Music is one of the means of physical development of preschoolers. Age levels of musical development of children

CHARACTERISTICS OF THE COURSE "THEORY AND METHODS OF MUSICAL EDUCATION OF PRESCHOOL CHILDREN"

COURSE SUBJECT

Theory and methodology musical education children is one of academic disciplines at the faculties of preschool education of pedagogical institutes that train specialists in the field of preschool pedagogy and psychology. This course is primarily based on aesthetics (one of the areas of study of which is the artistic activity of people), musicology (the science of music, considering it in theoretical and historical terms, as a special form of artistic knowledge), musical psychology (studying the development of musicality, musical talent) , musical sociology (exploring specific forms of existence of music in society). It is closely connected with general and preschool pedagogy, psychophysiology. All these sciences are the theoretical foundations of musical education, which are considered in the subjects that make up the general course and its electives.

In this chapter, we will focus on the subject of the very methodology of musical education of children. preschool age.

The methodology of musical education as a pedagogical science studies the patterns of introducing a child to musical culture, the development of musical abilities in the process of teaching various types of musical activity (perception, performance, creativity, musical and educational activity). In this regard, the purpose of this course is to master students on the basis of personal musical culture with professional musical knowledge, skills, various methods and techniques of musical education and training of children of early and preschool age.

The 3rd day of the course are as follows:

To give students an idea of ​​the possibilities of musical education of a child from birth to school entry;

Reveal patterns of development musical ability and fundamentals musical culture children in preschool and family conditions;

Determine the methods and techniques, organizational forms of musical education and training of children in various types of musical activities in kindergarten;

Describe the functions of the teaching staff

kindergarten for the organization of musical education of preschoolers.

The methodology of this course, like other private methods studied at the preschool faculty, is designed to answer the question: how and on what material to educate a child in kindergarten in accordance with the goal of developing his personality?

The content of musical education in kindergarten is reflected in the relevant programs in the form of requirements for the development of musical abilities, the formation of musical knowledge, skills and abilities in children and a recommendatory list of repertoire for all types of musical activities in various age groups of a preschool institution. Program requirements are the most stable part of the content of musical education, but they are also being adjusted in connection with new approaches to raising a child and taking into account the results of research conducted in this area. So, for example, on the basis of new concepts of organizing the educational process in kindergarten, the educational and disciplinary model of education is being replaced with a personality-oriented one, which should also become decisive when drawing up program requirements for the musical development of children. "Based on existing programs, the teacher should make wider use of the works of folk and classical music, when choosing a repertoire, take into account the specific conditions of the age group of children, the “individuality factor” of pupils (B. M. Teplov), the material and technical base of the institution, their musical and pedagogical abilities, etc. But the main thing is the teacher, knowing about the possibility of music to reveal the best in a person, to sing of the beauty of the world around him, he must always remember the importance of forming an aesthetic beginning in a child, understanding beauty and becoming spiritual in his personality

One of the main tasks of the methodology is to combine the student's theoretical knowledge with practical skills and abilities, the application of theory to the "case".

Thus, the content of the course includes, on the one hand, the mastering of special musical knowledge, skills and abilities by students in the process of classroom theoretical and practical classes, on the other hand, their verification in kindergarten during laboratory classes and teaching practice in order to ensure a full-fledged musical professional training of preschool education specialists.

It is important for a future teacher to understand that the effectiveness of musical training is largely determined by his personal example and culture. By organizing listening to music, learning a song, etc., he must not only ensure the artistic performance of the work (in a “live” performance or recording), vividly tell about its content, character, but also show personal interest, enthusiasm, and to a certain extent artistry , without which pupils will not be able to feel the appropriate mood, emotionally empathize with musical images. The personal attitude of the teacher to music, his taste, performance capabilities largely affect the level musical development his pupils. That is why the music director, the educator must constantly improve their musical culture. In many ways, this is facilitated by the study of musical disciplines (elementary theory of music and solfeggio, musical literature, choral singing, rhythm, playing musical instruments). But this is not enough. In order to maintain a good professional shape, including the musical one, you need to take care of it systematically, actively engaged in your improvement. Only a teacher with a high level of general and musical culture can become a role model for his pupils. Only under this condition will children be able to acquire spirituality, which is so necessary for the development of personality.

Disclosure of the subject of this course requires consideration of the concepts of upbringing, education, training and development in the context of its specifics.

Musical education in kindergarten is an organized pedagogical process aimed at educating musical culture, developing the musical abilities of children in order to develop the creative personality of the child.

Musical education in kindergarten means the “first steps” in this area, which reveal to children the content of elementary information and knowledge about music, types, methods of musical activity.

Education is considered as the main way and means of musical education of children, ensuring efficiency in the development of their musicality, musical and aesthetic ideas, musical culture, artistic and creative abilities, in order to form a full-fledged personality of the child.

Musical development is the process of formation and development of musical abilities based on natural inclinations, the formation of the foundations of musical culture, creative activity from the simplest forms to more complex ones.

All these concepts are closely related. Their connection is also expressed in the fact that the effectiveness of the musical development of a preschool child depends on the organization of musical education, including training. Education should have a developmental character based on a deep study of the child, his age and individual characteristics and knowledge of the patterns of musical and aesthetic development of children of early and preschool age.

The Importance of Music as an Art Form

How to explain great power the impact of music on the spiritual world of man?

First of all, its amazing ability to display the experiences of people at different moments of life. The people rejoice - this translates into solemn and joyful sounds of music; a soldier sings on a campaign - the song gives a special cheerful mood, organizes a step; mother mourns for her dead son - sad sounds help to express grief. Music accompanies a person all his life.

“What interesting stuff! ... After all, on this material one could write an excellent study about the aspirations and expectations of the people, ”said V. I. Lenin about the collection of Russian peasant songs.

Folk musical creativity N.V. Gogol figuratively called it “sounding history”, “ringing living chronicles”.

Musical works reflect the pages of history. During the Great Patriotic War, one of the best songs of that time was born - "Holy War" by A. Alexandrov. It united the Soviet people in their stern, adamant determination to fight until complete victory. In besieged Leningrad, D. Shostakovich created the famous Seventh Symphony. It condemns the greatest evil that fascism brings. “I don’t like to say such words to myself, but it was my most inspired work,”2 the composer recalled. The following words also belong to him: “In sorrow and in joy, in work and at rest, music is always with a person. It has entered life so completely and organically that it is taken for granted, like the air that one breathes without thinking, without noticing... How much poorer the world would become if it were deprived of a beautiful, peculiar language that helps people to understand each other better”3.

This is another feature of music - to unite people in a single experience, to become a means of communication between them. It is perceived as a miracle that a piece of music created

one person evokes a certain response in the soul of another. The great Russian composer P. I. Tchaikovsky said: “I would like with all the strength of my soul that my music spread, that the number of people who love it, find comfort and support in it” increases.

Vivid works of art, expressing the world of great thoughts and deep feelings of a person, capable of evoking an emotional response, influencing the aesthetic side of the soul, become a source and means of education.

The third feature of music, in the words of D. Shostakovich, is "a wonderful original language." Combining an expressive, bright melody, harmony, a kind of rhythm, the composer expresses his worldview, his attitude to the environment. All those who perceive them are enriched by such works.

Is music capable of affecting all listeners with the same force? Of course no. And this is another feature of it. Each person in his own way shows interest and passion for music, prefers any musical genre, favorite composer, individual work, having a certain listening experience. Just as one learns to read, write, count, draw, so one must learn to recognize and appreciate music, to listen attentively, noting the dynamic development of images, the clash and struggle of contrasting themes and their completion. The perception of the listener must follow the whole course of the development of music. We must learn to comprehend this "beautiful peculiar language." Musical taste is gradually developed, there is a need for constant communication with music, artistic experiences become more subtle and diverse.

Another feature of music that interests us is to influence a person from the very first days of his life. Hearing the gentle melody of a lullaby, the child concentrates, calms down. But now a cheerful march is heard, and the expression immediately changes baby face, the movements come to life! An early emotional reaction makes it possible to introduce children to music from the first months of life, to make it an active assistant in aesthetic education.

§ 2. Music and the comprehensive development of the child's personality

Harmonious combination of mental and physical development, moral purity and aesthetic attitude to life and art - the necessary conditions for the formation of a holistic personality. The correct organization of the musical education of children also contributes in many ways to the achievement of this lofty goal.

Music is a means of aesthetic education

Aesthetic education is aimed at developing the abilities of preschoolers to perceive, feel and understand the beautiful, notice good and bad, act creatively on their own, thereby joining various types of artistic activity.

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

The first sign of musicality is the ability to feel the character, mood of a piece of music, empathize with what is heard, show an emotional attitude, understand the musical image.

Music excites the little listener, evokes responses, introduces life phenomena, gives rise to associations. The rhythmic sound of the march causes him joy, enthusiasm, the play about the sick doll makes him sad. Hearing a sad song performed by an adult on the radio, the boy said: "Uncle sings about his grief." This means that the child felt the mood of the song, which conveys the state of mind of a person.

The second sign of musicality is the ability to listen, compare, evaluate the most vivid and understandable musical phenomena. This requires an elementary musical and auditory culture, arbitrary auditory attention directed to certain means of expression. For example, children compare the simplest properties of musical sounds (high and low, the timbre sound of a piano and violin, etc.), distinguish the simplest structure of a musical work (song of a song and chorus, three parts in a play, etc.), note the expressiveness of contrasting artistic images (affectionate, lingering character of the sing-along and energetic, mobile - of the refrain). Gradually, a stock of favorite works is accumulated, which the guys listen to and perform with great desire, the initial foundations of musical taste are laid.

The third sign of musicality is the manifestation of a creative attitude to music. Listening to her, the child in his own way represents an artistic image, conveying it in singing, playing, dancing. For example, everyone is looking for expressive movements characteristic of briskly marching pioneers, heavily stepping bears, moving bunnies, etc. Familiar dance movements are used in new combinations and variations.

With the development of general musicality, the children develop an emotional attitude to music, their hearing improves, and creative imagination is born. The experiences of children acquire a peculiar aesthetic coloring.

Music is a means of shaping the moral character of a child

Music, directly affecting the feelings of the child, forms his moral character. The influence of music is sometimes stronger than the appearance of persuasion or instructions. By introducing children to works of various emotional and figurative content, we encourage them to empathize.

Round dances, songs, dances of different nations arouse interest in their customs, bring up international feelings. Genre richness of music helps to perceive heroic images and lyrical mood, cheerful humor and perky dance melodies. A variety of feelings arising from the perception of music enrich the experiences of children, their spiritual world.

The solution of educational problems is largely facilitated by collective singing, dancing, games, when children are covered by common experiences. Singing requires united efforts from the participants. Singing inaccurately interferes with a good sound, performance, and this is perceived by everyone as a failure. Shared experiences create fertile ground for individual development. The example of comrades, the general enthusiasm, the joy of performance activate the timid, indecisive. For someone spoiled by attention, overly self-confident, the successful performance of other children serves as a well-known brake on negative manifestations. Such a child can be offered to help his comrades, thereby cultivating modesty and at the same time developing his individual abilities.

Music lessons influence the general culture of preschooler's behavior. The alternation of various tasks, activities (singing, listening to music, playing children's instruments, moving to music) requires children to pay attention, ingenuity, quick response, organization, manifestation of volitional efforts: when performing a song, start and finish it on time; in dances, games, be able to act, obeying the music, restraining from an impulsive desire to run faster, overtake someone. All this improves inhibitory processes, educates the will.

Thus, musical activity creates the necessary conditions for the formation of the moral qualities of the child's personality, lays the initial foundations for the general culture of the future person.

Music - a means of activating mental abilities

The perception of music is closely connected with mental processes, i.e. it requires attention, observation, quick wits. Children listen to the sound, compare similar and different sounds, get acquainted with their expressive meaning, note the characteristic semantic features of artistic images, learn to understand the structure of the work. Answering the questions of the educator, after the work has finished, the child makes the first generalizations and comparisons: determines general character plays, notices that the literary text of the song is pronounced musical means. These first attempts at aesthetic appreciation require active mental activity and are directed by the educator.

Like other art forms, music has an educational value. It reflects vital phenomena enriching preschoolers with new ideas. Listening, for example, to the song "This is our Motherland" by E. Tilicheeva, they feel the solemnity, upliftment, jubilation of the people glorifying our Soviet Motherland. Developing the child aesthetically and mentally, it is necessary to support in every possible way even if insignificant creative manifestations that activate perception and representation, awaken fantasy and imagination.

When an adult sets creative tasks for a child, a search activity arises that requires mental activity. For example, in singing, the child improvises, creates his own version of the melody, tries to match the literary text with expressive intonations.

In musical-rhythmic activity, children with great pleasure invent, combine dance movements, singing and moving to the music. Dance, folk dance, pantomime, and especially musical dramatization encourage children to depict a picture of life, to characterize a character using expressive movements, facial expressions, and words. At the same time, a certain sequence is observed: the guys listen to music, discuss the topic, distribute roles, and then act. At each stage, new tasks arise that make you think, fantasize, and create.

Music is a means of physical development

Music perceived by the auditory receptor affects the general state of everything human body, causes reactions associated with changes in blood circulation, respiration. V. M. Bekhterev, emphasizing this feature, proved that if you establish the mechanisms of the influence of music on the body, then you can cause or weaken excitation. P. N. Anokhin, who studied the influence of major and minor scale on the state of the body, concludes that the skillful use of melodic, rhythmic and other components of music helps a person during work and rest. Scientific data on the physiological characteristics of musical perception provide a materialistic justification for the role of music in the upbringing of a child.

Singing develops the vocal apparatus, strengthens the vocal cords, improves speech (speech therapists use singing in the treatment of stuttering), and contributes to the development of vocal-auditory coordination. The correct posture of the chanters regulates and deepens breathing.

Rhythm classes, based on the relationship of music and movement, improve the child's posture, coordination, develop clarity of walking and ease of running. The dynamics and tempo of a piece of music require, in movements, to change the speed, degree of tension, amplitude, and direction accordingly.

Music lessons contribute to the overall development of the child's personality. The relationship between all aspects of education develops in the process of various types and forms of musical activity. Emotional responsiveness and a developed musical ear will allow children to respond to good feelings and deeds in accessible forms, help to activate mental activity and, constantly improving movements, will develop preschoolers physically.

§ 3. Age features musical development of the child

A child's abilities develop in the process of active musical activity. To properly organize and direct it from early childhood, taking into account changes in age levels, is the task of the teacher. Otherwise, sometimes there is a lag in development. For example, if children are not taught to distinguish musical sounds by pitch, then by the age of 7 a child will not be able to cope with a task that is easily performed by a younger one.

The most significant features of musical development are:

auditory sensation, musical ear;

the quality and level of emotional responsiveness to music of various nature;

the simplest skills, actions in singing and musical-rhythmic performance.

We note the general trends of age development.

First year of life. Psychologists note that children develop hearing sensitivity early. According to A. A. Lyublinskaya, on the 10-12th day of life, the baby has reactions to sounds. In the second month, the child stops moving and calms down, listening to the voice, to the sound of the violin. At 4-5 months, there is a tendency to some differentiation of musical sounds: the child begins to react to the source from which the sounds are heard, to listen to the intonations of the singing voice. OK from the first months developing child responds to the character of the music with the so-called animation complex, rejoices or calms down. By the end of the first year of life, the baby, listening to the singing of an adult, adjusts to his intonation with a buzz, babble.

Manifestations of emotional responsiveness to music, the development of auditory sensations allow for musical education from an early age.

second year of life. When perceiving music, children show brightly contrasting emotions: cheerful animation or a calm mood. Auditory sensations are more differentiated: the child distinguishes between high and low sounds, loud and soft sounds, and even timbre coloration (a metallophone or a drum is playing). The first, consciously reproduced singing intonations are born; singing along with an adult, the child repeats after him the endings of the musical phrases of the song. He masters the simplest movements: clapping, stamping, spinning to the sound of music.

third and fourth years of life. Children have increased sensitivity, the ability to more accurately distinguish the properties of objects and phenomena, including musical ones. There are also individual differences in hearing sensitivity. For example, some babies can accurately reproduce a simple melody. This period of development is characterized by a desire for independence. There is a transition from situational speech to coherent, from visual-effective thinking to visual-figurative, the musculoskeletal system is noticeably strengthened. The child has a desire to make music, to be active. By the age of 4, children can sing a little song on their own, with little help from an adult. They possess many movements that allow, to a certain extent, to dance and play independently.

fifth year of life. It is characterized by the active curiosity of children. This is a period of questions: “why?”, “why?”. The child begins to comprehend the connection between phenomena and events, can make the simplest generalizations. He is observant, able to determine: the music is cheerful, joyful, calm; sounds high, low, loud, quiet; in the part of the piece (one is fast and the other is slow), on which instrument the melody is played (piano, violin, button accordion). The child understands the requirements: how to sing a song, how to move in a calm round dance and how to move in a dance.

Mastering the basic types of movement - walking, running, jumping - enables children to use them more widely in games and dances. Some seek, without imitating each other, to play a role in their own way (for example, in story game), others are interested in only one type of activity, depending on the individual inclinations and abilities of each.

sixth and seventh years of life. This is the period of preparation of children for school. On the basis of the acquired knowledge and impressions about music, children can not only answer the question, but also independently characterize the piece of music, understand its expressive means, and feel the various shades of mood conveyed by music.

The child is capable of a holistic perception of the musical image, which is very important for the education of an aesthetic attitude to the environment. But does this mean that analytic activity can be detrimental to holistic perception? Studies conducted in the field of sensory abilities and musical perception of children have shown an interesting pattern. The holistic perception of music is not reduced if the task is to listen, highlight, distinguish the most striking means of the "musical language". The child can allocate these funds and, given them, act in a certain way when listening to music, singing songs and dance moves. This contributes to musical and auditory development, assimilation of the necessary skills to prepare for singing from notes.

In children of 6-7 years old, the vocal apparatus is even more strengthened, the range expands and levels out, greater melodiousness and sonority appear. Songs, dances, games are performed independently, expressively and to some extent creatively. Individual musical interests and abilities are more pronounced.

Understanding the age characteristics of musical development allows the teacher to clarify the sequence of tasks and content of musical education of children at each age stage.

The tasks of musical education

The main task of communist education in kindergarten is the all-round and harmonious development of the child. This task is performed by music. N. K. Krupskaya characterizes the importance of art in educating a personality in the following way: “It is necessary to help a child through art to become more aware of his thoughts and feelings, to think more clearly and feel more deeply ...”1. Pedagogy, based on these provisions, defines the concept of musical education and development.

Musical education and development

Musical education is the purposeful formation of a child's personality through the influence of musical art - the formation of interests, needs, abilities, and an aesthetic attitude to music.

In this case, the child successfully learns various types of musical activity, if his individual characteristics and age capabilities are taken into account.

Music has the potential to influence not only adults, but also young children.

Moreover, and this has been proven, even the intrauterine period is extremely important for the subsequent development of a person: the music that the expectant mother listens to positive influence on the well-being of a developing child (maybe it forms his tastes and preferences). Only by developing the emotions, interests, tastes of children, you can introduce them to musical culture, lay its foundations. Preschool age is important for the subsequent mastery of musical culture by a person. If in the process of musical activity of children their musical and aesthetic consciousness is developed, this will not pass without a trace for the subsequent development of a person, his general spiritual formation.

Music develops the child mentally as well. In addition to a variety of information about music that has cognitive significance, a conversation about it includes a description of the emotional and figurative content. The vocabulary of children is enriched with figurative words and expressions that characterize the moods and feelings conveyed in music. Musical activity involves mental operations: comparison, analysis, comparison, memorization, and thus contributes not only to musical, but also to the overall development of the child.

It is very important to create conditions for the formation of the foundations of the musical culture of preschool children. In preschool pedagogy, music is seen as an indispensable means of developing children's emotional responsiveness to all the good and beautiful that they encounter in life.

Music for a child is a world of joyful experiences. In order to open the door to this world for him, it is necessary to develop his abilities, and above all his ear for music and emotional responsiveness. Otherwise, music will not fulfill its educational functions.

In the very early age the baby distinguishes music from the sounds and noises surrounding him. He focuses his attention on the heard melody, freezes for a while, listens, reacts with a smile, cooing, separate movements, shows a “complex of animation”. Older children have already increased mental abilities. They comprehend some connections between phenomena, they are able to make the simplest generalizations - to determine, for example, the nature of music, to name, according to what signs the play played is cheerful, joyful, calm or sad. They also understand the requirements: how to sing a song of a different character, how to move in a calm round dance or in a moving dance. Musical interests are also formed: there is a preference for one or another type of activity, genre of music.

By the age of six or seven, the initial manifestations of artistic taste are observed - the ability to evaluate works and their performance. Singing voices at this age acquire sonority, melodiousness, mobility. The range is leveled, the vocal intonation becomes more stable. If four-year-old children still need constant support from an adult, then with systematic training, most six-year-old children sing without instrumental accompaniment.

Children's actions music lessons aimed at performing educational and creative tasks. They master performing skills and improvise their own unpretentious melodies, and when performing various dances, they strive to convey various dance movements, musical and game images in their own way.

The versatile development of the child's personality is ensured due to the close relationship of aesthetic education with moral, mental, and physical education. The implementation of the ideological and moral influence is helped by a properly designed program and works selected in accordance with the age capabilities of children. But the most important thing is the “school of feelings”, which are formed due to the special property of music - to evoke the empathy of listeners.

Cognitive and mental activity is also activated at music lessons. Children learn a lot by carefully listening to the work. However, they perceive only its most general features, the most vivid images. At the same time, emotional responsiveness does not lose its significance if the child is given the task of listening, distinguishing, comparing, and highlighting expressive means. These mental actions enrich and expand the sphere of feelings and experiences of the child, give them meaningfulness.

The harmony of musical and aesthetic education is achieved only when all types of musical activity available to preschool age, all the creative possibilities of a growing person are used. At the same time, by complicating pedagogical tasks, one should not abuse the special children's susceptibility. Musical art itself, its features put forward the need for a teacher to solve a number of specific tasks:

1. Cultivate love and interest in music. Only the development of emotional responsiveness and receptivity makes it possible to widely use the educational impact of music.

2. To enrich the impressions of children by introducing them in a specifically organized system to a variety of musical works and the means of expression used.

3. Introduce children to a variety of different types musical activity, forming the perception of music and the simplest performing skills in the field of singing, rhythm, playing children's instruments. To acquaint with the initial elements of musical literacy. All this will allow them to act consciously, naturally, expressively.

4. To develop the general musicality of children (sensory abilities, pitch hearing, a sense of rhythm), to form a singing voice and expressiveness of movements. If at this age a child is taught and involved in active practical activity, then all his abilities are formed and developed.

5. Promote the initial development of musical taste. On the basis of the impressions and ideas about music received, first a selective and then an evaluative attitude towards the performed works is manifested.

6. To develop a creative attitude to music, primarily in such activities accessible to children as the transfer of images in musical games and round dances, the use of new combinations of familiar dance movements, improvisation of chants. This helps to identify independence, initiative, desire to use in Everyday life learned repertoire, play music on instruments, sing, dance. Of course, such manifestations are more typical for children of middle and older preschool age.

Music is an art that affects a child already in the first months of his life. Its direct influence on the emotional sphere contributes to the emergence of initial response actions, in which one can see the prerequisites for the formation of basic musical abilities in the future.

In order for the development of children in this direction to be successful, it is necessary to organize work on musical education, taking into account the characteristics of music and the age capabilities of children.

Already in the first year of life, the teacher organizes children's communication with music, accumulating their experience of listening to the simplest melodies (sung or performed on children's musical instruments), encourages them to respond to them with voice or movement, creates the prerequisites for the child's active musical activity at subsequent stages of development.
All musical abilities are united by a single concept - musicality. “Musicality is a complex of abilities developed on the basis of innate inclinations in musical activity, necessary for its successful implementation” (Radynova O.P. “Musical development of children”).

The core of musicality are three main abilities that are necessary for the successful implementation of all types of musical activity: emotional responsiveness, ear for music, sense of rhythm.

Emotional responsiveness to music is the center of the child's musicality, the basis of his musical activity, necessary for feeling and understanding the musical content and its expression in performing and creative activities.

An ear for music is necessary for pure intonation when singing, a sense of rhythm is necessary for movement, dancing and playing musical instruments.

Modern researchers have proved that it is necessary to start forming the foundations of musical culture and developing musical abilities as early as possible. The poverty of musical impressions of childhood, their absence can hardly be made up for later, as an adult. To form the foundations of culture, an appropriate environment, which will give him the opportunity to get acquainted with a variety of music, learn to perceive and experience it.

The musical activity of preschoolers is a variety of ways, means of learning by children musical art(and through it, the surrounding life, and oneself), with the help of which the general development is also carried out.

In the musical education of children, the following types of musical activity are distinguished: perception, performance, creativity, musical and educational activities. All of them have their own varieties. Thus, the perception of music can exist as an independent type of activity, or it can precede and accompany other types. Performance and creativity is carried out in singing, musical and rhythmic movements and playing the musical instruments. Musical and educational activities include information of a general nature in music as an art form, musical genres, composers, musical instruments, etc., as well as special knowledge about the ways of performing. Each type of musical activity, having its own characteristics, involves mastering by children those methods of activity, without which it is not feasible, and has a specific impact on the musical development of preschoolers. Therefore, it is important to use all types of musical activities.

Musical educational activity does not exist in isolation from other types. Knowledge, information about music is given to children not by itself, but in the process of perception of music, performance, creativity, along the way, to the place. Each type of musical activity requires certain knowledge. For the development of performance, creativity, special knowledge is needed about the methods, techniques of performance, means of expression. While learning to sing, children acquire the knowledge necessary to master singing skills (sound formation, breathing, diction, etc.). In musical and rhythmic activities, preschoolers master various movements and methods of their performance, which also requires special knowledge: about the fusion of the nature of music and movements, about the expressiveness of the game image and its dependence on the nature of music, on the means of musical expression (tempo, dynamics, accents, register , pauses). Children learn the names of dance steps, learn the names of dances, round dances. Learning to play musical instruments, children also gain certain knowledge about the timbres, methods, techniques of playing different instruments.

Thus, it must be remembered that musical development has a positive effect on the overall development of children. The child's thinking improves, the emotional sphere is enriched, and the ability to experience and feel music helps to cultivate love for beauty in general, sensitivity in life. Mental operations, language, memory are also developing. Therefore, developing a child musically, we contribute to the formation of a harmoniously developed personality, which is very important. The musical activity of preschoolers is a variety of ways, means of children's knowledge of musical art (and through it, the surrounding life, and themselves), with the help of which general development is also carried out.

Bibliography:

1. Vetlugina N.A. Musical education in kindergarten. –M.; Enlightenment, 1981
2. Methods of musical education in kindergarten / ed. Vetlugina N.A. - M, 1982.
3. Metlov N.A. Music - for children - M.; Enlightenment, 1985
4. Nazaikinsky E.V. On the psychology of musical education. - M.: 1972.
5. Tarasov G.S. Pedagogy in the system of music education. – M.; 1986
6. Teplov B.M. Psychology of musical abilities - M., L., 1977.
7. Khalabuzar P., Popov V., Dobrovolskaya N. Methods of musical education - M., 1989.

Upbringing, training, education are the basic pedagogical processes. Their interpretation differs according to whether these processes are understood as formation or as development. How are they different?

To form - to give a certain, desired form, that is, to bring in from the outside. Formation mechanisms include conscious (or unconscious, spontaneous) influence on the child with the help of factors and means that did not initially determine his natural course of development. Development is the outward unfolding of the properties initially present in the structure of a human being in accordance with the natural laws of their growth. It is impossible to develop what is not yet inside, what has not become a component of the structure of a human being.

The tradition of understanding upbringing as an impact on a child is becoming obsolete. A. S. Makarenko in the “Book for Parents” gave an illustration of such education, brilliant in its irony: “We take a child, fix him three meters away from us and ... we begin to educate.” The humanitarian pedagogical tradition is always focused on the education of morality. The specificity of education lies in the reproduction, development, support of a truly human in

a person, in the formation of the Image of a Man, the development of his vocation to be a Man, understanding of education as “care for the spiritual life of a child” (M. Montessori).

Respectively, musical education - the nutrition of music - is directed, in the words of V.A. Sukhomlinsky, not at the education of a musician, but first of all at the education of a Person, at "the education of a good mind and a wise heart."

musical training, as a formation, it is aimed at mastering the child with knowledge, skills, and skills in the field of musical art. Musical education, as a development, is aimed at creating conditions for the formation of musical thinking, musical consciousness, etc.

Musical education is one of the traditional cultural property that determine the development of society and each individual. The development of a child in human culture is a process that is organized by an adult, since the child does not know how to use cultural means. It is the adult who reveals to the child how to use them. Education in the Law of the Russian Federation is interpreted as “a purposeful process of education and training in the interests of a person, society, state, accompanied by a statement of the achievement by a citizen (student) of educational levels established by the state” (Scheme 1).

Scheme 1

Musical education

It is education and training that create the content-semantic basis of development, becoming its factors and means.

Education in the arts, especially music education, has great potential.

By the 20th century scientific data have accumulated confirming the knowledge of the ancients that music is the source of the most powerful influence on

person. For antiquity, for example, the deep connection between music and medicine is indicative. So, Aristotle emphasized not only the pedagogical, but also the therapeutic significance of music, believing that music relieves difficult mental experiences through catharsis. Hippocrates used in his medical practice the impact of music on patients. Great healer of antiquity Avicenna called the melody a "non-drug" method of treatment (along with diet, smells and laughter) and the strongest means of preventing neuropsychiatric disorders.

Since the 19th century science has accumulated a lot of information about the impact of music on humans and living organisms. In the XX century. interest in the influence of music on the formation spiritual world and on the human psyche has risen all over the world. Doctors, psychologists, teachers are trying to convey to people the importance music education For cultural life generally.

It has been proven that even the prenatal period is very important for the subsequent development of a person: the music that the expectant mother listens to affects child's well-being. Most medical and psychological research confirms the positive impact of musical activity on respiratory and circulatory functions, immune processes, brain function and interaction of the hemispheres, mental performance, psychomotor, speech development, computing skills. As a result of musical influence:

■ increases the sensitivity of not only auditory, but also visual analyzers;

■ mental processes of attention, perception, memorization improve;

■ exchange processes are regulated;

■ the level of anxiety decreases.

Thanks to researchers who have studied the psychophysiological aspect of the effects of music, the following facts can be considered established: music has a noticeable effect on the minute volume of blood, pulse rate, blood pressure, blood sugar levels, as well as changes in muscle tone and the appearance of emotions.

Researchers formulate the "intellectual benefits" of music:

■ increasing the level of reading, speech skills;

■ improving skills in solving temporal and spatial problems;

■ improving verbal and arithmetic abilities; improvement of concentration of attention, memory; improved motor coordination.

Together with these “benefits” from music lessons, the main direction of methodological searches in musical education is still associated, as L. V. Shkolyar defines it, with the approach of music to the child and the experience of childhood in music.

ADDITIONAL LITERATURE

Anisimov V.P. Diagnosis of musical abilities of children: textbook. allowance for students. higher

Theory and methodology of musical education for children: scientific method. allowance / L. V. Shkolyar, M. S. Krasilnikova, E. D. Kritskaya et al. - M .: Flinta: Nauka, 1998.

QUESTIONS AND TASKS

1. Describe the sources of setting the goals of music education for preschoolers.

2. What is the ratio of musical development, musical training, upbringing and education?

3. Describe the potential of music education for the development of the personality of a preschooler.

4. Answer the question of Y. B. Aliyev: “Why do you need music, preschooler?”

5. Using the material of this textbook (parts II and III), make a table of tasks for the musical development of a preschooler at different age stages in one of the types of musical activity or in the development of his abilities.

6. Study the proposed literature. Write down the goals and objectives of music education, find something in common that is typical for various authors.

Aliev Yu.B. Methods of musical education of children (from kindergarten to primary school). — Voronezh; NPO "MODEK", 1998.

Vetlugina N.A., Keneman A.V. Theory and methodology of musical education in kindergarten. - M .: Education, 1983.

Gogoberidze A. G., Derkunskaya V. A. Theory and methods of musical education of preschool children: textbook. allowance for students. higher textbook establishments. — M.: Academy, 2005.

Zimina A.N. Fundamentals of musical education and development of children younger age. — M.: Vlados, 2000.

Praslova G. A. Theory and methods of musical education for preschool children. - St. Petersburg: Detstvo-Press, 2005.

Radynova O.P. etc. Musical education of preschoolers. — M.: Academy, 1998.

Researchers in the field of psychology have made notable contributions to the study age-related changes human psyche, especially the psyche of preschool children. Ideas fundamental research A. N. Leontiev, A. V. Zaporozhets, A. A. Markosyan, V. V. Davydov and other scientists underlie the organization of the educational and educational process at school and preschool institutions. Physiologist A.A. Markosyan, for example, developed a detailed age classification, which includes eleven age periods. According to the researcher, it is they that create only a prerequisite for certain changes in the mental organization of the child; these changes are influenced social factors, which can no longer be identified with the help of psychophysiology alone.

Thus, age is not only a physiological concept, but also a social one. This interpretation is contained in the very name of some age periods: “preschool”, “school”, etc. Certain functions are associated with each age in society, for age groups one status or another. The socio-psychological meaning of age division cannot be overlooked when we are talking about age-related features that manifest themselves in the sphere of human contact with art. Therefore, speaking of best age for the development of musicality, we have in mind many conditions.

It is necessary to name one more essential pattern - mental functions develop unevenly. This idea was expressed by L. S. Vygotsky, B. G. Ananiev, L. I. Bozhovich. So, L. S. Vygotsky notes: “... the development of the imagination and the development of reason are very different in childhood". Developing this idea, L. I. Bozhovich points out that the boundaries of age can shift depending on the activity of the child and the specific conditions in which he is.

Structure can be a practical guide when used with regard to the musical development of children of different ages and their personalities.

But for this you need to know the age and individual characteristics musical development of children. Knowledge of the age characteristics of preschool children enables the teacher to find more effective ways management of the mental processes of the child, including his musical development.

The concepts of "age" and "age stage of development" are interpreted in different ways. Some consider the age stage only as a natural biological process. Hence the conclusion about the immutability of these stages. Others generally reject the concept of "age" and believe that at any stage of development, a child can be taught anything. From here complete disregard taking into account age possibilities.

The early and bright successes of children in performing musical activity every time allow us to think that we are dealing with a rare, exceptional phenomenon. But there is reason to believe that the ability to perceive a musical work is also not always directly dependent on age.

The opinion that there is no direct reason for the relationship between musical ability and age has two sides: negative and positive. Its negative side lies in the fact that the legitimacy of the development of musical abilities as a person grows up is denied. In other words, a child can grow, but his ability to musical activity does not progress (may even regress, on the contrary), if you do not provide optimal opportunities for its development. Positive - lies in the fact that already at an early age a child can develop musical susceptibility.

The idea of ​​the existence of the best age period for the development of musical abilities, it echoes the position of L. S. Vygotsky on the leading types of activities for children of different ages. But in the field of musical perception, such a period has yet to be found. When we say “best”, we mean not so much that it is the only one (for example, the age of up to three years is the only time when a person can learn to speak), but that, having missed this age, we create additional difficulties in musical development. .

It should be emphasized that although age to a large extent characterizes the formation of an individual, his neuropsychic maturation is determined mainly by all his life experience. A person at any stage of his development has a completely unique, single property. In this sense, individual properties, as it were, overlap its age-related features, which makes the age-related boundaries of perception extremely unstable, dynamic, changeable and at the same time very differentiated, subject to external influences.

What is the basis for establishing the boundaries of the age stages of children's development?

Soviet psychologists believe that these boundaries determine the child's attitude to the world around him, his interests and needs for certain types of activity. And in accordance with this, the following age stages of the entire preschool period can be noted:

infancy (first year of life);

early childhood(from 1 year to 3 years);

preschool childhood(from 3 to 7 years).

The timing of the beginning of musical development and education must be sought in the prerequisites for the emergence of a certain attitude to music, the appearance of emotional and auditory responsiveness.

In Soviet psychology and pedagogy, data have been obtained on early dates manifestations of musicality. According to A. A. Lyublinskaya, on the 10-12th day of life, babies have reactions to sounds.

At the beginning of the first months of life (the first age stage - infancy), musical sound affects the child purely impulsively, causing a reaction of revival or peace. So, children sitting quietly in the arena, at unexpected sounds of the piano, turn, rejoice and begin to crawl towards the sounding source.

This confirms the need for early musical education, and primarily the development of perception, since children are not yet ready for other types of musical activity. In accordance with this, a program of musical education in preschool institutions is being built, which outlines certain tasks for the musical development of children, starting from two months of life. Gradually, with age and with purposeful upbringing, children begin to perceive music according to the emotional and semantic content, rejoicing or sad, depending on the nature of the music, and only later perceive the expressiveness of the image.

The next age stage is early childhood (1-3 years). During this period, the child most clearly manifests the need to communicate not only with adults, but also with peers. He masters orienting actions with surrounding objects. The child has a desire for musical activity, the baby is interested in moving to the music, in singing. All this acts as a prerequisite for musical activity.

When perceiving music, children show emotional responsiveness: they rejoice or calmly listen to music. Auditory sensations are more differentiated: the child distinguishes high and low sounds, loud and soft sounds, the most contrasting timbres of children's musical instruments. There are also individual differences in auditory sensitivity, which allows some babies to accurately reproduce a simple and short melody.

The first consciously reproduced singing intonations appear. And if in the second year of life a child, singing along with an adult, repeats the endings of musical phrases, then by the end of the third year he himself can reproduce the melody of a small song (with the help of a teacher). During this period, children often own will they sing, improvising some intonations they like. They willingly move to the music: they clap, stomp, spin. The child's musculoskeletal system is noticeably strengthened, and movement to the music helps him express his mood.

The next age stage is actually preschool childhood (3-7 years). The child shows a great desire for independence, for a variety of actions, including musical activity (if the necessary pedagogical conditions are created for this). Children have musical interests, sometimes in some kind of musical activity or even in a separate piece of music. At this time, the formation of all the main types of musical activity takes place: the perception of music, singing, movement, and in older groups - playing children's musical instruments, musical creativity. In the preschool period, children of different ages differ significantly in their development. Children 3-4 years old are in a transitional period - from early to preschool. The features characteristic of the previous age are still preserved. But there is already a transition from situational speech to coherent, from visual-effective thinking to visual-figurative, the body is strengthened, the functions of the musculoskeletal system are improving. Children have a desire to make music and be active. They master the basic skills of singing and by the age of four they can sing a little song on their own or with the help of an adult. The ability to perform simple movements to music gives the child the opportunity to move more independently in music games, dancing.

Children of middle preschool age already show greater independence and active curiosity. This is the question period. The child begins to comprehend the connection between phenomena, events, to make the simplest generalizations, including in relation to music. He understands that the lullaby should be sung quietly, "slowly. A child of this age is observant, he is already able to determine what kind of music is being played: cheerful, joyful, calm; high, low, loud, quiet sounds; what instrument they play (piano, violin , button accordion) He understands the requirements, how to sing a song, how to move in a dance.

The vocal apparatus of a child of middle preschool age is strengthened, so the voice acquires some sonority, mobility. The singing range is approximately within the re-si of the first octave. Improved vocal-auditory coordination.

The motor apparatus is significantly strengthened. Mastering the basic types of movements (walking, running, jumping) in the process of physical education makes it possible to use them more widely in musical and rhythmic games and dances. Children are able to remember the sequence of movements by listening to music. At this age, interests in different types of musical activity are more clearly revealed.

Children 5-6 years old against the background of their general development achieve new quality results. They are able to single out and compare the signs of individual phenomena, including musical ones, and establish connections between them. Perception wears more focused nature: interests are more clearly manifested, the ability to even motivate their musical preferences, their assessment of works. So, after listening to two marches by S. S. Prokofiev and E. Parlov, the children were asked to say which of the marches they like and why. Most of the children chose "March" by S. S. Prokofiev. But their motivations were very peculiar: “Strict music”, “This march is better, there are such brave soldiers”, “Music has a character”. About E. Parlov's march, the boy said: "I liked it better, we know it, it is softer." These statements showed a desire to find life prototypes expressed by musical means, to evaluate its general character (“strict music”, “music has a character”, “it is softer”), an attempt to compare it with one’s own experience (“we know it”) is visible. At this age, children not only prefer one or another type of musical activity, but also selectively treat its various aspects. For example, they like to dance more than dance, they have favorite songs, games, round dances, dances. They can explain how a (for example, lyrical) song is performed: “You need to sing beautifully, lingeringly, affectionately, gently.” Based on the experience of listening to music, children are capable of some generalizations of simple musical phenomena. So, about the musical introduction, the child says: "This is played at the beginning, when we have not yet begun to sing."

The vocal cords of the child are significantly strengthened, vocal-auditory coordination is being established, auditory sensations are differentiated. Most children are able to distinguish between high and low sounds in intervals of fifths, fourths, thirds. In some five-year-old children, the voice acquires a sonorous, high-pitched sound, a more definite timbre appears. The range of voices sounds better within the re-si of the first octave, although some children also have higher sounds - to, re - the second octave.

Children 5-6 years old show dexterity, speed, the ability to move in space, to navigate in a team in movement. The guys pay more attention to the sound of music, better coordinate movements with its character, form, dynamics. Thanks to the increased opportunities, children better learn all types of musical activities: listening to music, singing, rhythmic movements. Gradually, they master the skills of playing instruments. Learn basic information about musical literacy. All this is the basis for the versatile musical development of children.

Children 6-7 years old are brought up in a preparatory group for school. The very name of the group, as it were, determines its social purpose. The mental abilities of children develop, their musical thinking is enriched. Here are some answers from 6-7 year olds to the question of why they like music: “When music plays, we have fun” (feel the emotional nature of music); "Music tells something"; “She tells you how to dance” (they note her vital and practical function); “I love music when it sounds gentle”, “I love waltz - smooth music” (they feel and appreciate the nature of the music). Children are able to note not only the general character of the music, but also its mood (cheerful, sad, affectionate, etc.). They already attribute works to a certain genre: cheerfully, clearly, menacingly, joyfully (about a march); affectionately, quietly a little sad (about a lullaby).

Of course, there are individual differences here as well. If some children (including six-year-olds) give only brief answers (such as “loud-quiet”, “fun-sad”), then others feel, understand more essential signs of musical art: music can express various feelings, human experience. Consequently, individual manifestations often “overtake” age-related possibilities.

There are distinct differences in the level of musical development of those children who mastered the program of musical education in kindergarten, and those who did not have such training (some come to preparatory group from family). The vocal apparatus of a child of 6-7 years old is strengthened, however, singing sound formation occurs due to the tension of the edges of the ligaments, so the protection of the singing voice should be the most active. It is necessary to ensure that the children sing without tension, quietly, and the range should gradually expand (re of the first octave to the second). This range is most comfortable for many children, but there may be individual differences. In the singing range of children given age deviations are significant. The voices manifest melodiousness, sonority, although a specifically childish, somewhat open sound is preserved. In general, the choir of children aged 6-7 does not sound stable and harmonious enough, although master teachers, studying with children of this age, achieve good success.

Physical development is improved in various directions and, above all, it is expressed in the mastery of the main types of movements, in their coordination. There is an even greater opportunity to use movement as a means and way of developing musical perception. Using the movement, the child is able to express himself creatively, quickly navigate in search activities. The performance of songs, dances, games sometimes becomes quite expressive and testifies to attempts to convey one's attitude to music.

In addition to singing, listening to music, musical and rhythmic movements, great attention is given to playing children's musical instruments (individually and in an ensemble). Children master the simplest methods of playing drums (drums, tambourines, triangles, etc.), strings (zithers), wind instruments (triola, Melodiya-26); they memorize their structure, distinguish sounds by timbre.

A short review of the age-related features of the musical development of children can be completed by emphasizing their characteristic features.

Firstly, the level of musical development depends on the overall development of the child, on the formation of his body at each age stage. At the same time, it is important to identify the links between the level of children's aesthetic attitude to music (to musical activity) and the level of development of musical abilities.

Secondly, the level of musical development of children different ages depends on the active learning of musical activities in accordance with the content of the program. (However music information received by the child at home, wider than planned in the program.)

The main thing, and this is emphasized in the program of musical education, children get the experience of listening.

Not all children of the same age are the same in terms of musical development. There are significant deviations due to their individual characteristics. If we compare overall structure musicality with manifestations of musicality in individual children, we will see that some of them are musical in all respects, while others are distinguished by a peculiar combination of individual musical abilities. So, with very high quality musical perception some children are weaker in singing, dancing or good development musical ear not always accompanied by a penchant for creativity. Therefore, it is necessary to take into account both] age and individual characteristics of children.

In general, it is possible to formulate the level of development of musicality, which should be strived for in the practice of musical education in kindergarten.

Let us give examples of the desired level of musical development of a child of middle, senior and preparatory school groups.

IN middle group children should:

respond emotionally to music, recognize all familiar works, mark favorites, recognize a melody, speak about works, distinguish between the contrasting nature of music, sounds in height within a sixth;

identify different dynamic shades: forte [f] -I loud, mezzo-forte - moderately loud, piano [p] - quiet: sound;

sing simple songs without accompaniment and with accompaniment;

move to unfamiliar music, conveying its basic mood, perform dance movements accurately and with pleasure, perceive a simple rhythmic pattern on percussion instruments clearly.

Thus, it can be concluded that the identification of the supposedly existing musical abilities of preschool children is possible only when their development can already be diagnosed, that is, the level achieved is already noticeable.