Admission to a music school. Methodological recommendations for teaching a preparatory class in a music school or studio
excellent student in education of the Republic of Belarus
Nikitina Jamilya Faridovna
In the first lesson, I introduce children to Grandma Music, while at the same time talking about their grandmothers. Children are happy to talk about them and remember the main features of Grandma Muzyka: that she can be cheerful and sad, slow and fast, loud and quiet.
A musical show is needed here, and the first discovery for children is that they need to be able to listen to music. It’s not for nothing that we have two ears and one mouth.Listen first, then talk.This is important, it will definitely be useful in life! From the first lessons they understand that they need to learn to listen and hear. It doesn’t even matter what or who: whether Music’s grandmother or the rustle of the breeze, or your friend. Develops attentiveness and the ability to concentrate while listening to music. Understanding and sharing concepts such as noise and musical sounds, children learn to reproduce music with their voices, using the main musical instrument - the unique and most beautiful, their own voice timbre. Based on practice and observations, it turned out that children often lack a high timbre of voice due to birth injuries, acquired fears and psychosomatic reactions of the body later. And therefore, coordination between hearing and voice is leveled through the use of voice exercises. I ask the children to draw a character with their voice and, earlier, illustrated musical fairy tale, for example, Wolf low voice, Dinosaur with small eyes high voice, with a small head slightly lower voice, with a thick neck medium voice, thick belly low voice and heavy tail transition to wheezing. By drawing characters from fairy tales with their voices during the game, children lose their fear of playing notes in the high or low registers. And, subsequently, the C major scale is sung purely, without fear of making the transition from the chest register to the head register. The most important notes are re, mi, fa. Basically, all children sing them purely, but with the note G, many children are afraid to use the head resonator, since they have to artificially hit high notes. When they understand how to do it, they lose their fear and sing with pleasure at the top. Just don’t overload the ligaments; everything needs to be done carefully, not loudly.
These magical seven notes: do, re, mi, fa, sol, la, si are like a rainbow, and each note has its own color: do red, re orange, mi yellow, fa green, sol blue, la blue, si violet. We learn to recognize notes and write them using visual aids in the form of a large stave with multi-colored notes.
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In India, for example, the Shrutti modal system, containing 22 sounds per octave, is still used, and in the Middle East, the Arab-Persian modal system contains 17 sounds per octave. But we don’t teach little musicians about this yet.
A song from the world masterpiece, the musical “The Sound of Music,” by composer Rogers “The ABC of Music” is appropriate here. You can learn it and sing it while looking at a visual aid. The kids like it.
Up to sparrow's nest
Re trees in the yard
Mi feed the kitten
Fa an owl screams in the forest
Sol kids playing
The whole Earth sang A
Si we sing in order to
To return to Do again.
Even later, writing down notes in a regular music notebook, we color them. Children first remember notes by color, then by location on the staff. And the learning process musical notation happens joyfully and unnoticed. Using the same system, we study the notes of the bass clef in the second half of the year. E. Koroleva’s manual “Music in Fairy Tales, Poems and Pictures” is very helpful.
Also, auditory analysis helps to build intonation. From the first lessons, through auditory sensations, we learn to determine the “number of birds on a branch” (the number of notes sounding at the same time). Determine the most ringing bird - the upper voice, as well as the wisest, oldest bird - the low voice. We also “walk” along a large staff with multi-colored notes from C up and down. You can cut out a girl from cardboard; children will be happy to decorate her and give her a name. And then it’s not the student’s finger that walks from note to note, but real character girl Sveta. Children “walk” it more carefully and attentively, they better feel the direction of movement of notes: up or down the scale. In this way, children develop a sense of pitch.
As for vocal solfege, children enjoy learning to conduct through the “man-orchestra” game, as well as sing notes. I use the first part of the collection “Solfeggio” by B. Kalmykov, G. Fridkin. I learned from it too. I find it very convenient. In addition, there are many examples of folk music. Although, you can use other manuals, for example N. Ladukhin.
In parallel with the work on coordinating hearing and voice, a lot of work is being done on rhythm. Raise in little man a correct sense of rhythm and time, this, I believe, is the key to his further success in life. And these are not empty words. How often do we see capable and talented people, but often unadapted to modern realities of life. This inability arises due to the lack of a sense of rhythm, tempo, and meter. Living in the rhythm that life circumstances dictate to you is the basis of harmony and happiness. Hubbart: “Living in a world of high speeds with slow-moving people is not safe.” On musical examples(mostly I give themes from folk musical creativity, I’ll explain why later) children learn to play the famous Orff instruments: spoons, rattles, drums, xylophones and many others. By falling in time with the music and matching its rhythm on their instruments, children enter an ecstatic state of musical unity, they have a sense of significance, a sense of their own. creativity. By the way, even with the most insignificant victories, I ask the child to pat himself on the head and praise himself. It is important to reward yourself from childhood for your work and results in order to support your desire to continue working. And, of course, the teacher gives encouragement in the form of an “A.”
It is also important that the child remembers that we count Grandma Music to four. The “two barats” rhythm is very helpful in reading: Ti and Ta. Ti are small, nimble, fast, and we designate it like this (Fig.a):
And Ta is a big and important brother, we designate him like this (Fig. B):
Ti-ti-ta sits inside them like an alarm clock and works to the rhythm of the music. And that's great.
Writing rhythmic dictations helps develop a sense of rhythm and tempo. The teacher plays a rhythmic pattern on one note. The child writes it down in a notebook, having previously played it on a percussion instrument and spoken out loud the words ti and ta. It is very important that he felt like a little composer. He can add multi-colored notes to the rhythmic scheme at his discretion, try to play his piece, give it a name. Often, children at home with their parents also compose words to their music, resulting in a song of their own composition. A huge interest in his creativity develops, the child understands that he can compose music himself about a mouse, and about autumn, and, of course, about his mother.
Interest in playing the piano grows from lesson to lesson. Since before fully studying the preparatory music course, I do not sit them down at the instrument right away, as in a music school, but they sit down on their own when they are already well versed in finding notes in any octave and singing solfeggio. Children themselves ask to play, this happens naturally with great joy and pleasure. You need to do an exercise with them. Initially, we hang “coats” or “raincoats” on the third finger, as if on a hook. With a relaxed hand, children should feel their third finger and support.
Then we move our free hand with the sensitive third finger to the keyboard.
You need to do an exercise with them different fingers, the main thing is that they move in mirror image from each other. Each teacher has his own tricks, the main thing is that it is convenient and easy to pick up the sound. The sound production process should be natural and convenient. At the end of the year, they calmly play the C major scale in forward and divergent motion, the chromatic scale, arpeggios (this is the hardest, so I practice singing triads in every lesson) and chords. Children love chords, as this is the simplest type of accompaniment to their songs. At the end of the first year, children sing songs to their own accompaniment in the key of C major.
Nowadays, I. Korolkova’s collections “To the Little Musician”, parts 1 and 2, are very in demand and popular.
Vivid illustrations and consistently well-presented musical material produce amazing results. When studying the bass clef, plays from Leshchinskaya’s collection “Baby on the Piano” help me
It is also very useful to let children copy solfeggio numbers from the treble clef to the bass clef, while not forgetting to color the notes in the colors of the rainbow. Visual clarity in the form of a large staff and multi-colored notes already in the bass clef helps. Here we are helped to fall in love with the bass clef by such fairy-tale characters as the Bear, the Wolf, Baba Yaga, Grandfather Morz, etc.
Appeal to folk art, folklore is not accidental. Due to computerization, urbanization and very little communication with wildlife, there is a loss of connection with the past. Children know little folk tales, proverbs, sayings, lullabies. Unfortunately, modern parents read little or do not read bedtime stories or sing lullabies. But this has such a beneficial effect on the child’s psyche. The fact is that in each of us there is a genetic memory - the memory of our ancestors. She gives us strength, nourishes us with her juice. Feeling a family within ourselves, we are an integral part of our people. This is important for a person, so nourish him folklore creativity, it’s like being fed with mother’s milk on a spiritual level. Therefore, as musical illustrations I use folk music: Russian, Bashkir, Tatar, Georgian, Ukrainian. To make the archaic sound clearer to children folk music, my accompanist stylizes it, modernizes it. All negative phonograms sound folk, but in the context of modern pop -cultures. Children sing with pleasure folk songs, like “The Baby Was Walking”, “Grapes”, “Oh Early, for Ivan”, “Jolly Geese”, “Kolyada”; Bashkir “Ay, Uralym”, medley on themes of famous Bashkir folk songs, Tatar “Round Lake”, Georgian “Aragve rushes into the distance” and so on. It is very useful to practice working with microphones in the studio and on stage. At first, children get used to the timbre of their voice, then they begin to love it, and find their own timbre features, “highlights.” And listening to their vocal recordings teaches them to analyze their voice and transform it for the better.
Over the course of a year, an aspiring musician masters general musical concepts and knowledge, as well as initial basic skills. He can:
Sing and conduct from notes based on the Kalmykov-Fridkin collection from numbers 1 to 30
Write rhythmic and intonation dictations in 2/4 time in the key of C major for 8 bars
Analyze a piece of music, can tell what grandmother was like. Music sad or cheerful, fast or slow. He knows how to calculate and slam it.
Play the C major scale
Play accompaniment to 1 2 simple children's songs in the key of C major, using a full functional turn T S D T .
Play any of the pieces from the collection “To the Little Musician” by Korolkova, part 1 and the first half of part 2. (the most advanced students reach the end of the second part).
Sing to a backing track with a microphone.
Compose your own melodies and write them down in a notebook.
The process of introduction to the vast world musical art very creative and varied. And one built on love becomes unforgettable and productive for the child!
It makes sense to conduct this consultation at the beginning school year, as part of the specialists’ access to parent meetings in groups.
Target : available, interesting form providing information to parents about the benefits and importance music education.
- give in a correct, positive form general characteristics musical abilities of children in this group;
Tell about the great interest of children in music classes in preschool educational institutions;
Convince parents that children studying in music schools are intellectually and morally different from their peers, have an excellent opportunity to communicate with gifted children, and can understand and appreciate works of art;
Provide information about the specifics of music schools and music studios in Perm;
Briefly describe the educational disciplines of the music school (solfege, musical instrument, musical literature, choir, orchestra);
Provide scientific facts about improving speech in preschool and younger children school age, through practicing musical instruments (this information is very relevant today);
To focus the attention, especially of parents of girls, on the fact that for their children music in the future can become a wonderful, wonderful profession;
Introduce parents to the article “Ten reasons to send your child to a music school” by the vice-rector Russian Academy music named after Gnessins, professor, doctor of art history, doctor of psychological sciences D.K. Kirnarskaya (then place this information in the corner for parents).
Also at this meeting it would be appropriate to arrange a small concert for children of the music school (students of grades 1-2).
Dear Parents! If at least one of the child’s relatives has good voice and hearing, then it is quite natural that the child is not deprived of musical abilities. You can verify this by sending your child to a music school. Today it is much more prestigious to teach a child English, fast reading and writing rather than musical literacy, but music plays far from last role in the development of the child’s personality. Perhaps your child will like the choice of instrument that you offer him, or maybe he himself has his eye on a piano or violin. Children often strive to imitate their idols, and if your child’s favorite actor in some movie sits in a black tailcoat at the piano and plays a beautiful melody, then the child may become attracted to this instrument and ask you to teach him to play it.
What will a child receive at a music school? First of all, this is musical literacy, aesthetic taste and the concept of beauty. Few children in early age understand the true meaning of the works of the classics, but they try their best to convey them to the listeners in their own way. The child learns to hear the subtlest changes in music, to understand its nuances and mood, and over time he will learn to hear these changes in human speech - to notice the slightest changes in the mother’s intonation or the teacher’s unnoticeable dissatisfaction. With the help of music, a child learns to communicate with people, to capture the mood of the interlocutor, his emotional state. In addition, the influence of music on a child’s development is undeniable in the development of perseverance, patience, and systematic work.
However, it would be a misconception to think that if you send your child to a music school, he will immediately become diligent. Many children don’t even last a year in music school because they are bored there, they need to learn a lot of terms they don’t understand, understand them, and repeat the same melodies at home day after day. So if your child resists such teachings, do not scold him, because not everyone grows up to be famous musicians; for many, musical education simply gives another page of variety in life, and nothing more. In any case, dear parents, it’s up to you to decide!
Expected Result
Parents may listen to qualified advice from a music director and about 50% of them will take their children to study at music schools and studios in the city.
Application.
Ten reasons to send your child to a music school
Despite the fact that the child is screaming Cheburashka songs out of tune and has no hearing; despite the fact that there is nowhere to put the piano, and the grandmother cannot take the child “to music”; despite the fact that the child has no time at all - English, Spanish, swimming class, ballet and so on...
There are good reasons to overcome all this and still teach music, and modern parents should know these reasons:
1. Playing is following a tradition. All aristocrats, Russian and European, were taught music. Playing music is gloss, brilliance and chic, the apotheosis of secular manners. Duke
Ellington started playing the piano because girls always gather around the guy who plays. Well, what about the girl playing around? Attention, parents of brides!
2. Musical lessons develop willpower and discipline: you need to practice the instrument constantly, regularly and without interruptions. In winter and summer, on weekdays and holidays. Almost with the same tenacity with which champions train in the gym and on the skating rink. But, unlike sports heroes, when playing the piano, you cannot break your neck, leg, or even arm. Attention, strict parents! Music is character education without the risk of injury: how good it is that this is possible!
3. By studying music, a child develops mathematical abilities. He thinks spatially, hitting the right keys, manipulates abstract sound figures, memorizing the musical text, and knows that a piece of music is like a mathematical proof: neither subtract nor add! It is no coincidence that Albert Einstein played the violin, and Oxford physics professors and mathematics professors make up 70% of the university's music club members. Attention, visionary parents of future mathematicians and engineers! Playing music is more pleasant than solving difficult problems under a tutor’s stick.
4. Music and language are twin brothers. They were born one after another: first the eldest - music; then the younger one is verbal speech, and in our brain they continue to live side by side.
Phrases and sentences, commas and periods, questions and exclamations are found in both music and speech.
Those who play and sing speak and write better and remember more easily foreign words, learn grammar faster. Music lovers and writers Turgenev and Stendhal, Boris Pasternak and Leo Tolstoy, Jean-Jacques Rousseau and Romain Rolland, each of whom knew more than one foreign language, recommend music to all future polyglots. Attention, wise parents of future journalists and translators! In the beginning there was the Word, but even earlier there was Sound.
5. Music is structural and hierarchical: large works are divided into smaller parts, which in turn are divided into small themes and fragments consisting of small phrases and motives. A spontaneous understanding of musical hierarchy makes it easier to understand a computer, which is also entirely hierarchical and structural. Psychologists have proven that little musicians, students of the famous Shinichi Suzuki, even if they were not very successful in developing musical hearing and memory, were ahead of their peers in terms of
2. level of structural thinking. Attention, pragmatic parents of future IT engineers, system administrators and programmers! Music leads straight to the top of computer science; It is no coincidence that Microsoft prefers employees with a musical education.
6. Musical classes develop communication skills or, as they are called today, communication skills. Over the years of study, a child musician will become acquainted with the gallant and friendly Mozart, the rugged and athletic Prokofiev, the sophisticated and philosophical Bach and other very different musical figures. While playing, he will have to impersonate them and convey to the public their character, manner of feeling, voice and gestures. Now there is one step left to the manager's talent. After all, perhaps the most important thing for him is to understand people and, using his understanding, to manage them. Attention, ambitious parents of future founders of business empires! Music leads from heart to heart, and a top manager's most formidable weapon is the disarming smile of a “nice guy.”
7. Musicians are kind-hearted and courageous at the same time. According to psychologists, male musicians are sensual, like ladies, and female musicians are persistent and strong-willed, like men. Music softens morals, but to succeed in it, you have to be courageous. Attention, visionary parents waiting for help and support in old age! Children who have studied music are sympathetic and patient at the same time, and therefore are more often ready to give their elderly parents that same “glass of water.”
8. Music lessons teach you to “turn on command.” Musicians are less afraid of the dreaded word deadline. At a music school, you cannot reschedule a scale test or a class concert until tomorrow or a week in advance. The artist’s position on stage teaches him maximum readiness “on demand,” and a child with such experience will not fail a serious exam, a job interview, or an important report.
Attention, worried parents! Musical lessons in childhood provide maximum endurance and artistry for life.
9. Musical classes raise little “Caesars” who know how to do many things at once. Music helps to navigate several simultaneous processes: for example, a pianist sight-reading does several things at once - remembers the past, looks into the future and controls the present. The music flows at its own pace, and the sight-reader cannot stop, rest, or take a breath. Likewise, an air traffic controller, a computer operator, or a stockbroker monitors several screens and simultaneously listens to and transmits information on several telephones. Music teaches you to think and live in several directions. Attention, overworked and tired parents! It will be easier for a child musician than for you to run along several life paths and come first everywhere.
10. And finally, music - the best way to life success. Why? See points 1-9.
It is no wonder that many celebrities have a musical background: Agatha Christie wrote her first story about why it is difficult for her to play the piano on stage; Condoleezza Rice, on the other hand, loves nothing more than to play in public in her dazzling concert dress, and Bill Clinton is sure that without the saxophone he would never have become president.
Look at successful people in any field, ask if they were involved in music as a child, even if only for a short time, even if not with much zeal? Of course we did. And we have 10 reasons to follow their inspiring example.__
Debates about the age at which one can start learning music have been going on for a long time, but by and large, no clear truth has emerged from these debates. Supporters of early (as well as very early) development are also right - after all, a small child absorbs any available information like a sponge, laying a powerful foundation for further development.
Opponents of too early education also make convincing arguments. These include emotional overload, the psychological unpreparedness of children for systematic activities, and the physiological immaturity of their play apparatus. Who is right?
Developmental activities for the youngest children are not modern know-how at all. Back in the middle of the last century, Japanese professor Shinichi Suzuki successfully taught three-year-old children to play the violin. He believed, not without reason, that every child is potentially talented; it is important to develop his abilities from a very early age.
Soviet music pedagogy regulated the teaching of music in this way: from the age of 7, a child could (there were seven classes in total). For younger children, there was a preparatory group at the music school, which was accepted from the age of 6 (in exceptional cases - from five). This system lasted for a very long time, surviving both the Soviet system and numerous reforms in secondary schools.
But “nothing lasts forever under the sun.” New standards have also come to the music school, where education is now considered pre-professional training. There are many innovations, including those affecting the starting age of education.
A child can enter first grade from 6.5 to 9 years old, and studies at a music school lasts 8 years. Preparatory groups with budget places have now been abolished, so those who want to teach children from an earlier age will have to pay quite a significant amount of money.
This is the official position in terms of starting to study music. In reality, there are now a lot of alternative options (private lessons, studios, development centers). A parent, if desired, can introduce his child to music at any age.
When to start teaching a child music is a very individual question, but in any case it needs to be solved from the position of “the sooner the better.” After all, learning music does not necessarily mean playing an instrument; at an early age, this can wait.
Music- a type of art that children are able to perceive from the first days of life, and even before birth. Mother's lullabies, palm-palms and other folk jokes, as well as classical music playing in the background - these are all “harbingers” of learning music.
Children attending kindergartens study music there twice a week. May it not be far professional level, but there are undoubtedly benefits. And if you are lucky with a music director, then you don’t have to worry about additional classes. You'll just have to wait the right age and go to music school.
Parents usually think about what age to start music lessons, meaning how early can this be done. But there is also an upper age limit. Of course, it’s never too late to learn, but it depends on what level of musical education you’re talking about.
For general development you can begin to comprehend the art of music even in retirement. But if we talk about professional mastery of an instrument, then even at the age of 9 it’s too late to start, at least for such complex instruments as the piano and violin.
So, the optimal (average) age for starting music education is 6.5-7 years. Of course, each child is unique, and the decision must be made individually, taking into account his abilities, desire, pace of development, readiness for classes and even health status. Still, it’s better to start a little earlier than to be late. An attentive and sensitive parent will always be able to bring their child to music school on time.
No comments
Municipal budgetary educational institution
additional education children
"Children's music and choir school "Dream"
Nizhnekamsk municipal district Republic of Tatarstan
Reviewed and accepted I approve
at the meeting methodological unification Director of MBOU DOD "DMHS"
music teachers - “Dream” NMR RT
theoretical disciplines
protocol No. ________________ _________ V.V. Igoshina
"____"__________08_____ 2015__ "___"_______________ 20__
Working programm academic discipline
SOLFEGIO
(preparatory group)
APPROVED by the school's teaching council
"____"___08____________ 2015__
COMPILED BY:
Bylinkina Olga Pavlovna,
higher education teacher qualification category.
Nizhnekamsk
EXPLANATORY NOTE
The program is designed for students in the preparatory group " sun rays» (7-8 years) for one academic year based on standard solfeggio and rhythmic programs of the Federal State Educational Standard.
Solfege classes in preparatory group aimed at developing musical and creative abilities, figurative and artistic thinking, sustainable interest in classes, mastering the fundamentals musical literacy.
The classes include rhythmic tasks, practical music-making (singing, playing musical instruments, improvisation), listening and performing various musical works. Tasks for listening to music: developing memory, deepening emotional responsiveness to music, developing in children an idea of the content of musical works (form, genre, means of expression). Detailed work on the development of vocal and intonation skills will contribute to the purity of intonation, expanding the singing range of children, consolidating certain intonation turns in their minds, which will help the formation of a modal sense.
Teaching musical notation and getting to know theoretical concepts happens in a playful way.
Much attention is given to musical and creative self-expression, teaching improvisation techniques as a means of developing musicality in children, as a way of actively mastering musical language.
To develop a sense of rhythm, musical instruments are used in classes: metallophones, tambourines, drums. Children perform on them the rhythmic pattern of a song they have learned or just heard, singing, emphasizing the metrical accents of the melody, dynamic shades.
Thus, the use of this program contributes to the implementation of the main task: awakening the musician-artist in the child, developing his desire to listen to music and think about it.
The program is based on the solfeggio program for children's music schools, approved by the methodological office of the Ministry of Culture.
Target to achieve creative activity and interest in every child, to develop in him the ability to think musical images, as well as to form the basis for the comprehensive development of musical ear and vocal intonation skills.
Tasks- development of melodic and harmonic hearing
Cultivating a sense of rhythm
Introduction to theoretical concepts
Awakening in a child creative thinking
GENERAL CHARACTERISTICS OF THE TRAINING COURSE
Program content is that the theoretical knowledge acquired in the course of classes must be associated with practical skills. Knowledge of theoretical foundations contributes to education musical thinking students develops a conscious attitude towards the musical phenomena being studied. But any phenomenon in music cannot be understood without connection with its specific sound expression. Therefore, one of the most important tasks of a solfeggio teacher is to develop auditory concepts in students. All theoretical work should rely on internal auditory representations, the presence of which plays a huge role in the process of learning music. They are necessary for the student’s successful performing practice, as well as for future activities, both as a professional and amateur musician.
Selection criteria musical material in solfeggio lessons is quite multifaceted and complex. The teacher has to be guided by a number of heterogeneous criteria, such as compliance with program requirements, the appropriateness of its use for processing the necessary technical skills, stylistic diversity, performing capabilities of the training group. the main task is to purposefully select material for various forms work on solfeggio (singing, auditory analysis, dictation, intonation exercises, creative tasks) ultimately gave the student a vivid and concrete idea of the variety of musical and expressive means, of the most important manifestations various styles and eras.
Main methodological principles programs are:
The principle of increasing complexity of the material being studied (“from simple to complex”);
The principle of developing the cognitive interests of each student;
The principle of developing students' creative abilities;
The principle of integrity is the construction of activities based on the unity of the processes of development, training and education of students;
The principle of interdisciplinary integration;
The principle of consistency is the continuity of knowledge, that is, the “kinship” relationship of repetition and learning at all levels of education.
Types of musical activities The solfeggio lesson includes the following sections:
Listening to music
Movement to music
Playing musical instruments
Creative exercises (selection by ear, improvisation)
PLACE OF THE SUBJECT IN THE CURRICULUM
The program for the subject of solfeggio is compiled in accordance with the number of hours specified in curriculum MBOU DOD "Children's music and choir school "Dream" NMR RT. The subject is studied in a volume of 58 hours, 2 lessons per week for 30 minutes.
VALUES OF SUBJECT CONTENT
The subject "Solfeggio" plays a huge role in the development of musical abilities (hearing, rhythm, memory), introduces theoretical foundations musical art, contributes to the formation of practical skills in practical music-making.
The knowledge and skills acquired in solfeggio lessons should help the student in his instrument, choir, musical literature.
PERSONAL, META-SUBJECT AND SUBJECT RESULTS OF MASTERING A SUBJECT
Personal results are reflected in the individual qualitative properties of students, which they must acquire in the process of studying the subject of solfeggio:
Knowledge of the basics of musical literacy;
Ability to listen and analyze music competently;
Development of the emotional-sensory sphere, artistic, imaginative and creative thinking.
Meta-subject results characterizes the level of formation of students’ universal educational actions, manifested in cognitive and practical activities:
Formation of individual and collective skills creative activity;
The ability to express oneself;
Formation of a creative approach to any type of activity.
Subject results reflect students’ experience in musical and creative activities:
Mastering practical creative skills;
Familiarization with musical theoretical foundations;
The ability to analyze and reflect on the content and nature of music.
PLANNED RESULTS
Children will learn to recognize by ear the nature of music, mode, direction of melody, repetition, etc., sing songs and chants with timing and conducting, write them down with notes, and play the piano.
In the process of elementary improvisation, the child will learn to think in sound images, develop imagination, and the ability to create new images based on musical and auditory reserves.
THEMATIC PLANNING
Distinguish between consonances and dissonances in listened music and individual consonances.
Learning and selecting small songs on the instrument.
Play and sing songs made from repeating sounds on different keys in the first octave.
Staff. Treble clef. Note.
Scale.
Be able to determine the direction of a melody from musical notation and by ear, distinguish between ascending, descending and repeating sounds in a melody, and play them based on a given sound.
Record a musical dictation, play and sing one of the songs you have learned from a given sound.
Fraction-pulse. Musical tempo.
Note the beat pulsation, determine the difference in the speed of alternation of beats in the listened works, determine fast, moderate and slow tempos.
Quantity. Half and quarter durations. Rhythm.
Spelling calms.
Mark the rhythm by clapping durations against the background of uniform steps in quarter durations (pulse).
Clap the rhythm of an unfamiliar melody you just heard,
lay out the rhythm using rhythm cards.
Strong and weak beats. Size 2/4.
Bar, bar line. Clocking.
Celebrate strengths and weak beats clocking, recording melodies with notes in a rhythmic arrangement.
Interval fairy tale. Intervals octave-part 8 and prima-part 1.
Play, sing, determine by ear the intervals part 8 and part 1
Reinforcing the material covered.
Second half 31h
3 quarter 17 o'clock
Repetition of covered material.
Complete practical assignments orally and in writing on the topics covered.
Interval fairy tale. Interval of fifths-ch.5.
Play, sing, determine the interval by ear, part 5
Pause. Quarter pause.
Rhythmic exercises.
Perform exercises using rhythm cards, tap a recorded rhythm, invent and perform rhythmic accompaniment using noise or percussion instruments note the pulsation, strong beats solo or in an ensemble.
Improvisation of rhythm under beat pulsation, rhythmic accompaniment.
Eighths of duration.
Perform written and oral rhythmic exercises in various combinations of completed durations.
Interval fairy tale. Interval quart - part 4.
Play, sing, determine the interval by ear, part 4.
Tone and semitone.
Expressively perform songs in tone and semitone, intonate according to a given sound.
Find tone and semitone on the keyboard.
Accidental signs - flat and sharp.
Find the rise and fall of sounds when selecting received melodies by ear, and be able to explain the signs.
Be able to correctly write accidental signs on the staff before the notes.
Interval fairy tale. Interval second - m.2 and b.2.
Play, sing, determine by ear the intervals b.2 and m.2.
Major and minor. Major and minor scale.
Distinguish the scale by ear, accurately intonate chants and melodies in major and minor.
Interval fairy tale. Third interval – b.3 and m.3.
Play, sing, determine intervals b.3 and m.3 by ear
Reinforcing the material covered.
Complete practical assignments orally and in writing on the topics covered.
4 quarter 14h
Repetition of covered topics.
Sing and play from sound to song of all the characters in the interval fairy tale.
Music genres: polka, waltz, march. Means of musical expression.
Dynamic shades.
Determine genre affiliation
music, move to the music, noting the strong beats.
Analyze the piece you heard.
Size 3/4
Improvise movements to the music of 2x and 3x - beat pulsations, determine the size of the pieces listened to. Perform a given rhythmic accompaniment. Lay out on cards the rhythm of a familiar or just heard melody. Sing melodies in ¾ time. Clap the recorded rhythm.
Size 4/4
(familiarization)
Determine the size of the listened works. Perform a given rhythmic accompaniment. Lay out the rhythm of a familiar melody on cards. Sing melodies in 4/4 time. Clap the recorded rhythm.
Interval fairy tale. The sixth interval is b.6 and m.6.
Play, sing, determine intervals b.6 and m.6 by ear
Interval fairy tale. Septim interval – b.7 and m.7.
Play, sing, determine by ear the intervals b.7 and m.7.
Solfaging exercises with timing.
Improvisation of melody to text. Question and answer in melody.
Sing previously learned songs with notes and timing.
Improvise melodies to a given text.
Reinforcing the material covered.
Solfage one of the melodies you have learned, lay out its rhythm with cards, and clap it.
Determine the mode, tempo, and dynamic shades in the piece you listened to.
Play the passed intervals.
Final lesson “Feast of Knowledge”.
Use the acquired knowledge and skills in practice.
EDUCATIONAL AND METHODOLOGICAL SUPPORT
Textbooks:
Baeva N., Zebryak T. Solfeggio for 1-2 grades of children's music schools. - M., 1975.
Student aids:
G.F. Kalinina. Workbook. Solfeggio 1st grade
G.F. Kalinina. Musical copybooks
Teacher's Guide:
Moskalkova I. Reinish M. Solfeggio lessons in preschool groups of children's music schools
Andreeva M. From prima to octave. - M., 1976.
Andreeva M. “From prima to octave”, part II. - M., 1978.
Antoshina M. and Nadezhina N. Solfeggio. 1st grade children's music school. - M., 1970.
Baraboshkina A. Methodological guide to the solfeggio textbook for 1st grade of children's music school. – M., 1 Vetlugina N. Children's orchestra. – M., 1976.
Davydova E. Methods of teaching solfeggio. – M., 1975
LOGISTICS
During the seventh year of life, further development occurs nervous activity child. This creates opportunities for organizing the educational process with children 6-7 years old in more complex forms. The perception of music becomes purposeful, voluntary memorization and education develop.
Children improve the skills acquired in senior group. At the beginning of the year (almost all of September) the material is repeated. Gradually, thanks to systematic movements to music, they become more coordinated and accurate. Children master new types of movements: side gallop, polka step, step with a stomp, elements of Russian dance (alternately placing the legs in a smooth walk with different positions of the arms: to the sides, folded on the chest, on the belt). Feeling the originality of the texture of musical works, children are able to convey the character of music in movement: walk solemnly, festively; easy, smooth; run easily, rhythmically, quickly and widely, PERFORM movements with and without objects (smoothly, energetically), walk in a line in folk dances and round dances, expressively reproduce various play images (cheerful, amusing parsley, a cowardly hare, an affectionate kitten, an evil WOLF and etc.).
The ability to navigate in space develops. By the end of the year, children should be able to freely change from a line to a circle, from small circles to a large one and vice versa, move diagonally from different corners of the hall, clearly perform snake walking, be able to find their place in games, etc.
In the preparatory group, individual lessons are held in a more clear and organized manner. Children act with music, perceiving it through a tactile-vibrational and auditory analyzer. An individual task for a 6-7 year old child already includes 4-6 movements to music.
Children develop greater endurance and the ability to wait for music to appear and listen for its disappearance. This makes it possible to increase the duration of the pause between individual passages and parts of a musical work.
When performing individual tasks with the fenian switched off, a 7-year-old child can determine how many chords have been played, clap the simplest rhythmic pattern, and identify dynamic shades (music is loud, quiet).
The study of the “voiced alphabet” exercises also takes place in close contact with a teacher of the deaf, who first practices pronouncing a particular word with the child. With the music director, he clarifies the tempo of pronunciation of sounds, syllables, words and short phrases to the music.
During singing, breathing is increasingly trained, as children are able to sing longer phrases. Improving singing breathing leads to improved speech. The child's voice deepens and becomes expressive. Singing makes it easier to develop lip reading skills. By watching a friend sing, the child learns to understand oral speech those around you. Children 6-7 years old should know the names of songs, games and dances.
By the end of the year, the volume of skills in music perception increases, which makes it possible to allow children to perform a demonstration of individual exercises in front of the kids. This technique gives good results: kids learn this exercise much faster than when shown to adults, while the elders experience great satisfaction - after all, they are in the role of teachers. In the process of such communication, children develop a need for musical activities and love To him.
The duration of music lessons for children 6-7 years old is 35 minutes.
Music lessons in a pre-school group include:
1. Individual task (consists of 3-6 movements).
2. Listening to music with the task of recognizing and remembering the name.
3. Frontal task (consists of 2-3 exercises).
4. Exercise “ringing alphabet”.
6. A song-game at the request of the children.
7. Dance.
Sample summary of a lesson in a preparatory group for school
Tasks. Strengthen the ability to perceive music through visual, tactile-vibrational and auditory analyzers. Teach children to recognize familiar works. Act in accordance with the nature of the musical works. Work on the purity of pronunciation of words in the songs “Drum”, “ yellow leaf", emotionally convey the content of the songs. Teach the ability to change from columns into two ranks.
Preparing for the lesson. The music director works through all the lesson material with the teacher of the deaf and the teacher, and coordinates with them the tempo of singing the “ringing alphabet” exercise “Here is the drum.” First, “Exercise with flags” is learned with two children. They
show this exercise to everyone. This speeds up execution individual assignment. During the walk, the teacher draws the children’s attention to how the leaves are falling off the trees, and sings the song “Yellow Leaf” with them. In the hall, the music director arranges chairs along the wall, prepares for each child and adult two colored flags, a picture of a beetle, a drum, a hat, a wolf, and signs “Exercise with flags,” “Merry music,” “Sad music.”
Progress of the lesson Children, together with the teacher of the deaf and the teacher, enter the hall one after another and line up. “Today I am first,” says the child standing at the head of the line and leads the children. Everyone sits down
First exercise(individual). “Exercise with flags” (see p. 183.) Vova, take two flags from the vase. Tanya, go listen to the music,” the music director addresses the children (they know this exercise) and shows the sign “Exercise with flags.” Children pronounce the name. After the children demonstrate the exercise, they pass the flags to others, and everyone takes turns performing the task, standing with their backs to the instrument. Second task(frontal). “Beetles” (see p. 135). “Stand by the piano SAYS the music director. Find out what I’m playing.” Music is played *Beetles* Children recognize and sit down.
Third task. Exercise"Beetles." The music director shows a picture of a beetle and says: “You will be beetles. Listen to music". Children perform an exercise (lie on the floor on their backs and move and move their legs “the beetles are floundering”),
Fourth task“Walking in different directions” (see p. 177). Children rise from the floor, follow each other along the wall and sit down.
Fifth task. Exercise “Preparation for the polka step” (see p. 167). and the teacher of the deaf sit in front of the children and together with them rhythmically to the music. “Stand in a circle,” says the music director. Children in a circle perform a polka step to the music. With the end of the music they stop and, at the request of the music director, “Come sit down,” they sit down.
Sixth task. Song "Drum" (see p. 292). “We will sing. Here is the drum, says the music director, and shows the drum, plays On him and hands it to the teacher of the deaf sitting in front of the children, then shows
"Music is fun" sign. The teacher of the deaf tells the children: “It’s a funny song, the children are walking, singing, playing the drum. There will be a holiday. The holiday is fun. Everyone shouts “Hurray!” We will sing the song “Drum”. He gives one child a drum and asks him to play it. Children sing standing, the drummer stands in front of the children, he sings with his back to the music director, and hits the drum for the chorus.
Seventh task. Song “Yellow Leaf” (see p. 294). The music director shows the sign “Music is sad.” The teacher of the deaf speaks the lyrics of the song to the children. Children are familiar with this song; they sing it twice: once while sitting, the other while standing.
Eighth task. Exercise with flags for the October holiday (see p. 217). Adults hand out two flags to the children and take flags for themselves. “Boys, stand in a column,” says the teacher of the deaf, and she herself stands in front of the column. “Girls, stand in a column,” the teacher addresses the girls and also stands in front of the column. The music director addresses everyone: “Listen to the music.” Children perform the exercise once, watching the actions of adults.
Ninth task. Game “Children and the Wolf” (see p. 198). Children are familiar with this game. The music director performs the musical accompaniment of the game and offers to determine the character of each part. “The wolf is running - the music is loud,” says the child. “The children are picking berries - the music is quiet.” The wolf is portrayed by a child and a cap is put on him. Adults play with children. The music director praises all the children for listening to music well and playing happily. The children say goodbye and leave the hall.
MUSICAL EXAMPLES
EXERCISES, GAMES AND DANCES
JUNIOR GROUP
