Song repertoire for young children. Song repertoire for music lessons

The song repertoire for children should consist of highly artistic works that have great educational and cognitive significance. Listening to and performing songs, the child responds emotionally to them, perceives their artistic images, and comprehends the content as a whole. All this deepens his understanding of the life around him. Musical images embody events that are close and interesting to children, natural phenomena, and social life. Songs, influencing feelings, evoke a certain attitude towards what is conveyed in them. For example, the child more than once paid attention to seasonal changes in nature: he noticed yellowed leaves, a gloomy sky, early sunsets. Listening to T. Popatenko’s song to the words of N. Naydenova “Golden Leaves,” children remember falling leaves, paths covered with a golden carpet, bouquets of yellow and red leaves brought to kindergarten. Children are very fond of musical works that arose on the basis of intonations taken from the life around them. With particular pleasure they listen in melody to the well-known intonations of the cuckoo’s cuckoo, built on the interval of a major third. Pay attention to pictorial moments that convey the chirping of birds. An example is M. Krasev’s song “Titmouse”. It is structured in the form of questions and answers. The children ask the titmouse where she has been, and the titmouse answers them. Children love songs in which they hear imitations of the sounds of familiar instruments: drums, trumpets, strings. For example, in M. Krasev’s song “Petya the Drummer” there are separate fragments where the beat of a drum can be heard. Children listen with great interest to the sounds of “hooking” and “lulling”, conveyed by repeating ascending and descending intervals. In lullabies, descending intervals create a mood of peace (see the song “Sleep, dolls, bay, bay” from the “Musical Primer” by N.A. Vetlugina.) However, these pictorial moments cannot be considered in isolation from the musical image of the work as a whole, just as All vocal music for children should be reduced to visual sounds. The main thing in music is the expression of feelings, moods, emotions. By influencing the child’s feelings with a song, the teacher develops in him an emotionally positive attitude towards reality.

The repertoire of children's songs should be varied in topic, including songs about nature, children's work, kindergarten, school, and the seasons; comic, playful, festive, songs on social topics.

In the kindergarten program, songs are selected in accordance with certain principles.

1. The songs that are offered to children in all groups must be highly artistic and educational in relation to the content of the text. For example, the text of the song “Winter” by V. Karaseva in artistic form reinforces a small child’s knowledge of winter nature and sledding. A simple melodious melody, a short piano introduction and conclusion to the song deepen this artistic image and color it emotionally.

2. The melodies of the songs should be simple, bright and varied in character.

3. The themes of the songs are varied, but close and understandable to children.

4. The melodies of the songs must correspond to the vocal capabilities of the children in terms of the range, which should not exceed that specified in the kindergarten education program.

5. In the younger group, the song should consist of short musical phrases - no more than 2 bars. The preferred time signature is 2/4, and the melody ends on a quarter note or half note. It is also advisable to end phrases on long notes, so that children have time to take a natural breath before starting another musical phrase. In the middle group, musical phrases become longer. In older groups, songs with longer phrases of 6-8 quarters are offered (for example, M. Krasev’s song “On a Walk”).

6. The tempo of songs for younger groups cannot be fast, since it is difficult for young children to pronounce words at a fast pace. In the middle group, lively songs are also offered, for example, “Sledge” by M. Krasev. The repertoire of older groups includes songs of different tempos, but most of them are still moderate.

7. The rhythm of song melodies should be simple - consist of a combination of quarter, half and eighth notes.

8. The teacher makes sure that each subsequent song is somewhat more difficult than the previous one (in terms of vocal skills, song melody, rhythmic pattern). The form of the song can also become more complex. For example, from a one-part song you should move to a two- or three-part one, from a simple verse to a song with an introduction, conclusion, acting out, etc.

When choosing songs, the music director pursues, first of all, educational and educational goals in order to instill in children a love for the Motherland, nature, parents, kindergarten, etc. At the same time, the teacher takes into account those vocal skills that can be instilled with the help of a particular song . When choosing a song, one must proceed not only from one literary text, but take into account the nature and structure of the melody, its accessibility for a given group of children. It is also necessary to take into account the general musical development of children. Let us list the requirements for songs set out in the “Education Program in Kindergarten”.

1. Songs should be pedagogically valuable, highly ideological, instilling a feeling of love for the Motherland, its nature, work, friendship and camaraderie, etc. For example, the songs of V. Agafonnikov “You can’t live without work”, S. Razorenova “We are friendly Guys".

2. Songs must be highly artistic, that is, uniform in content and form. For example, the song “Skvorushka says goodbye”, music by T. Popatenko.

3. Songs must meet didactic requirements: accessibility, systematicity and consistency, awareness, activity. Namely: the gradual complication of songs should go from easier to more difficult in melody, harmonization, and structure. Children must understand the content of the text and the requirements for performing the song, and be able to perform the songs independently - solo and in choir.

When choosing songs you need to proceed from:

♦ pedagogical work plan;

♦ the interests of children with whom they live at a given time;

♦ accessibility to children's perception of the feelings expressed in the song.

Objectives and content of training

On third year In life, the child’s singing voice begins to form - there is no singing sound yet, breathing is short. But at the same time, children willingly join in the adult’s singing, singing along with the endings of musical phrases and intoning individual sounds.
The goal is to develop and strengthen children’s initial singing intonations. The child cannot yet sing the entire song correctly, but one should strive to correctly intonate individual motives.
On fourth year In life, children’s singing voice sounds stronger, they can sing a simple song. Some children even develop loudness.
When forming a singing sound, the teacher makes sure that children sing in a natural voice, without tension in the range re-mi-la first octave.
A large place in the younger groups is given to working on diction. Children often mispronounce words without understanding their meaning. It is necessary to explain the meaning of individual incomprehensible words and teach correct pronunciation.
Children of this age find it difficult to sing at a general tempo: some sing slowly, others sing too quickly. The teacher must constantly monitor this, teaching them to sing collectively.
By the end of the year, a child in the first junior group can sing simple songs together with an adult.
By the end of the fourth year of life, they should sing in a natural voice, without tension, drawlingly, clearly pronouncing the words, keep up and not get ahead of each other, correctly convey the melody in chants and songs, sing songs with the help of a teacher, with or without musical accompaniment .
These tasks are solved with the help of a song repertoire, including simple, melodic, easy-to-breathe songs of a short range.
Children of the third year in the songs “Cat” an. Alexandrova, “Bird” by T. Popatenko sing along only the final phrase, which is most convenient for initial intonation:
[Slow] [Moderate]

They can sing the Russian folk song “Bunny” in its entirety, since it is built on a repeating motif:
[Lively]

In the second younger group, the tasks gradually become more complicated, and songs of a wider range are performed. (re-la, mi-si first octave). The construction of songs, including the repetition of individual phrases, contributes to their better memorization and assimilation:

[At the pace of a march]

[Leisurely]

Most songs for children of this age are performed slowly, at a moderate tempo. But there are also more active ones (“Father Frost” by A. Filippenko, “Playing with a Horse” by I. Kishko).

Song repertoire

In the second younger group, the song repertoire expands significantly. Social themes are more represented here (“Machine” by T. Popatenko, “Planes” by M. Magidenko, “Young Soldier” by V. Karaseva), natural phenomena (“Winter” by V. Karaseva, “Rain” - Russian folk song, adaptation of T . Popatenko), songs for the Day of March 8th (“Pies” by A. Filippenko, “We Love Mom” by Y. Slonov). The small range and short musical phrases allow children to sing the entire song.

Methodical techniques

Let us consider the methodological techniques used in singing work with children of the third year of life. The main thing is emotional, expressive
performance of a song by a teacher. To do this, you need to think carefully and convey the features of the song, its character, and mood. When performing a song for the first time, the teacher uses toys and pictures that help children understand the content of the song.
In addition, gaming techniques are used. For example, I know the guys with the song “Cat” by An. Alexandrova, the teacher shows the toy and after singing says: “The cat is asking for milk.” “Meow, meow,” he hums and asks: “How does a cat ask for milk?” This encourages the children to sing the last phrase with him.
While learning a song with children (as a rule, without piano accompaniment), the teacher approves of the most active ones and helps the more timid ones with his participation.
Once the song is learned, you can use different playing techniques. “A bear came to us, let him sit and listen to how well we sing,” says the teacher. While singing the song “Christmas Tree” by T. Popatenko, the children clap to the words “yes-yes-yes,” and when singing the song “Holiday” by T. Lomova (in the second verse), they show how they “play the trumpet.”
In the second younger group, teaching techniques are used more often. For example, drawing attention to the melody, the teacher sings the song 2-3 times, playing only the melody on the instrument, and invites the children to sing along with him.

The most active ones begin to sing immediately. Gradually everyone turns on.
Working on drawn-out singing requires special attention, since many children sing in a patois. The teacher sings long sounds expressively. Children follow this example.
In the process of learning to sing, it is necessary to hear each child and note his performance. Those who sing well are encouraged to sing in a group for all the children; those who intonate poorly should be taught separately to teach them to “adapt” to the singing of an adult.
If a song contains an interval that is difficult to perform, it can be sung on any syllable. The lyrics of the song are absorbed along with the melody, only the most difficult words are repeated separately.
At the end of the year, it is noted whether the children will be able to sing some songs with or without musical accompaniment with the help of the teacher.
When forming collective (choral) singing, you need to train children to start and finish the song at the same time, not to lag behind in singing and not to get ahead of each other, to draw their attention to joint friendly singing.

Methods of music education in kindergarten: “Preschool. education”/ N.A. Vetlugina, I.L. Dzerzhinskaya, L.N. Komissarova and others; Ed. ON THE. Vetlugina. - 3rd ed., rev. and additional - M.: Education, 1989. - 270 p.: notes.

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Children'srepertoireHowmeansdevelopmentvocalabilitieschildrenjuniorschoolage

singingschool vocal ability

Introduction

We all love songs, “Songs are the soul of the people,” we hear from musicians. And indeed, a song accompanies a person always and everywhere, in all occasions of life. When a baby is born, the mother sings lullabies to him. The child grows up a little and begins to sing various children's jokes, songs, and rhymes. And in adult life there are even more songs. Children also sing in kindergarten and school. And in music classes, and at holidays, and on a walk, and while playing.

Without song there would be no music. As composer Dmitry Borisovich Kabalevsky said, it is one of the three “pillars” on which music rests.

Great importance is attached to the song, since it is difficult to overestimate the impact a good song has on a person, especially when sung among friends, relatives, and close people. Today this is becoming very relevant, because if earlier many good songs became “folk”, there was a large repertoire of children’s songs, but now the content level of the songs is often extremely primitive, and few good songs are written for children. But children today love and want to sing! The question of the musical repertoire on which children's development is based is very important and acute.

Having studied the necessary literature on this issue, it was revealed contradiction between the existing requirements of the educational standard of primary and basic general education for the development of vocal abilities of children of primary school age and the lack of criteria for selecting a song repertoire for vocal lessons. During the theoretical study, a problematic question arose: what are the criteria for selecting a song repertoire for the development of vocal abilities in children of primary school age.

To solve this problem, the object and subject of the course research have been determined:

An object - the process of development of vocal abilities in children of primary school age.

Item - children's repertoire as a means of developing the vocal abilities of children of primary school age.

Target course research: to determine the features of selecting a song repertoire, taking into account the development of vocal abilities of children of primary school age.

To achieve this goal, the following tasks have been identified:

1) To study the characteristics of the vocal abilities of children of primary school age

2) Determine the criteria for selecting a song repertoire for children of primary school age

Course research methods:

by search stages:

· material selection method

· method of directed transformation according to the level of penetration into the essence:

empirical:

· theoretical literature study:

· analysis and synthesis

by function:

· explanation

1 . Peculiaritiesdevelopedand Iabilitieschildrenjuniorwstakeage

1.1 Educational meaning singing , his role V musical development junior schoolchildren

Singing is the performance of music using a singing voice. Differing from spoken speech in the precision of pitch intonation, singing is one of the most striking and expressive means of musical art.

In singing, as in other types of performance, a child can actively demonstrate his attitude towards music. Singing plays an important role in musical and personal development.

Only through activity do perception, memory, thinking, sensations improve, knowledge is acquired, new needs, interests, emotions arise, and abilities develop. Consciousness and purposefulness are required in any activity. A child’s consciousness is formed in joint activities with peers and adults. This is how children gain experience, learn to know themselves and others, evaluate actions, etc.

Expressive performance of songs helps to experience their content more vividly and deeply, to evoke an aesthetic attitude towards music and the surrounding reality. By becoming familiar with the cultural musical heritage, the child learns the standards of beauty and appropriates the valuable cultural experience of generations. Repeated perception of works gradually guides the child in identifying thoughts, feelings, and moods that are important to him, expressed in artistic images, and in content that is meaningful to him.

In singing, the entire complex of musical abilities is successfully formed: emotional responsiveness to music, modal sense, musical-auditory perception, sense of rhythm. In addition, children receive various information about music and acquire skills. Singing fulfills the child’s musical needs, since he can perform familiar and favorite songs at will at any time.

Singing is closely related to the general development of the child and the formation of his personal qualities. Singing develops aesthetic and moral ideas, activates mental abilities, and has a noticeable positive effect on the physical development of children.

The influence of singing on the moral sphere is expressed in two aspects. On the one hand, the songs convey a certain content, an attitude towards it; on the other hand, singing gives rise to the ability to experience the moods and mental state of another person, which are reflected in songs.

The formation of musical abilities is inextricably linked with mental processes. Perceiving music requires attention and observation. A child, listening to music, compares the sounds of its melody and accompaniment, comprehends their expressive meaning, understands the structure of the song, and compares the music with the text. In addition to various information about music that has cognitive significance, a conversation about it includes a description of the emotional and figurative content. Children's vocabulary is enriched with figurative words and expressions that characterize moods and feelings conveyed in music.

The impact on the physical development of children is obvious. Singing affects the general condition of the child’s body, causing reactions associated with changes in blood circulation and breathing. Physiologists have established the influence of music on the human body.

PC. Anokhin, studying the influence of major and minor modes on the listener, came to the conclusion that the skillful use of melody, rhythm and other expressive means of music can regulate a person’s state during work and rest, stimulate or calm him. Correct posture affects even and deeper breathing. Singing develops coordination of voice and hearing, improves children's speech. Correctly performed singing organizes the activity of the vocal apparatus, strengthens the vocal cords, and develops a pleasant timbre of the voice.

1.2 Peculiarities musical hearing And vote children junior school age

Musical hearing is a person’s ability to perceive and reproduce sounds, as well as internal fixation of them in consciousness, that is, their reproduction.

By “musical ear” in the broad sense of this term is understood as pitch hearing, in its manifestation in relation to a single-voice melody it is called melodic. It “has at least two bases - modal feeling and musical auditory perceptions. In this regard, we can talk about two components of melodic hearing. The first of these can be called the perceptual, or emotional, component... The second component can be called the reproductive, or auditory"

The perceptual component, according to P.M. Teplov, is necessary for full perception and recognition of the melody, which arises on the basis of an emotional criterion. Thanks to the reproductive component, the melody is reproduced, indicating the presence of more or less developed auditory ideas.

The basis of melodic hearing is a feeling, which is the ability to distinguish the modal functions of melody sounds, their stability, and their attraction to each other.

Many years of musical and pedagogical practice have confirmed that children’s ear for melody develops mainly through singing and playing musical instruments. It is in singing that the level of development of the reproductive component of melodic hearing is diagnosed.

Modern research (K.V. Tarasova) allows us to identify six stages in the formation and development of a child’s ability to intone a melody with his voice.

First stage, the initial stage, is characterized by the fact that intonation in the generally accepted meaning of this word is practically absent: the child simply pronounces the words of the song in a certain rhythm, more or less coinciding with the rhythm of the song sample offered to him.

On second stage You can already recognize the intonation of one or two sounds of the melody, based on which the entire song is sung.

On third stage the general direction of movement of the melody is intoned.

Fourth stage differs from the previous one in that, against the background of the reproduction of the general direction of the melody, a fairly “pure” intonation of its individual segments appears.

On fifth stage The entire melody is intonated “purely”. These five stages were identified in conditions of singing with piano accompaniment.

On sixth stage There is no need for accompaniment: the child intones the melodic pattern relatively correctly without accompaniment.

Reproductive The component of melodic hearing in question, which can be interpreted as the ability to actively and relatively number (“correctly”) reproduce a melodic pattern in the voice, is formed in most children between four and seven years of age. Significant progress in the development of this ability in the fourth year of life leads to a smoother course of this process in the future.

In general, assessing the situation according to its generalized, summary indicators, we have to state that in most children, the purity of intonation (i.e., the development of reproductive hearing) remains very low today, and this despite the fairly large amount of time devoted to singing on musical instruments. classes in schools. Perhaps one of the reasons here is the absence in the practice of mass musical education of special and targeted work on developing children's singing voice. Voice production, significantly facilitating the process of vocalization for children and relieving the difficulties of auditory-vocal coordination, can help increase the range of a child’s singing voice and the development of his melodic ear.

Concerning perceptive component of melodic hearing, then its elementary manifestations, preceding the formation of a modal sense, can be diagnosed by the following signs: recognition by the child of a familiar melody; identification of the presented melodic image with the original; revealing, with more or less obviousness, a feeling of tonic; understanding the pitch and interval relationships between the degrees of the scale.

The perceptual component of melodic hearing in its elementary manifestations is intensively formed until the fifth year of life, and it is in the fourth year that a significant leap in its development occurs. In subsequent years, at further stages of ontogenesis, it develops less actively. It is necessary to add to this that the perceptual component in its own meaning - as the ability to distinguish the modal functions of the sounds of a melody - is formed only in the conditions of specially directed and appropriately organized musical lessons.

Of fundamental importance is the age stage (junior school), when qualitative leaps in the child’s development of both the perceptual and reproductive components of melodic hearing occur over time. This can be explained by the fact that at the indicated age, a new formation arises in the system of musical hearing based on the intonation of a melody with the voice - actually pitch hearing. Its appearance serves as the basis for the formation and further development of the so-called hearing. The latter, in turn, can serve as the basis for the lifetime formation of absolute pitch.

So, melodic hearing develops in ontogenesis as a single integrative system, which is characterized by interaction perceptual and reproductive components; their formation proceeds from elementary to increasingly complex components.

The development of children’s ear for music, and above all its main, pitch “component,” largely depends on the direction and organization of those types of musical activities that are a priority in this case. These, as already noted, primarily include singing - one of the main and most natural types of musical activity of schoolchildren.

A.E. Varlamov, an outstanding composer and teacher, one of the founders of the Russian vocal school, once spoke about the need for early initiation into correct vocalization. He believed that if you teach a child to sing from childhood (naturally, while observing all the necessary precautions), his voice acquires flexibility and strength, which are difficult for an adult. This idea is confirmed by modern pedagogy. Interesting techniques were proposed that could facilitate the formation of a singing sound, develop correct breathing, purity of intonation of a singing sound, develop correct breathing, purity of intonation, clarity of diction (N.A. Metrov, E.S. Markova, E.M. Dubyanskaya, etc.) . In preschool music pedagogy, a number of studies have been carried out that have revealed internal relationships in the process of developing musical ear and singing voice, proving the significant role of auditory-vocal coordination in the development of musicality in children.

However, despite the apparent interest in these issues, the method of forming a singing voice in children remained generally undeveloped, which negatively affected their musical development. Experts have repeatedly noted the low level of auditory-vocal coordination in younger schoolchildren, pointing to the dull sound of children's singing voices and unsatisfactory intonation.

Noting this gap in the system of children's musical education, researcher K.V. Tarasova came to the conclusion that it was necessary to develop a special technique for staging a children's singing voice. It should be based on the consistent development of the two leading parts of the singing process, as a result of which the sound becomes positionally high, resonant and flowing with the breath (“flight”).

The position on the need to identify leading links arose in connection with the great complexity of managing the singing process, which, as is known, requires the mandatory coordination of many systems participating in it, thereby placing high demands on the organization of attention and control over singing actions. In childhood, which is characterized by a low level of voluntariness and a small amount of attention, tasks associated with self-regulation of the singing process become practically unresolved if the leading links of this process are not found.

In addition, the author came to the conclusion that the voices of children already at primary school age are divided into at least three natural types - high and low, each of them has a characteristic timbre coloring, as well as its own pitch and primary ranges . Dividing the children's choir into specific groups corresponding to the specified types of voices, as well as carrying out singing work adequate to the specifics of these voices, leads to significantly higher results in the musical-auditory, vocal and general musical development of children.

This provision is of particular importance for the system of mass musical education of children, since in most choral groups of kindergartens up to the present day there is no difference between the voices of the singers. As a result, for some children the tonality, tessitura and range of the songs performed are suitable, but for others - not . The quality of music performance suffers and, even worse, children's voices suffer.

No less important is the conclusion about the need to carry out the initial stage of work on staging a child’s singing voice within the primary range; in singing practice, the voice most often goes down, only then up. The desire of some teachers and choirmasters to artificially expand the range, in particular to increase its upper “segment,” can lead to negative consequences (including diseases of the child’s singing apparatus).

The rule for teachers, kindergarten teachers and parents should be: refusal from formation sound own vote in communication with children. Preschoolers and primary schoolchildren are known to be prone to imitation, and if an adult speaks or sings loudly, children also begin to force the sound of their voices, which is extremely undesirable in all respects.

The quiet, flowing, silvery sound of a child's voice can be considered as a kind of aesthetic standard. It is necessary to strive for its achievement in the real practice of musical, including singing, education of children.

The voices of children are significantly different from the voices of adults. This difference is especially noticeable between the voices of boys and men. Children's voices have a high, head-like sound. In terms of the content of overtones, they are poorer than the voices of adults, especially at primary school age, but they have a special silveriness and lightness. Although the voices of children are inferior in strength to the voices of adults, they are distinguished by great sonority and “flight”. Timbre properties such as silveriness and sonority give children's voices a special charm. The qualitative differences between children's voices are associated with the anatomical and physiological characteristics of the vocal apparatus and the entire growing child's body.

The larynx in children is located high. It is approximately 2 - 2.5 times smaller than the larynx of adults. The cartilages of the larynx are flexible, soft, and not fully formed. Therefore, the children's larynx is elastic and highly mobile. The muscles of the larynx are poorly developed. Children's vocal folds are short, narrow and thin. In the thickness of the vocal folds in a child under five years of age there are no vocal muscles; their place is taken by loose connective tissue and glands; there are only muscles that bring the vocal folds together. By the age of five, individual muscle bundles of the vocal muscles are noticeable. From this time their gradual development begins.

In most children seven to eight years old, the voice is still insignificant, so there is no reason to specifically work on its development; it develops as the correct skills are acquired with an easy, quiet sound, calm breathing, clear words and well-pronounced vowels and consonants.

In children of primary school age, when singing, the vocal folds vibrate only with their elastic edges and do not completely close; voice formation throughout the entire range follows the falsetto type, the voice consists of only one register - the head. The vocal muscles are underdeveloped and the vocal range is limited. At this age, children's voices have approximately the same range within the first octave. Children have difficulty playing the extreme notes of the range, especially “C”.

In general, falsetto voice formation is typical for younger schoolchildren. Their respiratory muscles are still weak, their lung capacity is small, and therefore their voices are smaller than those of older children.

The vocal mechanism of children is very elastic and pliable. The sooner healthy sound production skills are instilled in a child, the sooner the relationship between voice and hearing is established.

HygieneAndsecuritychildren'svotes

The development of a child's voice depends on how correctly the singer uses it. In this regard, it is necessary on the basic principles that disrupt the normal functioning of the vocal organs. Often, beginning singers sing in a tessitura that is unusual for their voice: high or low. Those with high voices adapt to low voices and sing works for these voices. It also happens the other way around. Very often, beginning singers, trying to increase their range, practice the upper notes on their own, without knowing how to use it. Children are especially guilty of this.

During singing, all organs involved in voice formation are involved in active work. They bear a significant neuromuscular load. The situation is aggravated by the fact that at first there is still no clear coordination in the work of individual bodies. Insufficient or excessive activity of some organs can lead to overstrain or disruption in the functioning of other organs. This, for example, happens in the absence of breathing support, when the normal functioning of the muscles of the larynx and, in particular, the vocal folds is disrupted, they become overstrained and fatigue sets in.

Fatigue is common among beginning singers. Therefore, the training regimen with them should be built taking into account this feature. The first individual lessons should not exceed 20 minutes with a short break after 5 - 10 minutes of singing. Natural endurance varies from person to person, and each individual case must be approached individually. At the first sign of fatigue (by the feeling of the singer or by the sound of his voice), the lesson must be stopped. As endurance develops, individual classes are gradually lengthened to 30 - 45 minutes with 2 - 3 breaks of 5 - 10 minutes each during this time.

All changes that occur in a singer’s body affect his voice in one way or another. General health sometimes determines the ability to practice singing. For all chronic diseases that cause general weakness, malaise and lethargy, singing lessons will not be effective. The voice sounds good only when the singer is healthy, cheerful and in a good mood.

Thus, successful operation and accuracy of sound reproduction when singing is possible with full coordination of musical ear and voice, and protection of the child’s voice.

1.3 Psychological peculiarities junior schoolboy

Junior school age...corresponds to years of study in primary school. Preschool childhood is over. By the time a child enters school, as a rule, he is already both physics and psychologically ready for learning, prepared for a new important period of his life, to fulfill the diverse demands that the school places on him. Psychological readiness is also considered from the subjective side. The child is psychologically ready for school education, first of all, objectively, i.e. he has the level of psychological development necessary to begin learning. The sharpness and freshness of his perception, curiosity, and vividness of imagination are well known. His attention is already relatively long and stable, and this clearly appears in games, in drawing, modeling, and basic design. The child has acquired some experience in managing his attention and organizing it independently. His memory is also quite developed - he easily and simply remembers what particularly amazes him, which is directly related to his interests. Now not only adults, but also he himself is able to set a mnemonic task for himself. He already knows from experience: in order to remember something well, you need to repeat it several times, i.e. empirically masters some techniques of rational memorization and memorization. The child’s visual and figurative memory is relatively well developed, but all the prerequisites for the development of verbal and logical memory are already there. The efficiency of meaningful memorization increases. By the time a child enters school, his speech is already quite developed. It is to a certain extent grammatically correct and expressive.

As we see, by the time children enter school, their capabilities are great enough to begin their systematic education. Elementary personal manifestations are also formed: by the time they enter school, children already have a certain perseverance, can set more distant goals and achieve them (although more often they do not complete things), make their first attempts to evaluate actions from the standpoint of their social significance, they are characterized by the first manifestations of a sense of duty and responsibility.

Everything said concerned the child’s objective psychological readiness for schooling. But the other side should also be emphasized - subjective psychological readiness, desire and desire to study at school, a kind of readiness for new forms of relationships with adults. Of course, here too there are very large individual differences.

When a child enters school, his entire way of life, his social status, his position in the team, in the family changes dramatically. His main activity from now on becomes teaching, the most important social duty is the duty to learn and acquire knowledge. And learning is serious work that requires a certain level of organization, discipline, and considerable volitional efforts on the part of the child. More and more often you have to do what you need to do, and not what you want. The student joins a new team in which he will live, study, develop and grow up.

From the first days of school, a basic contradiction arises, which is the driving force of development in primary school age. This is a contradiction between the ever-growing demands that educational work, the collective place on the child’s personality, on his attention, memory, thinking, and the current level of psychological development, the development of personality traits. Requirements increase over time, and the current level of psychological development is constantly being brought up to their level.

Many years of research by psychologists have shown that old programs and textbooks clearly underestimated the cognitive capabilities of younger schoolchildren, and that it is not rational to stretch the already meager educational material over four years. The slow pace of progress and endless monotonous repetition led not only to an unjustified loss of time, but also had a very negative impact on the mental development of schoolchildren. New programs and textbooks, much more meaningful and in-depth, place significantly greater demands on the psychological development of primary schoolchildren and actively stimulate this development.

Educational activities in the primary grades stimulate, first of all, the development of mental processes of direct cognition of the surrounding world - sensations and perceptions.

The possibilities of volitional regulation of attention and its management at primary school age are limited. In addition, the production attention of a junior schoolchild requires short, in other words, close, motivation.

Involuntary attention is much better developed at primary school age. The beginning of schooling stimulates its further development. Everything new, unexpected, bright, interesting attracts the attention of students by itself, without any effort on their part.

An age-related feature of attention is its relatively low stability (this mainly characterizes students in the 1st and 2nd grades). The instability of the attention of younger schoolchildren is a consequence of age-related weakness of the inhibitory process. First-graders, and sometimes second-graders, do not know how to concentrate on work for a long time; their attention is easily distracted.

Memory in primary school age develops under the fusion of learning in two directions - the role and specific weight of verbal-psychological, semantic memorization (compared to visual-figurative) increases, and the child masters the ability to consciously manage his memory and regulate its occurrence (memorization, reproduction, recollection).

The child begins school with concrete thinking. Under the influence of learning, there is a gradual transition from knowledge of the external side of phenomena to knowledge of their essence, reflection of essential properties and characteristics in thinking, which will make it possible to make new generalizations, the first conclusions, give the first analogies, and build elementary conclusions. On this basis, the child gradually begins to form concepts that, following L.S. We call Vysotsky scientific (in contrast to everyday concepts that a child develops on the basis of his experience in non-targeted learning).

At primary school age, the foundation of moral behavior is laid, moral norms and rules of behavior are learned, and the social orientation of the individual begins to take shape.

Thus, when working with children, you need to take into account their psychological characteristics: memory, attention, thinking, etc.

1.4 Vocal-choral skills , principles And methods vocal training

A skill is a partially automated way of performing an action that is a component of the act of singing.

PJewish installation. The term singing attitude is understood as a set of mandatory requirements that contribute to proper sound production. The singing attitude consists of many external techniques and skills. In choral singing, it is usually recommended to stand (or sit) straight, but not tensely, without slouching, and smartly. A straight and collected position of the body, even support on both legs, freely lowered arms, an expanded chest, the head held straight, not tense, is considered the correct position of the body. When sitting, you should not cross your legs, as this restricts breathing. The mouth in singing serves as a “bell” through which the vocal sound receives its direction, so the main position of the mouth should be wide and open. The palate serves as an important resonator. Thanks to the raised palate, a rounded sound is formed (the palate is a kind of specific “dome”). Most of the initial exercises for developing a singing attitude (especially with younger children) are aimed at organizing the correct position of the body and vocal apparatus. This is important in the rehearsal work of the choir, as it sets young singers up for work and strict discipline.

Singing attitude is directly related to skill singing breathing. Vocal pedagogy considers thoracic breathing as the most appropriate for singing, as well as options for shifting thoracic and abdominal breathing depending on the individual characteristics of the singer. Thoracic breathing involves, when inhaling, an expansion of the chest in the middle and lower parts of it with a simultaneous decrease in the dome of the diaphragm, accompanied by an expansion of the anterior wall of the abdomen. When developing correct breathing skills in children, it is necessary to ensure that the shoulders do not rise when inhaling, which would indicate that the children are using shallow, so-called clavicular breathing.

Breathing is usually considered in its three constituent elements: inhalation, momentary breath-holding and exhalation. Inhalation should be done without making noise. Holding your breath directly mobilizes the vocal apparatus to begin singing. The exhalation should be completely calm, without any hint of forceful “pushing” of the air taken into the lungs.

Do not overfill the chest with air. When working with a choir, it is appropriate to recommend inhaling as if feeling the delicate aroma of a flower, and exhaling as if the candle flame located near your mouth does not move. It is extremely important to develop in young singers the ability to use their breath sparingly, “in order to obtain a large supply of sound and, moreover, the best quality with the least amount of air.”

The concept associated with singing breathing is singing supports, which is the result of the correct organization of breathing, sound production and resonance of the voice, and the interaction of all components. The support provides the best quality of singing sound, its energy, composure, elasticity, accuracy, flexibility, flight.

The nature of singing breathing is reflected in the nature of the sound of the singer's voice. Smooth, calm, light breathing helps achieve a beautiful, light sound. Hard, tense breathing gives rise to a hard and tense sound. When excessive breathing pressure is applied to the ligaments, they lose their elasticity. With all the freedom of breathing, it should maintain a feeling of muscle elasticity and energetic movement. Teachers usually closely monitor the breathing process of singers and if, due to excessive effort, children interpret the concept of “breathing support” as actually hard breathing, they are sure to correct the incorrect execution of the respiratory process, sometimes even changing the terminology. The pedagogical position in finding the correct musculoskeletal sensations is important here. An economical and uniform exhalation is necessary for performing smooth, widely sung melodies. Singing at the lower end of your range requires the most air. When performing the upper sounds, the least amount of breath is consumed. It should be remembered that the pressure of the air column cannot be increased. This leads to harshness and loudness, and also causes the sound to be too high. When performing fast passages and technical, moving melodies, breathing should be light, but very active. In choral singing, simultaneous breathing is the basis for the simultaneity of sound attack and introduction. Equally necessary is uniformity in the supply of breathing and its volume. Resumption of breathing by all singers should be carried out at the moments established and noted in the parts. Usually they coincide with the boundaries of constructions, phrases, and caesuras in musical and poetic texts. In cases where the duration of a phrase exceeds the physical capabilities of the singing voice, chain breath. Basic recommendations for chain breathing:

· Do not inhale at the same time as the person sitting next to you;

· Do not inhale at the junction of musical phrases, but only, if possible, in the interior of long notes;

· Take breath quickly and imperceptibly;

· Blend into the overall sound without accent, with a soft attack (beginning) of the sound, intonationally accurate;

· Listen sensitively to the singing of your neighbors and the general sound;

No less important in singing is skill sound processing, the main requirements for the formation of which should be the following:

· Before its occurrence, sound must be formed in the mental auditory representations of schoolchildren;

· The sound of an attack is carried out with intonation precision, without glissando.

Of the three types of sound attack, the main one is considered to be soft, creating conditions for the elastic work of the ligaments. A solid attack, in which the glottis closes tightly before the exit begins, and an aspirated attack, in which the vocal cords close after the exit begins, are adopted extremely rarely in the singing of younger schoolchildren. As a rule, a firm attack can be recommended for a child prone to lethargy and inertia, and conversely, an aspirated attack is better for an overly active student.

Formation skill articulation involves the formation of a timbre relationship between vowels, the main condition of which is the desire to maintain a stable position of the larynx when singing different vowels.

Children of primary school age have an uneven timbre. This is mainly due to the “variegation” of vowels. In order for them to sound smooth, children must constantly strive to maintain a high pitch (position) across all sounds of the singing range. For this purpose, singing and vowel exercises are used. U, YU, as well as songs with a descending movement of the melody, much attention in vocal education is paid to the vowel sound ABOUT. Singing exercises and melodies for vowels ABOUT,Yo Helps produce a round, beautiful sound. Sounds require special rounding AND(he is brought closer to the sound Y),A(closer to sound ABOUT), E(closer to sound E).

The correct formation of the singing sound is also facilitated by the manner of pronouncing words - diction. In this case, pronunciation in singing is based on the general rules of orthoepy.

The basis of singing is vowel sounds. They develop all the vocal qualities of the voice. The beauty of timbre depends on the correct formation of vowels.

One of the specific features of singing diction is the “transfer” of the last consonant sound in a syllable to the beginning of the following syllable, which ultimately contributes to the length of the vowel sound in the syllable. At the same time, the role of consonants should not be diminished at all, since otherwise careless pronunciation will complicate the listener’s perception.

Concept ensemble means artistic unity, consistency of all components of performance. Due to the specificity of tasks in singing, ensembles are distinguished between dynamic, rhythmic and timbre. A prominent master of choral singing, P.G. Chesnokov, determining the conditions for singing in an ensemble, believing that the singer needs to be as balanced as possible in the strength of sound and merge in timbre with his party, the parties need to be balanced in the choir, and the conductor needs to regulate the strength and color of the sound as individual singers and entire parties.

Work on the ensemble in choral singing of junior schoolchildren is made difficult by a lack of attention and endurance. Thus, V.S. Popov noted: “There will definitely be a boy or girl in the group who suddenly starts singing louder than others, or speeding up the tempo, or, finally, just looking away, disconnecting from the creative process.”

Singing in an ensemble is closely related to choral structure - precise intonation in single-voice singing (horizontal structure) and polyphonic singing (vertical structure).

When working on tuning difficulties, you should adhere to the rules of intonation of the scale degrees.

The method of vocal training is based on general didactic and special teaching principles inherent in music pedagogy. The leading ones among the general pedagogical principles of teaching are: the principle of educational teaching, scientific character, consciousness, connection with life (with practice).

Principle educating training is very important, its goal is the comprehensive development of the individual. The educational nature of vocal training is associated with the principle of its scientific nature, which comes from objectively existing phenomena of the singing process, from the patterns of their interrelation. In vocal pedagogy, the scientific principle is especially important. Until recently, singing training was carried out in a purely empirical way (“sing as I sing”). This led to a subjective, scientifically unsubstantiated interpretation of various phenomena of singing voice formation (such as, for example, the dogmatic requirement for all singers to have a low larynx position, regardless of the type and nature of the voice, which was refuted by scientific data). Compliance principle scientific character in vocal training at the Faculty of Music and Pedagogy, it acquires special significance. If the vocal values and skills of the future music teacher do not correspond to objective data, he will not be able to successfully teach singing to schoolchildren and correctly influence the development of their vocal apparatus. Modern scientific information about the singing voice and the process of voice formation ensures the implementation of the scientific principle of vocal training.

As a future music teacher, it is necessary to acquire scientifically proven practical vocal knowledge and skills as consciously as possible. To this end, the student must have a good understanding of the essence of each vocal phenomenon (singing register, attack, breathing, etc.) and the practical value of the skills being acquired. So, when mastering a singing breath, he must know how such a breath differs from the usual one, what qualities it is characterized by, how it is performed, and what its effect on singing phonation is.

Consciousness in vocal training is inextricably linked with an understanding of the reasons for the formation of various sound qualities. It is important to know what the correct sound is and be able to reproduce it, while having a good idea of what needs to be done to form the desired meaning. The future teacher also needs to understand the reasons for the formation of undesirable sound qualities (throat, nasal, hoarse sounds) and ways to eliminate them. The discovery of cause-and-effect relationships between the phenomena of the singing process is based on the analysis of the reproduced sound (effect) and the technology of voice formation (cause), which in its essence constitutes the Vocal-methodological training of the future singing teacher.

Knowing how to form various qualities of a singing sound, the characteristics of the sound of schoolchildren’s voices, and the operation of their vocal apparatus helps the student master the ability to bring the sound of his voice closer to the sound of children’s voices. Deeply conscious mastery of one’s voice allows the student to quickly master the techniques of bringing his voice closer to the voices of children by removing chest resonance, lightening the voice, reducing the strength of the sound, and switching to folds. The connection between individual vocal training at the music pedagogical faculty with practice and with school is also expressed in the formation of such special skills in future music teachers as performing a song to one’s own accompaniment and singing without accompaniment.

On principle scientific character learning is based on the principle of feasible difficulty. Without knowledge of the process of voice formation, methods of acting on it, without a clear understanding of the level of musical, vocal-technical and artistic development of the student, it is impossible to determine what is feasible for him in each specific period of training. The correctness of determining the level of development of a student depends on relying on the necessary objective scientific data.

The principle of feasible difficulty is closely related to the principle of gradualness and consistency legitimized in vocal pedagogy. Graduality and consistency presuppose a mandatory progression from simple to complex, from easy to difficult when developing singing skills and mastering educational material (exercises, vocalises, works of art with text). The feasible difficulty in vocal training gradually rises steadily as the student learns and develops his abilities. And the optimality of increasing its level is ensured by strict adherence to the rule of gradual complication of Vocal-technical and artistic skills and their competition.

Principle feasible difficulties replaced didactics with the principle of accessibility of education, which is quite natural. The principle of feasible difficulty includes the accessibility of learning; it clarifies the meaning of this concept. In Soviet didactics, accessibility is understood not as ease, but as a measure of the feasible difficulty of learning.

The personality of each student is purely individual: each has its own special psychological make-up, character, strong-willed qualities, and more or less expressed musical abilities. The general position of pedagogy on an individual approach to the student becomes important in individual vocal training. Among other things, in a solo singing class, the need to take into account the peculiarities of the sound of each student’s voice and voice formation, which are determined by the peculiarities of the structure and operation of his vocal apparatus, comes to the fore. Each new student for a teacher-vocalist turns out to be a unique task, which he has to solve, flexibly refracting and combining methods and techniques of pedagogical influence.

In Soviet music pedagogy, it is fundamental principle unity artistic and technical aspects of training. This principle, special to music pedagogy, is extremely important when teaching solo singing. For a singer, unlike other instrumental musicians, his instrument is located within himself, it is part of his body. When learning to sing, the organs of the vocal apparatus are specially adapted to perform singing tasks and have their own function. Functional connections are established between them, dynamic stereotypes are created, that is, a “singing instrument” is formed and tuned. It should be taken into account that a significant part of the vocal apparatus and, above all, the larynx, is not directly subordinate to our consciousness. Many organs of the vocal apparatus are controlled indirectly through the idea of sound, through the auditory organs, which influence the motor centers associated with singing. The idea of a singing sound, the nature of the sound, is determined by its emotional content, musical and semantic expressiveness, which significantly influence the functioning of the vocal apparatus and the establishment of its function.

The method of teaching singing is based on general didactic and special vocal methods. In the solo singing class at the Faculty of Music and Pedagogy, it is extremely important not only to highly qualified use of these teaching methods, but also to familiarize future music teachers of secondary schools with them, taking into account the specifics of their use when working with children.

The explanatory and illustrative method consists of providing teachers with ready-made information about singing sound and voice formation. It includes traditional methods: explaining through spoken word and demonstrating (demonstration) professional vocal sound and the way the vocal apparatus works to create that sound. The explanatory and demonstrative method is aimed at conscious perception, comprehension and memorization of the reported information.

The explanatory and illustrative method in vocal teaching is closely combined with the reproductive method, which consists of students reproducing and repeating the singing sound and methods of operation of the vocal apparatus in accordance with the explanation and demonstration of the teacher. Such reproduction and repetition is specially organized by the teacher and turns into an activity aimed at improving the actions performed with the help of educational material: a system of exercises. Vocalizations, vocal works. As a result, students form and develop vocal skills. Thus, the use of both described methods is a necessary condition for the formation of vocal skills and knowledge in the field of singing voice formation.

But both of these methods contribute little to the development of the student’s creative abilities. In this regard, the use of partially search, or heuristic, as well as research methods is of great importance, and the first of them is the initial stage of the second.

The heuristic method is introduced as vocal, technical and artistic skills are mastered. It consists in the fact that the teacher outlines and organizes the students’ implementation of individual search steps. Often this is a task to find the character of the sound that corresponds to the vocal work being mastered. The teacher guides the student to complete the task, helping him to clearly determine the emotional and semantic content of the vocal work. Based on the identified content, the student attracts, updating his existing knowledge and skills, forms the desired sound, motivates its qualities.

The research method is considered as a way of organizing the student’s search and creative activity. In the context of teaching solo singing, this method is used at later stages of training and mainly comes down to students’ independent analysis of musical and poetic text, the emotional content of the mastered work of art, and the search for vocal means of expressiveness. To create your own performance, interpretation of the work. Considering the specifics of music learning, it would obviously be more correct to call this method creative.

Thus, the basis of expressive singing, the formation of hearing and voice are vocal and choral skills. A prerequisite for successful work is their strict adherence and implementation. With the help of the principles and methods of vocal training, the student not only acquires knowledge about singing voice formation and develops and improves vocal-technical and artistic skills, but also develops his voice, performing abilities, musical and aesthetic taste, mental abilities: memory, observation, thinking, imagination, speech, moral feelings,

2 Peculiaritiesselectionsongrepertoire

2.1 Are common methodological provisions By organizations vocal-choral work With juniors schoolchildren

The purpose of organizing vocal and singing work at the first stage of children’s acquaintance with the art of music is to develop the physiological and psychological basis of the performer’s singing culture. A.N. Karasev believed that “the first way to get acquainted with musical material is listening to others, and this listening, depending on how they sing in front of the child, should have an impact on the future musical development of the child.” The basis of such mastery of culture is children's predisposition to imitation. Therefore, it is pedagogically appropriate for children to listen to the teacher’s voice. Listening to the teacher's voice gradually develops stability of auditory attention in children. Already at the first acquaintance with children, the teacher should, in a playful way, diagnose the level of development of musical ear and singing abilities of the students. Based on the data obtained, children should be taught in parallel in three intonation groups. The first group consists of children with a range of at least a sixth, intoning a melody without the support of an instrument, singing calls, with a natural sound. The second is children with a somewhat limited range, unstable intonation. The third group includes “Gudoshnikov”.

The cause of poor intonation may be the following: dislike of singing, shyness, general apathy or excessive activity, lack of coordination of hearing and voice, diseases of the vocal cords, physiological disorders of the auditory system, weakness of auditory attention, muscle tightness. If the cause of poor intonation is not related to physical pathology, for many students the problem of pure intonation, as a rule, is solvable provided that classes are systematic and constant pedagogical control.

He fell into the snow and closed his homeland with his chest

Fell in the snow, not in the days of war, but in a time of peace

And for him, the dawn of spring has gone out forever!

(repeat verse 1)

It's good to be next to mom

It's getting dark and the moon has risen,

Mom lit the lamp on the table.

We sit in silence

And my mother reads to me. 2 times

We read about forest animals,

They will talk about funny, mischievous bunnies.

It's good to be around her

With my dear mother. 2 times

Mom will say: “It’s dark outside.

All the bunnies have been sleeping for a long time..."

I'll smile at mom

I’ll cuddle up to her like a little bunny. 2 times

Solar drops

Music by S. Sosnin,

words by I. Vakhrusheva

In the yard the icicles were crying,

They melted under the rays of the sun,

Blue tears dripped

And they left a thawed patch.

Chorus: Ding-dong, ding-dong, ding-dong!

Droplets and peas are dancing,

And on the March thawed patch

He stretched out his hands to the sun

Small blue flower.

Chorus.

And the icicles jingle cheerfully,

And the spring drops sing.

This sunny song -

Congratulations to our mothers.

Chorus.

Essay about spring

Music by Y. Dubravin,

words by N. Protorova

The snow is melting on the school roof,

A ray of sunshine on the window.

We write in our notebooks

Essay about spring.

Here is a starling on a thin branch

Cleans his feathers

And they rush with a ringing song

Blue-eyed streams.

Chorus: This always happens in March -

Joy flies into our classroom.

Sunny bunny on the desk

Teases each of us. (3 times)

The chime of a drop is heard

All the guys, be quiet.

We write in our notebooks

Essay about spring!

Why, we don’t know ourselves

We are looking forward to your call.

And across the sky with sails

Clouds float by.

Chorus.

Flocks of birds above the clouds

Floating in the heights

All nature writes with us

Essay about spring...

Mother

The moon shines in the clouds,

There's silence on the street

From all troubles and insults

Only mom is awake and sad.

The door will open in the morning,

She will open it, believe me!

Believe me, only mom will open it.

From all troubles and insults

She keeps it day and night, 2 times

Only mom is awake and sad.

And if trouble comes,

She will always help

Only your mother can help you.

From all troubles and insults

She keeps it day and night, 2 times

Only mom is awake and sad.

Good words

Music and lyrics by T. Bokach

Many songs have been sung about mommy.

We are warmed by kindness, like the sun.

We just want it again and again

Say our kind word to mom.

Chorus: We will call you the best

Gentle sunshine, ray of sunshine.

We will call you the cutest,

Kind, gentle, very beautiful.

No matter how many words I say about you,

But this will still not be enough.

To tell about my love for my mother,

Words on this earth are hardly enough.

Chorus.

Song about grandma

Music by A. Filippenko

Grandma has a lot of trouble with us -

Grandma makes us sweet compote.

Warm hats need to be knitted,

Tell us a funny story. 2 times

Grandma works all day long.

Grandma, dear, sit down and rest!

We will sing you our song... 2 times

My dear grandmother and I live together!

For my beloved grandmother

Music and lyrics by T. Bokach

For my beloved grandmother

I'll sing now.

I want to tell everyone

How I love her.

Affectionate, dear.

And nowhere in this world

There is no other like it.

Every day she holds my hand

Leads me to the garden

Knits warm socks,

Sings me songs.

Chorus.

ABC

Music by A. Ostrovsky,

words by Z. Petrova

If you want to know a lot,

Must learn.

Chorus: ABC, ABC

Everyone needs

We need to write letters

Neatly in line.

We need to remember them

No mistake, exactly.

Chorus.

Books can tell

About everything in the world.

Adults and children.

Chorus.

Fairy tales travel around the world

Fairy tales travel around the world

Night harnessed to a carriage.

Fairy tales live in the clearings,

They wander around in the fogs at dawn.

And the prince will love Snow White,

And Koshchei’s greed will destroy him.

Let the evil do cunning tricks,

But good still wins!

Having illuminated the world with miracles,

Fairy tales fly over the forests,

They sit on the windowsill,

They look out of the windows like into a river.

And the fairy will rescue Cinderella,

Gorynych the Snake will no longer exist.

Let the evil do cunning tricks,

But good still wins!

Fairy tales are with me everywhere,

I'll never forget them

It's worth closing my eyelashes,

In an instant Sivka-Burka will dream.

And the month will shine clear

In the eyes of Vasilisa the Beautiful.

Let the evil do cunning tricks,

But good still wins!

A fairy tale goes through the forest

Music by S. Nikitin,

words by Yu. Moritz

A fairy tale goes through the forest,

Leads the tale by the hand.

A fairy tale comes out of the river,

From the tram, from the gate.

What kind of round dance is this?

This is a fairy tale round dance.

Fairy tale - clever and charming

He lives next to us.

Chorus: To, to, again

Good defeated evil

To good, to evil

Convinced me to become good.

Ah, behind me and behind you

Fairy tales run around in a crowd.

Favorite fairy tales

Sweeter than any berry.

In a fairy tale, the sun is burning,

Justice reigns in it.

The fairy tale is clever and charming,

The path is open to her everywhere.

Chorus.

Rainbow

Music by O. Yudakhina,

words by V. Klyuchnikov

Mushroom rain under the mountain

I wet the grass,

And there's a rainbow in the sky

He gave it to us all.

Chorus: Rainbow, rainbow, don't rush home

Rainbow, rainbow, stay above the ground.

Rainbow, rainbow, bright wing,

Rainbow, rainbow, how bright it is with you!

If only we could have a rainbow

Run quickly

And pick up bouquets

Sunbeams!

Chorus.

Rainbow is a beauty

Where can I find you?

Are you far through the forest?

Ways to reach you?

Chorus.

Music

Music by G. Struve,

words by I. Isakova

I want to see the music

I want to hear music.

What is this music?

Tell me quickly.

Bird trills are music

And the drops are music,

There is special music 2 times

In the quiet rustle of branches.

You see, the maple leaf is spinning,

Quietly spinning to the music

You see, the cloud in the sky is frowning -

There will be rain music.

Both the wind and the sun,

And the clouds and the rain,

And for a small grain 2 times

It has its own music too.

Childhood is me and you

Music by Yu. Chichkov,

Words by M. Plyatskovsky

Childhood, childhood, childhood is light and joy,

These are songs, these are friendships and dreams.

Childhood, childhood, childhood are the colors of rainbows,

Childhood, childhood, childhood – it’s me and you!

Chorus: All people on the big planet

Should always be friends.

Children should always laugh

And live in a peaceful world!

Children should laugh

And live in a peaceful world!

Let only the dawns burn brightly,

On a starry night, let the fields sleep peacefully...

Childhood, childhood is not in vain warmed with kindness,

Childhood, childhood is your tomorrow, Earth!

Chorus.

Childhood, childhood, childhood is the summer wind,

The sail of the sky and the crystal ringing of winter.

Childhood, childhood, childhood - this means children,

Children, children, children - that means us!

Chorus.

"Wait a minute"

From the movie "Last Vacation"

music by P. Aedonitsky,

words by I. Shaferan

Here we will find every house,

At least blindfold yourself.

Somewhere around that corner

Childhood flies into the distance.

Chorus: Wait, wait, leave forever,

You bring, bring, bring us here sometimes...

My childhood, wait, don’t rush, wait!

Give me a simple answer: what's ahead?

Something happened suddenly

On this day, at this hour,

Like a good friend

Leaves us.

Chorus.

The dawn will hurry.

There will be snow, there will be rain.

Only the past years

You won't come back again.

Chorus.

This will never happen again

Clouds look out the school window,

The lesson seems endless.

You can hear the feather creaking slightly

And the lines fall on the piece of paper.

Chorus:

In puddles of blue glass ice...

The invisible look of surprised eyes

And the words are a little vague.

After these words for the very first time

I want to turn the whole world upside down.

Chorus: First love...Snow on the wires...

There is a flashing star in the sky.

Doesn't repeat, doesn't repeat,

This will never happen again! 2 times

The song of rain rolls like a stream.

Green winds rustle.

Jealousy for no reason, arguments about nothing -

It felt like yesterday.

Chorus: First love... Sounding years...

In puddles of blue glass ice....

Doesn't repeat, doesn't repeat,

This will never happen again! 2 times

With us, friend!

Music by G. Struve,

words by N. Solovyova

With us, friend! With us, friend! Together! Together!

Start singing! Start singing! A song! A song!

And then, and then the sun, the sun

Smiles at us from above.

And then, and then bright, bright

Flowers will bloom all over the Earth.

Chorus: Together we will build a house,

Together we will plant a garden,

Let's sing this song together.

Everyone knows that we are together,

Together we are always more interesting!

The birds called us, the birds called us

Behind you, behind you in the distance, in the distance,

Will he walk on the grass barefoot?

But then, but then who? Who?

Plant a garden and build a house?

Chorus.

Let the Earth, let the Earth circle! It's spinning!

All children, all children are friends! They're friends!

We then, we then quickly, quickly,

We'll grow mushrooms in the rain.

We are then, we are then home, home

Let's call the earth a common home.

Chorus.

At least take a peek...

Music by E. Krylatov,

words by Yu. Entin

On this on white in the world!

We got a lucky but difficult ticket,

We are children of the twentieth century.

Heavenly heights, ocean floor,

Secrets will be revealed one day.

Life is interesting and fun for us, but...

But I still want it, I want it terribly!

Chorus: At least take a peek

Look into the coming century!

And I would like to find out what kind of fate

They are waiting for you, waiting for you, man!

What's missing, what's missing

On this on white in the world!

Sometimes we don’t see the light behind the clouds,

Sometimes the dawn is invisible

Nowadays it’s funny to be offended,

Goodness will be found in everyone

But I still want it, I want it terribly.

Chorus.

What's missing, what's missing

On this on white in the world!

Everywhere there is a trace of the past

And we are responsible for today

We are destined to build a house with you.

In tomorrow they will remember yesterday.

Life is interesting and fun for us, but...

I want it so much, I want it, I want it so badly.

Chorus.

Our school country

Music by Yu. Chichkov,

words by K. Ibryaev

Don't spin the colorful globe,

You won't find it there

That country, a special country,

Which we sing about.

Our old planet

Everything has been studied for a long time,

And this country is big -

Always a “blank spot”.

Chorus: Let no trains go to this country,

This is the first time our mothers have brought us here by the hand.

In this ringing, cheerful country

They greet us like new residents,

This country is always in my heart!

To a new class, like to a new city,

We come every year

A tribe of young dreamers,

Restless people.

So we have to fly and sail again

Across that endless country

To unexpected discoveries,

For graduation in the spring.

Chorus.

Here we sometimes hear

In the quiet rustle of pages

The wind of wanderings turns the globe,

Waving its wing to us

In that country, a special country,

Which we sing about.

Chorus.

Song about holidays

Music by V. Golikov,

words by N. Maznin

Vacations, holidays -

The desired time

That's why it's so much fun

We all shout - hurray!

Chorus: Hooray! Hooray!

Holidays - hurray!.. 2 times

Hooray! happy salute

All day in the yard.

And the ball and slippers,

And to the jumping ropes - hurray!..

Chorus.

Hooray! walks in the forest

With a basket in hand!

Hooray! waist-high grass

And boats on the river!

Chorus.

Hooray! simple pure

And songs around the fire!

Chorus.

Turn

Music by A. Pakhmutova,

words by N. Dobronravov

Never, you understand, never

No star burned so close.

This is the light of passing years,

This is risk, speed, intelligence.

Chorus: Our goal is ahead, ahead!

Convince me of victory

So that there is no fear in the soul

On a sharp turn like fate.

Our life, our thought, our pain

And love's incorruptible password -

There were so many hopes and worries!

The last round remains...

Chorus.

Not for a year, not for two - forever.

Our star lights up.

Someone will understand our sincerity

And he will risk following us...

Chorus.

Planet of Childhood

Music by A. Zhurbin,

words by P. Sinyavsky

We will remember more than once

That good planet

Where with the rays of the eyes

There are dawns,

Where are the sunny dreams?

Where are the star paths?

Where in the songs are heard

Laughs and sadness.

Chorus: Mysterious fairies walk along the streets,

And the knights carry briefcases behind the fairies.

And the calls splash with a crystal melody,

And the first verses are warmed by the first secret.

They believe in magic here

Here they are friends with miracles.

All fairy tales come true

They come to visit themselves.

There are no clouds visible here,

It's crowded with smiles here.

Under the sail of spring

The planet of childhood is flying.

Chorus.

Friendly song

Music by A. Zhurbin,

words by P. Sinyavsky

The mood in our class is excellent,

We don't know what a personal matter is -

We divide all matters equally among everyone,

And that is why success comes to us.

Chorus: Everyone knows, everyone knows, everyone knows

What we live in the world is interesting,

Because with us, because with us,

Because we have a friendly class!

We are with tips to share experiences

We’re not used to even whispering in class,

Because for any of the changes

Let's look at both the problem and the example.

Chorus.

And carefully design the cheat sheets

The guys and I don’t have to at all.

It’s better to just learn everything you need,

And get an excellent mark.

Chorus.

We are leaving childhood

Music by A. Zhurbin,

words by P. Sinyavsky

We are leaving childhood

Because in childhood

Has its own magic, 2 times

Because in childhood

It has its own magic. 3 times

We are leaving childhood

Waiting for new ones

Stranger miracles.

And childhood tries 2 times

Create a kingdom

Where are the handsome princes

They will meet princesses. 3 times

We are leaving childhood

And someday again

Let's bring back our fairy tales

If in the mirror of childhood

We want to look at it twice

Through colored glass,

Forgotten in it.

We are leaving childhood... 3 times

Song about friendship

You, me, you and me,

You, me, and you and I...

It's great to have friends in the world.

The Earth would probably fall apart

If everyone lived alone, they would have been in pieces long ago

The Earth would probably fall apart.

You, me, you and me,

You, me, you and me

We'll go around the Earth, then we'll head to Mars.

Maybe by the orange river

There are already sad people there

Because we've been gone for too long.

You, me, you and me,

You, me, and you and I...

No one will ever separate us.

Even if we part

Friendship remains forever. 2 times

Friendship with us remains forever.

Tatyana Shegerdyukova
The problem of selecting a song repertoire for preschoolers

The main requirement for children's repertoire, including the song, remains ideologically focused, high artistic merit and accessibility for perception and performance. An important means of musical education and teaching in kindergarten is song.

“The children will sing, the people will sing”, wrote K.D. Ushinsky. Whether our students love singing or not depends on us, teachers. In order for singing to be one of your favorite activities, we will get acquainted with the methodological techniques that you need to use in your work, instilling vocal and choral skills in children. The task of a kindergarten music teacher is to teach a child to love singing and not to be embarrassed if something doesn’t work out.

When choosing a song, one must proceed not only from the availability of the literary text, but also take into account the character, structure of the melody, its correspondence to the characteristics of a given group of children, their vocal capabilities, and the general level of musical development. According to the diagnostic results, in most cases it turns out that no knowledge about song children do not have a heritage and the possibilities of their voice; many do not have favorite children’s songs. When choosing song repertoire It is necessary to take into account the basic principles of teaching children to sing.

The principle of educational training. It instills in them a love for the beautiful in life and art, causes a negative attitude towards the bad, and enriches the child’s spiritual world.

Accessibility principle: the content and volume of knowledge about music, the volume of vocal skills, teaching methods and their assimilation by children corresponds to the age and level of musical development of children of each age group.

Selected available song repertoire should be given to children in a language they understand.

The principle of gradualism, consistency and systematicity

gradually move from the learned, familiar to the new, unfamiliar. The principle of visibility. In the process of learning to sing, the main role is played by the so-called sound visualization - this is the performance of the song by the teacher, the specific auditory perception of various sound relationships. Other organs feelings: vision, muscle feeling, or "tentacles"(in the words of I.M. Sechenov, they complement and enhance auditory perception.

Visualization in teaching singing increases children’s interest in musical lessons, promotes the development of consciousness, ease and strength of learning songs.

The principle of consciousness.

The music director strives to instill in the children a conscious attitude towards the content of the song, the conveyance of the musical image, and singing technique.

The principle of strength. Songs children learned after a while

are forgotten if they are not systematically repeat: vocal skills

are lost if children do not practice singing for a long time. Therefore, you should not rush to learn new songs. It is better to repeat what you have learned more often.

To repeat The children didn't get bored with the songs, it is necessary to diversify this process by introducing elements of the new.

Repertoire for each age group is selected in a certain sequence. However, this sequence is very relative. In one song or another there may be certain "difficult" places, for example, unusual interval movement, dotted rhythm, etc. Additional exercises are needed to master these tasks that are difficult for children.

The music director, before learning a song with children, needs to carefully analyze it according to an approximate scheme:

1. Educational value: the main idea and nature of the musical embodiment.

2. Literary text: general assessment of artistic qualities, features of the text - the presence of appeals, dialogues, the most significant words in terms of expression.

3. Melody: character of the melody, intonation expressiveness, intervals, mode, size, rhythm, tessitura and range.

4. Piano accompaniment: artistic merit, expressiveness, accessibility for children's perception.

5. Structure (form) songs: one-part, two-part (single, chorus, verse.

Preliminary acquaintance with the musical repertoire helps the teacher understand its content, achieve expressive performance, and think through the sequence of learning with children.

The skills that need to be taught to the children are also determined, the necessary exercises for sound production, breathing, diction, expressive, correct intonation, and unified singing are thought out. The characteristics of each song give these exercises a unique character.

Song repertoire included in the program, meets the objectives of comprehensive musical education and development preschooler, is available for assimilation and further independent use in kindergarten and family.

Selecting a musical repertoire, the teacher provides for the possibility of their further use in games, round dances, and marching. You can also learn an additional repertoire in preparation for the holidays. For this purpose, songs on a specific topic are selected.

If previously the music director was obliged to work exclusively according to the program, now he has the opportunity to independently select repertoire for their pupils. A number of difficulties arise here. The first of them is the ability to choose from the abundance of children's song repertoire, accessible and convenient to perform. In recent years, many songs for preschoolers created by both professional musicians and practicing teachers themselves. Authors do not always take into account the capabilities of a child’s voice, including wide leaps in the melodic line, too high or low tessitura, and text that is difficult for children to reproduce and understand. And the teacher is often guided by the fact that he personally likes the song, and begins to teach it to the children, not paying attention to the fact that the children are physically unable to perform it well.

Second problem– aesthetic value songs performed in kindergarten. Due to the decline in the general cultural level of our society, some music directors, to please the undemanding taste of many parents, force children to perform songs of an adult repertoire, forgetting that variety love songs often of very low quality musically and far removed from the children's life experiences in meaning. Words about love and passion from the lips of 6-year-old children sound vulgar and inappropriate. Everything has its time. Children will grow up, and then such songs will sound natural. And while they are little, let them sing children's songs.

Wonderful repertoire collections are issues "Teach children to sing", compiled by T. M. Orlova and S. I. Bekina. In them, methodological recommendations are developed for each song, exercises for developing hearing and voice are presented, and examples are given for singing improvisation. Some music directors believe that the songs from them are outdated. Of course, some songs no longer correspond to our reality. But how much poorer will the spiritual world of our children be if they do not know the works included in the golden fund of children's songs, such as "Raspberry", "On the bridge", "Good Soldiers" A, Filippenko, "Blue Sled" M. Jordansky, "Winter has passed" N. Metlov and many others.

IN repertoire of preschool children ages should include songs by classical composers, modern authors, Russian folk songs, as well as songs of other peoples. Over the past decades, the world around us has changed a lot. Thanks to the Internet, children now know that you can easily correspond with any person on earth, sitting in a snowy Siberian town or a tropical hut in distant Africa. And everything that happens far away can instantly appear on the TV screen. Our children already live today in a world that is united, despite borders and different languages. They need not just the ability to respect other countries and peoples, they need the ability to hear and see beauty in a foreign culture. And therefore it is quite appropriate to introduce songs of other countries and peoples.

Song repertoire for young children. Song repertoire for music lessons

Send your good work in the knowledge base is simple. Use the form below

An object - the process of development of vocal abilities in children of primary school age.

Item - children's repertoire as a means of developing the vocal abilities of children of primary school age.

Target course research: to determine the features of selecting a song repertoire, taking into account the development of vocal abilities of children of primary school age.

To achieve this goal, the following tasks have been identified:

1) To study the characteristics of the vocal abilities of children of primary school age

2) Determine the criteria for selecting a song repertoire for children of primary school age

Course research methods:

by search stages:

· material selection method

· method of directed transformation according to the level of penetration into the essence:

empirical:

· theoretical literature study:

· analysis and synthesis

by function:

· explanation

1 . Peculiaritiesdevelopedand Iabilitieschildrenjuniorwstakeage

1.1 Educational meaning singing , his role V musical development junior schoolchildren

Singing is the performance of music using a singing voice. Differing from spoken speech in the precision of pitch intonation, singing is one of the most striking and expressive means of musical art.

In singing, as in other types of performance, a child can actively demonstrate his attitude towards music. Singing plays an important role in musical and personal development.

Singing is closely related to the general development of the child and the formation of his personal qualities. Singing develops aesthetic and moral ideas, activates mental abilities, and has a noticeable positive effect on the physical development of children.

The influence of singing on the moral sphere is expressed in two aspects. On the one hand, the songs convey a certain content, an attitude towards it; on the other hand, singing gives rise to the ability to experience the moods and mental state of another person, which are reflected in songs.

The impact on the physical development of children is obvious. Singing affects the general condition of the child’s body, causing reactions associated with changes in blood circulation and breathing. Physiologists have established the influence of music on the human body.

1.2 Peculiarities musical hearing And vote children junior school age

Musical hearing is a person’s ability to perceive and reproduce sounds, as well as internal fixation of them in consciousness, that is, their reproduction.

The perceptual component, according to P.M. Teplov, is necessary for full perception and recognition of the melody, which arises on the basis of an emotional criterion. Thanks to the reproductive component, the melody is reproduced, indicating the presence of more or less developed auditory ideas.

The basis of melodic hearing is a feeling, which is the ability to distinguish the modal functions of melody sounds, their stability, and their attraction to each other.

Many years of musical and pedagogical practice have confirmed that children’s ear for melody develops mainly through singing and playing musical instruments. It is in singing that the level of development of the reproductive component of melodic hearing is diagnosed.

Modern research (K.V. Tarasova) allows us to identify six stages in the formation and development of a child’s ability to intone a melody with his voice.

First stage, the initial stage, is characterized by the fact that intonation in the generally accepted meaning of this word is practically absent: the child simply pronounces the words of the song in a certain rhythm, more or less coinciding with the rhythm of the song sample offered to him.

On second stage You can already recognize the intonation of one or two sounds of the melody, based on which the entire song is sung.

On third stage the general direction of movement of the melody is intoned.

Fourth stage differs from the previous one in that, against the background of the reproduction of the general direction of the melody, a fairly “pure” intonation of its individual segments appears.

On fifth stage The entire melody is intonated “purely”. These five stages were identified in conditions of singing with piano accompaniment.

On sixth stage There is no need for accompaniment: the child intones the melodic pattern relatively correctly without accompaniment.

So, melodic hearing develops in ontogenesis as a single integrative system, which is characterized by interaction perceptual and reproductive components; their formation proceeds from elementary to increasingly complex components.

The quiet, flowing, silvery sound of a child's voice can be considered as a kind of aesthetic standard. It is necessary to strive for its achievement in the real practice of musical, including singing, education of children.

In most children seven to eight years old, the voice is still insignificant, so there is no reason to specifically work on its development; it develops as the correct skills are acquired with an easy, quiet sound, calm breathing, clear words and well-pronounced vowels and consonants.

In general, falsetto voice formation is typical for younger schoolchildren. Their respiratory muscles are still weak, their lung capacity is small, and therefore their voices are smaller than those of older children.

The vocal mechanism of children is very elastic and pliable. The sooner healthy sound production skills are instilled in a child, the sooner the relationship between voice and hearing is established.

HygieneAndsecuritychildren'svotes

Thus, successful operation and accuracy of sound reproduction when singing is possible with full coordination of musical ear and voice, and protection of the child’s voice.

1.3 Psychological peculiarities junior schoolboy

Educational activities in the primary grades stimulate, first of all, the development of mental processes of direct cognition of the surrounding world - sensations and perceptions.

The possibilities of volitional regulation of attention and its management at primary school age are limited. In addition, the production attention of a junior schoolchild requires short, in other words, close, motivation.

Involuntary attention is much better developed at primary school age. The beginning of schooling stimulates its further development. Everything new, unexpected, bright, interesting attracts the attention of students by itself, without any effort on their part.

At primary school age, the foundation of moral behavior is laid, moral norms and rules of behavior are learned, and the social orientation of the individual begins to take shape.

Thus, when working with children, you need to take into account their psychological characteristics: memory, attention, thinking, etc.

1.4 Vocal-choral skills , principles And methods vocal training

A skill is a partially automated way of performing an action that is a component of the act of singing.

· Do not inhale at the same time as the person sitting next to you;

· Do not inhale at the junction of musical phrases, but only, if possible, in the interior of long notes;

· Take breath quickly and imperceptibly;

· Blend into the overall sound without accent, with a soft attack (beginning) of the sound, intonationally accurate;

· Listen sensitively to the singing of your neighbors and the general sound;

No less important in singing is skill sound processing, the main requirements for the formation of which should be the following:

· Before its occurrence, sound must be formed in the mental auditory representations of schoolchildren;

· The sound of an attack is carried out with intonation precision, without glissando.

Formation skill articulation involves the formation of a timbre relationship between vowels, the main condition of which is the desire to maintain a stable position of the larynx when singing different vowels.

The correct formation of the singing sound is also facilitated by the manner of pronouncing words - diction. In this case, pronunciation in singing is based on the general rules of orthoepy.

The basis of singing is vowel sounds. They develop all the vocal qualities of the voice. The beauty of timbre depends on the correct formation of vowels.

Singing in an ensemble is closely related to choral structure - precise intonation in single-voice singing (horizontal structure) and polyphonic singing (vertical structure).

When working on tuning difficulties, you should adhere to the rules of intonation of the scale degrees.

But both of these methods contribute little to the development of the student’s creative abilities. In this regard, the use of partially search, or heuristic, as well as research methods is of great importance, and the first of them is the initial stage of the second.

2 Peculiaritiesselectionsongrepertoire

2.1 Are common methodological provisions By organizations vocal-choral work With juniors schoolchildren

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