow down the development of other abilities. Therefore, recognizing the dynamism and development of musical abilities, it is pointless to conduct any one-time tests and, based on their results, predict the musical future of the child.

According to L.S. Vygotsky, we need constant monitoring of children with diagnostic sections of development. Diagnostics of musical abilities, carried out 2-3 times a year, makes it possible to judge the qualitative originality of the development of each child and, accordingly, adjust the content of classes.

For example, to establish the level of development of the modal feeling, you can ask the child:

1) recognize by the melody a previously performed song, instrumental piece, dance;

2) talk about the content or recall the name of the performed piano work, which is well known to the child;

3) determine the correctness of the previously familiar melody sung or played on the instrument by the teacher (Do you know this melody? Does it sound right?);

4) finish the melody on the tonic (“I will start, and you will finish”);

5) to determine whether the adult played the piece familiar to the child for a game or dance correctly;

To determine the level of development of musical and auditory representations, you can offer the child:

1) sing the melody of a familiar song in a syllable that is easy to perceive, paying attention to the purity of intonation;

2) sing a song without piano accompaniment;

3) repeat after the teacher the musical phrase played on the piano with the voice;

4) repeat the sounds played on the instrument after the teacher;

5) sing a song in a different key;

To determine the level of development of musical-rhythmic feeling, we can offer:

1) slap a metrical share of a familiar song;

2) clap the rhythmic pattern of a familiar song to the singing of a teacher or your own singing (“sing a song with your hands”);

3) reproduce the rhythmic pattern of the song with steps in place, and then moving forward ("sing a song with your feet");

4) emotionally - expressively convey in movements the nature of a familiar piece of music;

5) clap the rhythmic pattern of the melody played by the teacher on the instrument;

6) convey in movements the character of a previously unfamiliar work after its preliminary listening;

Creative skills.

The development of special musical abilities is influenced by creative abilities.

Children's musical creativity is understood as the ability of self-expression in all types of musical activity, including productive ones. The latter is characterized by such effectiveness as composing melodies, rhythms, free expression of mood in movement under the influence of music, orchestration of plays, etc. The child's creativity in musical activity makes it especially attractive, enhances his experiences. creativity called the ability of self-expression. It is an innate ability that can be developed. Theoretical basis The interpretation of the concept of children's creativity is based on the recognition that children have innate inclinations that are independently and spontaneously revealed in the activities of children. The sources of creativity in many cases are life phenomena, music itself, the musical experience that the child has mastered. It is necessary to create conditions for the formation of the abilities of all children for musical creativity. Techniques of creative tasks aimed at developing musical abilities are methodologically expedient and useful. For example, the development of a sense of harmony, musical and auditory representations occurs during the question of the teacher and the answer composed by the children, the sense of form - during the improvisation of the response phrase. For the development of musical perception, the method of orchestration of musical works is used. This technique is used not so much to teach children how to play musical instruments, but to use them creatively. To orchestrate a work means to choose and use the most expressive timbres of instruments corresponding to the nature of its sound, to distinguish between individual parts. Such activities can contribute to the creative aspirations of children.

In one of his works, B. M. Teplov gives an analysis of the problem of the development of perception and creativity. He emphasizes that aesthetic education in childhood cannot be full-fledged if we limit ourselves to the development of only the perception of the child. Creative activity is characteristic of children, but it is completely unevenly represented in various types of artistic activity of children. Having carried out a comparative description of the state of this issue in relation to the visual, literary and musical activities of children, B. M. Teplov notes the following: in the first of them, children are engaged in creativity, but their perception of artistic paintings is poorly developed; in the second, the verbal creativity of children and the quality of their perception are at a sufficient level; in the third, attention is paid to the development of musical perception, while the creativity of children is only performing. At the same time, one should not limit oneself to one training. The process of children's creativity causes in children a special desire to act sincerely and naturally. By its nature, children's creativity is synthetic and often improvisational in nature. It makes it possible to judge individual characteristics much more fully and to reveal the ability in children in a timely manner.

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