Ministry of Education of Ukraine

Kharkov National Pedagogical University

them. G. S. Skovoroda

Department of Musical and Instrumental Training

Graduate work

on the topic of:

“Development of musical and sensory abilities in older children preschool age through musical teaching aids and games”

Performed:

III year student xxxx group

correspondence department

Faculty of Music and Pedagogy

Scientific adviser:

professor, candidate ped. sciences

admitted to defense

Kharkov 2005

Introduction

Chapter I. Musical-sensory education and development of children in preschool pedagogy

1.1 The structure of musical abilities, their characteristics

1.2 Concept, role of sensory education and the significance of the development of musical-sensory abilities in children of senior preschool age

1.3 Main types of musical and didactic aids and games in the musical and sensory development of preschool children

Chapter II. Practical study of the development of musical-sensory abilities in children of senior preschool age during music classes using music-didactic aids and games

2.1 Methodology for using musical teaching aids and games in various types musical activity

2.2 Experimental work on the development of musical-sensory abilities in older preschoolers using musical teaching aids and games

Conclusion

Bibliography

Applications

Introduction

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. As experts note, in modern world It is important to shift the center of gravity to a person’s individuality, study his self-movement, develop his spirituality and attitude to the world around him. The requirement for the humanization of education put forward by psychologists and teachers requires great attention to the development of the child’s musical abilities and his best personal qualities. Giving knowledge, developing skills and abilities is not an end in itself. It is much more important to awaken interest in knowledge.

Musical art has an undoubted impact on the child’s personality already in preschool age; in its creative process it contributes to the accumulation of a musical thesaurus. Through familiarization with the art of music, a person’s creative potential is activated, the intellectual and sensory principles develop, and the earlier these components are laid down, the more active their manifestation will be in familiarization with the artistic values ​​of world culture. A real, felt and thoughtful perception of music is one of the most active forms of involvement in music, because this activates the inner, spiritual world, feelings and thoughts. Outside of perception, music as art does not exist at all. It is pointless to talk about any impact of music on the spiritual world of children if they have not learned to hear music as a meaningful art that carries a person’s feelings and thoughts, life ideas and images.

Preschoolers show a special love for the art of music and can be involved in activities that are feasible for their age, the goals of which are to develop interest in music, correct perception of its content, structure, form, as well as awakening the need for constant communication with it and the desire to actively express oneself in this sphere. Understanding musical art as an integral spiritual world, giving the child an idea of ​​reality, its laws, and himself, is possible through the formation of musical-sensory abilities.

Relevance of the topic thesis is determined by the need for further theoretical and experimental development of issues related to the musical-sensory development and education of preschool children in a certain system, taking into account the age aspect and the sequence of children’s introduction to a holistic and differentiated perception of music. There is a need to train children in perceptual actions, to repeat these actions multiple times, to bring them to the level of musical activity skills. It is equally necessary to create attractive, interesting conditions for children that would encourage such exercises. Musically teaching aids and games can become such a means of activating the musical development of a child, allowing preschool children to become involved in the active perception of music. Musical perception is a complex, sensory, poetic process, filled with deep experiences; it intertwines sensory sensations of musical sounds and the beauty of consonances, previous experience and living associations with what is happening in the world. this moment, following the development of musical images and vivid responses to them. The importance of musical didactic aids and games is that they help familiarize children in an accessible form with such relatively complex concepts in music as a musical genre, the form of a musical work, as well as individual means of musical expression and the basic properties of musical sound.

Musical-sensory abilities mean not only the quality of perception that allows a child to distinguish individual components of musical sounds: pitch, timbre, duration, strength. It is assumed that the structure of these abilities includes the quality of active listening, playing music, children’s examination of musical sounds in their expressive relationships, and visually effective familiarization with musical standards. Modern understanding of essence sensory development is formed in an integrated approach to the interaction of musical perception, auditory sensations and ideas, acting simultaneously on the visual, auditory and motor activity, thereby contributing to musical development in general.

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

In accordance with the purpose of the thesis, the following were identified: tasks :

Reveal the significance of musical-didactic aids and games, examine the methods of their influence on the development of musical-sensory abilities;

Develop a set of aids and games that ensure the consistent development of musical and sensory abilities in the context of educational activities;

To identify criteria and indicators for the development of musical and sensory abilities in children of senior preschool age;

To experimentally test methods for the effective development of musical-sensory abilities in preschoolers in the process of musical activity;

Based on the goals and objectives, the object and subject of the thesis are formulated.

The object of the thesis is the development of musical and sensory abilities in children of senior preschool age.

Item diploma work - musical and didactic aids and games.

In connection with the object and subject it is put forward hypothesis , according to which the active use of musical-didactic aids and games in music lessons for older preschoolers will have a positive impact on both the development of musical-sensory abilities and the learning process as a whole.

The research work was carried out on the basis of a preschool institution with children of senior preschool age, since for students of this age gaming activity is leading. A group of preschool children with different levels of musical abilities and capabilities, which amounted to 20 people, was involved in the experimental work.

Accumulated scientific, methodological and practical experience, allows us to determine the main directions of the formation and development of musical and sensory abilities of older preschoolers:

1) identification of features preparatory development musical-sensory abilities taking into account the curriculum preschool;

2) development of a set of aids and games that ensure the consistent development of musical and sensory abilities, as well as allowing preschoolers to intensify their interest in classes;

3) on the basis of active sensory musical activity, with the help of visual-auditory, visual-visual methods of education, to develop in children ways of listening, feeling, perceiving, playing music, and examining.

For this thesis, the fundamental sources of literature on the development of musical sensory were the works of N. A. Vetlugina, L. N. Komisarova, I. L. Dzerzhinskaya, A. V. Zaporozhets, A. P. Usova, N. G. Kononova, E P. Kostina.

When performing the thesis, various methods psychological and pedagogical research:

1. Study of psychological and pedagogical literature on the development of musical and sensory abilities of preschool children in order to provide a theoretical basis for the study;

2. Studying the documentation of a preschool institution (calendar, lesson plans, methodological literature);

3. Conducting a pedagogical experiment (stating and formative), the content of which was the development of musical-sensory abilities in older preschoolers.

Scientific novelty experimental work is that with active use didactic material in the process of musical activity, namely musical didactic aids and games in the process of listening, singing, rhythmic movements, playing musical instruments, the level of development of sensory experience increases, which contributes to the formation of methods of listening, feeling, perceiving, playing music, and examining. All of these actions underlie the development of musical-sensory abilities, which need to be developed in children from a very early age.

Currently, little attention is paid to the formation of children's musical and sensory abilities. Meanwhile, research by such famous scientists and teachers as VygotskyL. S., Teplov B.M., Radynova O.P., prove the possibility and necessity of forming memory, imagination, thinking, and abilities in all children without exception.

The development of children's musical and sensory abilities should be constantly in the field of view of the teacher, carried out using various methods and means, including with the help of musical teaching aids and games. After all, all the manuals and games used in music classes combine all the methods of musical education. The development of musical-sensory abilities when learning to sing, listen to music, rhythmic movements, and play children's musical instruments helps the child to listen and be attentive to the various properties of musical sounds and their combinations, linking this with certain spatial concepts.

There is much in common between musical teaching aids and musical teaching games. Both serve educational purposes and are aimed at developing children’s ideas about the properties of “musical language.” “Musical language” refers to the entire complex of expressive means: the transmission of thoughts, feelings, i.e. the content of the work, the characteristics of expressive intonations, rhythmic richness, harmonic sound, timbre coloring, tempo, dynamic nuances and structure of the work.

Unfortunately, at present, work on musical and sensory education in preschool institutions is not always organized at the proper level. Obviously, this is explained by the lack of material resources, the lack of ready-made musical and didactic aids in the trading network.

Of course, the very organization of the use of musical-didactic games requires the teacher to understand the significance and value of the musical-sensory development of children, great creativity and skill, the ability and desire to aesthetically produce and design the material, and not every music director has such abilities.

CHAPTER I. MUSICAL-SENSORY EDUCATION AND CHILDREN’S DEVELOPMENT IN PRESCHOOL PEDAGOGY

1.1 The structure of musical abilities, their characteristics

Abilities for a certain type of activity develop on the basis of natural inclinations associated with such characteristics nervous system, such as the sensitivity of analyzers, strength, mobility and balance of nervous processes. In order for abilities to manifest themselves, their bearer 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 images of musical-auditory ideas into corresponding motor reactions. Abilities develop only through activity, and one cannot say that a person lacks any abilities until he tries himself in this area. Often, interests in a particular type of activity indicate abilities that may manifest themselves in the future. As Goethe said, “our desires are premonitions of the abilities hidden 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 represented in the concept of Francis Galton. He became a consistent “Darwinist” and in his works connected the idea of ​​inheritance of human abilities and talents with the principles of natural selection and survival of species. But since the publication of Galton's works, the ideas expressed in them have been subject to constant criticism and doubt about their legitimacy. It has been accumulated a large number of data that, on the one hand, provides evidence of the heritability of natural abilities, and on the other, the dependence of the manifestations of abilities on favorable or unfavorable environmental conditions.

The person himself plays a big role in the development of abilities. You 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 the missing psychological qualities in order to perform the work that he likes or that he has to do due to current life circumstances.

For musicological activities the most important point prove to be analytical and imaginative thinking, the ability to convey one’s thoughts and feelings in good literary language so that potential listeners would want, after familiarizing themselves with musicological work, to directly turn to music again.

For a 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 when examining pianists. They were characterized by good adaptation to social demands, conservatism in habits and views, low work stress, and 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 volitional efforts to overcome the barriers of internal and external plans.

So, abilities are individual psychological characteristics of a person that meet the requirements of a given activity and are a condition for its successful implementation. They develop from a person’s inclinations, 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, and developed in properly organized appropriate activities. They develop throughout his life, under the influence of training and upbringing. In other words, abilities are a lifetime, not an innate formation.

Distinguish are common And special capabilities. The quality of the mind, memory, observation are related to general abilities, since they are necessary in a wide range of activities. Special abilities are used in narrower areas of human activity. The presence of general and special abilities is necessary for the successful performance 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, movement, etc. They do not have the same structure of the auditory analyzer, on which hearing acuity and the ability to distinguish sounds by height and duration depend , timbre, etc. These innate anatomical and physiological characteristics that underlie the development of musical abilities are called inclinations.

Teachers and musicians have come to the conclusion that everyone has the makings of musical activity. They form the basis of musical abilities. It should be taken into account that, based on the same inclinations, musical abilities may or may not develop. Here, a lot depends on the child’s environment, on the conditions of musical training and upbringing, and on the daily care of parents. If a child, even if musically gifted, 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 characteristics 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 innate, 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 over many generations. There is reliable evidence that about 60 musicians came from the Bach family, of which 20 were 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, one cannot conclude from this that musical abilities are hereditary, although hereditary structural features of the hearing organs are possible.

It is difficult to imagine a more favorable period for the development of musical abilities than childhood. 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 is no exception early development children have musical abilities. There is data that confirms the influence of music on the developing fetus during a woman’s pregnancy and its positive impact 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 sufficiently fully characterize musical abilities. The speed and quality of acquiring this fund is of decisive importance. Thus, the music director, when assessing the child’s abilities, must keep in mind that one cannot draw hasty conclusions based only on the knowledge and skills that the child is currently displaying. It is also necessary to take into account how quickly and easily, compared to others, he acquired them.

Special or basic musical abilities include: pitch hearing, modal sense, sense of rhythm. It is the presence of them that fills the music a person hears 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 active activity of musical hearing. B.V. Asafiev studied the problem of the development of musical hearing, as the most important link in musical abilities. In his opinion, the human hearing system has innate qualities of active listening; The task of a musician is to educate and develop auditory activity. The emotional impact of harmonious sound combinations is enhanced many times over if a person has fine hearing sensitivity. A developed ear for music places higher demands on what is offered to it. Heightened auditory perception colors emotional experiences in bright and deep colors.

According to experts, preschool age is a synthetic 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 use his natural gift. Early manifestation of musical abilities indicates the need to begin the musical education of a child as early as possible. The time lost as an opportunity to develop the child’s intelligence, creative and musical abilities will be irreplaceable.

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

B. M. Teplov in his works gave a deep, comprehensive analysis of the problem of developing 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, as opposed to any other, but at the same time associated with any type 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 has generously rewarded man, giving him everything he needs to see, feel, feel the world around him.

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

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 and expressive capabilities. In order to deeply perceive musical content, a person must have the ability to differentiate moving sounds by ear, distinguish and perceive the expressiveness of rhythm.

Musical sounds have different properties: they have pitch, timbre, dynamics, and 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 sense of emotional expressiveness, musical rhythm and its reproduction form one of the musical abilities of a person - the musical-rhythmic sense. Pitch, timbre and dynamics form the basis of pitch, timbre and dynamic hearing, respectively.

Modal sense (musical ear), musical-auditory ideas (musical memory) and musical-rhythmic sense make up three basic musical abilities, which form the core of musicality.

Fret feeling - musical sounds are organized in a certain mode.

Modal feeling is an emotional experience, an emotional ability. In addition, the modal feeling reveals the unity of the emotional and auditory sides of musicality. Not only the mode as a whole has its own color, but also the individual sounds of the mode. Of the seven degrees of the scale, 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, completed 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 and determining the modal coloring of sounds. In preschool age, indicators of the development of modal sense are love and interest in music. This means that modal feeling is one of the foundations of emotional responsiveness to music.

Musical and auditory performances

To reproduce a melody with a voice or on a musical instrument, it is necessary to have auditory representations of how the sounds of the melody move - up, down, smoothly, in jumps, that is, to have musical-auditory representations of pitch movement. These musical-auditory representations involve memory and imagination.

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

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

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-auditory performances.

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

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

As evidenced by observations and numerous experiments, during the perception of music a person makes noticeable or imperceptible movements that correspond to its rhythm and 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 them either appearing in a different capacity, or the experience of 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 is not only motor, but also emotional in nature. The content of the music is emotional. Rhythm is one of the expressive means of music, with the help of which the content is conveyed. Therefore, the sense of rhythm, like the sense of modality, 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 form the core of musicality: modal sense, musical-auditory perception and musical-rhythmic sense. All abilities are characterized by a synthesis of emotional and auditory components. Their sensory basis lies in recognition, differentiation, comparison of sounds that differ in pitch, 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 inextricable connection between the emotional (modal feeling) and auditory (musical-auditory perceptions) components of musical hearing. The combination of two abilities (two components of musical ear) into one (pitch hearing) indicates the need to develop musical ear in the interrelation of its emotional and auditory bases. 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, the completeness or incompleteness of a melody.

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

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

Emotional responsiveness to music can appear 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 to perceive calm music with concentration and attention. Gradually, motor reactions become more voluntary, consistent with music, and rhythmically organized.

The modal sense can develop during singing, when children listen to themselves and to each other, and control the correctness of intonation with their ears.

Musical-auditory concepts develop in activities that require distinguishing and reproducing melody by ear. This ability develops primarily in singing and 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.

Timbre and dynamic hearing are types 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 discrimination of sounds by 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 and the fullness of their perception of music. Children recognize the timbres of musical instruments and 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 manifest differently in all children. For some, already in the first year of life, all three basic abilities manifest themselves quite clearly and develop quickly and easily. This indicates the musicality of children. For others, abilities are discovered later and are more difficult to develop. The most difficult thing for children to develop is musical-auditory understanding - the ability to reproduce a melody with a voice, accurately intoning it, or select it by ear on a musical instrument. Most preschoolers develop this ability only by the age of five. But this is not, according to B.M. Teplov, an indicator of weakness or lack of abilities.

It happens that if any ability lags behind in development, then this can inhibit the development of other abilities. Therefore, recognizing the dynamism and developability of musical abilities, it makes no sense to conduct any one-time tests and, based on their results, predict the child’s musical future.

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

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

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

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

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

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

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

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

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

2) sing a song without piano accompaniment;

5) sing a song in a different key;

To determine the level of development of musical and rhythmic sense, we can suggest:

1) clap the metrical beat of a familiar song;

2) clap the rhythmic pattern of a familiar song while the teacher sings or sings himself (“sing a song with your hands”);

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

4)emotionally - expressively convey in movements the character 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 piece after listening to it first;

Creative skills.

The development of special musical abilities is influenced by Creative skills.

Children's musical creativity is understood as the ability to express themselves in all types of musical activities, 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 gives it a special appeal and enhances his experiences. Creative ability is called the ability of self-expression. This is an innate ability that can be developed. Theoretical basis The interpretation of the concept of children's creativity is based on the recognition of the presence of innate inclinations in children, which are independently and spontaneously revealed in the activities of children. In many cases, the sources of creativity are considered to be life phenomena, music itself, and 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. Methodologically appropriate and useful methods of creative tasks aimed at developing musical abilities. For example, the development of a sense of harmony, musical and auditory concepts occurs during the question of the teacher and the answer composed by the children, a sense of form - during the improvisation of a response phrase. To develop musical perception, the technique of orchestrating musical works is used. This technique is used not so much for teaching children the skill of playing musical instruments, but for using them creatively. To orchestrate a work means to select and use the most expressive timbres of instruments that correspond to the nature of its sound, to distinguish individual parts. Such activities can promote children's creative aspirations.

In one of his works, B. M. Teplov provides an analysis of the problem of the development of perception and creativity. He emphasizes that aesthetic education in childhood cannot be complete if we limit ourselves to the development of only the child’s perception. 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, children’s verbal creativity and the quality of their perception are at a sufficient level; in the third, attention is paid to the development of musical perception, while children’s creativity is only performing. At the same time, one cannot limit oneself to training alone. The process of children's creativity evokes 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 promptly identify abilities in children.

1.2 Concept, role of sensory education and the significance of the development of musical-sensory abilities in children of senior preschool age

Based on musicological literature, music is considered as an art that embodies artistic images, which allow us to convey human experiences using a variety of means of expression. Musicologists consider musical perception as the action of a complex system of mechanisms (E.V. Nazaikinsky). When analyzing dynamic structure musical perception, a number of studies highlight the differentiation of the auditory flow, which depends on the level of musical-perceptual development of the perceiver (A. G. Kostyuk), speaks of the meaningfulness of perception (A. N. Sokhor), the need to gain experience in the perception of musical sound (B. V . Asafiev). It is noted that musical perception is controlled by a perceptual setting, which represents a system of tuning analyzers that concentrate attention and memory (V.V. Medushevsky). It has been proven that the study of psychological and physiological principles of the development of perception in activity should be carried out in a specially organized system of training and education. An analysis of pedagogical literature on the issues of musical education of preschool children (N. A. Vetlugina, I. L. Dzerzhinskaya, S. M. Sholomovich, T. V. Volchanskaya, L. N. Komisarova) allows us to conclude that it is necessary to form the musical perception of children , starting from preschool age. Studies have shown that full musical perception is possible only if the child identifies the means of expression that make up the musical fabric (N. A. Vetlugina, S. M. Sholomovich, T. V. Volchanskaya, L. N. Komisarova) . Their works outline a program of musical-sensory education, which requires the development of musical sensory not only in classes, but also in independent activities (N. A. Vetlugina, I. L. Dzerzhinskaya); it is indicated that independent actions learned in classes are the common link that connects two forms of a child’s musical practice. Based on all this, a conclusion is made about the need to form the perception of individual properties of musical sounds, which should improve the culture of musical perception as a whole.

The perception of music is a complex process that requires attention, memory, developed thinking, and a variety of knowledge from a person. Preschoolers don’t have all this yet. 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, on the properties of musical sounds, etc.

Musical sensory perception has great value in the development of the child, as it is distinguished by extraordinary emotionality, integrity and spontaneity. In the perception of music, general and special groups of sensory processes take place. The first of them are characterized by the integrity of perception. At the same time, the means of musical expression appear in diverse and complex relationships. The second group combines processes associated with the perception of individual properties of musical sounds, namely their pitch, duration, timbre, and dynamics. There is also the sensory ability to listen to the musical fabric, recognize the properties of musical sounds and compare them by similarity and contrast.

Correct understanding of the tasks of sensory education in kindergarten and their implementation by appropriate forms of work is possible only on the basis of taking into account the patterns of the child’s sensory development. First of all, it is necessary to characterize the psychological nature of the sensory development of a preschooler.

The first thing that needs to be emphasized in connection with this issue is that there is a close relationship between the child’s sensory development and the development of his perception, that is, the development of the sensorium follows the path of development of the child’s attitude to reality and is determined by one or another level of his perception. This circumstance can be most clearly illustrated by the example functional development child analyzer systems. As is known, in a child the organs of touch and movement (especially the latter) begin to function most early, then the organs of smell and taste, and, finally, the organs of vision and hearing. The process of forming a child's perception is long and difficult path development, and does not occur spontaneously, but through learning to understand the surrounding reality. A.V. Zaporozhets believed that the formation of perceptual actions under the influence of learning goes through a number of stages. At the first stage, perceptual problems associated with the formation of an adequate image are solved by the child in practical terms through actions with material objects. Corrections in perceptual actions, if necessary, are made here in the manipulations with objects themselves as the action progresses. The passage of this stage is accelerated, and its results become more significant if the child is offered “perceptual standards” - samples with which he can relate and compare the emerging image.

At the next stage, sensory processes themselves turn into unique perceptual actions, which are performed using the own movements of the receptive apparatus. At this stage, children become familiar with the spatial properties of objects with the help of extensive orienting and exploratory movements of the hands and eyes, and manual and visual examination of the situation usually precedes practical actions in it, determining their character and direction.

At the third stage, the process of a kind of curtailment of perceptual actions begins, their reduction to a necessary and sufficient minimum. The efferent links of the corresponding actions are inhibited, and the external perception of the situation begins to create the impression of a passive receptive process.

At the next, higher stages of sensory learning, children acquire the ability to quickly and without any external movements recognize certain properties of perceived objects, distinguish them from each other on the basis of these properties, detect and use the connections and relationships that exist between them. Perceptual action turns into ideal action.

While forming the ability to perceive, it is necessary to simultaneously develop in children the ability to express their impressions, which is associated with the enrichment of children’s speech with a certain vocabulary that allows them to determine their character and expressive means. The formation of ideas enshrined in words is an important factor in the development of children. The development of perception is also closely related to the formation of musical ideas that reflect the main mood of the work and its features.

Sensory musical development occurs most successfully with specially organized upbringing and training. Children's assimilation of methods of sensory actions, when organized correctly, leads to the activation of the child's musical experience. Musical-sensory abilities are understood as those that develop the quality of perception, meaning:

a) distinguishing the properties of musical sounds

b) distinguishing their expressive relationships

c) quality of examination of musical phenomena.

The examination of musical phenomena involves: listening; recognizing the properties of musical sounds; comparing them by similarity and contrast; isolation from a complex of other sounds; distinguishing their expressive sound; reproduction with simultaneous auditory control in singing or playing a musical instrument; combining sound combinations; comparison with accepted standards.

Sensory musical education is distinguished by its social orientation. Its results are a certain level of sensory development of children, allowing them to be more emotional and conscious about music that reflects life phenomena, to feel the beauty of its sound in unity with the thoughts and feelings expressed in it. This occurs through meaningful and varied activities, during which sensory processes, experiences and abilities are formed.

Sensory education involves the following tasks: to form the auditory attention of children; teach them to listen to various harmonious sound combinations; catch the change in contrasting and similar sound relationships; teach methods of examining musical sound; develop musical and sensory abilities. As a result of sensory experience, children acquire specific ideas about musical phenomena. The content of musical education involves instilling in children receptivity, interest, and love for music, developing emotional responsiveness to it, introducing them to various types of musical activities, which allows them to develop the child’s overall musicality and creative abilities.

The main requirement of sensory education is practical training in perception skills and methods of action that activate auditory attention. The organization of initial sensory experience requires the creation of models of the properties of musical sounds, since the concepts about them are too complex for preschoolers. Practical training in perception skills and methods of listening to musical sound is successful if they become visual, “material.” Modeling occurs through the use of musical teaching aids, games, and toys that encourage children to become musically independent. On this basis, children are reminded or re-informed of the designations of the various properties of musical sounds. Obtaining this knowledge is built on a strong sensory basis and leads children to independent generalizations. External modeling helps the emergence of the first independent generalizations, which are subsequently increasingly realized without relying on a model. All this organized activity occurs in the process of musical practice: singing, listening, moving, playing musical instruments.

Characteristics of children of senior preschool age.

This period is characterized by: expansion of acquired experience under the influence of education and improvement of sensations characteristic of this period. A.V. Zaporozhets notes “that sensations continue to improve mainly due to the development of the activity of the central part of the analyzers.” A direct dependence of auditory sensitivity on systematic music lessons has also been established. When perceiving phenomena, children at this age are able to coordinate their perception with the verbal instructions of the teacher. Moreover, they are able to verbally formulate the tasks facing them. The growth of a child’s life development in the period of senior preschool age is clearly revealed not only in the characteristics age characteristics perception, but also in changes in the nature of his activities, in particular gaming.

1.3 Main types of musical and didactic aids and games in the musical and sensory development of preschool children

A. S. Makarenko said: “Play is important in a child’s life, it has the same meaning as activity, work, service for an adult.”

Didactic games have long been used for the purpose of sensory education of children (F. Froebel, M. Montessori, etc.). A. S. Makarenko said: “Play is important in a child’s life, it has the same meaning as activity, work, service for an adult.”

“Solving sensory problems,” writes N. A. Vetlugina, “is possible in almost all types of children’s musical practice. But each of them, having specificity, is a more favorable environment for the development of certain sensory abilities. In music classes, children develop musical perception, but it is hardly possible to limit themselves to this. We also need an environment in which the child could deepen the learned methods of action, practice them independently, and develop the ability to control his actions. We need special didactic games and toys.”

Didactic games have long been used for the purpose of sensory education of children (F. Froebel, M. Montessori, etc.). Great contribution to preschool pedagogy didactic games were introduced by E. I. Udaltseva, E. I. Tikheeva, F. N. Blekher, B. I. Khachapuridze, E. I. Radina and others. However, as noted by A. V. Zaporozhets, A. P. Usova , games were used without a sufficiently close connection with the main types of children's activities, which significantly reduced the overall effectiveness of children's sensory development.

At the end of the sixties, a group of Soviet psychologists and teachers (A.V. Zaporozhets, A.P. Usova, N.P. Sakkulina, N.N. Poddyakov, N.A. Vetlugina, L.A. Venger) began to develop the problem sensory education in the process of various types of children's activities. The right approach to the development of a didactic game was found, its main objectives were revealed, and the educational game structure was highlighted.

General problems of musical-sensory education were developed by N. A. Vetlugina. Her works clearly reveal the importance of musical and didactic games for a deeper mastery of musical and sensory skills and abilities, and highlight the types of musical and didactic games (for the development of pitch, rhythmic, dynamic and timbre hearing). She outlines three types of didactic games - moving, round dancing and board games. What is valuable about these games is that they are based on a synthesis of music and movements, and the perception of musical sounds is facilitated by correlating them with objects and phenomena that children can understand.

Musically didactic game, as a game form of learning, is a very complex phenomenon. There are two principles at work in it at the same time - educational, cognitive, and playful, entertaining. “Give the child the opportunity to play and combine learning with play so that wisdom appears with a cheerful smile, beware of boring her with extreme seriousness,” wrote a modern researcher of children's play, D. Colozza.

Characteristic of each didactic game is the presence in it of:

Training tasks;

Game actions;

All these elements are mandatory and interdependent. The main element of the didactic game is learning task. All other elements are subordinate to this task and serve it.

The purpose of didactic games is to introduce the child to an understanding of the properties and qualities of sensory phenomena. Didactic games seem to express and complete the process of comparing and separating the child’s own sensory experience of perceiving the properties and qualities of phenomena from socially accepted standards.

Like any other type of game, a musical-didactic one in its structure should include the development of game actions, in which there is always an element of competition, an element of surprise, entertainment with sensory tasks that are distinguished by their didactic character. The development of play actions is suggested by the development of musical images, the literary text of the song, and the nature of the movement.

Musical games generally combine many of the features inherent in round dance formations and outdoor games. But the didactic material of these games is different in that it is based on the tasks of developing musical perception; The game action should help the child to hear, distinguish, compare some properties of music in an interesting way, and then act with them. This limits the scope of gaming activities. Excessive mobility, competition in evasiveness, dexterity, which are so interesting for children, should be moderate. The nature of game actions in musical and didactic games, therefore, is very unique. All didactic games differ in their game actions and sensory tasks, but always require auditory concentration.

Musical and didactic games should be simple and accessible, interesting and attractive. Only in this case do they become a kind of stimulant of children’s desire to sing, listen, play, and dance. In the process of playing, children not only acquire special musical knowledge and abilities, but they also develop the necessary personality traits, primarily a sense of camaraderie and responsibility. All didactic games contribute to the formation of mental qualities in children: attention, memory, intelligence; are taught to act quickly, to be restrained, and to evaluate one’s own capabilities; activate various mental processes, contribute to the process of learning and education; enrichment of vocabulary.

Many musical and didactic games are first learned with children during a music lesson. In order for the game to be successfully mastered by children, the music director must explain the game to the teacher before the lesson. During the lesson, both teachers help children understand the rules of the game. First, they participate in this game themselves.

The role of the teacher in children's play is great: he tactfully directs its course, monitors the relationships between the players, and maintains the independent and creative nature of children's play activities. A. S. Makarenko also wrote: “And I, as a teacher, must play with them. If I only teach, demand and insist, I will be an outside force, maybe useful, but not close. I must definitely play a little, and I demanded this from all my colleagues.”

In musical-didactic games, a special role is played by musical works, on the basis of which the game action unfolds. They must meet aesthetic requirements, evoke children's feelings, positively influence their taste and especially encourage expressive movement. Musical works are presented to children in their immediate integrity. From the general complex of harmonious combinations, children will have to select and note some properties on which the success of the deployment of game actions depends. Therefore, to some extent, some means of musical expression should stand out more clearly against the background of others.

In addition to didactic games, musical and didactic aids are used to effectively develop musical and sensory abilities. They contribute to a more active perception of music by preschoolers, allowing them to familiarize them with the basics of musical art in an accessible form, and this, according to L.N. Komissarova, is a very “important aspect of the development of musical culture in children.” All musical and didactic aids have a comprehensive effect on the child, causing him to have visual, auditory and motor activity, thereby expanding his musical perception as a whole. L. N. Komissarova identifies three groups of musical and didactic aids, these are: for the development of musical perception: for distinguishing the nature of music, elements of visualization and means of musical expressiveness.

All benefits are divided into three groups:

1. Aids, the purpose of which is to give children an idea of ​​the nature of music (cheerful, sad), musical genres (song, dance, march). “Fun - sad.”

2. Manuals that give an idea of ​​the content of music and musical images. “Find out the fairy tale”, “Cockerel, hen, chicken”.

3. Aids that form children’s understanding of the means of musical expression. “Musical House”, “Loud - Quiet”.

The didactic material of the manuals is based on the tasks of developing children’s musical perception and sensory experience, and the game action helps the child to hear, distinguish, compare some properties of music in an interesting way, and then act with them.

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

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

Manuals and games for the development of modal sense help to recognize familiar melodies, determine the nature of the music, change constructions in individual parts of the work, and distinguish genre. All types of benefits and games can be used here - this and Board games like lotto, where children fix the corresponding melody pattern; and outdoor games - plot and non-story, in which children coordinate the movements of the characters with the nature of the music, changing genres.

Manuals and games for the development of musical and auditory concepts associated with the discrimination and reproduction of pitch movement. Children enjoy games that involve playing a melody with their voice or playing a musical instrument. To activate musical and auditory perceptions, musical and didactic aids, board and round dance games are used.

Modeling the pitch relationships of sounds using various means allows you to develop the ability of musical-auditory representations, linking together 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 reproduce it accurately - involves the use of musical didactic aids and games related to reproducing the rhythmic pattern of a melody in clapping, on musical instruments and conveying the change in the nature of music with the help of movements. All types of aids and games are used to convey the rhythm and character of music in movements.

Thus, musical teaching aids and games combine various combinations of musical education methods. Imaginative, playful form, the use of various exercises allow children to maintain interest in activities and carry them out more successfully.

Musical-didactic games differ from manuals in that they presuppose the presence of certain rules, game actions or a plot. Musical and didactic aids include visual aids (cards, pictures with movable parts).

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

The main purpose of musical didactic aids and games is to develop musical abilities in children; in an accessible game form help them understand the relationship of sounds in height; develop their sense of rhythm, timbre and dynamic hearing; encourage independent action using the knowledge gained in music classes.

The types of independent activities of a child in kindergarten are varied. Among them are musical activities. In their free time from classes, children organize singing games, play children's musical instruments independently, and organize theatrical performances. One of the most important means of developing children’s independent musical activity is music-didactic aids and games. This is another purpose that these manuals and games serve.

The pedagogical value of musical and didactic aids and games is that they open up a way for the child to apply the acquired knowledge in life practice. However, we can talk about the independence of musical manifestations only if they are formed at a certain qualitative level. The main source of independent musical activity of preschoolers is music classes, in which the child receives initial information about music, masters singing, musical-rhythmic skills, and techniques for playing instruments.

A necessary condition for the formation of independent musical activity is the creation of a certain material environment: “musical corners”, “zones”, “studios”, etc. In such a “corner”, already in the middle group there should be a set of the following technical means: record player, records, tabletop printed playing aids, instruments (both voiced and unvoiced, i.e., models made by teachers), in addition, various homemade aids for conducting didactic exercises, well-illustrated “music books,” and a conductor’s baton.

Manuals for older preschoolers, according to N.A. Vetlugina, are of two types: those requiring the participation of an adult - audiovisual (strip films, tape recordings) and technical (radio, television), as well as those that the child can use independently (metallophones, zithers, desktop printed musical and didactic material, sets puppet theaters, flannelographs, homemade sheet music, etc.).

The most important feature of children’s independent activity is that it is carried out with the tactful, almost imperceptible guidance of adults, since it presupposes a special relaxed atmosphere. The content of independent musical activity primarily includes what children have learned with the help of adults.

The first manifestations of independence appear in music lessons. In older preschoolers, independence is expressed, first of all, in the performance of songs and games without the participation of adults; they independently reflect and speak out about the works they hear: they determine their character, means of expression, genre, structure. Consequently, for the development of independent musical activity, as well as for the successful education of children, active, conscious assimilation of the material offered in classes, as well as interest and dedication, is necessary.

In order to develop independence in children, the ability to think creatively, and apply the knowledge acquired in a music lesson, the teacher must know the musical repertoire, the scope of skills of the children in his group.

CHAPTER II. PRACTICAL STUDY OF THE DEVELOPMENT OF MUSICAL-SENSORY ABILITIES IN SENIOR PRESCHOOL CHILDREN DURING MUSICAL CLASSES USING MUSICAL-DIDACTICAL MANUAL AND GAMES

2.1. Methods of using musical teaching aids and games in various types of musical activities

Music classes are structured taking into account the general objectives of the musical and aesthetic education of children and are carried out according to a pre-planned plan. At the same time, it is taken into account that the content and structure of classes should be varied and interesting, using a variety of techniques that help children perceive a piece of music and understand the elementary fundamentals of musical literacy.

Music pedagogy defines three main types of musical classes that ensure the optimal development of each lesson - these are frontal lessons (which are conducted with all children), lessons in small subgroups and individual ones. Depending on the content and structure, these classes are divided into standard, thematic, listening to music, developing creativity, learning to play instruments, complex, with the dominance of one type of activity.

The use of musical and didactic aids and games in the lesson makes it possible to conduct it in the most meaningful and interesting way. With their help, children quickly master the program requirements for the development of singing skills, musical and rhythmic movements, in the field of listening to music and playing children's musical instruments.

The use of musical teaching aids and games in the process of singing

The development of singing skills is one of the tasks of musical education of children in kindergartens. The main requirements for children's repertoire are ideological orientation, high artistic merit and accessibility for perception and performance.

In the process of learning to sing, the child’s basic musical abilities are especially actively developed: emotional responsiveness, ear for music, sense of rhythm. This process requires a lot of activity and mental stress from the preschooler. He learns to compare his singing with the singing of others, listen to the melody being played on the piano, compose different characters of musical pieces, evaluate the quality of performance, gradually develop stability of auditory attention and subsequently develop fine-pitch hearing, develop creative inclinations that enrich the personality as a whole.

With the help of musical didactic aids and games, preschoolers become familiar with some initial pitch and rhythmic concepts that are formed during constant exercises that develop melodic hearing, determine the movement of a melody up and down, and compare sounds of different pitches and durations. Tasks in the form of a game are interesting and easier for children to understand.

When performing any song, you need to pay attention to expressive, relaxed singing, breathing, metro-rhythmic organization, and the correct transmission of dynamic shades, which help to feel the beauty of the sound of the melody.

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

To reinforce familiar songs, you can use the game “Magic Spinning Top”, in which children identify a song by the introduction and chorus, which are performed on the piano, by a musical phrase sung by everyone or individually, played on children’s musical instruments.

Children convey their ideas about a particular song in drawings. Their content consists of your favorite songs, pieces of music, and instruments.

Chants and chants play an important role in the development of hearing and rhythm in children. They can even be played as musical and didactic games. They are simple musical phrases from songs familiar to children.

The method of teaching singing should contribute to the development of independent actions in the child: correct inaccurate intonation in singing, start singing in a timely manner after the musical introduction, and be able to perform a song without accompaniment.

The use of musical teaching aids and games in the process of listening to music

In the process of listening to music, children become familiar with instrumental and vocal works of different nature they experience certain feelings. Musical perception skills are strengthened if listening to a piece is accompanied by actions. For example, when children march, clap the rhythm of dance music, or use a musical didactic manual to determine the nature, genre of music, musical image, means of expression, they become familiar with the ability to recognize and distinguish musical instruments. Based on musical perception, preschoolers express their attitudes, experiences, and feelings.

Didactic games also help strengthen perception skills, the task of which is always related to the discrimination and reproduction of musical expressive means: pitch, rhythm, timbre, dynamics. For example, in the game “Guess who’s singing?” Children determine by ear the timbre of the singer’s voice: “I’ll sing this song for you, my friend. Don’t open your eyes, who am I? Come on, guess.” Their positive effect is that the success of the game depends on the quality of children's performance. The activities are aimed at ensuring that children independently master characteristic means of expression, in particular pitch, rhythmic relationships, dynamic shades, and timbre coloring. Each game has its own dominant task.

In order to develop children's interest in listening, the works used must be distinguished by high artistic qualities - ideological content, a way of expression that evoke empathy and influence the child's inner world.

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 “Magpie”, “Cockerel”, “Andrey the Sparrow”. Children try to improvise some of them on a metallophone, xylophone, listening to their sound. These melodies can diversify the content of many musical and didactic games.

In the process of learning to listen to music, it is necessary to take care of the formation of musical memory, which is improved as a result of repeated listening. Listening to the same plays and songs must be repeated many times, providing a method so that each time the child is happy and learns something new about them. When listening again, children's attention is drawn not only to the artistic embodiment of the idea, but also to individual means of musical expression. Holistic perception will become more meaningful if the work has a bright melody, combining pitch-modal, rhythmic, tempo, and dynamic diversity.

The use of musical teaching aids and games in the process of rhythmic movements

The influence of music on the general functional activity of a child causes motor reactions in him, therefore one of the types of musical activity of children is rhythmic movements. The development of musical abilities is carried out in the process of improving hearing and the ability to coordinate one’s movements with music. It is necessary to begin to develop these skills as early as possible in a form that is accessible and interesting for preschool children: rhythmic exercises, musical and didactic games, dancing, round dances. By selecting appropriate pieces of music and musical and didactic games, it is possible to evoke motor reactions, organize and influence their quality.

Various musical works evoke emotional experiences in children, give rise to certain moods, under the influence of which movements acquire a corresponding character. The development of a musical image, the comparison of contrasting and similar musical structures, modal coloring, features of the rhythmic pattern, dynamic shades, tempo - all this can be reflected in movement.

The artistic image, developing over time, is conveyed through the combination and alternation of means of musical expression. The movement is also located in time: its character and direction change, the pattern of construction unfolds, and its individual and group sequence alternates. Thus, simple rhythms and accents are reproduced by clapping and stamping, and dynamic, tempo designations are reproduced by changing the tension, speed, amplitude and direction of movements.

In an interesting, exciting activity, musical and rhythmic movements contribute to the formation of the child’s personality, his cognitive, volitional and emotional spheres. However, cognitive processes are activated only if the child can focus on the features of musical means of expression. We are talking about auditory attention, its stability, which in turn contributes to the development of musical memory, based on the auditory and motor analyzers.

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 implementation of creative tasks. For example, in dramatizing the plot of the song “Shadow - Shadow”, children act like fairy-tale characters, their movements convey musical and playful images of animals that are in certain relationships. In the dramatization of the poems “The Cat and the Mice,” preschoolers use their movements to reveal not only the images of literary characters, but also consolidate the ability to distinguish between dynamic shades, which contributes to the development of dynamic hearing. The development of a sense of rhythm is facilitated by the musical and didactic games “Walk” and “Teach the nesting dolls to dance” used in the practical part of the work.

When organizing musical games, it is necessary to provide children with more independence. Practice shows that the more you trust children, the more conscientious and conscientious they are about what they are assigned.

The use of musical teaching aids and games while playing children's musical instruments

Playing children's musical instruments arouses great interest in the child. In addition, some toys - tools - are used as visual - didactic aids. They help develop the musical and sensory abilities of preschoolers, introducing them to individual elements of musical literacy. In the development of pitch, timbre, dynamic hearing and sense of rhythm, the role of musical and didactic games and aids is very great. For example, to develop pitch hearing, the game “Ladder” is used, in which children distinguish the direction of movement of a scale with hand signs, playing on a metallophone, while using didactic toys.

From the very beginning, it is necessary to teach children to play correctly, first of all, to be able to clearly reproduce the rhythm. To develop a rhythmic sense, the games “Shadow - shadow” and “Walk” are used. Thanks to these games, children develop a sense of rhythm and consolidate their knowledge of note durations. With their help, children learn to play various musical instruments and develop an interest in learning.

In the nature of the sound of each musical instrument one can find an analogy with some natural phenomenon. For example, in the musical and didactic game “Walk”, the sounds of falling raindrops are well conveyed by a metallophone.

The musical and didactic manual “Musical House” has a beneficial effect on the development of timbre perception and improvement of knowledge about musical instruments.

Thanks to musical teaching aids and games, children learn with interest the simplest techniques of playing various instruments, learn to use dynamic shades, select by ear, orchestrate pieces, and play in an ensemble. Various songs included in the repertoire help learning. All this makes the game not only interesting, but also valuable for their musical and sensory development.

The whole range of techniques for introducing preschoolers to entertaining and complex performances develops independence, attention and organization in the child’s actions.

2.2. Conducting experimental work involving the development of musical-sensory abilities in older preschoolers through the use of musical and didactic games and manuals

The theoretical part of the work highlighted the problems of developing musical-sensory abilities. We test the solution to these problems experimentally in the second chapter.

Experimental work was carried out on the basis of a preschool institution with children of senior preschool age with different levels of musical abilities and capabilities. During the experiment, a group of preschoolers was involved, which consists of 20 people.

Music classes took place in a music room equipped with the necessary equipment that allows for musical and didactic games to develop all musical and sensory abilities. The development of musical and sensory abilities was facilitated by the atmosphere of goodwill, cooperation, and mutual understanding that was established between the teacher and the children.

Classes were conducted with all children of preschool age; the leading methods of musical-sensory education were visual-visual and visual-auditory methods in combination with verbal ones. Verbal explanations, directions, and questions to children were widely used. During the experiment, musical didactic aids and games were used, developed by L. N. Komissarova, N. A. Vetlugina, N. G. Kononova, analysis criteria and manuals made by hand.

In order for the musical and sensory abilities of children to be successfully formed, it is necessary to outline the ways of their formation. For this, it is very important to know what the musicality of each child is. This can only be revealed through repeated observations and exercises. Only then, according to L. S. Vygotsky, “can one judge the level of musical development of each child.”

Therefore, the experiment took place in two stages:

Ascertaining

Formative

The training of preschoolers during these stages was carried out taking into account the requirements of the “Kindergarten Education Program”. However, during the formative stage of the experimental work, the gradual and systematic introduction of musical and didactic aids and games into the cognitive process, as well as their use in an active form, was envisaged.

Ascertaining experiment was conducted during standard music classes over a period of two months. During the educational process, which is aimed at developing all musical abilities, children were given a general idea of ​​all the properties of musical sound, but the use of musical teaching aids and games was minimal. The activities were aimed at developing pitch, dynamic hearing, timbre perception, memory, imagination, thinking, as well as developing a sense of rhythm. The purpose of the ascertaining experiment is to identify the level of musical-sensory abilities.

The results of the ascertaining stage of the experiment are shown in Table No. 2.

Table No. 2 shows that the stage of the experiment with older preschoolers showed a rather low level of development of musical-sensory abilities, although the children were psychologically ready for this activity. This was manifested in the enthusiasm for using musical and didactic aids, but the actions were performed intuitively and the children had to put a lot of effort into their implementation. In the games, preschoolers used their imagination and responded emotionally, but the tasks were always carried out according to the model.

Based on the evaluation criteria, we can conclude that during the ascertaining stage of the experiment, aimed at identifying the level of formation of musical-sensory abilities, a relatively small percentage of children reached a high level of development, namely 10% (2 people), while a larger number of children 60% (12 people) remained at the initial stage of development. The average level of development is 30% (6 people).

Based on the conducted stage of the experiment, it can be assumed that with the active use of musical didactic aids and games, great results can be achieved in the development of musical sensory abilities.

For this purpose, another stage of the experiment was carried out - formative, which lasted for two months, was carried out in the form of games-activities, concentrated in their target content, systematized in their sequence and was aimed at developing musical and sensory abilities. During music classes at this stage, musical didactic aids and games were actively used, gradually becoming more varied and complex. Each subsequent degree of difficulty in completing tasks included the material of the previous one with its obligatory complication.

The methodology for conducting formative training was a continuous and consistent cycle of mastering a series of manuals and games over a certain period. Children mastered each manual or game in three stages:

First stage. Initial orientation in the methods of independent actions to distinguish the properties of musical sounds in the conditions of familiarization with musical teaching aids and games in the classroom;

Second phase. Mastering by children the methods of sensory actions to distinguish the properties of musical sounds under the direct guidance of the teacher;

Third stage. Improving the skills of distinguishing sounds in the process of independent activity, but under the indirect guidance of a teacher. As well as completely independent use of musical and didactic aids and games on the initiative of children and without the help of a teacher in independent music-making.

The continuity of the cycle was that after mastering a musical didactic manual or playing in class, they were transferred to independent play activity, and at the same time during the lesson the children were introduced to the next game or manual.

The process of mastering musical and didactic aids and games took place under the following pedagogical conditions:

While maintaining the unity of a holistic and differentiated perception of music, exercises and games;

Subject to the gradual and systematic formation of the sensory basis of musical perception;

When taking into account the age characteristics of children of senior preschool age;

Fairy-tale characters came to some of the children's classes. The children communicated with them, acted as older comrades and “teachers” when the goal was to teach something. In an effort to teach them everything, the children taught themselves. Thanks to this, all classes were held in a playful way. The children were very emotional, active, and responded to musical tasks with great desire. The arrival of “live guests” to some extent contributed to the achievement of high results and effectiveness of the conducted musical and didactic games.

All musical and didactic aids and games used during the formative stage of experimentation were aimed at:

To develop musical abilities;

To develop methods of sensory actions;

For practical training in the skills of sensation, perception, methods of sensory actions;

To develop emotional responsiveness;

To activate auditory attention;

An interested attitude towards cognitive activity;

To develop independent creative approaches and actions;

To develop methods of search activity, methods of orientation in simple problem situations;

For the development of memory, thinking, imagination;

To acquire knowledge, skills and abilities;

To awaken a positive attitude both towards classes and towards the art of music in general;

The results of this stage of the experiment showed that musical didactic aids and games combine all the teaching, developmental and educational functions that are aimed not only at the development of musical abilities, but also with their help, sensory operations are carried out, enriching the child’s experience, promoting the formation and development musical and sensory abilities. Table No. 2 shows that after the formative experiment, 70% (14 children) achieved a high level of development of musical and sensory abilities, which is 7 times more than at the previous stage of the experiment. Children with a weak indicator of musical abilities and capabilities rose in their development to an average level, their number is 20% (4 children). Compared to the results of the ascertaining experiment, a very small number of children remained at the initial level of development; their number is 10% of 2 children.

The development of musical-sensory abilities in preschool children in a formative experiment showed a number of high indicators, as a result of which:

1) the level of development of musical abilities has increased, this is reflected in the fact that:

Children's auditory attention has become more organized;

Motor reactions became organized, coordinated with the music;

There was a quick and clear reaction to high and low sounds;

The rhythm conveyed by children has become more accurate not only in clapping, but also in its transmission on musical instruments;

Children's reaction to identifying instruments by timbre and dynamic sound has improved;

Emotional responsiveness has improved in perception and performance;

2) the level of development of musical-sensory abilities has changed significantly, which manifested itself in the quality of active listening, playing music, and children’s examination of musical sounds, while promoting the development of memory, imagination, and thinking;

3) the approach to the learning process has changed significantly. This was reflected in the interest in using didactic material, in the activity of completing tasks, in the application of skills acquired in classes in independent musical activities. During the classes, the children behaved actively, freely, and at ease; the percentage of fatigue was very low.

As a result of the formative stage of experimentation, the pedagogical functions of musical and didactic aids and games were established:

1) development in children of the ability to distinguish the relationships between musical sounds and their properties;

2) the formation of methods of independent action, while didactic games and manuals act as a means of encouraging children to engage in independent activities.

The results of the experiment at two stages are shown in a graph comparing the level of development of musical-sensory abilities in older preschoolers.

"Ladder"

Target. Distinguish between the pitch of sounds and the direction in which the melody moves up and down.

Two cards with a picture of a ladder. One card shows a girl going up the stairs, the other shows a girl going down the stairs.

Methodology. After familiarizing themselves with the song “Ladder,” the children were asked to find out where the girl was going (up the ladder or down), and then show a card with the corresponding image. When performing again, children are asked to show with their hand where the girl is moving - up the stairs or down. Noting each sound, children gradually raise their right arm (bent at the elbow in front of the chest) up or also gradually lower it down.

Then, to complicate the task, the children were asked to split into pairs to complete a specific task: one performs the first or second phrase of the song on a metallophone; the other determines by ear where the girl is going, up or down the steps, and selects a card with the corresponding image. The rest of the children determine whether the task was completed correctly.

In the next lesson they are introduced to high, medium and low sounds.

Progress of the game: The tasks are also carried out in a playful way. Matryoshka dolls come to visit the children: Zina, Tanya, Masha. Attention is fixed on the sound of three sounds - fa, la, do2. After singing each name, the children place the nesting doll on the step of the ladder: Zina on the bottom step, Tanya on the middle step, Masha on the top step. Then the sounds are played in different sequences, after which the children determine which of the nesting dolls sings high, which low and in what order.

After the children have consolidated their knowledge of musical sounds and their combinations, the music director tells the children that the nesting dolls have prepared a concert for them.

The adult says: “At the concert, three of them will sing, two of them, one at a time, and you, children, will have to determine how many nesting dolls are singing.” By determining how many nesting dolls sing, children become familiar with the concepts of “sound,” “interval,” and “triad.”

To consolidate knowledge about the direction of movement of the melody, children perform the song “Ladder” on a metallophone, using hammers on which matryoshka dolls are attached.

Musical repertoire.“Ladder” by E. Tilicheeva.

(Appendix No. 1)

"Fun - Sad"

Target. To develop in children an idea of ​​the nature of music (cheerful - calm - sad).

Description of the didactic manual. A card divided into three squares: the first shows a child with a cheerful, smiling face; on the second - with a calm expression on his face; on the third - with sad. Three chips with numbers 1, 2, 3.

Methodology. Children listen to a play of a cheerful, sad or calm nature and, with the help of a manual, determine its character (cover the corresponding image on one of the squares of the card with a chip in the order in which the character of the music changed), explain their actions. The numbers on the chips show this sequence.

At the next lesson, children listen to an unfamiliar play, knowing about it in advance. They determine its mood and come up with a name, while explaining their actions. The rest complement the answer, expressing their feelings. Then the children perform the following tasks: using the manual, they determine the character of an unfamiliar play and convey it in motion. Afterwards, if desired, the children individually compose a lullaby to the words: “Both the grass and the flowers sleep, bye, bye, sleep you too.” Children try to improvise on musical instruments.

Musical repertoire.“Three Moods” by G. Levkodimov.

(Appendix No. 2)

"Loud quiet"

Target. Strengthen the ability to distinguish dynamic shades of music: quiet (p), loud (f), not too loud (mf).

Description of the didactic manual. A card divided into three squares. Three small square cards of the same color, but different in saturation (one is orange, the other is pink, the third is burgundy), which conditionally correspond to a certain dynamic shade. The orange card corresponds to the quiet sound of music; pink - louder sound and burgundy color card - louder music.

Methodology. Children are given cards and their purpose is explained. Then they listen to a piece of music where the dynamic shades change sequentially: from the quiet (mezzo forte) sound of the first part to the quiet (piano) sound of the second and loud (forte) sound of the third. The piece is performed twice. First, children listen to music. When performing again, they lay out squares on the card that correspond in color to the dynamic shades of the music.

To increase the interest and emotional activity of children, a musical and didactic outdoor game was used, a staging of a short fairy tale, where children, portraying different characters, had to distinguish the words “loud”, “quiet”, “a little quieter”, “a little louder” and depict This. Each time the characters were played by children with different levels of development of dynamic hearing, and day by day one could observe something new with elements of children’s creativity.

“Cat and Mice”

There lived a cat Vasily. The cat was lazy!

Sharp teeth and a fat belly.

Very quiet he always walked.

Loud insistently asked to eat.

Yes a little quieter snored on the stove.

That's all he knew how to do.

The cat once had a dream like this

It was as if he had started a fight with mice.

Loud screaming, he scratched them all

With your teeth, your clawed paw.

There are mice in fear here quiet prayed:

Oh, have pity, have mercy, do me a favor!

Here a little louder exclaimed the cat, “Scram!”

And they scattered.

While the cat was sleeping, this is what happened:

Mice quiet came out of the hole

Loud crunching, ate bread crusts,

After a little quieter laughed at the cat

They tied his tail with a bow.

Vasily woke up and loud sneezed;

He turned to the wall and fell asleep again.

And the mice climbed onto the back of the lazy man,

Until the evening loud they made fun of him.

To improve dynamic perception, children are invited to play the game “Prince and Princess”.

Progress of the game: children sit on the mat facing the center of the circle, with their hands 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's a princess. The prince must recognize the princess by the loud music.

“Waltz” by G. Levkodimov sounds, the prince slowly walks to the music in a circle 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 palms and shows a bow.

Musical repertoire.“Loud and quiet music” by G. Levkodimov.

(Appendix No. 3)

"Who Sings Like"

Target. To develop in children the ability to distinguish between registers (high, medium, low).

Description of the didactic manual. Three cards made of cardboard, depicting a mother, father and little son.

Methodology. Children listen to a story about a musical family (with the music director showing the corresponding pictures), in which everyone loves music and song, but sings in different voices. Dad - in a low voice, mom - in a medium voice, son - in a thin, high voice. Children listen to the performance of three pieces, sounding in different registers, and receive explanations for them. The play, sounding in a low register, is called “Papa's Story” (papa talks about a military campaign); the piece, sounding in the middle register, is called “Lullaby Song” (a mother sings a lullaby to her son); the piece, sounding in a high register, is called “Little March” (the boy, humming, marches to the music). After repeating each piece, the children guess whose music was played, choose the right card and show it, explaining their choice. The task is performed by the whole group of children, then individually, while the “musical riddles” are performed in different sequences.

To consolidate knowledge about registers, children play the game “Recognize by Voice.”

Progress of the game. An adult says: “Is it possible to recognize a person by his voice? Let's close our eyes and guess whose voice it is, who is speaking." Children determine by ear the timbre of the singer's voice: "I'll sing this song for you, my friend. Don’t open your eyes, who am I? Come on, guess.”

Yes, it turns out you can recognize a person by their voice. How did the poet tell us about this in poetry?”

Poems are read.

I go out into the corridor, I can do it myself without difficulty

I hear my mother speaking. Mom’s – sonorous, silvery;

I hear dad talking. Papin is low and bassy.

The adult says: “And the composer composed a whole musical scene. Now try to recognize the voices of mom and dad in the music. Raise your hand when you hear “Mom’s voice” and lower it to your knees when “Daddy’s voice” sounds. Please note: at the end of the piece, two voices are heard at once - father’s and mother’s.”

Musical repertoire.“Who Sings” by G. Levkodimov; “Dad and Mom are Talking” I. Arseev.

(Appendix No. 4)

“Guests have come to us”

Target. Development of timbre perception, improvement of knowledge about musical instruments.

Description of the didactic manual. Children get acquainted with the musical and didactic manual “Musical House”.

Methodology. Children will learn that this house is unusual; musicians live in it and play various musical instruments. That if you listen carefully, you can determine which instruments’ sounds are heard from different windows of the house. Hidden behind the screen are musical instruments, on which the familiar children's song “Cockerel” is played in turn. Children are called one at a time. Having recognized the instrument, the child approaches the table with cards on which various musical instruments are depicted, selects the card he needs and inserts it into the window of the house. Then they complete the task themselves: one of the children performs a sing-song on some instrument. The rest guess and close the windows of the “Musical House”. After this, the children are given musical instruments and they perform a familiar chant.

To achieve high results in the set goals, the following didactic game is used, in which the arrival of “live guests” caused activity and contributed to emotional uplift.

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

Progress of the game. The adult says: “Today we should have guests.” Knock on the door.

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

“Hello children, I came to visit you. I really love to dance and play. Today I came up with this game: one of you stands behind a screen and chooses a musical instrument there to play. And the rest will guess what kind of magical instrument it is.”

The child goes behind the screen and, with the help of an adult, selects the instrument that best suits the clumsy bear. In this case it was a tambourine. The bear dances to the tambourine, the children clap for him. At the end of the bear's dance, the children must guess what musical instrument he danced to. (Cards with images of musical instruments are distributed in advance).

After the children have identified the musical instrument to which the bear danced, other guests arrive, and each time different instruments are used: the bunny jumps to the rapid blows of a hammer on a metallophone, the horse to the clear blows of wooden spoons, the bird to the ringing of a bell.

Musical repertoire.“Cockerel” (Russian folk song) and other songs familiar to children.

(Appendix No. 5)

"The Cockerel, the Hen and the Chick"

Target. Exercise children in distinguishing three rhythmic patterns. To perform the game, the songs “Cockerel”, “Hen”, “Chicken” were previously learned.

Game material. Cards depicting three rhythmic patterns (cockerel, hen and chick).

Methodology. Children are given cards and reminded of the corresponding rhythmic pattern. Everyone sings songs and clap rhythmic patterns. Then the leader performs one of three rhythmic patterns on the metallophone and asks: “Who is pecking the grains?” The child covers the corresponding picture on his card. After this, the children perform the songs themselves, tapping a rhythmic pattern on a metallophone. At the next lesson, children sing by role, performing the dance of each character.

Musical repertoire.“Cockerel”, “Hen”, Chicken” by G. Levkodimov.

(Appendix No. 6)

"Find out the fairy tale"

Target. Distinguish the contrasting nature of parts in music in connection with its content and the development of the musical image.

Game material. Two square cards of a calm, green color, indicating the first and third parts of the music, in which the gentle lyrical image of Little Red Riding Hood is revealed. And also one square of alarming, red-orange color indicating the middle part, characterizing the appearance of the Gray Wolf.

Reduction technique. Remembering the fairy tale about Little Red Riding Hood, children listen to a three-part play, in which two parts are the same, and the second is contrasting in character. After carefully listening to the play, the children express their opinion, where the music tells about Little Red Riding Hood and where about the Gray Wolf.

Then the adult says: “At the beginning of the work, the music sounds cheerful - this is Little Red Riding Hood rejoicing that she is going to her grandmother. And the Gray Wolf was hiding behind a bush. And the music sounded alarming, even scary. But soon the music changed again. Little Red Riding Hood is happy - here is her grandmother’s house.

Listen to the verses:

Little Red Riding Hood sings a song.

And in the thicket behind the bushes the Gray Wolf sits,

He clicks his teeth and watches the girl.

Little Red Riding Hood sings a song.

Little Red Riding Hood goes to her grandmother.

Now listen to the music again and determine how many parts there are and whether they are all different.”

After performing the play again, the children lay out the cards in the order in which the nature of the music changed, that is, the musical characteristics of the fairy-tale characters changed.

Musical repertoire.“Little Red Riding Hood and the Gray Wolf” I. Arseev.

(Appendix No. 7)

"Shadow-Shadow"

Target. Develop a sense of rhythm in children.

Progress of the game. Children know this song well. To improve the development of children's rhythmic sense, the following tasks were used in a playful way:

The song is sung together with children in order to reinforce the text;

Children simultaneously sing and clap their hands softly, marking the rhythmic pattern with clapping;

Singing in roles, where the adult acts as the author, and the children are the heroes (fox, hare, 2 hedgehogs, fleas, bear, goat);

Each child misses his role.

Singing in roles, but the role is played with the palms of the hands. It is explained to the children that the voice is “hidden”, the palms “sing instead of it”;

The entire 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;

Children sing the song “Merry Instruments”;

With the help of “cheerful” instruments they perform the rhythmic pattern of the song “Shadow-Shadow”.

Musical repertoire."Shadow-shadow" music. V. Kalinikova, lyrics. folk.

(Appendix No. 8)

"Rhythm cubes"

Target. Develop children's understanding of rhythm.

Game material. 10 long bars representing long sounds and 10 small bars representing short sounds. The bars vary in length and color.

Methodology. First, children listen to the simple rhythmic song “Soroka” (Russian folk chalk) performed by the teacher, paying attention to its playful nature and clear rhythm. Children are given long and short bars. After repeating the performance, the children clap the rhythmic pattern of the chant. Then, with the help of blocks, they put together a rhythmic pattern of a song, after which they perform it on a metallophone. In the following lessons, other singing songs are used (“Cockerel” Russian folk song, “Andrey the Sparrow” Russian folk melody).

Then, as a reinforcement of their knowledge, the children were asked to divide into pairs and come up with tasks for each other: one sings or plays a familiar tune on a musical instrument, the other recognizes it and lays it out with the help of blocks.

Musical repertoire."Soroka" Russian adv. chalk.

Appendix No. 9)

"Walk"

Target. Consolidating note durations, developing a sense of rhythm.

Game material. Musical instruments according to the number of players (mallets, drum, tambourine, xylophone, metallophone, bell, musical cymbals).

Progress of the game. 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 strikes on the table), and now we have gone out into the street. Shining bright sun, we were happy and ran (frequent hits on the drum or maybe hammers on the table). We were walking and having fun, but suddenly a cloud appeared, the wind blew, thunder struck, lightning flashed, and it began to rain. At first these were rare drops, and then a frequent heavy downpour began (the rhythm accelerates, children can knock on a drum, tambourine, hammer on a metallophone, hit cymbals, use a bell to convey rare drops of rain; all instruments are used to convey the state of the weather; rare drops of rain and Children convey heavy, frequent rainfall in a certain rhythm, as a result of which their knowledge of the durations of notes is consolidated.”

Adult: “The guys got scared by this weather and ran home - again fast and rhythmic blows.”

The game gradually became more complex, the children, with the help of an adult, came up with new events that took place during the “walk,” and each time the rhythmic patterns became more varied and complex.

“Teach the nesting dolls to dance”

Target. Development of a sense of rhythm.

Game material. Large and small nesting dolls.

Progress of the game. An adult has a large matryoshka doll in his hands, while children have small ones. “The big matryoshka teaches the little dolls to dance,” says the adult. He taps on the table, first a simple rhythmic pattern. Children repeat. Melodies of songs familiar to children were used as rhythmic patterns: “We are going with flags”, “The sky is blue”, “The month of May”, “Brave pilot”. If at first the children repeated after the adults, then they themselves began to come up with simple rhythmic patterns, or the adult began, and the children finished. Examples of rhythmic patterns were very diverse.

This musical and didactic game was used in music classes and as individual work.

Musical repertoire.“We are coming with flags”, “The sky is blue”, “The month of May”, Brave pilot” music. E. Tilicheeva, lyrics. M. Dolinova.

(Appendix No. 10)

"Butterflies"

Target. Teach children to distinguish and convey the tempo of musical sound in their movements.

Game material. Headbands are emblems with butterfly tendrils according to the number of players. Glockenspiel.

Progress of the game. The teacher invites the “butterflies” to learn how to fly easily across the clearing and spin in place, flapping their wings. He says that the sounds on the metallophone will sound either fast or slow. “Butterflies” need to fly to fast music, and to spin around to slow music (shows how to do this). Several times the game is played with a sequential change in the tempo of the sound. Then the music director says that he will always ask musical riddles to the butterflies: sometimes play quickly several times, then several times slowly, then once quickly, and many times slowly. And the “butterflies” will have to solve musical riddles. But this can be done if you listen to the music carefully. The game is played several more times with an arbitrary change in the tempo of the sound.

“Beautify the music”

Target. The game is used to develop musical creativity. The technique of orchestration promotes differentiation of perception - highlighting the most striking means of expression, encourages children to listen carefully to 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).

Progress of the game: Preschoolers first listen to the entire piece, determining its rhythm and mood. Then, at the request of an adult, the children try to use the orchestration technique. They repeat the rhythm of the song, as if playing along with a musical instrument. Then, at the climax of the song, the instruments sound all at once.

As creative assignment Children are encouraged to show creativity - to decorate the sound. For example, somewhere you can decorate a melody with the sound of a bell, a metallophone, or the beating of a drum or tambourine.

In such a musical-didactic game, children distinguish the nature of the music, try to adjust their mood to a certain rhythm and catch its slightest changes, use their imagination, and show creativity. In the process of this game, the following develop: the skill of playing musical instruments, a sense of rhythm, musical and auditory perceptions, imagination, performing and creative abilities.

Table No. 1. Criteria for analysis and assessment of musical activity.

State of the art	General criteria for assessing achievements
Elementary	The preschooler demonstrates the ability to perform elementary sensory actions, relying on existing ideas; fragmentarily displays a small part of the educational material; with the help of the teacher, completes basic tasks; an emotional attitude towards completing tasks is manifested;
Average	The preschooler applies knowledge while performing tasks according to the model, acquiring the skills to perform them; with the help of didactic material, identifies means of expression from the musical fabric; auditory perception, attention has become more organized; learned to express feelings and experiences of what they heard not only in words, but also in movements; skillfully applied didactic material for independent practice;
High	The preschooler controls his own actions; applies acquired knowledge in slightly modified situations; expresses his thoughts correctly and clearly; independently owns a system of examination actions, acquiring automation of skills, improvement of actions, self-control;

Ascertaining stage of experimental work.

Formative stage of experimental work.

Schedule comparison of the dynamics of development of musical-sensory abilities in older preschool children during the experiment.

Conclusion

Theoretical analysis and experimental results confirmed the hypothesis put forward and allow us to make the following conclusions:

1. The work carried out showed that preschool age is extremely important for the development of a child’s musical and sensory abilities. The development of these abilities in each child should be constantly in the field of view of the teacher, music director, and carried out using various methods and means, including with the help of musical teaching aids and games.

2. Modeling the properties of musical sounds using musical didactic aids and games contributed to the accumulation of sensory experience in children. This allowed the children to act not only under the guidance of the teacher, but also independently.

3. So, the musical development of children in its integrity and complexity would not be complete and versatile if the sensory link were omitted from it. The latter is part of general musicality as an indispensable component. During the presentation of theoretical and experimental material, it was emphasized that sensory development occurs in the process of a wide variety of musical practice. Musical and didactic aids and games combine many conditions that are particularly conducive to the development of children. Their content structure, game actions and rules are aimed at helping the systematic and planned development of pitch and rhythmic, dynamic and timbre hearing. The games are simple and accessible; They allow children to independently practice learning ways of sensory action. Their classification is based on the tasks of developing the skills to distinguish and compare the named properties of musical sounds. But musical-sensory practice is characterized not only by perception processes. Its boundaries are wider - it is associated with both reproduction and aesthetic experience. The complex structure of children's musical development is built on a sensory basis.

The process of development of musical-sensory abilities in all children, without exception, will not pass without leaving a mark on their subsequent musical, intellectual development and for understanding musical art as an integral spiritual world.

The work is completed by specific practical material, which is reflected in the appendix.

Bibliography

1. Arismendi A. L. Preschool musical education: Transl. with Spanish/general ed. M. Shuare; Vst. Article by Yu. V. Vannikov; Afterword L. I. Aidarova and E. E. Zakharova. - M.: Progress, 1989. - 176 p.: ill.

2. Asafiev B.V. Selected articles about musical education and education. – 2nd ed. – L.: music, 1973. – 144 p.

3. Vetlugina N. A. Musical development of a child. M.: Education, 1967.

4. Vetlugina N. A., Keneman A. V. Theory and methodology of musical education in kindergarten / Textbook. manual for teachers institutes for special "Preschool pedagogy and psychology." M.: Education, 1983.

5. Vetlugina N. A. System of aesthetic education in kindergarten. Kyiv: Sov. school, 1977.

6. Vetlugina N. A. Musical primer. Ed. 5th. M., 1989.

7. Vetlugina N. A. Development of musical abilities of preschoolers in the process of musical games. M., 1958.

8. Vetlugina N. A., Dzerzhinskaya I. L., Komisarova L. N. Methods of musical education in kindergarten: Textbook. for pedagogical students special education school “Preschool education”; / Ed. Vetlugina N.A. – 3rd ed., revised. and additional – M.: Education, 1989. – 270 pp.: notes.

9. Education and training in kindergarten / Ed. A. V. Zaporozhets, T. A. Markova. – M.: 1976.

10. Genesis of sensory abilities / Ed. L. A Wenger. - M.: Pedagogy, 1976.

11. Dzerzhinskaya I. L. Aesthetic education through music in kindergarten. Sat. "Issues of aesthetic education in kindergarten." M., Uchpedgiz, 1960.

12. Evdokimov V.I. Increasing the effectiveness of teaching using visual aids: Textbook. allowance. – Kharkov: KhSPI, 1989. – 72 p.

13. Zimina A. N. Fundamentals of musical education and development of children younger age: Textbook. for students higher textbook establishments. – M.: Humanite. ed. VLADOS center, 2000. – 304 p.: notes.

14. Games and game exercises/ Ed. E. I. Kovalenko. – K.: 1987.

15. Ilyina G. A. Development of musical performances in preschool children. K., Sov. school, 1958. – 87 p.: notes.

16. Komissarova L.N., Kostina E.P. Visual aids in the musical education of preschoolers / A manual for teachers and music directors of kindergartens. M.: Education, 1986. - 141 p.

17. Kononova N. G. Musical and didactic games for preschoolers: From the experience of music. leader. – M.: Education, 1982. – 96 p., ill.

18. Kononova N. G. Teaching preschoolers to play children's musical instruments: Book. for educators and music. Head of Det. garden: From work experience. – M.: Education, 1990.

19. Kostina E. P. The role of visual aids in the musical and sensory development of preschool children. – In the book: Psychological and pedagogical problems of preschool education and preparing children for school. Abstracts of reports. - M.: Pedagogy, 1973. - P. 96-97

20. Kostyuk O. G. Perception of music and artistic culture of the listener. – K.: 1965.

21. Kostyuk G. S. Musical art and the formation of a new person: I Sat. Art./Comp. A. G. Kostyuk; Editorial team: A. G. Kostyuk (chief editor) and others. I. – K.: Music. Ukraine, 1982. – 238 p.

22. Krutetsky V. A. Psychology. M.: 1980. - 236 p.

23. Kulagina I. Yu., Kolyutsky V. N. Developmental psychology: The complete life cycle of human development. Tutorial For university students. M.: Sphere shopping center, with the participation of “Urayt - M”, 2001. – 464 p.

24. Laboratory workshop on preschool pedagogy and methods: Textbook. A manual for pedagogical students. Institute / Ed. V. I. Loginova, P. G. Samorukova. - M.: Education 1981. – 159 p.

25. Lozovaya V.I., Trotsko A.V. Theoretical foundations of education and training: Scientific manual / KhSPU named after G.S. Skovoroda. – 2nd ed. and correct. and additional – Kharkov “OVS”, 2002. – 400 p.

26. Mikhailova F.A. Toys and aids for kindergarten. M., Uchpedgiz, 1951.

27. Mikhailova L. I., and Metlov N. A. Musical education in preschool institutions: Uch. manual for teachers technical schools. M., Uchpedgiz, 1935.

28. Nemov R. S. Psychology: Textbook. for students higher ped. textbook establishments: In 3 books. – 4th ed. – M.: Humanite. ed. VLADOS center, 2001. – Book. 1: General fundamentals of psychology. – 688s.

29. Fundamentals of preschool pedagogy / Ed. A. V. Zaporozhets, T. A. Markova. - M.: Pedagogy, 1980. – 272 p.

30. Psychology of personality and activity of a preschool child / Ed. A. V. Zaporozhets, D. B. Elkonin. - M., 1964.

31. Radynova O.P. Listening to music: Book. for educators and music. Head of Det. garden – M.: Education, 1990. – 160 p.

32. Sensory education in kindergarten: A manual for educators / Ed. N. N. Poddyakova. – 2nd ed., rev. and additional – M.: Education, 1981. - 192 p.

33. Sensory education of preschool children / Ed. Zaporozhets A.V., A.P. Usova. - M., 1963.

34. Thermal. B. Problems of individual differences. Publishing house of the Academy of Pedagogical Sciences of the RSFSR, M.: 1961.

35. Teplov B. M. Psychology of musical abilities. M.: 1947.

36. Udaltseva E. A. Didactic games: A manual for part-time students of preschool faculties. ped. Inst. M., Uchpedgiz, 1963.

37. Teach children to sing. A manual for educators and musicians. Head of Det. garden / comp. T. M. Orlova, S. I. Bekina. - M.: Education, 1986. – 144 pp., notes.

38. Sholomovich S., Rudchenko I., Zinich R. Methods of musical education in kindergarten. Kyiv "Muz. Ukraine", 1985. – 142 p.

39. Elkonin D. B. Game and mental development child - preschooler. In: “Proceedings of the All-Russian Scientific Conference on preschool education", M., Uchpedgiz, 1949.

40. Aesthetic education of children in play / Ed. G. N. Shvydkaya-Eismont. - M., 1963.

41. Yankovskaya O. P. Didactic games in kindergarten: Scientific - Toolkit. K.: Sov. school, 1985.

PAGE_BREAK--Teachers and musicians have come to the conclusion that everyone has the makings of musical activity. They form the basis of musical abilities. It should be taken into account that, based on the same inclinations, musical abilities may or may not develop. Here, a lot depends on the child’s environment, on the conditions of musical training and upbringing, and on the daily care of parents. If a child, even if musically gifted, 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 characteristics 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 innate, they develop in the process of human musical activity. Their development largely depends on the influence of social conditions, the 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 over many generations. There is reliable evidence that about 60 musicians came from the Bach family, of which 20 were 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, one cannot conclude from this that musical abilities are hereditary, although hereditary structural features of the hearing organs are possible.
It is difficult to imagine a more favorable period for the development of musical abilities than childhood. The development of musical taste and 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 data that confirms the influence of music on the developing fetus during a woman’s pregnancy and its positive impact 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 sufficiently fully characterize musical abilities. The speed and quality of acquiring this fund is of decisive importance. Thus, the music director, when assessing the child’s abilities, must keep in mind that one cannot draw hasty conclusions based only on the knowledge and skills that the child is currently displaying. It is also necessary to take into account how quickly and easily, compared to others, he acquired them.
Special or basic musical abilities include: pitch hearing, modal sense, sense of rhythm. It is the presence of them that fills the music a person hears 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 active activity of musical hearing. B.V. Asafiev studied the problem of the development of musical hearing, as the most important link in musical abilities. In his opinion, the human hearing system has innate qualities of active listening; The task of a musician is to educate and develop auditory activity. The emotional impact of harmonious sound combinations is enhanced many times over if a person has fine hearing sensitivity. A developed ear for music places higher demands on what is offered to it. Heightened auditory perception colors emotional experiences in bright and deep colors.
According to experts, preschool age is a synthetic 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 use his natural gift. Early manifestation of musical abilities indicates the need to begin the musical education of a child as early as possible. The time lost as an opportunity to develop the child’s intelligence, creative and musical abilities will be irreplaceable.
At different historical stages of the formation of musical psychology and pedagogy, and at present, in the development of theoretical, and, consequently, practical aspects of the problem of the development of musical abilities, there are different approaches.
B. M. Teplov in his works gave a deep, comprehensive analysis of the problem of developing 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, as opposed to any other, but at the same time associated with any type 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 has generously rewarded man, giving him everything he needs to see, feel, feel the world around him.
The qualitative combination of general and special abilities forms the concept of “musical talent,” which is broader than musicality. One of the signs of children's musical talent is a deep interest in music, a willingness to listen to it, sing, and play instruments. The formation of a sustainable interest in music is an important prerequisite for the development of musical abilities.
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 and expressive capabilities. In order to deeply perceive musical content, a person must have the ability to differentiate moving sounds by ear, distinguish and perceive the expressiveness of rhythm.
Musical sounds have different properties: they have pitch, timbre, dynamics, and 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 sense of emotional expressiveness, musical rhythm and its reproduction form one of the musical abilities of a person - the musical-rhythmic sense. Pitch, timbre and dynamics form the basis of pitch, timbre and dynamic hearing, respectively.
Modal sense (musical ear), musical-auditory ideas (musical memory) and musical-rhythmic sense make up three basic musical abilities, which form the core of musicality.
Fret feeling - musical sounds are organized in a certain mode.
Modal feeling is an emotional experience, an emotional ability. In addition, the modal feeling reveals the unity of the emotional and auditory sides of musicality. Not only the mode as a whole has its own color, but also the individual sounds of the mode. Of the seven degrees of the scale, 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, completed and requiring completion. The modal feeling manifests itself in the perception of music as an emotional experience, “felt perception.” Teplov B.M. calls it “the perceptual, emotional component of musical hearing.” It can be detected when recognizing a melody and determining the modal coloring of sounds. In preschool age, indicators of the development of modal sense are love and interest in music. This means that modal feeling is one of the foundations of emotional responsiveness to music.
Musical and auditory performances
To reproduce a melody with a voice or on a musical instrument, it is necessary to have auditory representations of how the sounds of the melody move - up, down, smoothly, in jumps, that is, to have musical-auditory representations of pitch movement. These musical-auditory representations involve memory and imagination.
Musical and auditory representations differ in the degree of their arbitrariness. Voluntary musical-auditory representations are associated with the development of internal hearing. Inner hearing is not just the ability to mentally imagine musical sounds, but to voluntarily operate with musical auditory ideas. Experimental observations prove that to arbitrarily imagine a melody, many people resort to internal singing, and students learning to play the piano accompany the presentation of the melody with finger movements that imitate its playback on the keyboard. This proves the connection between musical and auditory ideas and motor skills; this connection is especially close when a person needs to voluntarily remember a melody and retain it in memory.
“Active memorization of auditory ideas makes the participation of motor moments especially significant,” notes B.M. Teplov.
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-auditory performances.
Thus, musical-auditory perception is an ability that manifests itself in reproducing a melody by ear. It is called the auditory or reproductive component of musical hearing.
Musical-rhythmic feeling - this is the perception and reproduction of temporary relationships in music.
As evidenced by observations and numerous experiments, during the perception of music a person makes noticeable or imperceptible movements that correspond to its rhythm and 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 them either appearing in a different capacity, or the experience of 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 is not only motor, but also emotional in nature. The content of the music is emotional. Rhythm is one of the expressive means of music, with the help of which the content is conveyed. Therefore, the sense of rhythm, like the sense of modality, 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 form the core of musicality: modal sense, musical-auditory perception and musical-rhythmic sense. All abilities are characterized by a synthesis of emotional and auditory components. Their sensory basis lies in recognition, differentiation, comparison of sounds that differ in pitch, 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 inextricable connection between the emotional (modal feeling) and auditory (musical-auditory perceptions) components of musical hearing. The combination of two abilities (two components of musical ear) into one (pitch hearing) indicates the need to develop musical ear in the interrelation of its emotional and auditory bases. 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, the completeness or incompleteness of a melody.
Researchers often face the question: in what types of activities do musical-sensory abilities develop?
For example, emotional responsiveness to music can be developed in all types of musical activity: perception, performance, creativity, since it is necessary for feeling and understanding the musical content, and, consequently, its expression.
Emotional responsiveness to music can appear 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 to perceive calm music with concentration and attention. Gradually, motor reactions become more voluntary, consistent with music, and rhythmically organized.
The modal sense can develop during singing, when children listen to themselves and to each other, and control the correctness of intonation with their ears.
Musical-auditory concepts develop in activities that require distinguishing and reproducing melody by ear. This ability develops primarily in singing and 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.
Timbre and dynamic hearing are types 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 discrimination of sounds by 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 and the fullness of their perception of music. Children recognize the timbres of musical instruments and 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 manifest differently in all children. For some, already in the first year of life, all three basic abilities manifest themselves quite clearly and develop quickly and easily. This indicates the musicality of children. For others, abilities are discovered later and are more difficult to develop. The most difficult thing for children to develop is musical-auditory understanding - the ability to reproduce a melody with a voice, accurately intoning it, or select it by ear on a musical instrument. Most preschoolers develop this ability only by the age of five. But this is not, according to B.M. Teplov, an indicator of weakness or lack of abilities.
It happens that if any ability lags behind in development, then this can inhibit the development of other abilities. Therefore, recognizing the dynamism and developability of musical abilities, it makes no sense to conduct any one-time tests and, based on their results, predict the child’s musical future.
According to L.S. Vygotsky, constant observations of children with diagnostic cross-sections of development are needed. Diagnostics of musical abilities, carried out 2-3 times a year, makes it possible to judge the qualitative uniqueness of the development of each child and adjust the content of classes accordingly.
For example, to establish the level of development of the modal sense, you can ask the child:
1) recognize by the melody a previously performed song, instrumental piece, dance;
2) talk about the content or remember the name of the performed piano work, which is well known to the child;
3) determine the correctness of a previously familiar melody sung or played on an instrument by the teacher (Do you know this melody? Does it sound correct?);
4) finish the melody on the tonic (“I’ll start, and you finish”);
5) determine whether the adult played a piece familiar to the child for a game or dance correctly;
To determine the level of development of musical and auditory perceptions, you can offer the child:
1) sing the melody of a familiar song in a syllable that is easy to understand, paying attention to the purity of intonation;
2) sing a song without piano accompaniment;
3) repeat after the teacher in your voice the musical phrase played on the piano;
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 and rhythmic sense, we can suggest:
continuation
--PAGE_BREAK--1)clap the metrical beat of a familiar song;
2) clap the rhythmic pattern of a familiar song while the teacher sings or sings himself (“sing a song with your hands”);
3) reproduce the rhythmic pattern of the song with steps in place, and then moving forward (“sing the song with your feet”);
4)emotionally - expressively convey in movements the character 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 piece after listening to it first;
Creative skills.
The development of special musical abilities is influenced by creative abilities.
Children's musical creativity is understood as the ability to express themselves in all types of musical activities, 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 gives it a special appeal and enhances his experiences. Creative ability is called the ability of self-expression. This is an innate ability that can be developed. The theoretical basis for interpreting the concept of children's creativity is based on the recognition of the presence of innate inclinations in children, which are independently and spontaneously revealed in the activities of children. In many cases, the sources of creativity are considered to be life phenomena, music itself, and 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. Methodologically appropriate and useful methods of creative tasks aimed at developing musical abilities. For example, the development of a sense of harmony, musical and auditory concepts occurs during the question of the teacher and the answer composed by the children, a sense of form - during the improvisation of a response phrase. To develop musical perception, the technique of orchestrating musical works is used. This technique is used not so much for teaching children the skill of playing musical instruments, but for using them creatively. To orchestrate a work means to select and use the most expressive timbres of instruments that correspond to the nature of its sound, to distinguish individual parts. Such activities can promote children's creative aspirations.
In one of his works, B. M. Teplov provides an analysis of the problem of the development of perception and creativity. He emphasizes that aesthetic education in childhood cannot be complete if we limit ourselves to the development of only the child’s perception. 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, children’s verbal creativity and the quality of their perception are at a sufficient level; in the third, attention is paid to the development of musical perception, while children’s creativity is only performing. At the same time, one cannot limit oneself to training alone. The process of children's creativity evokes 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 promptly identify abilities in children.
1.2 Concept, role of sensory education and the significance of the development of musical-sensory abilities in children of senior preschool age
Based on musicological literature, music is considered as an art that embodies artistic images that make it possible to convey human experiences using a variety of means of expressiveness. Musicologists consider musical perception as the action of a complex system of mechanisms (E.V. Nazaikinsky). When analyzing the dynamic structure of musical perception, a number of studies highlight the differentiation of the auditory flow, which depends on the level of musical-perceptual development of the perceiver (A. G. Kostyuk), talk about the meaningfulness of perception (A. N. Sokhor), and the need to gain experience in perceiving musical sound (B.V. Asafiev). It is noted that musical perception is controlled by a perceptual setting, which represents a system of tuning analyzers that concentrate attention and memory (V.V. Medushevsky). It has been proven that the study of psychological and physiological principles of the development of perception in activity should be carried out in a specially organized system of training and education. An analysis of pedagogical literature on the issues of musical education of preschool children (N. A. Vetlugina, I. L. Dzerzhinskaya, S. M. Sholomovich, T. V. Volchanskaya, L. N. Komisarova) allows us to conclude that it is necessary to form the musical perception of children , starting from preschool age. Studies have shown that full musical perception is possible only if the child identifies the means of expression that make up the musical fabric (N. A. Vetlugina, S. M. Sholomovich, T. V. Volchanskaya, L. N. Komisarova) . Their works outline a program of musical-sensory education, which requires the development of musical sensory not only in classes, but also in independent activities (N. A. Vetlugina, I. L. Dzerzhinskaya); it is indicated that independent actions learned in classes are the common link that connects two forms of a child’s musical practice. Based on all this, a conclusion is made about the need to form the perception of individual properties of musical sounds, which should improve the culture of musical perception as a whole.
The perception of music is a complex process that requires attention, memory, developed thinking, and a variety of knowledge from a person. Preschoolers don’t have all this yet. 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, on the properties of musical sounds, etc.
Musical sensory perception is of great importance in the development of a child, as it is characterized by extraordinary emotionality, integrity and spontaneity. In the perception of music, general and special groups of sensory processes take place. The first of them are characterized by the integrity of perception. At the same time, the means of musical expression appear in diverse and complex relationships. The second group combines processes associated with the perception of individual properties of musical sounds, namely their pitch, duration, timbre, and dynamics. There is also the sensory ability to listen to the musical fabric, recognize the properties of musical sounds and compare them by similarity and contrast.
A correct understanding of the tasks of sensory education in kindergarten and their implementation with appropriate forms of work is possible only on the basis of taking into account the patterns of the child’s sensory development. First of all, it is necessary to characterize the psychological nature of the sensory development of a preschooler.
The first thing that needs to be emphasized in connection with this issue is that there is a close relationship between the child’s sensory development and the development of his perception, that is, the development of the sensorium follows the path of development of the child’s attitude to reality and is determined by one or another level of his perception. This circumstance can be most clearly illustrated by the example of the functional development of a child’s analyzer system. As is known, in a child the organs of touch and movement (especially the latter) begin to function most early, then the organs of smell and taste, and, finally, the organs of vision and hearing. The process of forming a child’s perception goes through a long and complex path of development, and it does not occur spontaneously, but through learning to understand the surrounding reality. A.V. Zaporozhets believed that the formation of perceptual actions under the influence of learning goes through a number of stages. At the first stage, perceptual problems associated with the formation of an adequate image are solved by the child in practical terms through actions with material objects. Corrections in perceptual actions, if necessary, are made here in the manipulations with objects themselves as the action progresses. The passage of this stage is accelerated, and its results become more significant if the child is offered “perceptual standards” - samples with which he can relate and compare the emerging image.
At the next stage, sensory processes themselves turn into unique perceptual actions, which are performed using the own movements of the receptive apparatus. At this stage, children become familiar with the spatial properties of objects with the help of extensive orienting and exploratory movements of the hands and eyes, and manual and visual examination of the situation usually precedes practical actions in it, determining their nature and direction.
At the third stage, the process of a kind of curtailment of perceptual actions begins, their reduction to a necessary and sufficient minimum. The efferent links of the corresponding actions are inhibited, and the external perception of the situation begins to create the impression of a passive receptive process.
At the next, higher stages of sensory learning, children acquire the ability to quickly and without any external movements recognize certain properties of perceived objects, distinguish them from each other on the basis of these properties, detect and use the connections and relationships that exist between them. Perceptual action turns into ideal action.
While forming the ability to perceive, it is necessary to simultaneously develop in children the ability to express their impressions, which is associated with the enrichment of children’s speech with a certain vocabulary that allows them to determine their character and expressive means. The formation of ideas enshrined in words is an important factor in the development of children. The development of perception is also closely related to the formation of musical ideas that reflect the main mood of the work and its features.
Sensory musical development occurs most successfully with specially organized upbringing and training. Children's assimilation of methods of sensory actions, when organized correctly, leads to the activation of the child's musical experience. Musical-sensory abilities are understood as those that develop the quality of perception, meaning:
a) distinguishing the properties of musical sounds
b) distinguishing their expressive relationships
c) quality of examination of musical phenomena.
The examination of musical phenomena involves: listening; recognizing the properties of musical sounds; comparing them by similarity and contrast; isolation from a complex of other sounds; distinguishing their expressive sound; reproduction with simultaneous auditory control in singing or playing a musical instrument; combining sound combinations; comparison with accepted standards.
Sensory musical education is distinguished by its social orientation. Its results are a certain level of sensory development of children, allowing them to be more emotional and conscious about music that reflects life phenomena, to feel the beauty of its sound in unity with the thoughts and feelings expressed in it. This occurs through meaningful and varied activities, during which sensory processes, experiences and abilities are formed.
Sensory education involves the following tasks: to form the auditory attention of children; teach them to listen to various harmonious sound combinations; catch the change in contrasting and similar sound relationships; teach methods of examining musical sound; develop musical and sensory abilities. As a result of sensory experience, children acquire specific ideas about musical phenomena. The content of musical education involves instilling in children receptivity, interest, and love for music, developing emotional responsiveness to it, introducing them to various types of musical activities, which allows them to develop the child’s overall musicality and creative abilities.
The main requirement of sensory education is practical training in perception skills and methods of action that activate auditory attention. The organization of initial sensory experience requires the creation of models of the properties of musical sounds, since the concepts about them are too complex for preschoolers. Practical training in perception skills and methods of listening to musical sound is successful if they become visual, “material.” Modeling occurs through the use of musical teaching aids, games, and toys that encourage children to become musically independent. On this basis, children are reminded or re-informed of the designations of the various properties of musical sounds. Obtaining this knowledge is built on a strong sensory basis and leads children to independent generalizations. External modeling helps the emergence of the first independent generalizations, which are subsequently increasingly realized without relying on a model. All this organized activity occurs in the process of musical practice: singing, listening, moving, playing musical instruments.
Characteristics of children of senior preschool age.
This period is characterized by: expansion of acquired experience under the influence of education and improvement of sensations characteristic of this period. A.V. Zaporozhets notes “that sensations continue to improve mainly due to the development of the activity of the central part of the analyzers.” A direct dependence of auditory sensitivity on systematic music lessons has also been established. When perceiving phenomena, children at this age are able to coordinate their perception with the verbal instructions of the teacher. Moreover, they are able to verbally formulate the tasks facing them. The growth of a child’s life development in the period of senior preschool age is clearly revealed not only in the characteristics of age-related characteristics of perception, but also in changes in the nature of his activities, in particular play.
1.3 Main types of musical and didactic aids and games in the musical and sensory development of preschool children
A. S. Makarenko said: “Play is important in a child’s life, it has the same meaning as activity, work, service for an adult.”
Didactic games have long been used for the purpose of sensory education of children (F. Froebel, M. Montessori, etc.). A. S. Makarenko said: “Play is important in a child’s life, it has the same meaning as activity, work, service for an adult.”
“Solving sensory problems,” writes N. A. Vetlugina, “is possible in almost all types of children’s musical practice. But each of them, having specificity, is a more favorable environment for the development of certain sensory abilities. In music classes, children develop musical perception, but it is hardly possible to limit themselves to this. We also need an environment in which the child could deepen the learned methods of action, practice them independently, and develop the ability to control his actions. We need special didactic games and toys.”
Didactic games have long been used for the purpose of sensory education of children (F. Froebel, M. Montessori, etc.). A great contribution to preschool pedagogy was made by the didactic games of E. I. Udaltseva, E. I. Tikheyeva, F. N. Blekher, B. I. Khachapuridze, E. I. Radina and others. However, as noted by A. V. Zaporozhets, A.P. Usova, games were used without a sufficiently close connection with the main types of children's activities, which significantly reduced the overall effectiveness of children's sensory development.
At the end of the sixties, a group of Soviet psychologists and teachers (A.V. Zaporozhets, A.P. Usova, N.P. Sakkulina, N.N. Poddyakov, N.A. Vetlugina, L.A. Venger) began to develop the problem sensory education in the process of various types of children's activities. The right approach to the development of a didactic game was found, its main objectives were revealed, and the educational game structure was highlighted.
continuation
--PAGE_BREAK--General problems of musical-sensory education were developed by N. A. Vetlugina. Her works clearly reveal the importance of musical and didactic games for a deeper mastery of musical and sensory skills and abilities, and highlight the types of musical and didactic games (for the development of pitch, rhythmic, dynamic and timbre hearing). She outlines three types of didactic games - moving, round dancing and board games. What is valuable about these games is that they are based on a synthesis of music and movements, and the perception of musical sounds is facilitated by correlating them with objects and phenomena that children can understand.
Musical and didactic games, as a game form of learning, are a very complex phenomenon. There are two principles at work in it at the same time - educational, cognitive, and playful, entertaining. “Give the child the opportunity to play and combine learning with play so that wisdom appears with a cheerful smile, beware of boring her with extreme seriousness,” wrote a modern researcher of children's play, D. Colozza.
Characteristic of each didactic game is the presence in it of:
- training tasks;
- content;
- rules;
- game actions;
All these elements are mandatory and interdependent. The main element of the didactic game is learning task. All other elements are subordinate to this task and serve it.
The purpose of didactic games is to introduce the child to an understanding of the properties and qualities of sensory phenomena. Didactic games seem to express and complete the process of comparing and separating the child’s own sensory experience of perceiving the properties and qualities of phenomena from socially accepted standards.
Like any other type of game, a musical-didactic one in its structure should include the development of game actions, in which there is always an element of competition, an element of surprise, entertainment with sensory tasks that are distinguished by their didactic character. The development of play actions is suggested by the development of musical images, the literary text of the song, and the nature of the movement.
Musical games generally combine many of the features inherent in round dance formations and outdoor games. But the didactic material of these games is different in that it is based on the tasks of developing musical perception; The game action should help the child to hear, distinguish, compare some properties of music in an interesting way, and then act with them. This limits the scope of gaming activities. Excessive mobility, competition in evasiveness, dexterity, which are so interesting for children, should be moderate. The nature of game actions in musical and didactic games, therefore, is very unique. All didactic games differ in their game actions and sensory tasks, but always require auditory concentration.
Musical and didactic games should be simple and accessible, interesting and attractive. Only in this case do they become a kind of stimulant of children’s desire to sing, listen, play, and dance. In the process of playing, children not only acquire special musical knowledge and abilities, but they also develop the necessary personality traits, primarily a sense of camaraderie and responsibility. All didactic games contribute to the formation of mental qualities in children: attention, memory, intelligence; are taught to act quickly, to be restrained, and to evaluate one’s own capabilities; activate various mental processes, contribute to the process of learning and education; enrichment of vocabulary.
Many musical and didactic games are first learned with children during a music lesson. In order for the game to be successfully mastered by children, the music director must explain the game to the teacher before the lesson. During the lesson, both teachers help children understand the rules of the game. First, they participate in this game themselves.
The role of the teacher in children's play is great: he tactfully directs its course, monitors the relationships between the players, and maintains the independent and creative nature of children's play activities. A. S. Makarenko also wrote: “And I, as a teacher, must play with them. If I only teach, demand and insist, I will be an outside force, maybe useful, but not close. I must definitely play a little, and I demanded this from all my colleagues.”
In musical-didactic games, a special role is played by musical works, on the basis of which the game action unfolds. They must meet aesthetic requirements, evoke children's feelings, positively influence their taste and especially encourage expressive movement. Musical works are presented to children in their immediate integrity. From the general complex of harmonious combinations, children will have to select and note some properties on which the success of the deployment of game actions depends. Therefore, to some extent, some means of musical expression should stand out more clearly against the background of others.
In addition to didactic games, musical and didactic aids are used to effectively develop musical and sensory abilities. They contribute to a more active perception of music by preschoolers, allowing them to familiarize them with the basics of musical art in an accessible form, and this, according to L.N. Komissarova, is a very “important aspect of the development of musical culture in children.” All musical and didactic aids have a comprehensive effect on the child, causing him to have visual, auditory and motor activity, thereby expanding his musical perception as a whole. L. N. Komissarova identifies three groups of musical and didactic aids, these are: for the development of musical perception: for distinguishing the nature of music, elements of visualization and means of musical expressiveness.
All benefits are divided into three groups:
1. Aids, the purpose of which is to give children an idea of ​​the nature of music (cheerful, sad), musical genres (song, dance, march). “Fun - sad.”
2. Manuals that give an idea of ​​the content of music and musical images. “Find out the fairy tale”, “Cockerel, hen, chicken”.
3. Aids that form children’s understanding of the means of musical expression. “Musical House”, “Loud - Quiet”.
The didactic material of the manuals is based on the tasks of developing children’s musical perception and sensory experience, and the game action helps the child to hear, distinguish, compare some properties of music in an interesting way, and then act with them.
Sometimes games and aids are divided based on the type of musical activity that is mastered with their help.
Since one of the main tasks of musical education of children is the development of musical abilities, it is possible to qualify aids and games precisely on this basis - this is according to their capabilities in the development of each of the three main musical abilities: modal sense, musical-auditory concepts and sense of rhythm.
Manuals and games for the development of modal sense help to recognize familiar melodies, determine the nature of the music, change constructions in individual parts of the work, and distinguish genre. All types of aids and games can be used here - these include board games like lotto, where children fix the corresponding melody pattern; and outdoor games - plot and non-story, in which children coordinate the movements of the characters with the nature of the music, changing genres.
Manuals and games for the development of musical and auditory concepts associated with the discrimination and reproduction of pitch movement. Children enjoy games that involve playing a melody with their voice or playing a musical instrument. To activate musical and auditory perceptions, musical and didactic aids, board and round dance games are used.
Modeling the relationships of sounds in height using various means allows you to develop the ability of musical-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 reproduce it accurately - involves the use of musical didactic aids and games related to reproducing the rhythmic pattern of a melody in clapping, on musical instruments and conveying the change in the nature of music with the help of movements. All types of aids and games are used to convey the rhythm and character of music in movements.
Thus, musical teaching aids and games combine various combinations of musical education methods. Imaginative, playful form, the use of various exercises allow children to maintain interest in activities and carry them out more successfully.
Musical-didactic games differ from manuals in that they presuppose the presence of certain rules, game actions or a plot. Musical and didactic aids include visual aids (cards, pictures with movable parts).
Musical didactic aids and games enrich children with new impressions, develop their initiative, independence, ability to perceive, and distinguish the basic properties of musical sound.
The main purpose of musical didactic aids and games is to develop musical abilities in children; in an accessible playful way, help them understand the relationship of sounds in height; develop their sense of rhythm, timbre and dynamic hearing; encourage independent action using the knowledge gained in music classes.
The types of independent activities of a child in kindergarten are varied. Among them are musical activities. In their free time from classes, children organize singing games, play children's musical instruments independently, and organize theatrical performances. One of the most important means of developing children’s independent musical activity is music-didactic aids and games. This is another purpose that these manuals and games serve.
The pedagogical value of musical and didactic aids and games is that they open up a way for the child to apply the acquired knowledge in life practice. However, we can talk about the independence of musical manifestations only if they are formed at a certain qualitative level. The main source of independent musical activity of preschoolers is music classes, in which the child receives initial information about music, masters singing, musical-rhythmic skills, and techniques for playing instruments.
A necessary condition for the formation of independent musical activity is the creation of a certain material environment: “musical corners”, “zones”, “studios”, etc. In such a “corner”, already in the middle group there should be a set of the following technical means: record player, records, tabletop printed playing aids, instruments (both voiced and unvoiced, i.e., models made by teachers), in addition, various homemade aids for conducting didactic exercises, well-illustrated “music books,” and a conductor’s baton.
Manuals for older preschoolers, according to N.A. Vetlugina, are of two types: those requiring the participation of an adult - audiovisual (strip films, tape recordings) and technical (radio, television), as well as those that the child can use independently (metallophones, zithers, desktop printed musical and didactic material, sets of puppet theaters, flannelographs, homemade sheet music, etc.).
The most important feature of children’s independent activity is that it is carried out with the tactful, almost imperceptible guidance of adults, since it presupposes a special relaxed atmosphere. The content of independent musical activity primarily includes what children have learned with the help of adults.
The first manifestations of independence appear in music lessons. In older preschoolers, independence is expressed, first of all, in the performance of songs and games without the participation of adults; they independently reflect and speak out about the works they hear: they determine their character, means of expression, genre, structure. Consequently, for the development of independent musical activity, as well as for the successful education of children, active, conscious assimilation of the material offered in classes, as well as interest and dedication, is necessary.
In order to develop independence in children, the ability to think creatively, and apply the knowledge acquired in a music lesson, the teacher must know the musical repertoire, the scope of skills of the children in his group.

CHAPTER II. PRACTICAL STUDY OF THE DEVELOPMENT OF MUSICAL-SENSORY ABILITIES IN SENIOR PRESCHOOL CHILDREN DURING MUSICAL CLASSES USING MUSICAL-DIDACTICAL MANUAL AND GAMES
2.1. Methods of using musical teaching aids and games in various types of musical activities
Music classes are structured taking into account the general objectives of the musical and aesthetic education of children and are carried out according to a pre-planned plan. At the same time, it is taken into account that the content and structure of classes should be varied and interesting, using a variety of techniques that help children perceive a piece of music and understand the elementary fundamentals of musical literacy.
Music pedagogy defines three main types of musical classes that ensure the optimal development of each lesson - these are frontal lessons (which are conducted with all children), lessons in small subgroups and individual ones. Depending on the content and structure, these classes are divided into standard, thematic, listening to music, developing creativity, learning to play instruments, complex, with the dominance of one type of activity.
The use of musical and didactic aids and games in the lesson makes it possible to conduct it in the most meaningful and interesting way. With their help, children quickly master the program requirements for the development of singing skills, musical and rhythmic movements, in the field of listening to music and playing children's musical instruments.
The use of musical teaching aids and games in the process of singing
The development of singing skills is one of the tasks of musical education of children in kindergartens. The main requirements for children's repertoire are ideological orientation, high artistic merit and accessibility for perception and performance.
In the process of learning to sing, the child’s basic musical abilities are especially actively developed: emotional responsiveness, ear for music, sense of rhythm. This process requires a lot of activity and mental stress from the preschooler. He learns to compare his singing with the singing of others, listen to the melody being played on the piano, compose different characters of musical pieces, evaluate the quality of performance, gradually develop stability of auditory attention and subsequently develop fine-pitch hearing, develop creative inclinations that enrich the personality as a whole.
With the help of musical didactic aids and games, preschoolers become familiar with some initial pitch and rhythmic concepts that are formed during constant exercises that develop melodic hearing, determine the movement of a melody up and down, and compare sounds of different pitches and durations. Tasks in the form of a game are interesting and easier for children to understand.
When performing any song, you need to pay attention to expressive, relaxed singing, breathing, metro-rhythmic organization, and the correct transmission of dynamic shades, which help to feel the beauty of the sound of the melody.
For example, for pure intonation, the game “musical telephone” is often used, which can help children expressively perform a particular song.
To reinforce familiar songs, you can use the game “Magic Spinning Top”, in which children identify a song by the introduction and chorus, which are performed on the piano, by a musical phrase sung by everyone or individually, played on children’s musical instruments.
Children convey their ideas about a particular song in drawings. Their content consists of your favorite songs, pieces of music, and instruments.
Chants and chants play an important role in the development of hearing and rhythm in children. They can even be played as musical and didactic games. They are simple musical phrases from songs familiar to children.
The method of teaching singing should contribute to the development of independent actions in the child: correct inaccurate intonation in singing, start singing in a timely manner after the musical introduction, and be able to perform a song without accompaniment.
continuation
--PAGE_BREAK-- The use of musical teaching aids and games in the process of listening to music
In the process of listening to music, children get acquainted with instrumental and vocal works of a different nature; they experience certain feelings. Musical perception skills are strengthened if listening to a piece is accompanied by actions. For example, when children march, clap the rhythm of dance music, or use a musical didactic manual to determine the nature, genre of music, musical image, means of expression, they become familiar with the ability to recognize and distinguish musical instruments. Based on musical perception, preschoolers express their attitudes, experiences, and feelings.
Didactic games also help strengthen perception skills, the task of which is always related to the discrimination and reproduction of musical expressive means: pitch, rhythm, timbre, dynamics. For example, in the game “Guess who’s singing?” Children determine by ear the timbre of the singer’s voice: “I’ll sing this song for you, my friend. Don’t open your eyes, who am I? Come on, guess.” Their positive effect is that the success of the game depends on the quality of children's performance. The activities are aimed at ensuring that children independently master characteristic means of expression, in particular pitch, rhythmic relationships, dynamic shades, and timbre coloring. Each game has its own dominant task.
In order to develop children's interest in listening, the works used must be distinguished by high artistic qualities - ideological content, a way of expression that evoke empathy and influence the child's inner world.
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 “Magpie”, “Cockerel”, “Andrey the Sparrow”. Children try to improvise some of them on a metallophone, xylophone, listening to their sound. These melodies can diversify the content of many musical and didactic games.
In the process of learning to listen to music, it is necessary to take care of the formation of musical memory, which is improved as a result of repeated listening. Listening to the same plays and songs must be repeated many times, providing a method so that each time the child is happy and learns something new about them. When listening again, children's attention is drawn not only to the artistic embodiment of the idea, but also to individual means of musical expression. Holistic perception will become more meaningful if the work has a bright melody, combining pitch-modal, rhythmic, tempo, and dynamic diversity.
The use of musical teaching aids and games in the process of rhythmic movements
The influence of music on the general functional activity of a child causes motor reactions in him, therefore one of the types of musical activity of children is rhythmic movements. The development of musical abilities is carried out in the process of improving hearing and the ability to coordinate one’s movements with music. It is necessary to begin to develop these skills as early as possible in a form that is accessible and interesting for preschool children: rhythmic exercises, musical and didactic games, dancing, round dances. By selecting appropriate pieces of music and musical and didactic games, it is possible to evoke motor reactions, organize and influence their quality.
Various musical works evoke emotional experiences in children, give rise to certain moods, under the influence of which movements acquire a corresponding character. The development of a musical image, the comparison of contrasting and similar musical structures, modal coloring, features of the rhythmic pattern, dynamic shades, tempo - all this can be reflected in movement.
The artistic image, developing over time, is conveyed through the combination and alternation of means of musical expression. The movement is also located in time: its character and direction change, the pattern of construction unfolds, and its individual and group sequence alternates. Thus, simple rhythms and accents are reproduced by clapping and stamping, and dynamic, tempo designations are reproduced by changing the tension, speed, amplitude and direction of movements.
In an interesting, exciting activity, musical and rhythmic movements contribute to the formation of the child’s personality, his cognitive, volitional and emotional spheres. However, cognitive processes are activated only if the child can focus on the features of musical means of expression. We are talking about auditory attention, its stability, which in turn contributes to the development of musical memory, based on the auditory and motor analyzers.
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 implementation of creative tasks. For example, in dramatizing the plot of the song “Shadow - Shadow”, children act like fairy-tale characters, their movements convey musical and playful images of animals that are in certain relationships. In the dramatization of the poems “The Cat and the Mice,” preschoolers use their movements to reveal not only the images of literary characters, but also consolidate the ability to distinguish between dynamic shades, which contributes to the development of dynamic hearing. The development of a sense of rhythm is facilitated by the musical and didactic games “Walk” and “Teach the nesting dolls to dance” used in the practical part of the work.
When organizing musical games, it is necessary to provide children with more independence. Practice shows that the more you trust children, the more conscientious and conscientious they are about what they are assigned.
The use of musical teaching aids and games while playing children's musical instruments
Playing children's musical instruments arouses great interest in the child. In addition, some toys - tools - are used as visual - didactic aids. They help develop the musical and sensory abilities of preschoolers, introducing them to individual elements of musical literacy. In the development of pitch, timbre, dynamic hearing and sense of rhythm, the role of musical and didactic games and aids is very great. For example, to develop pitch hearing, the game “Ladder” is used, in which children distinguish the direction of movement of a scale with hand signs, playing on a metallophone, while using didactic toys.
From the very beginning, it is necessary to teach children to play correctly, first of all, to be able to clearly reproduce the rhythm. To develop a rhythmic sense, the games “Shadow - shadow” and “Walk” are used. Thanks to these games, children develop a sense of rhythm and consolidate their knowledge of note durations. With their help, children learn to play various musical instruments and develop an interest in learning.
In the nature of the sound of each musical instrument one can find an analogy with some natural phenomenon. For example, in the musical and didactic game “Walk”, the sounds of falling raindrops are well conveyed by a metallophone.
The musical and didactic manual “Musical House” has a beneficial effect on the development of timbre perception and improvement of knowledge about musical instruments.
Thanks to musical teaching aids and games, children learn with interest the simplest techniques of playing various instruments, learn to use dynamic shades, select by ear, orchestrate pieces, and play in an ensemble. Various songs included in the repertoire help learning. All this makes the game not only interesting, but also valuable for their musical and sensory development.
The whole range of techniques for introducing preschoolers to entertaining and complex performances develops independence, attention and organization in the child’s actions.
2.2. Conducting experimental work involving the development of musical-sensory abilities in older preschoolers through the use of musical and didactic games and manuals
The theoretical part of the work highlighted the problems of developing musical-sensory abilities. We test the solution to these problems experimentally in the second chapter.
Experimental work was carried out on the basis of a preschool institution with children of senior preschool age with different levels of musical abilities and capabilities. During the experiment, a group of preschoolers was involved, which consists of 20 people.
Music classes took place in a music room equipped with the necessary equipment that allows for musical and didactic games to develop all musical and sensory abilities. The development of musical and sensory abilities was facilitated by the atmosphere of goodwill, cooperation, and mutual understanding that was established between the teacher and the children.
Classes were conducted with all children of preschool age; the leading methods of musical-sensory education were visual-visual and visual-auditory methods in combination with verbal ones. Verbal explanations, directions, and questions to children were widely used. During the experiment, musical didactic aids and games were used, developed by L. N. Komissarova, N. A. Vetlugina, N. G. Kononova, analysis criteria and manuals made by hand.
In order for the musical and sensory abilities of children to be successfully formed, it is necessary to outline the ways of their formation. For this, it is very important to know what the musicality of each child is. This can only be revealed through repeated observations and exercises. Only then, according to L. S. Vygotsky, “can one judge the level of musical development of each child.”
Therefore, the experiment took place in two stages:
- stating
- formative
The training of preschoolers during these stages was carried out taking into account the requirements of the “Kindergarten Education Program”. However, during the formative stage of the experimental work, the gradual and systematic introduction of musical and didactic aids and games into the cognitive process, as well as their use in an active form, was envisaged.
Ascertaining experiment was conducted during standard music classes over a period of two months. During the educational process, which is aimed at developing all musical abilities, children were given a general idea of ​​all the properties of musical sound, but the use of musical teaching aids and games was minimal. The activities were aimed at developing pitch, dynamic hearing, timbre perception, memory, imagination, thinking, as well as developing a sense of rhythm. The purpose of the ascertaining experiment is to identify the level of musical-sensory abilities.
The results of the ascertaining stage of the experiment are shown in Table No. 2.
Table No. 2 shows that the stage of the experiment with older preschoolers showed a rather low level of development of musical-sensory abilities, although the children were psychologically ready for this activity. This was manifested in the enthusiasm for using musical and didactic aids, but the actions were performed intuitively and the children had to put a lot of effort into their implementation. In the games, preschoolers used their imagination and responded emotionally, but the tasks were always carried out according to the model.
Based on the evaluation criteria, we can conclude that during the ascertaining stage of the experiment, aimed at identifying the level of formation of musical-sensory abilities, a relatively small percentage of children reached a high level of development, namely 10% (2 people), while a larger number of children 60% (12 people) remained at the initial stage of development. The average level of development is 30% (6 people).
Based on the conducted stage of the experiment, it can be assumed that with the active use of musical didactic aids and games, great results can be achieved in the development of musical sensory abilities.
For this purpose, another stage of the experiment was carried out - formative, which lasted for two months, was carried out in the form of games-activities, concentrated in their target content, systematized in their sequence and was aimed at developing musical and sensory abilities. During music classes at this stage, musical didactic aids and games were actively used, gradually becoming more varied and complex. Each subsequent degree of difficulty in completing tasks included the material of the previous one with its obligatory complication.
The methodology for conducting formative training was a continuous and consistent cycle of mastering a series of manuals and games over a certain period. Children mastered each manual or game in three stages:
First stage. Initial orientation in the methods of independent actions to distinguish the properties of musical sounds in the conditions of familiarization with musical teaching aids and games in the classroom;
Second phase. Mastering by children the methods of sensory actions to distinguish the properties of musical sounds under the direct guidance of the teacher;
Third stage. Improving the skills of distinguishing sounds in the process of independent activity, but under the indirect guidance of a teacher. As well as completely independent use of musical and didactic aids and games on the initiative of children and without the help of a teacher in independent music-making.
The continuity of the cycle was that after mastering a musical-didactic manual or game in class, they were transferred to independent play activities, and at the same time, during the lesson, children were introduced to the next game or manual.
The process of mastering musical and didactic aids and games took place under the following pedagogical conditions:
- while maintaining the unity of a holistic and differentiated perception of music, exercises and games;
- subject to the gradual and systematic formation of the sensory basis of musical perception;
- taking into account the age characteristics of children of senior preschool age;
Fairy-tale characters came to some of the children's classes. The children communicated with them, acted as older comrades and “teachers” when the goal was to teach something. In an effort to teach them everything, the children taught themselves. Thanks to this, all classes were held in a playful way. The children were very emotional, active, and responded to musical tasks with great desire. The arrival of “live guests” to some extent contributed to the achievement of high results and effectiveness of the conducted musical and didactic games.
All musical and didactic aids and games used during the formative stage of experimentation were aimed at:
- to develop musical abilities;
- to develop methods of sensory actions;
- for practical training in the skills of sensation, perception, methods of sensory actions;
- to develop emotional responsiveness;
- to activate auditory attention;
- an interested attitude towards cognitive activity;
- on the formation of independent creative approaches and actions;
- to develop methods of search activity, methods of orientation in simple problem situations;
- for the development of memory, thinking, imagination;
- to acquire knowledge, skills and abilities;
- to awaken a positive attitude both to classes and to the art of music in general;
The results of this stage of the experiment showed that musical didactic aids and games combine all the teaching, developmental and educational functions that are aimed not only at the development of musical abilities, but also with their help, sensory operations are carried out, enriching the child’s experience, promoting the formation and development musical and sensory abilities. Table No. 2 shows that after the formative experiment, 70% (14 children) achieved a high level of development of musical and sensory abilities, which is 7 times more than at the previous stage of the experiment. Children with a weak indicator of musical abilities and capabilities rose in their development to an average level, their number is 20% (4 children). Compared to the results of the ascertaining experiment, a very small number of children remained at the initial level of development; their number is 10% of 2 children.
The development of musical-sensory abilities in preschool children in a formative experiment showed a number of high indicators, as a result of which:
continuation
--PAGE_BREAK--1) the level of development of musical abilities has increased, this is reflected in the fact that:
- children's auditory attention has become more organized;
- motor reactions became organized, coordinated with the music;
- there was a quick and clear reaction to high and low sounds;
- the rhythm conveyed by children has become more accurate not only in clapping, but also in its transmission on musical instruments;
- children’s reaction to identifying instruments by timbre and dynamic sound has improved;
- emotional responsiveness has improved in perception and performance;
2) the level of development of musical-sensory abilities has changed significantly, which manifested itself in the quality of active listening, playing music, and children’s examination of musical sounds, while promoting the development of memory, imagination, and thinking;
3) the approach to the learning process has changed significantly. This was reflected in the interest in using didactic material, in the activity of completing tasks, in the application of skills acquired in classes in independent musical activities. During the classes, the children behaved actively, freely, and at ease; the percentage of fatigue was very low.
As a result of the formative stage of experimentation, the pedagogical functions of musical and didactic aids and games were established:
1) development in children of the ability to distinguish the relationships between musical sounds and their properties;
2) the formation of methods of independent action, while didactic games and manuals act as a means of encouraging children to engage in independent activities.
The results of the experiment at two stages are shown in a graph comparing the level of development of musical-sensory abilities in older preschoolers.
Next, all the musical and didactic aids and games that were used in the pedagogical experiment will be revealed.
"Ladder"
Target. Distinguish between the pitch of sounds and the direction in which the melody moves up and down.
Two cards with a picture of a ladder. One card shows a girl going up the stairs, the other shows a girl going down the stairs.
Methodology. After familiarizing themselves with the song “Ladder,” the children were asked to find out where the girl was going (up the ladder or down), and then show a card with the corresponding image. When performing again, children are asked to show with their hand where the girl is moving - up the stairs or down. Noting each sound, children gradually raise their right arm (bent at the elbow in front of the chest) up or also gradually lower it down.
Then, to complicate the task, the children were asked to split into pairs to complete a specific task: one performs the first or second phrase of the song on a metallophone; the other determines by ear where the girl is going, up or down the steps, and selects a card with the corresponding image. The rest of the children determine whether the task was completed correctly.
In the next lesson they are introduced to high, medium and low sounds.
Progress of the game: The tasks are also carried out in a playful way. Matryoshka dolls come to visit the children: Zina, Tanya, Masha. Attention is fixed on the sound of three sounds - fa, la, do2. After singing each name, the children place the nesting doll on the step of the ladder: Zina on the bottom step, Tanya on the middle step, Masha on the top step. Then the sounds are played in different sequences, after which the children determine which of the nesting dolls sings high, which low and in what order.
After the children have consolidated their knowledge of musical sounds and their combinations, the music director tells the children that the nesting dolls have prepared a concert for them.
The adult says: “At the concert, three of them will sing, two of them, one at a time, and you, children, will have to determine how many nesting dolls are singing.” By determining how many nesting dolls sing, children become familiar with the concepts of “sound,” “interval,” and “triad.”
To consolidate knowledge about the direction of movement of the melody, children perform the song “Ladder” on a metallophone, using hammers on which matryoshka dolls are attached.
Musical repertoire.“Ladder” by E. Tilicheeva.
(Appendix No. 1)
"Fun - Sad"
Target. To develop in children an idea of ​​the nature of music (cheerful - calm - sad).
Description of the didactic manual. A card divided into three squares: the first shows a child with a cheerful, smiling face; on the second - with a calm expression on his face; on the third - with sad. Three chips with numbers 1, 2, 3.
Methodology. Children listen to a play of a cheerful, sad or calm nature and, with the help of a manual, determine its character (cover the corresponding image on one of the squares of the card with a chip in the order in which the character of the music changed), explain their actions. The numbers on the chips show this sequence.
At the next lesson, children listen to an unfamiliar play, knowing about it in advance. They determine its mood and come up with a name, while explaining their actions. The rest complement the answer, expressing their feelings. Then the children perform the following tasks: using the manual, they determine the character of an unfamiliar play and convey it in motion. Afterwards, if desired, the children individually compose a lullaby to the words: “Both the grass and the flowers sleep, bye, bye, sleep you too.” Children try to improvise on musical instruments.
Musical repertoire.“Three Moods” by G. Levkodimov.
(Appendix No. 2)
"Loud quiet"
Target. Strengthen the ability to distinguish dynamic shades of music: quiet (p), loud (f), not too loud (mf).
Description of the didactic manual. A card divided into three squares. Three small square cards of the same color, but different in saturation (one is orange, the other is pink, the third is burgundy), which conditionally correspond to a certain dynamic shade. The orange card corresponds to the quiet sound of music; pink - louder sound and burgundy color card - louder music.
Methodology. Children are given cards and their purpose is explained. Then they listen to a piece of music where the dynamic shades change sequentially: from the quiet (mezzo forte) sound of the first part to the quiet (piano) sound of the second and loud (forte) sound of the third. The piece is performed twice. First, children listen to music. When performing again, they lay out squares on the card that correspond in color to the dynamic shades of the music.
To increase the interest and emotional activity of children, a musical and didactic outdoor game was used, a staging of a short fairy tale, where children, portraying different characters, had to distinguish the words “loud”, “quiet”, “a little quieter”, “a little louder” and depict This. Each time the characters were played by children with different levels of development of dynamic hearing, and day by day one could observe something new with elements of children’s creativity.
“Cat and Mice”
There lived a cat Vasily. The cat was lazy!
Sharp teeth and a fat belly.
Very quiet he always walked.
Loud insistently asked to eat.
Yes a little quieter snored on the stove.
That's all he knew how to do.
The cat once had a dream like this
It was as if he had started a fight with mice.
Loud screaming, he scratched them all
With your teeth, your clawed paw.
There are mice in fear here quiet prayed:
- Oh, have pity, have mercy, do me a favor!
Here a little louder exclaimed the cat, “Scram!”
And they scattered.
While the cat was sleeping, this is what happened:
Mice quiet came out of the hole
Loud crunching, ate bread crusts,
After a little quieter laughed at the cat
They tied his tail with a bow.
Vasily woke up and loud sneezed;
He turned to the wall and fell asleep again.
And the mice climbed onto the back of the lazy man,
Until the evening loud they made fun of him.
To improve dynamic perception, children are invited to play the game “Prince and Princess”.
Progress of the game: children sit on the mat facing the center of the circle, with their hands 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's a princess. The prince must recognize the princess by the loud music.
“Waltz” by G. Levkodimov sounds, the prince slowly walks to the music in a circle 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 palms and shows a bow.
Musical repertoire.“Loud and quiet music” by G. Levkodimov.
(Appendix No. 3)
"Who Sings Like"
Target. To develop in children the ability to distinguish between registers (high, medium, low).
Description of the didactic manual. Three cards made of cardboard, depicting a mother, father and little son.
Methodology. Children listen to a story about a musical family (with the music director showing the corresponding pictures), in which everyone loves music and song, but sings in different voices. Dad - in a low voice, mom - in a medium voice, son - in a thin, high voice. Children listen to the performance of three pieces, sounding in different registers, and receive explanations for them. The play, sounding in a low register, is called “Papa's Story” (papa talks about a military campaign); the piece, sounding in the middle register, is called “Lullaby Song” (a mother sings a lullaby to her son); the piece, sounding in a high register, is called “Little March” (the boy, humming, marches to the music). After repeating each piece, the children guess whose music was played, choose the right card and show it, explaining their choice. The task is performed by the whole group of children, then individually, while the “musical riddles” are performed in different sequences.
To consolidate knowledge about registers, children play the game “Recognize by Voice.”
Progress of the game. An adult says: “Is it possible to recognize a person by his voice? Let's close our eyes and guess whose voice it is, who is speaking." Children determine by ear the timbre of the singing voice: "I'll sing this song to you, my friend. Don't open your eyes, who I am - come on, guess."
Yes, it turns out you can recognize a person by their voice. How did the poet tell us about this in poetry?”
Poems are read.
I go out into the corridor, I can do it myself without difficulty
And there's a conversation outside the door. You can recognize them by their voices:
I hear my mother speaking. Mom’s – sonorous, silvery;
I hear dad talking. Papin is low and bassy.
The adult says: “And the composer composed a whole musical scene. Now try to recognize the voices of mom and dad in the music. Raise your hand when you hear “Mom’s voice” and lower it to your knees when “Daddy’s voice” sounds. Please note: at the end of the piece, two voices are heard at once - father’s and mother’s.”
Musical repertoire.“Who Sings” by G. Levkodimov; “Dad and Mom are Talking” I. Arseev.
(Appendix No. 4)
“Guests have come to us”
Target. Development of timbre perception, improvement of knowledge about musical instruments.
Description of the didactic manual. Children get acquainted with the musical and didactic manual “Musical House”.
Methodology. Children will learn that this house is unusual; musicians live in it and play various musical instruments. That if you listen carefully, you can determine which instruments’ sounds are heard from different windows of the house. Hidden behind the screen are musical instruments, on which the familiar children's song “Cockerel” is played in turn. Children are called one at a time. Having recognized the instrument, the child approaches the table with cards on which various musical instruments are depicted, selects the card he needs and inserts it into the window of the house. Then they complete the task themselves: one of the children performs a sing-song on some instrument. The rest guess and close the windows of the “Musical House”. After this, the children are given musical instruments and they perform a familiar chant.
To achieve high results in the set goals, the following didactic game is used, in which the arrival of “live guests” caused activity and contributed to emotional uplift.
Game material. Adults (teacher, music director) and children representing guests, a screen, cards depicting children's musical instruments.
Progress of the game. The adult says: “Today we should have guests.” Knock on the door.
A bear (an adult in a bear costume) arrives.
“Hello children, I came to visit you. I really love to dance and play. Today I came up with this game: one of you stands behind a screen and chooses a musical instrument there to play. And the rest will guess what kind of magical instrument it is.”
The child goes behind the screen and, with the help of an adult, selects the instrument that best suits the clumsy bear. In this case it was a tambourine. The bear dances to the tambourine, the children clap for him. At the end of the bear's dance, the children must guess what musical instrument he danced to. (Cards with images of musical instruments are distributed in advance).
After the children have identified the musical instrument to which the bear danced, other guests arrive, and each time different instruments are used: the bunny jumps to the rapid blows of a hammer on a metallophone, the horse to the clear blows of wooden spoons, the bird to the ringing of a bell.
Musical repertoire.“Cockerel” (Russian folk song) and other songs familiar to children.
(Appendix No. 5)
"The Cockerel, the Hen and the Chick"
Target. Exercise children in distinguishing three rhythmic patterns. To perform the game, the songs “Cockerel”, “Hen”, “Chicken” were previously learned.
Game material. Cards depicting three rhythmic patterns (cockerel, hen and chick).
Methodology. Children are given cards and reminded of the corresponding rhythmic pattern. Everyone sings songs and clap rhythmic patterns. Then the leader performs one of three rhythmic patterns on the metallophone and asks: “Who is pecking the grains?” The child covers the corresponding picture on his card. After this, the children perform the songs themselves, tapping a rhythmic pattern on a metallophone. At the next lesson, children sing by role, performing the dance of each character.
Musical repertoire.“Cockerel”, “Hen”, Chicken” by G. Levkodimov.
(Appendix No. 6)
"Find out the fairy tale"
Target. Distinguish the contrasting nature of parts in music in connection with its content and the development of the musical image.
Game material. Two square cards of a calm, green color, indicating the first and third parts of the music, in which the gentle lyrical image of Little Red Riding Hood is revealed. And also one square of alarming, red-orange color indicating the middle part, characterizing the appearance of the Gray Wolf.
Reduction technique. Remembering the fairy tale about Little Red Riding Hood, children listen to a three-part play, in which two parts are the same, and the second is contrasting in character. After carefully listening to the play, the children express their opinion, where the music tells about Little Red Riding Hood and where about the Gray Wolf.
Then the adult says: “At the beginning of the work, the music sounds cheerful - this is Little Red Riding Hood rejoicing that she is going to her grandmother. And the Gray Wolf was hiding behind a bush. And the music sounded alarming, even scary. But soon the music changed again. Little Red Riding Hood is happy - here is her grandmother’s house.
Listen to the verses:

And in the thicket behind the bushes the Gray Wolf sits,
He clicks his teeth and watches the girl.
Little Red Riding Hood sings a song.
Little Red Riding Hood goes to her grandmother.
Now listen to the music again and determine how many parts there are and whether they are all different.”
After performing the play again, the children lay out the cards in the order in which the nature of the music changed, that is, the musical characteristics of the fairy-tale characters changed.
Musical repertoire.“Little Red Riding Hood and the Gray Wolf” I. Arseev.
(Appendix No. 7)
"Shadow-Shadow"
Target. Develop a sense of rhythm in children.
Progress of the game. Children know this song well. To improve the development of children's rhythmic sense, the following tasks were used in a playful way:
- the song is sung together with children in order to consolidate the text;
- children simultaneously sing and clap their hands quietly, marking the rhythmic pattern with their clapping;
- role-playing singing, where the adult acts as the author, and the children are the heroes (fox, hare, 2 hedgehogs, fleas, bear, goat);
Each child misses his role.
- singing in roles, but the role is performed with palms. It is explained to the children that the voice is “hidden”, the palms “sing instead of it”;
- the entire 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;
- children sing the song “Merry Instruments”;
continuation
--PAGE_BREAK--

Elena Fomenko
Development of musical and sensory abilities of preschool children

1. Characteristics musical and sensory abilities

Touch development– not an independent and isolated process. The leading path of sensory education is the pedagogical organization of the child’s perception of objects, phenomena, their various properties, and their various relationships.

The purpose of sensory education is very often considered only in terms of development organs of vision and touch and is aimed at familiarizing children with uniform, color, space. Almost no attention is paid development of auditory sensations, which underlie such important for artistic activity abilities, How musical and phonemic awareness.

In modern musicology there is a definition of the principles of artistic influence music per listener.

The first of these principles: music affects the best way under conditions of simultaneous combined influence of several agents musical expressiveness.

The second principle reflects the requirements for cost savings musical expressiveness and comes down to the fact that the most important of them carry several functions: expressive, formative, technical, etc. etc.

It is also necessary to take into account that in musicology There is an absolute and relative concept of height, duration of sound, etc. etc. The first of them is determined by the laws of acoustics, measures of time; the second is the relationship between sounds.

Processes accompanying perception music, are not homogeneous, since they must be adequate to the equally non-uniform and multifaceted nature musical images. Perceiving them. a child encounters a lot of variety musical means and their combinations. As a result, the dynamics of experiences arise and the beginnings of creativity appear. At the core musically– aesthetic experience has a sensory basis.

IN musical experience, it is difficult to isolate its sensory grain, since in essence it is all sensory, starting with the simplest musical sounds and ending with the development of complex musical images; music always sensually perceived. Therefore, we can speak very conditionally about the boundaries of the sensory and aesthetic zones.

However, in a broader sense, general and special groups of sensory processes can be distinguished.

The first of them are characterized by the integrity of the perception of the medium musical expressiveness appears in diverse and complex relationships that are captured by the perceiving subject. In this case we are talking about developed forms of sensory processes.

The second group combines more private, local processes associated with the perception of individual properties musical sounds.

At the core music system lies musical sound with its four fundamental properties: height, duration, timbre, strength. For the purpose of comprehensive and harmonious musical development the child must not be left out development perception of their timbre and sound dynamics.

Into the structure musical sensory abilities includes the following Components: distinguishing not only properties musical sounds, but also their expressive relationships and the quality of the survey musical phenomena.

Method for examining musical phenomena assumes: listening, recognizing properties musical sounds; comparing them by similarity and contrast; isolation from a complex of other sounds; distinguishing their expressive meaning; their reproduction with simultaneous auditory control in singing intonations, in playing an instrument, in expressive rhythmic movements; combining sound combinations; comparison with pleasant standards.

The formation of hearing occurs in the process of establishing close relationships between perception, reproduction and creativity. There is not a single type of practical musical activity, in which you can do without sensory experience.

Sensory acts are not uniform at each stage development: the simplest - distinguishing the properties of sounds in their simplest combinations; complex – perception musical images.

Each of these stages is characterized by its own tasks

purposeful perception.

2. Musically– sensory education children

Tasks:

Form auditory attention children;

Teach them to listen to a variety of things. harmonious sound combinations;

Catch the change in contrasting and similar sound relationships;

Teach methods of examining musical sound;

- develop musical and sensory abilities.

Under touch musical development refers to a certain level of auditory sensations, perceptions, ideas associated with expressive means music in their simplest combinations.

It is also assumed that there are sensory abilities: listening, distinguishing, recognizing, comparing, examining, combining pitch and rhythmic, timbre and dynamic relationships in different conditions musical practice.

Touch musical education is socially oriented. Its results are a certain level of sensory child development.

So high-altitude relationships in musical works appear before children in the form of contrasting comparisons of sounds, different in pitch, in the form of changes in the direction of movement of the melody, various intonation moves expressing a certain thought, nuances of feelings.

Familiarization with rhythmic relationships occurs by comparing durations (mainly quarters and eighths, the variable combination of which is very expressive and varied, which allows you to modify the tasks of perception and reproduction.

Timbre properties are demonstrated by the real sound of various instruments, singing voices and onomatopoeia to the voices of animals and birds.

Dynamic zones that group the main shades, as well as other nuances aimed at expressing emotional content music, reveal their expressive meaning to children.

All these relationships and sound combinations perform expressive functions.

Initial orientation to musical phenomena requires from children:

Ability to listen attentively musical sound;

The ability to highlight a particular property musical sounds from their general complex, hear dynamic, rhythmic and other changes.

Assimilation ways listening involves presence of children:

The ability to compare similar and contrasting combinations of properties musical sounds;

The ability to attribute phenomena and properties of sounds to one group or another;

The ability to find certain properties musical sounds in different conditions musical practice.

Assimilation ways coordination of perception and reproduction requires children:

The ability to monitor the quality of one’s performance by ear during practical activities;

The ability to select, improvise, combine various combinations of sounds in their harmonious sound.

In the process of learning to sing, pitch and rhythmic hearing is well formed. But the nature of this training must meet certain requirements, including sensory ones. It is impossible to omit sensory links in the system musical development.

In the process of learning to sing, less attention is paid development dynamic and timbre hearing. Nevertheless, children should try to merge their voices when performing dynamic shades and match their timbre.

Rhythmic hearing is successfully formed by relying on motor sensations. Marching, running, clapping very well model the simplest rhythmic patterns.

Dynamic nuances musical works are naturally expressed in movement. Starting from such simple ones as a sudden change in loud and quiet sound, accompanied by a similar change in the dynamics of the claps, and ending with the more complex - strengthening and weakening of the sound music, expressed in movements of greater or lesser amplitude, their energy, changing participation in the movement of the entire team children or a small group of it - all this is good material For development dynamic hearing in rhythm classes.

But the timbre relationships can be connected:

There may be an imitation of playing instruments, and the child recreates their timbre in his imagination;

There is a change in the nature of the movement in accordance with the game on real musical instruments;

Gaming techniques aimed at solving problems of distinguishing voice timbres can be used more widely. children, various onomatopoeias.

On Musical lessons develop children's musical perception, but this should not be limited. We also need an environment in which the child could deepen what he has learned. methods of action, exercise them yourself, develop the ability to control your actions. Special educational games and toys are needed.

3. Musically– didactic games as a means development of sensory abilities.

During the games, they become familiar with standards that are easily accepted by children, since they are based on their experience. Didactic games open up a way for the child to apply the acquired knowledge in life practice.

Musically– a didactic game in its structure should include development game actions and reflect unity music and movement. The game action should help the child to hear, distinguish, and compare some properties in an interesting way. music, and then act with them.

Conventionally, we can note some of the most characteristic types and structures of games in connection with deployment game actions and setting didactic tasks.

The most common structure involves calm music playing and is in the nature of a competition in the ability to listen attentively to music. This type is reminiscent of well-known educational board games. developing a sense of form, colors, volume of objects. Here there is a distinction between properties and character musical sound. This refers not only to games - manuals (note lotto, music boxes, musical ladders and. etc., but also games with singing and movement.

Games differ in both their game actions and sensory tasks. Due to the structure musically– didactic games clearly play the role of game rules.

In general, the rules are aimed at some advantage:

They enter the house if they find out who is sitting in it and who meowed - whether the cat is big. or kitten (distinguishing height relations in the game “Whose house?”);

They become leaders if they can distinguish the timbre of the instruments ( "Tambourine with Rattle");

Act as a conductor (distinguishing the timbre of instruments in the game "Orchestra");

And vice versa, those who do not complete tasks leave the game, receive fewer points, etc. etc.

IN musically- didactic games play a special role musical works, on the basis of which game action unfolds. They must meet aesthetic requirements and evoke feelings children, positively influence their taste and especially encourage expressive movement.

“A set of exercises for the development of musical and sensory abilities of children of primary and secondary preschool age through the use of non-traditional sensory standards”

Tasks:

Develop musical-sensory abilities (rhythmic, timbre, dynamic, sound-pitch hearing).

Develop fine motor skills fingers

Improve the functioning of the articulatory apparatus.

Develop coordination of movement and words.

Develop musical memory.

Games with maracas

Exercise: a) They knock with maracas and at the same time say: “Knock-knock”

b) They rustle the maracas and at the same time say: “Sh-sh-sh.”

a) They knock maracas on the chest and say: “Bam-bam” (small

drums")

b) They rustle with maracas and say: “Sh-sh-sh”

a) They tap the maracas on their legs alternately and say “Top-top.”

B) They rustle the maracas and at the same time say: “Sh-sh-sh.”

Reference: The first two classes of movement with maracas are performed without musical accompaniment, and then simple two-part music is used. The complex is used to develop coordination of movements and rhythmic hearing in preschoolers.

Exercise: When the music is loud, the children rustle their maracacas loudly. When the music is quiet, the children slowly beat the maracas rhythmically.

Information: The complex is used to develop dynamic hearing in children.

Exercise: a) Children hold the maracas with their fingers and rotate the maracas towards themselves, then the children rotate the maracas away from themselves.

b) Children cover the maracas with the palms of their hands and roll them back and forth. Then, draw circles on the legs clockwise, and then vice versa. You can draw winding “paths”, etc.

Reference: The complex is performed accompanied by quiet, not loud music. Helps children develop coordination and fine motor skills.

Exercise: Children are asked to determine by ear what is hidden in the maracas: cereals (peas, millet, rice); beads (glass or plastic), etc.

Reference: In these tasks it is better to use large kinderiks .

The complex helps the development of timbre hearing, attention and memory.

Games with rhythm pads

1. a) For the first part of the music, the pad is transferred from palm to palm, saying: “Here, here.”

b) For the second part of the music, children take the pillow by the opposite ends and rustle it near their ear, saying: “Sh-sh-sh.”

2. When the music sounds loud, the children move the pillow with their palms and loudly say: “So, so.”

When the music sounds quietly, the children hold the pad in one palm, and with the fingers of the other hand they quietly tap the pad, saying: “Knock-knock.” The complex develops coordination of movements, fine motor skills and dynamic hearing.

3. Children take the pad in their palms and massage them with rotational movements. Then, use all your fingers to move the plastic balls in the pad. This massage helps develop fine motor skills of the hands. The game is played to the sounds of calm, quiet music.

4. Children hold the pad in the palm of their right hand, and with the fingers of their left hand they tap on the pad, saying: “Chuh, chuh.” The pace gradually accelerates. Then, the pad is transferred to the palm of the left hand, and the fingers of the right hand tap on the pad, starting at a fast tempo, gradually slowing down the tempo. The game helps children feel changes in tempo and develop fine motor skills of the fingers.

The game is played without musical accompaniment

Games with sticks

1. Children sit on chairs in a row. Each child has two sticks in his hands. All children turn to the right and tap the child sitting in front on the shoulders, saying: “Knock, knock.” Then,

They tap the entire back with sticks (“put dots”), saying: “Top, top.” Then, they “draw” winding paths with sticks, saying: “Tu, that.” Children turn to the left and repeat the entire massage complex.

Reference: The game helps preschoolers develop rhythmic hearing, coordination of words and movement, strengthens the articulatory apparatus; develops fine motor skills of the fingers; communication culture. To perform this complex it is better to use sticks middle length, approximately 25 cm. Before starting the complex, explain to the children that the massage must be done carefully so as not to cause pain.

2. Children hold both sticks with their open palms and roll them slowly up and down, saying: “Burn, burn.” Then, they put the sticks on their knees, roll them with the palms of their hands, saying: “Ru, ru.” You can invite children to draw circles with chopsticks clockwise, and then counterclockwise; winding paths or waves in the direction away from you and towards you.

Help: D For this complex it is better to use short sticks, about 15 cm long, of medium thickness. The complex develops fine motor skills of the fingers and coordination of movements; activates the articulatory apparatus.

3. When the music is loud, the children beat their sticks rhythmically, saying loudly: “Boom, boom.” When the music is quiet, the children rhythmically rub the stick with a second stick (the movement is similar to fixing a pencil with a knife), saying: “W-w.” The complex develops dynamic and rhythmic hearing in preschoolers; coordination of movements; fine motor skills of fingers; articulatory apparatus. In this complex you can use various simple rhythmic combinations with sentences. For example: "Tra-ta-ta"

“Boom, boom, tra-ta-ta”; “Tut-tu, tut-u-u”; “Ru-u-u, tu-tu”; “Toot-too-too-too, toot-too, toot-too”, etc.

4. Children stand in pairs facing each other. Each person has one stick in their hand, approximately 25 cm long. The hand with the stick is extended forward. One child taps a stick on a stick in front of him standing child and says: “Hello!” The second child answers: “Hello!” and at the same time knocks on the first child's stick. You can come up with many words for children with the simplest rhythm encrypted in them, for example: 1 child says: “Cockerel” 2 child answers: “Chicken”; “Ko-ko-ko”, “Chick-chick-chick”; “Meow”, “Purmur”; “Drip-drip”, “Knock-knock-knock”, etc. The complex develops coordination of movements; articulatory apparatus; fine motor skills of fingers; rhythmic performances; muscle memory; creative abilities and communicative culture of preschool children.

The theoretical part of the work highlighted the problems of developing musical-sensory abilities. We test the solution to these problems experimentally in the second chapter.

Experimental work was carried out on the basis of a preschool institution with children of senior preschool age with different levels of musical abilities and capabilities. During the experiment, a group of preschoolers was involved, which consists of 20 people.

Music classes took place in a music room equipped with the necessary equipment that allows for musical and didactic games to develop all musical and sensory abilities. The development of musical and sensory abilities was facilitated by the atmosphere of goodwill, cooperation, and mutual understanding that was established between the teacher and the children.

Classes were conducted with all children of preschool age; the leading methods of musical-sensory education were visual-visual and visual-auditory methods in combination with verbal ones. Verbal explanations, directions, and questions to children were widely used. During the experiment, musical and didactic aids and games were used, developed by L. N. Komissarova, N. A. Vetlugina, N. G. Kononova, analysis criteria and manuals made with their own hands.

In order for the musical and sensory abilities of children to be successfully formed, it is necessary to outline the ways of their formation. For this, it is very important to know what the musicality of each child is. This can only be revealed through repeated observations and exercises. Only then, according to L. S. Vygotsky, “can one judge the level of musical development of each child.”

Therefore, the experiment took place in two stages:

Ascertaining

Formative

The training of preschoolers during these stages was carried out taking into account the requirements of the “Kindergarten Education Program”. However, during the formative stage of the experimental work, the gradual and systematic introduction of musical and didactic aids and games into the cognitive process, as well as their use in an active form, was envisaged.

Ascertaining experiment was conducted during standard music classes over a period of two months. During the educational process, which is aimed at developing all musical abilities, children were given a general idea of ​​all the properties of musical sound, but the use of musical teaching aids and games was minimal. The activities were aimed at developing pitch, dynamic hearing, timbre perception, memory, imagination, thinking, as well as developing a sense of rhythm. The purpose of the ascertaining experiment is to identify the level of musical-sensory abilities.

The results of the ascertaining stage of the experiment are shown in Table No. 2.

Table No. 2 shows that the stage of the experiment with older preschoolers showed a rather low level of development of musical-sensory abilities, although the children were psychologically ready for this activity. This was manifested in the enthusiasm for using musical and didactic aids, but the actions were performed intuitively and the children had to put a lot of effort into their implementation. In the games, preschoolers used their imagination and responded emotionally, but the tasks were always carried out according to the model.

Based on the evaluation criteria, we can conclude that during the ascertaining stage of the experiment, aimed at identifying the level of formation of musical-sensory abilities, a relatively small percentage of children reached a high level of development, namely 10% (2 people), while a larger number of children 60% (12 people) remained at the initial stage of development. The average level of development is 30% (6 people).

Based on the conducted stage of the experiment, it can be assumed that with the active use of musical-didactic aids and games, great results can be achieved in the development of musical-sensory abilities.

For this purpose, another stage of the experiment was carried out - formative, which lasted for two months, was carried out in the form of games-activities, concentrated in their target content, systematized in their sequence and was aimed at developing musical and sensory abilities. During music classes at this stage, musical didactic aids and games were actively used, gradually becoming more varied and complex. Each subsequent degree of difficulty in completing tasks included the material of the previous one with its obligatory complication.

The methodology for conducting formative training was a continuous and consistent cycle of mastering a series of manuals and games over a certain period. Children mastered each manual or game in three stages:

First stage. Initial orientation in the methods of independent actions to distinguish the properties of musical sounds in the conditions of familiarization with musical teaching aids and games in the classroom;

Second phase. Mastering by children the methods of sensory actions to distinguish the properties of musical sounds under the direct guidance of the teacher;

Third stage. Improving the skills of distinguishing sounds in the process of independent activity, but under the indirect guidance of a teacher. As well as completely independent use of musical and didactic aids and games on the initiative of children and without the help of a teacher in independent music-making.

The continuity of the cycle was that after mastering a musical-didactic manual or game in class, they were transferred to independent play activities, and at the same time, during the lesson, children were introduced to the next game or manual.

The process of mastering musical and didactic aids and games took place under the following pedagogical conditions:

While maintaining the unity of a holistic and differentiated perception of music, exercises and games;

Subject to the gradual and systematic formation of the sensory basis of musical perception;

When taking into account the age characteristics of children of senior preschool age;

Fairy-tale characters came to some of the children's classes. The children communicated with them, acted as older comrades and “teachers” when the goal was to teach something. In an effort to teach them everything, the children taught themselves. Thanks to this, all classes were held in a playful way. The children were very emotional, active, and responded to musical tasks with great desire. The arrival of “live guests” to some extent contributed to the achievement of high results and effectiveness of the conducted musical and didactic games.

All musical and didactic aids and games used during the formative stage of experimentation were aimed at:

To develop musical abilities;

To develop methods of sensory actions;

For practical training in the skills of sensation, perception, methods of sensory actions;

To develop emotional responsiveness;

To activate auditory attention;

An interested attitude towards cognitive activity;

To develop independent creative approaches and actions;

To develop methods of search activity, methods of orientation in simple problem situations;

For the development of memory, thinking, imagination;

To acquire knowledge, skills and abilities;

To awaken a positive attitude both towards classes and towards the art of music in general;

The results of this stage of the experiment showed that musical didactic aids and games combine all the teaching, developmental and educational functions that are aimed not only at the development of musical abilities, but also with their help, sensory operations are carried out, enriching the child’s experience, promoting the formation and development musical and sensory abilities. Table No. 2 shows that after the formative experiment, 70% (14 children) achieved a high level of development of musical-sensory abilities, which is 7 times more than at the previous stage of the experiment. Children with a weak indicator of musical abilities and capabilities rose in their development to an average level, their number is 20% (4 children). Compared to the results of the ascertaining experiment, a very small number of children remained at the initial level of development; their number is 10% of 2 children.

The development of musical-sensory abilities in preschool children in a formative experiment showed a number of high indicators, as a result of which:

1) the level of development of musical abilities has increased, this is reflected in the fact that:

Children's auditory attention has become more organized;

Motor reactions became organized, coordinated with the music;

There was a quick and clear reaction to high and low sounds;

The rhythm conveyed by children has become more accurate not only in clapping, but also in its transmission on musical instruments;

Children's reaction to identifying instruments by timbre and dynamic sound has improved;

Emotional responsiveness has improved in perception and performance;

2) the level of development of musical-sensory abilities has changed significantly, which manifested itself in the quality of active listening, playing music, and children’s examination of musical sounds, while promoting the development of memory, imagination, and thinking;

3) the approach to the learning process has changed significantly. This was reflected in the interest in using didactic material, in the activity of completing tasks, in the application of skills acquired in classes in independent musical activities. During the classes, the children behaved actively, freely, and at ease; the percentage of fatigue was very low.

As a result of the formative stage of experimentation, the pedagogical functions of musical and didactic aids and games were established:

1) development in children of the ability to distinguish the relationships between musical sounds and their properties;

2) the formation of methods of independent action, while didactic games and manuals act as a means of encouraging children to engage in independent activities.

The results of the experiment at two stages are shown in a graph comparing the level of development of musical-sensory abilities in older preschoolers.

"Ladder"

Target. Distinguish between the pitch of sounds and the direction in which the melody moves up and down.

Two cards with a picture of a ladder. One card shows a girl going up the stairs, the other shows a girl going down the stairs.

Methodology. After familiarizing themselves with the song “Ladder,” the children were asked to find out where the girl was going (up the ladder or down), and then show a card with the corresponding image. When performing it again, children are asked to show with their hand where the girl is moving - up the stairs or down. Noting each sound, children gradually raise their right arm (bent at the elbow in front of the chest) up or also gradually lower it down.

Then, to complicate the task, the children were asked to split into pairs to complete a specific task: one performs the first or second phrase of the song on a metallophone; the other determines by ear where the girl is going, up or down the steps, and selects a card with the corresponding image. The rest of the children determine whether the task was completed correctly.

In the next lesson they are introduced to high, medium and low sounds.

Progress of the game: The tasks are also carried out in a playful way. Matryoshka dolls come to visit the children: Zina, Tanya, Masha. Attention is fixed on the sound of three sounds - fa, la, do2. After singing each name, the children place the nesting doll on the step of the ladder: Zina on the bottom step, Tanya on the middle step, Masha on the top step. Then the sounds are played in different sequences, after which the children determine which of the nesting dolls sings high, which low and in what order.

After the children have consolidated their knowledge of musical sounds and their combinations, the music director tells the children that the nesting dolls have prepared a concert for them.

The adult says: “At the concert, three of them will sing, two of them, one at a time, and you, children, will have to determine how many nesting dolls are singing.” By determining how many nesting dolls sing, children become familiar with the concepts of “sound,” “interval,” and “triad.”

To consolidate knowledge about the direction of movement of the melody, children perform the song “Ladder” on a metallophone, using hammers on which matryoshka dolls are attached.

Musical repertoire.“Ladder” by E. Tilicheeva.

(Appendix No. 1)

"Fun - Sad"

Target. To develop in children an idea of ​​the nature of music (cheerful - calm - sad).

Description of the didactic manual. A card divided into three squares: the first shows a child with a cheerful, smiling face; on the second - with a calm expression on his face; on the third - with sad. Three chips with numbers 1, 2, 3.

Methodology. Children listen to a play of a cheerful, sad or calm nature and, with the help of a manual, determine its character (cover the corresponding image on one of the squares of the card with a chip in the order in which the character of the music changed), explain their actions. The numbers on the chips show this sequence.

At the next lesson, children listen to an unfamiliar play, knowing about it in advance. They determine its mood and come up with a name, while explaining their actions. The rest complement the answer, expressing their feelings. Then the children perform the following tasks: using the manual, they determine the character of an unfamiliar play and convey it in motion. Afterwards, if desired, the children individually compose a lullaby to the words: “Both the grass and the flowers sleep, bye, bye, sleep you too.” Children try to improvise on musical instruments.

Musical repertoire.“Three Moods” by G. Levkodimov.

(Appendix No. 2)

"Loud quiet"

Target. Strengthen the ability to distinguish dynamic shades of music: quiet (p), loud (f), not too loud (mf).

Description of the didactic manual. A card divided into three squares. Three small square cards of the same color, but different in saturation (one is orange, the other is pink, the third is burgundy), which conditionally correspond to a certain dynamic shade. The orange card corresponds to the quiet sound of music; pink - louder sound and burgundy color card - louder music.

Methodology. Children are given cards and their purpose is explained. Then they listen to a piece of music where the dynamic shades change sequentially: from the quiet (mezzo forte) sound of the first part to the quiet (piano) sound of the second and loud (forte) sound of the third. The piece is performed twice. First, children listen to music. When performing again, they lay out squares on the card that correspond in color to the dynamic shades of the music.

To increase the interest and emotional activity of children, a musical and didactic outdoor game was used, a staging of a short fairy tale, where children, portraying different characters, had to distinguish the words “loud”, “quiet”, “a little quieter”, “a little louder” and depict This. Each time the characters were played by children with different levels of development of dynamic hearing, and day by day one could observe something new with elements of children’s creativity.

“Cat and Mice”

There lived a cat Vasily. The cat was lazy!

Sharp teeth and a fat belly.

Very quiet he always walked.

Loud insistently asked to eat.

Yes a little quieter snored on the stove.

That's all he knew how to do.

The cat once had a dream like this

It was as if he had started a fight with mice.

Loud screaming, he scratched them all

With your teeth, your clawed paw.

There are mice in fear here quiet prayed:

Oh, have pity, have mercy, do me a favor!

Here a little louder exclaimed the cat, “Scram!”

And they scattered.

While the cat was sleeping, this is what happened:

Mice quiet came out of the hole

Loud crunching, ate bread crusts,

After a little quieter laughed at the cat

They tied his tail with a bow.

Vasily woke up and loud sneezed;

He turned to the wall and fell asleep again.

And the mice climbed onto the back of the lazy man,

Until the evening loud they made fun of him.

To improve dynamic perception, children are invited to play the game “Prince and Princess”.

Progress of the game: children sit on the mat facing the center of the circle, with their hands 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's a princess. The prince must recognize the princess by the loud music.

“Waltz” by G. Levkodimov sounds, the prince slowly walks to the music in a circle next to the children, the adult adjusts the dynamics: from quiet to loud. Hearing loud music playing, the prince points to the princess. The girl opens her palms and shows a bow.

Musical repertoire.“Loud and quiet music” by G. Levkodimov.

(Appendix No. 3)

"Who Sings Like"

Target. To develop in children the ability to distinguish between registers (high, medium, low).

Description of the didactic manual. Three cards made of cardboard, depicting a mother, father and little son.

Methodology. Children listen to a story about a musical family (with the music director showing the corresponding pictures), in which everyone loves music and song, but sings in different voices. Dad - in a low voice, mom - in a medium voice, little son - in a thin, high voice. Children listen to the performance of three pieces, sounding in different registers, and receive explanations for them. The play, sounding in a low register, is called “Papa's Story” (papa talks about a military campaign); the piece, sounding in the middle register, is called “Lullaby Song” (a mother sings a lullaby to her son); the piece, sounding in a high register, is called “Little March” (the boy, humming, marches to the music). After repeating each piece, the children guess whose music was played, choose the right card and show it, explaining their choice. The task is performed by the whole group of children, then individually, while the “musical riddles” are performed in different sequences.

To consolidate knowledge about registers, children play the game “Recognize by Voice.”

Progress of the game. An adult says: “Is it possible to recognize a person by his voice? Let's close our eyes and guess whose voice it is, who is speaking." Children determine by ear the timbre of the singer's voice: "I'll sing this song for you, my friend. Don’t open your eyes, who am I? Come on, guess.”

Yes, it turns out you can recognize a person by their voice. How did the poet tell us about this in poetry?”

Poems are read.

I go out into the corridor, I can do it myself without difficulty

I hear my mother speaking. Mom's - sonorous, silvery;

I hear dad talking. Papin is low and bassy.

The adult says: “And the composer composed a whole musical scene. Now try to recognize the voices of mom and dad in the music. Raise your hand when you hear “Mom’s voice” and lower it to your knees when “Daddy’s voice” sounds. Please note: at the end of the work, two voices are heard at once - father’s and mother’s.”

Musical repertoire.“Who Sings” by G. Levkodimov; “Dad and Mom are Talking” I. Arseev.

(Appendix No. 4)

“Guests have come to us”

Target. Development of timbre perception, improvement of knowledge about musical instruments.

Description of the didactic manual. Children get acquainted with the musical and didactic manual “Musical House”.

Methodology. Children will learn that this house is unusual; musicians live in it and play various musical instruments. That if you listen carefully, you can determine which instruments’ sounds are heard from different windows of the house. Hidden behind the screen are musical instruments, on which the familiar children's song “Cockerel” is played in turn. Children are called one at a time. Having recognized the instrument, the child approaches the table with cards on which various musical instruments are depicted, selects the card he needs and inserts it into the window of the house. Then they complete the task themselves: one of the children performs a sing-song on some instrument. The rest guess and close the windows of the “Musical House”. After this, the children are given musical instruments and they perform a familiar chant.

To achieve high results in the set goals, the following didactic game is used, in which the arrival of “live guests” caused activity and contributed to emotional uplift.

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

Progress of the game. The adult says: “Today we should have guests.” Knock on the door.

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

“Hello children, I came to visit you. I really love to dance and play. Today I came up with this game: one of you stands behind a screen and chooses a musical instrument there to play. And the rest will guess what kind of magical instrument it is.”

The child goes behind the screen and, with the help of an adult, selects the instrument that best suits the clumsy bear. In this case it was a tambourine. The bear dances to the tambourine, the children clap for him. At the end of the bear's dance, the children must guess what musical instrument he danced to. (Cards with images of musical instruments are distributed in advance).

After the children have identified the musical instrument to which the bear was dancing, other guests arrive, and each time different instruments are used: the bunny jumps to the rapid blows of a hammer on a metallophone, the horse to the clear blows of wooden spoons, the bird to the ringing of a bell.

Musical repertoire.“Cockerel” (Russian folk song) and other songs familiar to children.

(Appendix No. 5)

"The Cockerel, the Hen and the Chick"

Target. Exercise children in distinguishing three rhythmic patterns. To perform the game, the songs “Cockerel”, “Hen”, “Chicken” were previously learned.

Game material. Cards depicting three rhythmic patterns (cockerel, hen and chick).

Methodology. Children are given cards and reminded of the corresponding rhythmic pattern. Everyone sings songs and clap rhythmic patterns. Then the leader performs one of three rhythmic patterns on the metallophone and asks: “Who is pecking the grains?” The child covers the corresponding picture on his card. After this, the children perform the songs themselves, tapping a rhythmic pattern on a metallophone. At the next lesson, children sing by role, performing the dance of each character.

Musical repertoire.“Cockerel”, “Hen”, Chicken” by G. Levkodimov.

(Appendix No. 6)

"Find out the fairy tale"

Target. Distinguish the contrasting nature of parts in music in connection with its content and the development of the musical image.

Game material. Two square cards of a calm, green color, indicating the first and third parts of the music, in which the gentle lyrical image of Little Red Riding Hood is revealed. And also one square of alarming, red-orange color indicating the middle part, characterizing the appearance of the Gray Wolf.

Reduction technique. Remembering the fairy tale about Little Red Riding Hood, children listen to a three-part play, in which two parts are the same, and the second is contrasting in character. After carefully listening to the play, the children express their opinion, where the music talks about Little Red Riding Hood and where about the Gray Wolf.

Then the adult says: “At the beginning of the work, the music sounds cheerful - this is Little Red Riding Hood rejoicing that she is going to her grandmother. And the Gray Wolf was hiding behind a bush. And the music sounded alarming, even scary. But soon the music changed again. Little Red Riding Hood is happy - here is her grandmother's house.

Listen to the verses:

Little Red Riding Hood sings a song.

And in the thicket behind the bushes the Gray Wolf sits,

He clicks his teeth and watches the girl.

Little Red Riding Hood sings a song.

Little Red Riding Hood goes to her grandmother.

Now listen to the music again and determine how many parts there are and whether they are all different.”

After performing the play again, the children lay out the cards in the order in which the nature of the music changed, that is, the musical characteristics of the fairy-tale characters changed.

Musical repertoire.“Little Red Riding Hood and the Gray Wolf” I. Arseev.

(Appendix No. 7)

"Shadow-Shadow"

Target. Develop a sense of rhythm in children.

Progress of the game. Children know this song well. To improve the development of children's rhythmic sense, the following tasks were used in a playful way:

The song is sung together with children in order to reinforce the text;

Children simultaneously sing and clap their hands softly, marking the rhythmic pattern with clapping;

Singing in roles, where the adult acts as the author, and the children are the heroes (fox, hare, 2 hedgehogs, fleas, bear, goat);

Each child misses his role.

Singing in roles, but the role is played with the palms of the hands. It is explained to the children that the voice is “hidden”, the palms “sing instead of it”;

The entire 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;

Children sing the song “Merry Instruments”;

With the help of “cheerful” instruments they perform the rhythmic pattern of the song “Shadow-Shadow”.

Musical repertoire."Shadow-shadow" music. V. Kalinikova, lyrics. folk.

(Appendix No. 8)

"Rhythm cubes"

Target. Develop children's understanding of rhythm.

Game material. 10 long bars representing long sounds and 10 small bars representing short sounds. The bars vary in length and color.

Methodology. First, children listen to the simple rhythmic song “Soroka” (Russian folk chalk) performed by the teacher, paying attention to its playful nature and clear rhythm. Children are given long and short bars. After repeating the performance, the children clap the rhythmic pattern of the chant. Then, with the help of blocks, they put together a rhythmic pattern of a chant song, after which they perform it on a metallophone. In the following lessons, other singing songs are used (“Cockerel” Russian folk song, “Andrey the Sparrow” Russian folk melody).

Then, as a reinforcement of their knowledge, the children were asked to divide into pairs and come up with tasks for each other: one sings or plays a familiar tune on a musical instrument, the other recognizes it and lays it out with the help of blocks.

Musical repertoire."Soroka" Russian adv. chalk.

Appendix No. 9)

"Walk"

Target. Consolidating note durations, developing a sense of rhythm.

Game material. Musical instruments according to the number of players (mallets, drum, tambourine, xylophone, metallophone, bell, musical cymbals).

Progress of the game. 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 strikes on the table), and now we have gone out into the street. The bright sun was shining, we were happy, we ran (frequent hits on the drum or maybe hammers on the table). We were walking and having fun, but suddenly a cloud appeared, the wind blew, thunder struck, lightning flashed, and it began to rain. At first these were rare drops, and then a frequent heavy downpour began (the rhythm accelerates, children can knock on a drum, tambourine, hammer on a metallophone, hit cymbals, use a bell to convey rare drops of rain; all instruments are used to convey the state of the weather; rare drops of rain and Children convey heavy, frequent rainfall in a certain rhythm, as a result of which their knowledge of the durations of notes is consolidated.”

Adult: “The guys got scared by this weather and ran home - again fast and rhythmic blows.”

The game gradually became more complex, the children, with the help of an adult, came up with new events that took place during the “walk,” and each time the rhythmic patterns became more varied and complex.

“Teach the nesting dolls to dance”

Target. Development of a sense of rhythm.

Game material. Large and small nesting dolls.

Progress of the game. An adult has a large matryoshka doll in his hands, while children have small ones. “The big matryoshka teaches the little dolls to dance,” says the adult. He taps on the table, first a simple rhythmic pattern. Children repeat. Melodies of songs familiar to children were used as rhythmic patterns: “We are going with flags”, “The sky is blue”, “The month of May”, “Brave pilot”. If at first the children repeated after the adults, then they themselves began to come up with simple rhythmic patterns, or the adult began, and the children finished. Examples of rhythmic patterns were very diverse.

This musical and didactic game was used in music classes and as individual work.

Musical repertoire.“We are coming with flags”, “The sky is blue”, “The month of May”, Brave pilot” music. E. Tilicheeva, lyrics. M. Dolinova.

(Appendix No. 10)

"Butterflies"

Target. Teach children to distinguish and convey the tempo of musical sound in their movements.

Game material. Headbands are emblems with butterfly tendrils according to the number of players. Glockenspiel.

Progress of the game. The teacher invites the “butterflies” to learn how to fly easily across the clearing and spin in place, flapping their wings. He says that the sounds on the metallophone will sound either fast or slow. “Butterflies” need to fly to fast music, and to spin around to slow music (shows how to do this). Several times the game is played with a sequential change in the tempo of the sound. Then the music director says that he will always ask musical riddles to the butterflies: sometimes play quickly several times, then several times slowly, then once quickly, and many times slowly. And the “butterflies” will have to solve musical riddles. But this can be done if you listen to the music carefully. The game is played several more times with an arbitrary change in the tempo of the sound.

“Beautify the music”

Target. The game is used to develop musical creativity. The technique of orchestration promotes differentiation of perception - highlighting the most striking means of expression, and encourages children to listen carefully to 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).

Progress of the game: Preschoolers first listen to the entire piece, determining its rhythm and mood. Then, at the request of an adult, the children try to use the orchestration technique. They repeat the rhythm of the song, as if playing along with a musical instrument. Then, at the climax of the song, the instruments sound all at once.

As a creative task, children are invited to show creativity - to decorate the sound. For example, somewhere you can decorate a melody with the sound of a bell, a metallophone, or the beating of a drum or tambourine.

In such a musical-didactic game, children distinguish the nature of the music, try to adjust their mood to a certain rhythm and catch its slightest changes, use their imagination, and show creativity. In the process of this game, the following develop: the skill of playing musical instruments, a sense of rhythm, musical and auditory perceptions, imagination, performing and creative abilities.

Table No. 1. Criteria for analysis and assessment of musical activity.

State of the art	General criteria for assessing achievements
Elementary	The preschooler demonstrates the ability to perform elementary sensory actions, relying on existing ideas; fragmentarily displays a small part of the educational material; with the help of the teacher, completes basic tasks; an emotional attitude towards completing tasks is manifested;
	The preschooler applies knowledge while performing tasks according to the model, acquiring the skills to perform them; with the help of didactic material, identifies means of expression from the musical fabric; auditory perception, attention has become more organized; learned to express feelings and experiences of what they heard not only in words, but also in movements; skillfully applied didactic material for independent practice;
	The preschooler controls his own actions; applies acquired knowledge in slightly modified situations; expresses his thoughts correctly and clearly; independently owns a system of examination actions, acquiring automation of skills, improvement of actions, self-control;

Ascertaining stage of experimental work.

Formative stage of experimental work.

Graph comparing the dynamics of development of musical-sensory abilities in older preschoolers during the experiment.