“The role of the teacher in the development of independent musical activity of children. The role of the teacher in the musical development of children Listening - perception

CONSULTATION

"The role of the educator in musical activity children in junior groups Oh".

Musical education in kindergarten- is an organized pedagogical process aimed at nurturing musical culture, developing children’s musical abilities with the goal of becoming creative personality child." All this can be achieved through the development of music perception. Obtaining knowledge, skills and abilities should not be an end in itself, but should contribute to the formation of preferences, interests, needs, tastes of children, i.e. elements of musical and aesthetic consciousness.

The influence of music in development creative activity There are very many children.

Music evokes an emotional response in children before other forms of art. Musical education promotes the development of speech, emotions, movements, gives children joy, encourages activity, and enriches them with vivid artistic impressions. Music brings pleasure even to a 3-4 month old baby: singing and the sounds of a glockenspiel make the baby first concentrate and then smile. The older the children, the brighter and richer the positive emotions evoked by music.

Preschool childhood is the most optimal time for introducing a child to the world of beauty. In this regard, the personality of the teacher becomes of great importance. The final result of raising a preschooler depends on his moral character, level of knowledge, professional skills and experience.

It is important for a teacher-educator not only to understand and love music, but also to be able to sing expressively, move rhythmically and play musical instruments to the best of his ability. The most important thing is to be able to apply your musical experience in raising children.

When raising a child through music, the teacher must understand its significance for comprehensive development personality and be its active guide in the lives of children. It’s very good when children dance in circles and sing songs in their free hours. They select melodies on a metallophone. Music should permeate many aspects of a child’s life, guide the process musical education V the right direction Only someone who continuously works with children, namely a teacher, can. But for this, the teacher must have the necessary knowledge in the field of music.

Success in musical development children, their emotional perception of music is closely related to the work of the teacher. It is the teacher, who has a broad outlook, a certain musical culture, and understands the tasks of musical education of children, who is the conductor of music in the everyday life of the kindergarten. Good business relationship music director and teachers have a beneficial effect on children, create a healthy, friendly atmosphere, equally necessary for both adults and children.

The main form of musical education and training of a child in preschool institution is music lessons. In the process of classes, children acquire knowledge, skills, and abilities in listening to music, singing, musical-rhythmic movements, and playing the musical instrument.

Musical activity is the main organizational form to implement the tasks of musical education and development of children.

Music classes play important role in the development of endurance, will, attention, memory, in nurturing collectivism, which contributes to preparation for studying at school. They provide systematic education for each child, taking into account his individual characteristics.

The music lesson consists of several sections:

1. Musical and rhythmic movements:

Movements to music create a cheerful, cheerful mood and help improve posture and coordination of arms and legs.

2. Development of a sense of rhythm.

3. Finger gymnastics.

4. Listening to music.

5. Chanting, singing.

6. Dance

7. Game

The teacher carries out basically all the pedagogical work in kindergarten - therefore, he cannot remain aloof from the musical-pedagogical process.

On music lessons diversified education of children is carried out (mental, aesthetic, physical)

Mental:

Children gain knowledge about various aspects and phenomena of the surrounding reality, that is, knowledge about the seasons, holidays and everyday life of people. Systematized life experience.

Moral-volitional:

A feeling of love for mother and Motherland is fostered, skills are formed cultural behavior(V organizational issues), the ability to listen, sing, and dance in a group is developed. Purposefully engaged, the ability to complete the work started, to overcome difficulties

Physical:

In dancing and games, certain motor skills are formed that develop certain muscle groups.

Aesthetic:

To be able to listen and understand music, you need to feel it and respond emotionally to it.

Singing skills:

Purity of intonation, breathing, diction, coherence of singing intonations

Types of musical activities:

1. Listening is the main type of musical activity.

Like an artistic word or a picture, music should become an accessible means of expressing feelings, thoughts, and experiences for children.

Listening to music, children develop interest and love for this type of art, and their musical horizons expand.

When listening to music with younger children, you need to attract attention with a bright toy. You can bring a bunny (or another toy). The bunny greets the children. Children stroke his ears and touch his tail. Then we listen to a song about a bunny: “Little bunny, little bunny, little little bunny, long ears, fast legs.” At the words “Cowardly Bunny,” the bunny hides. Children usually freeze at this moment. And the bunny looks out from one side, then from the other. The children are smiling. Here you can sing the song again.

Children are already listening to the song more carefully. This is the first introduction to the song.

It is very good to reach out to every child through music, create a friendly atmosphere, and evoke positive emotions in children not only from interacting with a toy, but also from listening to music.

The task that faces us in working with children of the first junior group is formulated as follows:

“Cultivate an interest in listening to short songs, pieces of music performed on musical instruments and in recordings.

Teach children to listen carefully to calm and cheerful songs, musical pieces of various types, to understand what is being sung about.”

When working with children of the first junior group, various techniques and methods of teaching listening are used - listening to music, showing toys, verbal explanation. Before starting to sing the song, you need to tell the children what they will hear about: that this song is about a bunny or a horse, etc.

Talking about music is the most important method. Words convey the character and mood of the music. Children of this age have a small vocabulary, little life experience, they cannot themselves formulate the mood conveyed by music, but they can feel it.

Children perk up when cheerful music sounds: “Oh, you canopy, my canopy!”, “Machine”.

And when the song “Bai-bai” sounds, the children become quiet. Even after the song ends, they behave quietly and calmly. The impression of the music you listened to can be expressed in words: “What gentle, quiet music!”, “What cheerful music!” etc. Then repeat the same words, but in the form of a question: “Happy music?” "Cheerful!" - the children answer.

Before listening to a new piece, it is not enough to tell children only its name. In order for the content of a new song (its lyrics and melody) to be perceived by children, it is necessary to prepare them to listen.

“Guys, I’ll sing you a song about winter. In winter everything is white because there is a lot of snow.

And Vanya took the sled and began to ride down the hill.” Then I’ll perform the song and ask questions about the content. “Who rode the roller coaster?” “Is it fun to ride the roller coaster?” “That’s why the music is fun.” I play the final part of the melody.

In some songs, piano accompaniment gives a vivid musical image, for example in the song “Horse” by Rauchwerger or in the song “Kitty” by Vitlin, it is necessary to draw the children’s attention to these musical fragments. Ask who the music told about, how did you guess? And once again play the musical fragment with onomatopoeia.

Children love to listen to the song “Machine”. As they enter, they make sounds similar to the sound of an engine and make movements with their hands as if they were driving. These actions happen on their own, they are dictated by the music. The child listens to music, sings along, dances, claps his hands...

In order to develop in children the ability to listen to music, you can conduct exercises to distinguish musical sounds (timbre, dynamic height, duration). For this purpose, we recommend using musical instruments and playing the games “Quiet and Loud”, “The Doll Walks and Runs”, “Guess What I’m Playing?”, “Who Walks in the Forest”. This is how children learn to listen to the melody and words of a song.

Over the course of the year, the musical repertoire expands and enriches. Children learn to compare musical works of different nature. For this purpose, contrast should be used. Let them listen to a cheerful, fast piece, and then a slow, sad one. In order for the musical image to become fixed in the child’s mind, we suggest using a toy. Actions with a doll or a bunny illustrate the content of the music: a cheerful, cheerful melody - the doll is walking, a quiet, slow one - the doll is sleeping. The nature of the music and actions with the toy are discussed.

As a result of the work, by the end of the first junior group, children are able to listen to music, determine their character, and can answer a question about the content of the song. “Autumn Song” by A. Aleksandrov, “Lullaby” by Razorenov, “Zainka” by M. Krasev definitely influence them with their sad, calm melodies; “My Horse” by Grechaninov, “Parsley’s Song” by Fried “Horse” by Potolovsky evoke revival, smiles, and physical activity.

According to B.M. Teplova “The content of music is feelings, emotions, moods” (“Psychology of musical abilities”). If a child responds emotionally to a particular piece of music, it means that part of the task of musical development has been completed. This activity, being independent, is at the same time an obligatory component of any form of music-making, any type of musical activity. For aesthetic development preschoolers use mainly 2 types of music: vocal, instrumental music. For early and younger age more accessible vocal form of sound.

2.Singing and song creativity is one of the most favorite types of music for children. activities. Choral singing unites children and creates conditions for their emotional communication.

At the first stage, children can only sing along and reproduce onomatopoeia (the cat meows, the dog barks, the bird sings)

To introduce children to new song, a teacher with good musical abilities - voice, clear intonation, correct articulation and pronunciation - performs a song solo. As a rule, such an acquaintance with a new work evokes a vivid emotional response in children. The ability of a music director to sing, dance, and play an instrument is natural for children, while similar skills of a teacher arouse great interest and a desire to imitate.

At the second stage of learning the song, the teacher sings along with the children, at the same time monitoring whether all the children are active and whether they convey the melody correctly.

Educators teach children to listen carefully to the song, try to make them want to take part in onomatopoeia, coaxing, singing along and singing.

Children are taught:

Sing without tension, in a natural voice, do not force the sound and do not shout out individual words;

Start and finish singing together, sing without leading or repeating, maintain pauses, listen to the introduction and conclusion;

Transmit correctly general direction melodies and rhythmic pattern of the song (children of the first junior group can do this).

You should not expect the same success in singing from all children of the same group, as from children of two groups formed from children of the same age. A lot depends on when it is formed this group, how many children there are attending the nursery for the second year, how many new, “home” children who are less prepared for music classes. On ear for music children two to three years old are influenced by many factors - speech, coordination of movements (articulation also depends on it), general development etc.

It must be remembered that by the end of the third year of life, babies know and use five to six times more words than at two or two years 1-2 months.

The text of songs for children should be clear, short, expressive, interesting, the melody should be in the range of voices of children in this group, and be comfortable in tessitura and breathing. ON THE. Metlov noted that the concept of “accessible song” is inadequate to the concept of “easy song.” “Easy songs” alone cannot promote children’s musical development. This means that when choosing songs, you must be guided by the rule of a gradual transition from the learned to the unfamiliar.

The youngest children move from coaxing and onomatopoeia to singing along and singing.

Having selected a song, the teacher learns it by heart - and not only the melody, but also the accompaniment. This greatly facilitates the process of teaching children to sing. Kids have unstable attention. Only by looking at the kids, seeing each and every one, the teacher concentrates their attention, encourages them, and involves them in singing along.

You need to sing with children with piano accompaniment: in terms of timbre and sound quality, piano accompaniment is better. But letting children listen to the melodies of songs familiar to children, performed on various musical instruments - triplet, recorder, xylophone, harmonica, metallophone, children's harp - is desirable and necessary. This develops melodic and timbre memory, internal musical ear, teaches children to understand, love music, and enjoy it.

Often teachers, working with children, sing very slowly, almost syllable by syllable, explaining it this way. “So that everyone understands.” But the result is sometimes the opposite: the connection between syllables is lost - the word disappears, the meaning disappears, the connection between the sounds of the melody is lost - the melody disappears.

So how to sing with children? You should sing at a pace that is comfortable for the kids, all the time listening to them sing along and sing along. You can invite the children to repeat the song they just performed a little faster. To do this, an adult must first sing one phrase at the suggested tempo, then sing with the children, listening to how they did, whether it is convenient for them, and decide whether to keep this tempo in further classes. Don't artificially speed up or slow down the tempo so much that the song falls apart.

The baby is two years old. He's only been in kindergarten for a week or two. The adaptation period passed quickly and easily. During a music lesson, the child watches and listens with interest as the music director and teacher sing.

The teacher invites him: “Sing a song with us!” The baby is silent. Fears? Don't want to? Does not understand? Yes, he doesn’t understand what exactly he’s being asked to do. At home, adults did not involve him in singing (“He’s small, he doesn’t speak well”), and when he was asked to sing during a music lesson, the kid did not understand the meaning of the verb “sing.” Therefore, the teacher needs to say before and after singing the song: “This is how I sing the song,” “I will sing,” “How did Aunt Olya sing?”, i.e., it is necessary to associate the verb “sing” with a specific action. If two songs were sung during the lesson, then before and after performing each of them, do not forget to say: “We will sing” and “Sing a song.” After two lessons, the child already understands the meaning of the verb “sing.” He listens, looks at the teacher, asks: “More,” but does not sing himself.

Extensive experience working with children early age helped to identify those songs that kids are most willing to start singing.

The song “Our Tanya sings, sings” is one of them.

Performed to the melody of the Russian folk song “The Nightingale Sings, Sings”

The children sit on chairs arranged in a semicircle, the music director calls Tanechka to him, hugs her, looks at everyone affectionately and sings without musical accompaniment:

Our Tanya sings, sings,

Sings, sings, good.

Nice, pretty.

Sings, sings his song:

La-la, la-la, la-la-la, la, la.

The teacher invites Tanya to sing “la-la...”

At the first lesson, Tanechka (or Olechka, Vovochka) willingly stands next to the music director, enjoys the attention and affection, but may not want to sing. Patiently and skillfully, the music director tries to involve the child in singing along.

What a stroke of luck: one of the kids started singing! Look at the children's reaction. They immediately turn their attention to the singing child, looking at him with surprise and interest. Adults understand: this is a victory. Now other children are joining in the singing. If two or three children in a group start singing along, this is a guarantee that in a week the rest will sing along (with the help of adults, of course). You can invite several kids to sing, and then the whole group, using the following words:

Sing, my children sing,

They sing, they sing well.

Nice, pretty,

Sing, sing their song:

La-la, la-la, la-la-la, la-la,

La-la, la-la, la-la-la, la-la.

If in the song “Our Tanya sings, our Tanya sings,” the kids sing along only “la-la,” then in the next song (“Mishka”) they begin to sing along with some repeated words. So, a simple and interesting game for children includes a singing song with repeated words, and kids can easily start singing along.

Singing "Bear"

A bear (toy) is sleeping on a bench. The children and the teacher come up to him and wake him up:

Bear, bear, why have you been sleeping so long?

Bear, bear, why are you snoring so much?

Teddy bear, little bear, little bear, get up!

Bear, bear, play with us!

The teacher picks up the bear, it “wakes up and growls”, the children run away. The bear walks around, looking for children, saying: “Who was singing songs here and didn’t let the bear sleep?” When the bear “falls asleep” again, the teacher and children repeat the song. The game is fun, understandable to kids, and they willingly join in singing along.

"IN music games The singing activity of children is greater, the more obvious, the more visual the result of their singing is” (Babadzhan T. Musical education of young children. - M., 1967. - P. 53).

Of course, not all children sing a song from start to finish in their first lessons. At first, the kids sing along with the repeated words (“Mishka, bear”), and then some phrases.

The short couplets included in the game are very helpful for singing. Although they are not accompanied by music, the children joyfully and unanimously speak in chorus (in a chant). Thus, in the musical-movement show “Natasha’s Bathing” (Russian folklore, lyrics by N. Frenkel, movements by I. Plakida / We love music. Issue 6. - M., 1967) there is the following couplet:

Water - squish-squelch-squelch,

Natasha - kup-kup-kup.

These lines are not sung, but are repeated in conversation between the verses. Such choral coaxing is important as a stepping stone to learning how to sing along together.

This is how adults attract one-and-a-half to two-year-old children to sing along and begin to sing with children in their third year of life (especially in cases where the group is formed from new “home” children).

About two weeks after learning the song “Our Tanya sings, sings” and playing with the song “Bear,” you can start working on the song “Birds.” Ukrainian folk melody.

Singing “Birds”

Come, little birds, to us, to us, to us.

I will give grains to the birds, I will give them, I will give them.

With the beaks of the bird - peck, peck, it went.

I look at the birds and sing:

La-la-la-la, la-la, la-la-la,

La-la-la-la, la-la, la-la-la.

The lyrics of the song are understandable to children. Repeated words help them to join in singing. The words “I look at the birds and sing” allow the song to continue. Everyone repeats the verse, singing “la-la,” which makes it possible to better remember the melody. It is better to sing the song without any instrumental accompaniment. Later, the melody can be offered for listening, performing it in music classes on the pipe, flute, metallophone, harp, etc.; It is advisable to ask the children to find out and name this song.

In the song repertoire for children, the song “Birds” is one of the best: it has an expressive melody, clear text, and repeated words. It is with its help that we teach children not only to sing along with individual words, but also to sing phrases, the entire song. Maybe it’s not worth “enriching” it with additional rhythmic tasks and entertaining children?

To develop a sense of rhythm in children and to teach them individual movements to music, there are big choice instrumental and vocal music(starting with “Ladushki”),

Songs with onomatopoeia, for example “Bobik” (music by T. Popatenko, lyrics by I. Naydenova // Songs for kindergarten. Issue 1. - M., 1965), help to involve children in singing along and singing. Children quickly and willingly imitate the barking of a dog. First, they lengthen the line, breaking the phrase, and then, as they practice, the onomatopoeia sounds more consistent and the rhythmic pattern is not disturbed. Gradually, the kids begin to sing along with some words, and then the whole song.

Music classes with children are held twice a week, which is not enough for successful learning to sing. The more often the baby hears a song performed on various musical instruments or in voice, with or without words, the faster his musical abilities develop.

The purity of intonation depends not only on the child’s musical ear, but also on the degree of his attention while singing. Sometimes shyness and poor articulation prevent a child from singing.

3. Musical and rhythmic movements include dancing, dance creativity, musical games, round dance exercises. Children learn to move in accordance with the nature of the music, with the means musical expressiveness. Develop a sense of rhythm, develop artistic and creative abilities.

In this part of the lesson, the role of the teacher is great. In the process of learning new movements, he participates in demonstrating all types of exercises along with the music director, which allows children to simultaneously develop their visual and auditory perception. The teacher, since he is not sitting at the instrument, sees all the children and can give appropriate instructions and make comments during the action. The teacher must show accurate, clear and beautiful examples of movements in all types of exercises, with the exception of figurative ones. IN figurative exercises the teacher gives sample samples, since these exercises are aimed at developing the creative activity of children.

When learning dances, it is also necessary to show the teacher. In the future, only verbal instructions are given as the execution progresses, and errors are corrected. Children learn to pass various images(birds fly, horses gallop, bunnies jump). The teacher verbally helps to more accurately convey movements and similarities with the characters. Consequently, children’s creative activity develops through targeted learning, expanding musical experience, activating feelings, imagination, and thinking.

The teacher must be able to sing songs, show any exercise, game or dance, know music for listening from children's repertoire. During music lessons, the teacher monitors the children’s posture, pronunciation of words in the song, and the quality of learning the material.

The teacher is obliged:

To develop children’s independence and initiative in performing familiar songs and round dances in different conditions(on a walk, morning exercises, activities), to encourage children to express their musical impressions in creative games.

To develop an ear for music and a sense of rhythm in children in the process of conducting musical and didactic games.

Deepen children's musical impressions by listening to audio recordings of music.

Know all program requirements for music education, the entire repertoire of your group and be an active assistant to the music director in music classes.

Conduct regular music lessons with the children of your group in the absence of a music director (due to vacation or illness).

The teacher must carry out musical education using all forms of work: singing, listening, musical and rhythmic movements, playing children's musical instruments

The teacher receives skills for such work during special training in educational institutions and through communication with the music director at various consultations, seminars and workshops.

No matter how high the pedagogical qualifications of the music director, none of the main tasks of music education can be satisfactorily resolved if it is carried out without the participation of the teacher, and also if music is played for children only on those days when the music director comes, if with children sing, play and dance only during music classes.

When learning non-story games with young children, the teacher plays at all stages of learning.

In dances with the participation of an adult, where the actions are recorded by the author of the movements, the teacher is always in all age groups dancing with the children.

In classes of a different structure, the role of the teacher depends on the types of children’s activities and corresponds to the methodology for its implementation.

In addition, the main role in music education is given to the teacher in the independent activities of children. This type of activity requires the creation of external conditions, a certain material environment. It is important for children to have their own music corner– with a small number of musical instruments, musical and didactic games.

When planning independent musical activities, the teacher takes a closer look at the beginning school year to the children. Who is interested in what (singing, dancing, playing an instrument), are there any children who do not take part in playing music?

Sometimes the leading roles go to the same children. This is partly due to the child's desire to be a leader, and not his interest in music. Other children are drawn to music, but they are timid and indecisive. The teacher must create optimal conditions for each child.

Most high quality work can be provided where educators, constantly improving their musical and pedagogical qualifications, become active and skillful assistants to the music director, use musical material in everyday work with children, and are able to independently conduct simple music lessons if necessary - in the absence of a music director.

When the teacher already has some experience in observing and analyzing music lessons, as well as experience in conducting them independently, he will make his own proposals during the discussion methodological techniques conducting classes, stimulating children’s creativity, suggesting a topic, distributing roles, planning the development of the plot in games and dramatizations.

Such qualifications are acquired by the teacher constantly, as a result systematic analysis the specialist’s work with children, his instructive sessions with staff, and the teacher’s performance of increasingly complex tasks of the music director.

Bearing in mind the constant and comprehensive improvement of the musical and pedagogical qualifications of the staff, the musician must not only teach teachers singing, movements, and the correct method of presenting musical material, but also increase general culture educators, to teach them to understand the elementary features of music - the nature of the work, the musical form (single, chorus, phrase.). It is advisable to inform the team about significant musical dates, news in the musical education of children and other issues of musical life.

Let's consider another important form of musical and aesthetic education of children - a festive matinee, which includes almost all types of creative activities of children and teaching staff.

The matinee is part of the whole educational work held in kindergarten. Here the tasks of moral, mental, physical and aesthetic education are carried out. Therefore, preparation for the holiday, its holding and consolidation of the impressions received by children can be considered as parts of a single pedagogical process.

The activities of the teacher at matinees are very diverse. The most responsible role is the role of the leader. His emotionality, liveliness, ability to directly communicate with children, expressive performance of poetic texts largely determine the general mood and pace of the holiday. The presenter must not only know the program, but also be able to quickly respond to unexpected random changes.

Children get great pleasure from solo and group performances by teachers. They can show various dances, sing songs, play the role of a character.

Teachers who do not play any roles are with the children of their group. They carefully monitor how children perceive this or that performance. They sing along with them, prepare attributes, costume details, change the children’s clothes on time, help them, if necessary, during the game and dance performance.

After the holiday children for a long time remember the performances they liked. The teacher should strive to consolidate these impressions, connecting them with the topics of his classes. He invites children to draw or sculpt a character they like, come up with a new plot with the characters of the matinee, conduct conversations, and repeat their favorite songs, games, and dances in a group and during a walk.

The teacher can independently teach the children a game, stage a small theatrical performance, which can then be included in a music lesson or in the program of a holiday matinee.

Quality musical work teacher, the development of his activity depends not only on his abilities and experience in this area. Big role What plays here is the music director’s ability to take into account the character traits of each teacher: to approve the shy ones, to instill in them confidence in their abilities, to find a form of critical comments that does not hurt pride and makes them want to correct their mistakes. It is necessary to teach punctuality to those who take their responsibilities lightly, and to encourage those who are complacent about what they have achieved to further improve.

There is no doubt about the role of the teacher in the musical activities of children. Along with the musician, he is of great importance in the matter of musical and aesthetic education. As for responsibilities, there is no need to draw a clear line - this should be done by the teacher, and this is the responsibility of the music director. Only Team work, a joint creative approach to this issue can bear fruit. It is important to interest and captivate the teacher in musical activities in the same way as we attract children into the world of music. You need to arouse in him the desire to learn music and practice it, then the teacher will be your best assistant.

Some kindergartens have a good tradition of reinforcing holiday impressions through music lessons. Children come to the hall, where the holiday decorations are left, costume details, and attributes for games are lying. The teacher invites the children to remember what they liked at the matinee, exchange impressions and perform songs, poems, games, dances, and dramatizations if desired. Some performances can be repeated two or three times with a change of performers. All this helps to deeply understand the content of the holiday and preserve good memories about it.

Holidays in kindergarten are an important part of the educational process. They actively influence the formation of the preschooler’s personality, allow him to demonstrate his skills, abilities, creative initiative, and sum up a certain result of pedagogical work.

BIBLIOGRAPHY:

N. A. Vetlugina “Methods of music education in kindergarten”

A. N. Zimina “Fundamentals of music education in a preschool institution”

T. S. Babajan “Musical education of young children”

E. I. Yudina “First lessons in music and creativity”

S. I. Bekina, T. P. Lomova, E. N. Sokovnina “Music and Movement”

Magazine "Music Director's Directory"

M. B. Zatsepina “Musical education in kindergarten”

M. B. Zatsepina “Cultural and leisure activities in kindergarten”

The role of the teacher in the musical development of children.

Success in children's musical development and their emotional perception of music are closely related to the work of the teacher. It is the teacher, who has a broad outlook, a certain musical culture, and understands the tasks of musical education of children, who is the conductor of music in the everyday life of the kindergarten. Good business relationships between the music director and the teacher have a beneficial effect on children and create a healthy, friendly atmosphere, equally necessary for both adults and children.

The main form of musical education and training of a child in a preschool institution is music classes. In the process of classes, children acquire knowledge, skills, and abilities in listening to music, singing, musical-rhythmic movements, and playing the musical instrument. Musical classes are an artistic and pedagogical process that contributes to the development of a child’s musicality, the formation of his personality and the mastery of reality through musical images. Musical classes play an important role in the development of endurance, will, attention, memory, and in nurturing collectivism, which contributes to preparation for school. They carry out the systematic education of each child, taking into account his individual characteristics.

Conducting music classes is not a monopoly of the music director, but forms part of the pedagogical work conducted by the teacher.

The teacher’s participation in a music lesson depends on the age group, the musical preparedness of the children and the specific objectives of the lesson. It is especially important for the teacher to participate in working with younger groups, where he plays the main role in games, dances, and songs. The younger the children, the more active the teacher has to be - provide assistance to each child, make sure that the children are not distracted, are attentive, and observe who and how they express themselves in the lesson. In senior and preparatory groups, children are given more independence, but the help of a teacher is still necessary. He shows the movements of the exercises together with the music director, performs the dance with a child who does not have a partner, monitors the children’s behavior and the quality of execution of all program material. The teacher must be able to sing songs, demonstrate any exercise, game or dance, and know music to listen to from the children's repertoire. During music lessons, the teacher monitors the children’s posture, pronunciation of words in the song, and the quality of learning the material. The role of the teacher changes depending on the content of the music lesson. If the lesson plan involves introducing a new song, the teacher can sing it if he first learns it with the music director. The following option is also allowed: the music director performs the song for the first time, and the teacher performs it again. The teacher monitors whether all the children are actively singing, whether they convey the melody of the song correctly, and pronounce the words. Since the music director is near the instrument, he is not always able to notice which of the children sang this or that word incorrectly. If the lesson is devoted to listening to music, the teacher can talk about the content of the musical piece that the music director will perform, and during the performance, monitor how the children perceive the music. When children do not speak out much about what they hear, the teacher helps them with leading questions. When conducting musical-rhythmic movements with children of younger groups, the teacher plays with them, shows dance and imitation figures. In older groups, he carefully monitors whether the children perform the movements correctly and which of them needs help. By being present at classes and actively participating in them, the teacher not only helps the children, but also learns the material himself. It is necessary that both educators alternately attend classes. Knowing the repertoire, they can include certain songs and games in children’s daily lives.

A child’s life becomes more colorful, fuller, and more joyful if conditions are created not only in music classes, but also in the rest of the time in kindergarten for the manifestation of his musical inclinations, interests, and abilities.

The skills acquired in classes must be consolidated and developed outside of them. In a variety of games, on walks, and during the hours allotted for independent activity, children, on their own initiative, can sing songs, dance in circles, listen to music, and select simple melodies on a metallophone. Thus, music enters into the child’s everyday life, musical activity becomes a favorite pastime.

In music classes, new information about musical works is provided, singing and musical-rhythmic skills are formed, and the consistent musical development of all children according to a certain system is ensured. IN Everyday life kindergarten the emphasis is on individual work with children - developing their musical abilities, forming pure intonation, teaching children to play the musical instrument. The leading role here is given to the teacher. Taking into account the age of the children, he determines the forms of including music in the daily routine. Many aspects of kindergarten life allow a connection with music and gain greater emotional fulfillment from this.

Music can be used in children’s role-playing creative games, morning exercises, while walking (in summer time), evenings of entertainment, before bed. It is allowed to include music in classes for various types of activities: fine arts, physical education, familiarization with nature and speech development.

Play is, of course, a child’s main activity outside of class. Including music in a game makes it more emotional, interesting, and attractive. There are various options for using music in games.

In some cases, it is like an illustration of the actions of the game. For example, while playing, children sing a lullaby, celebrate housewarming, and dance. In other cases, children reflect in games the impressions gained during music classes and holidays. Conducting role-playing games with music requires very careful and flexible guidance from the teacher. He, watching the progress of the game, encourages children to sing, dance, and play the DMI. Many role-playing games arise only when children are given a toy TV, a piano, or a theater screen. Children begin to play “music classes”, “theater”, and perform concerts on “television”.

Music can be included as a component in different activities. Aesthetic perception nature gives rise to love for the Motherland in children. Music helps them to more deeply emotionally perceive images of nature and its individual phenomena. At the same time, observing nature deepens the perception of music. It becomes more understandable and accessible. For example, if, while going for a walk in a park or forest, children pay attention to a beautiful slender birch tree, then the teacher should invite the children to look at it carefully, remember a poem about it, or even better, sing a song or dance in a circle. Thus, the teacher consolidates children's impressions received from direct observation of nature with the help of a piece of music. In addition, the teacher can play singing games during walks during the summer. This gives the walks substance. Musical material related to the theme of nature, learned in advance in music classes, allows children to be more attentive when making observations. Children begin to understand that every natural phenomenon, every season is beautiful in its own way. Music, depending on the tasks set by the teacher, either precedes observation or reinforces children's impressions.

It is advisable to include music in speech development activities, for example, when telling a fairy tale. But at the same time, care must be taken that the music does not violate the integrity of the fairy-tale image, but rather complements it. It is convenient to introduce music into such fairy tales, the text of which is used in operas or children's musical games. (“The Tale of Tsar Saltan”, “Teremok”, “Geese-Swans”). Performing songs along the course of fairy tales gives them a special emotionality.

Music can also be used during conversations different topics. (About the seasons, the upcoming holiday, about the Motherland, etc.)

Work on speech is closely related to musical education. Singing improves the pronunciation of words and helps eliminate speech defects.

It is also easy to establish a relationship between musical education and visual arts. On the one hand, music deepens the impressions that children expressed in drawing or modeling. On the other hand, it provides material for its implementation. The theme of drawings, sculpting, or appliqué can be the content of a well-known song or software instrumental piece. Thus, the union of musical and visual arts helps the child in the perception of each type of art.

Music played by the teacher at various moments in children’s daily lives evokes positive emotions, joyful feelings, and creates an upbeat mood. Recommended to use more often folk songs, jokes. Their subtle humor and vivid imagery have a much greater impact on a child’s behavior than moralizing or directindication.

Perception of music is the leading type of musical activity.

Perception of music (listening) is the leading type of musical activity in children. Musical perception is a perception aimed at comprehending and understanding the meanings that music has as an art, as a special form of reflection of reality. Perception occurs in the process of all types of musical activity. At the same time, perception is also an independent activity in the classroom. The musical repertoire used for listening must simultaneously satisfy two requirements - artistry and accessibility. Artistry – highly artistic samples musical art: classical music different times and styles, folk music, modern. The formation of intonational musical experience occurs through the accumulation of various musical impressions. Accessibility is manifested in two aspects: 1) accessibility of the artistic and figurative content of music (perception of programmatic and visual images that are close to children - nature, play, images of animals; the ability to perceive emotional content, correspondence to the feelings that children are able to experience in this moment– sadness, tenderness, joy); 2) accessibility related to the child’s volume of perception (it is advisable to select small works or bright fragments lasting 1-2 minutes).

Age-related characteristics of musical perception of preschool children (analysis of preschool education programs).

Stages of development of musical perception in preschool age: 1) introductory speech by the teacher; 2) full display of the work; 3) analysis of a musical work; 4) repeat full show. The purpose of the first stage: to arouse interest in music through a figurative story about the composer, the genre (type) of a musical work, and its content. Full display of the work - the performance of the music, the quality of its sound.

It is proposed to analyze a piece of music based on the following sequence of questions: “What feelings does the music convey?” (characteristic of the emotional and figurative content of music), “What does the music tell about?” (highlighting programmatic and visual features if present), “How does music tell the story?” (characteristics of means of musical expression). Determining the emotional and figurative content of a work (mood, character) is the most important part of the analysis. Methods and techniques for activating musical perception, used during repeated listening: orchestration of musical works; conveying the character of music in motion; comparison of works of the same genre, plays that have the same names or similar themes, various options performances of the same work, comparison with works various types arts (paintings, reproductions, poems); reflection of the nature of music in the drawing, in the color scheme, musical and didactic games.

Musical perception is developed not only in music classes. It is important to use various forms of organizing children’s musical activities - to conduct themed concerts, include listening to music in the scenarios of holiday matinees, listen to music in a group in the afternoon. You can also use music during quiet games, free drawing, while walking, and include it in other (non-musical) activities. In this case, there is no conversation about music.

When choosing musical works, the teacher listens to a lot of music, thereby expanding his own horizons.

The role of the teacher in the musical education of children.

The goal of musical education in a preschool educational institution is to form the foundations of a child’s musical culture as part of the general spiritual culture. The main work in this direction is carried out by the music director. The teacher acts as an active assistant, having great opportunities to introduce children to music.

1. The teacher actively participates in the process of teaching children in music classes. In younger groups, the teacher sings along with the children. In the middle and older groups helps to learn songs. When teaching children musical and rhythmic movements in younger groups, she participates in all types of movements, thereby activating the kids. In the middle, senior and preparatory groups, the role of the teacher is different: he acts as needed, showing any movement, giving children individual instructions in dancing, playing, etc. The teacher helps the music director prepare and conduct various types of classes. Its role is especially important in comprehensive classes(including various types of artistic activities).

2. The most important task of a teacher in the musical education of preschoolers is to include music in the daily lives of children, so that their stay in the group is brighter and more varied. For this purpose, the teacher thinks in advance possible options using music in children’s daily lives, ensuring its easy inclusion in children’s activities. Possibility of using music: during leisure hours, in role-playing games, in various classes, while walking, in other routine moments (before bed, while receiving children, etc. .). IN free time The teacher, maintaining interest in music, consolidating the knowledge acquired in music classes, listens to musical works with the children, sings familiar and new songs, helps children master playing the musical instrument and dance elements. It is useful to organize viewings of musical films, cartoons, and celebrating children's birthdays (with music included).

Including music in the game makes her more emotional, interesting, attractive. In games such as “concert” and “musical activity”, music is the main content. In other cases - an illustration of the actions of the game (in the game “mother and children” the participants sing a lullaby, celebrating a housewarming, sing and dance; boys, playing soldiers, march to the sound of a drum; a theater in which puppet characters sing songs).

On a walk turning on music is most appropriate in summer period. It is possible to sing and dramatize songs (related to nature, the time of year), round dances (“We went to the meadow”, “Chernozem Earthling”), conduct outdoor games using musical instruments, TSO. Music may be included as an integral part in classes on speech development, introducing children to nature, visual arts. Depending on the tasks set by the teacher, music either precedes observation or reinforces children's impressions (puts an emotional point in the lesson). In a natural history lesson, after watching the fish, the teacher can sing the song “Fish” or listen to the play “Aquarium” by C. Saint-Saens with the children. In a lesson on speech development, music can be turned on when telling a fairy tale (when telling the fairy tale “Kolobok”, it is advisable to sing Kolobok’s song, when reading A. Pushkin’s fairy tale “The Tale of Tsar Saltan” - listen to fragments of the opera of the same name), singing chanting songs helps correct certain speech deficiencies . Singing fast, clear songs helps develop articulation. The theme of drawings, modeling, appliqué can be the content of a familiar song (during the lesson “My Favorite Song”, it is proposed to draw (blind, make an applique) what is sung about in his favorite song). Music helps convey artistic work characteristics artistic image(before drawing a clown, children listen to D. Kabalevsky’s play “Clowns”). Music during morning exercises and physical education, accompanying physical exercise , creates a certain emotional mood, activates children’s attention, and increases the expressiveness of movements. It is advisable to perform basic, general developmental, drill exercises while listening to music. Running jumps, throwing, and climbing to music are not recommended, since they require a free rhythm of movements that corresponds to the capabilities of each child. Each type of exercise requires careful selection of musical pieces.

3.Some musical leisure and the teacher conducts entertainment independently or under the guidance of a music director.

4. The teacher directs the independent musical activity of children, maintaining interest in musical activity, creates problematic situations, activating creative manifestations, taking into account the interests and inclinations of the students. Guidance on independent activity is indirect: the teacher tries to influence the child’s musical impressions. The teacher organizes a subject-spatial environment that promotes the emergence of independent musical activity. The “Music Corner” should contain manuals, materials, a set of musical instruments, portraits of composers, filmstrips, records, tape recordings, musical and didactic games, sets of various types of theater, costume elements, attributes, etc.

5. The teacher works with parents, recommending a visit musical theaters, concerts, watching TV shows, cartoons, is involved in organizing joint events.

To guide the musical and aesthetic activities of children, the teacher must constantly improve his musical culture, improve performing skills, keep abreast of new musical and methodological literature.

The influence of music in the development of children's creative activity is very great. Music evokes an emotional response in children before other forms of art. Musical education promotes the development of speech, emotions, movements, gives children joy, encourages activity, and enriches them with vivid artistic impressions. Music brings pleasure even to a 3-4 month old baby: singing and the sounds of a glockenspiel make the baby first concentrate and then smile. The older the children, the brighter and richer the positive emotions evoked by music.

When raising a child through the means of music, the teacher must understand its importance for the comprehensive development of the individual and be its active guide in the lives of children. It’s very good when children dance in circles and sing songs in their free hours. They select melodies on a metallophone. Music should permeate many aspects of a child's life. Only someone who continuously works with children, namely the teacher, can direct the process of musical education in the right direction. But for this, the teacher must have the necessary knowledge in the field of music. In preschool secondary and higher educational institutions, future educators receive a wide musical training: learn to play an instrument, sing, dance, master the methodology of musical education. In kindergarten, work to improve the level of musical knowledge and develop the musical experience of the teaching team is led by the music director.

Meanwhile, the teacher is not relieved of responsibility for conducting musical education in the group with which he works, even if the kindergarten has a very experienced music director.

The teacher is obliged:

To develop children's independence and initiative in performing familiar songs and round dances in various conditions (on a walk, morning exercises, classes), to encourage children to express their musical impressions in creative games.
To develop an ear for music and a sense of rhythm in children in the process of conducting musical and didactic games.
Deepen children's musical impressions by listening to audio recordings of music.
Know all program requirements for music education, the entire repertoire of your group and be an active assistant to the music director in music classes.
Conduct regular music lessons with the children of your group in the absence of a music director (due to vacation or illness).

The teacher must carry out musical education using all forms of work: singing, listening, musical and rhythmic movements, playing musical instruments. The teacher receives skills for such work during special training in educational institutions and through communication with the music director at various consultations, seminars and workshops.

Working with the teacher, the music director reveals to him the content of the upcoming music classes. Unlearning practical material. Of course, the music director also introduces teachers to the immediate tasks that he sets in the process of working on the content of the training program. This helps them monitor each child's progress together. Identify those children who need additional help, to outline ways of this assistance.

Besides. Such work allows the music director, taking into account the capabilities of each teacher, to skillfully use him in the process of musical lessons. It happens that one person moves well, but sings out of tune. The other has a good voice, but is not rhythmic. Teachers' excuses from participating in music classes citing inability to move or undeveloped hearing are completely unconvincing. If the teacher has weak auditory perceptions. The intonation is not clear enough, he can, knowing the program material and repertoire, constantly involve well-singing children in singing songs, and he himself only sings along with them. He can use an audio recording to listen to music.

The teacher’s participation in a music lesson depends on the age of the group, the musical preparedness of the children and the specific objectives of the lesson. It is especially important for the teacher to participate in working with younger groups, where he plays the main role in games, dances, and songs. The younger the children, the more active the teacher has to be - to provide assistance to the child, make sure that the children are attentive, and observe who shows themselves and how in class.

In the senior and preparatory groups, children are given more independence, but still, the help of a teacher is necessary.

What exactly should a teacher do during a typical frontal lesson?

In the first part of the lesson, its role in the process of learning new movements is great. He participates in demonstrating all types of exercises along with the music director, which allows children to simultaneously develop their visual and auditory perception. The teacher, since he is not sitting at the instrument, sees all the children and can give appropriate instructions and make comments during the action. The teacher must offer accurate, clear and beautiful examples of movements in all types of exercises, with the exception of figurative ones. In figurative exercises, the teacher gives exemplary examples, since these exercises are aimed at developing the creative activity of children.

In the second part of the lesson, while listening to music, the teacher is mostly passive. The musical director performs a piece of music and conducts a conversation on it. The teacher can help children analyze music with leading questions and figurative comparisons if the children themselves find it difficult to answer. Mainly, the teacher, by personal example, shows children how to listen to music, when necessary, makes comments and monitors discipline.

While learning a new song, the teacher sings along with the children, demonstrating correct articulation and pronunciation.

To introduce children to a new song, a teacher with good musical abilities - voice, clear intonation - can perform the song solo. As a rule, such an acquaintance with a new work evokes a vivid emotional response in children. The ability of a music director to sing, dance, and play an instrument is natural for children, while similar skills of a teacher arouse great interest and a desire to imitate.

At the second stage of learning the song, the teacher sings along with the children, at the same time monitoring whether all the children are active, whether they convey the melody correctly and pronounce the words.

Outside of music classes, when consolidating a song, you cannot teach words without a melody with children. Musical accents do not always coincide with textual ones. When performing a song in class with accompaniment, children will experience difficulties. Such nuances are worked out by the music director in group or individual lessons with teachers.

At the third stage of learning (at 5-6 lessons), when the children are already performing the song expressively, the teacher and the children do not sing, since the task of this stage is independent, emotionally expressive singing without the support of an adult’s voice. Children must completely independently start a song after or without an introduction, perform all the dynamic shades, and finish singing in a timely manner. The exception is singing songs with children of younger groups, where the experience of choral activity has not been developed and the help of an adult is necessary.

When learning non-story games with children, the teacher gives explanations, instructions, comments during the game, and can join the game the first time it is played or when the game requires equal amount pairs of children. The teacher plays with the kids at all stages of learning the game.

IN story games The teacher is either only an observer, gives instructions, or (in a complex game, as well as in younger groups) takes on one of the roles. Children's play should not be interrupted. After the game is over, the teacher gives the necessary explanations and instructions and the children play again. The teacher, watching the children play, helps the music director with advice - he suggests what is not working yet, what movements should be learned in exercises for further improvement.

The teacher acts in the same way during dance performances. A new dance - pairs, threes, the elements of which the children learned during the exercises, the teacher shows together with the musician or with the child, if the dance is performed to the accompaniment of a musical director. During the learning process, the teacher gives instructions, helps to perform movements correctly, suggests changing movements, paying attention to changes in the music, and dances with children who do not have a partner. At the final stage of learning, children dance independently. The teacher does not participate in dances - improvisations performed with older children, since they are carried out in order to develop the creative initiative of children. He can record the sequence of movements composed by the children and at the end of the dance he can approve or make comments if the children did not show their individuality in solving the task, the movements were all the same or monotonous. But usually these comments are made by the music director. The teacher can, in agreement with him, improvise a dance, and invite the children to perform it in their own way.

In dances with the participation of an adult, where the actions are recorded by the author of the movements, the teacher always dances with the children in all age groups.

In the final part of the lesson, the teacher usually does not actively participate (with the exception of younger groups), since the music director gives an assessment of the lesson. The teacher helps children in changing lanes and monitors discipline.

In classes of a different structure, the role of the teacher depends on the types of children’s activities and corresponds to the methodology for its implementation.

In addition, the main role in music education is given to the teacher in the independent activities of children. This type of activity requires the creation of external conditions, a certain material environment. It is important for children to have their own musical corner - with a small number of musical instruments, musical and educational games.

When planning independent musical activities, the teacher takes a closer look at the children at the beginning of the school year. Who is interested in what (singing, dancing, playing an instrument), are there any children who do not take part in playing music?

The highest quality of work can be ensured where educators, constantly improving their musical and pedagogical qualifications, become active and skillful assistants to the music director, use musical material in everyday work with children, and are able to independently conduct simple music lessons if necessary - in the absence of a music director .

When the teacher already has some experience in observing and analyzing musical classes, as well as experience in conducting them independently, he will make his own proposals when discussing methodological techniques for conducting classes, stimulate children’s creativity, suggest a topic, distribute roles, and outline the development of the plot in games and dramatizations.

Such qualifications are acquired by the teacher constantly, as a result of a systematic analysis of the specialist’s work with children, his instructive sessions with staff, and the teacher’s performance of increasingly complex tasks of the music director.

Bearing in mind the constant and comprehensive improvement of the musical and pedagogical qualifications of personnel, a musician must not only teach teachers singing, movements, and the correct method of presenting musical material, but also improve the general culture of teachers, teach them to understand the elementary features of music - the nature of the work, the musical form ( chorus, chorus, phrase.). It is advisable to inform the team about significant musical dates, news in the musical education of children and other issues of musical life.

Let's consider another important form of musical and aesthetic education of children - a festive matinee, which includes almost all types of creative activities of children and teaching staff.

The matinee is part of all educational work carried out in kindergarten. Here the tasks of moral, mental, physical and aesthetic education are carried out. Therefore, preparation for the holiday, its holding and consolidation of the impressions received by children can be considered as parts of a single pedagogical process.

Children get great pleasure from solo and group performances by teachers. They can show various dances, sing songs, play the role of a character.

Teachers who do not play any roles are with the children of their group. They carefully monitor how the children perceive this or that performance. They sing along with them, prepare attributes, costume details, change the children’s clothes on time, help them, if necessary, during the game and dance performance.

After the holiday, children remember the performances they liked for a long time. The teacher should strive to consolidate these impressions, connecting them with the topics of his classes. He invites children to draw or sculpt a character they like, come up with a new plot with the characters of the matinee, conduct conversations, and repeat their favorite songs, games, and dances in a group and during a walk.

The teacher can independently teach the children a game, stage a small theatrical performance, which can then be included in a music lesson or in the program of a holiday matinee.

The quality of a teacher’s musical work and the development of his activity depend not only on his abilities and experience in this area. A big role here is played by the music director’s ability to take into account the character traits of each teacher: to approve the shy ones, to instill in them confidence in their abilities, to find a form of critical comments that does not hurt pride and makes them want to correct their mistakes. It is necessary to teach punctuality to those who take their responsibilities lightly, and to encourage those who are complacent about what they have achieved to further improve.

There is no doubt about the role of the teacher in the musical activities of children. Along with the musician, he is of great importance in the matter of musical and aesthetic education. As for responsibilities, there is no need to draw a clear line - this should be done by the teacher, and this is the responsibility of the music director. Only joint activity, a joint creative approach to this issue can bear fruit. It is important to interest and captivate the teacher in musical activities in the same way as we attract children into the world of music. You need to arouse in him the desire to learn music and practice it, then the teacher will be your best assistant.

The activities of the teacher at holiday matinees are very diverse.

The most responsible role is the role of the leader. His emotionality, liveliness, ability to communicate directly with children, expressive performance of poetic texts largely determine the general mood and pace of the holiday. The presenter must not only know the program well, but also be able to quickly respond to unexpected random changes.

Children get great pleasure from solo and group performances by teachers. They can show different folk dances, play the role of a character, sing songs. Teachers who do not play any roles are with the children of their group. They carefully monitor how the children perceive this or that performance, sing along with them, prepare attributes, costume details, change the children’s clothes on time, help them, if necessary, during the game or dance. The matinee should be carried out at a good pace. The protracted nature of the performances, too many of them, unjustified pauses - all this tires, discourages the guys, and disrupts the unified line of emotional and physiological stress.

This can be avoided primarily by the active participation of adults at the holiday. When discussing the scenario at the teachers' council, it is necessary to determine the role of each teacher, his responsibilities, to appoint those responsible for changing children's clothes, for regulating lighting effects, for the precise exit of individual characters, assistance in carrying out surprise moments, etc.

After the holiday, children remember the performances they liked for a long time. The teacher strives to consolidate the most meaningful, colorful impressions, connecting them with the theme of the holiday. They are captured in drawings, sculptures, stories and conversations. Children repeat their favorite dances, songs, and actions of individual characters.

The teacher participates in these conversations, summing up the children’s impressions, highlighting the main, most important things, and explaining the incomprehensible.

Bibliography:

N. A. Vetlugina “Methods of music education in kindergarten”
A. N. Zimina “Fundamentals of music education in a preschool institution”
T. S. Babajan “Musical education of young children”
E. I. Yudina “First lessons in music and creativity”
S. I. Bekina, T. P. Lomova, E. N. Sokovnina “Music and Movement”
Magazine "Music Director's Directory"
M. B. Zatsepina “Musical education in kindergarten”
M. B. Zatsepina “Cultural and leisure activities in kindergarten”

named after I.P. Vyucheysky"

TEST

by discipline

Methods of music education

topic The role of the teacher in the musical education of a preschooler.

Completed by: Aydogdu A.A.

2nd year student

specialty: “Preschool education (PEE)

Teacher: Dresvyankina N.B.

Naryan-Mar

Introduction……………………………………………………………………….3

1. Musical education………………… ……………………………...4

a) tasks of musical education………………………………………………………6

2. The role of the teacher in the musical education of children preschool age………………………………………………………… ………………8

a) functions and responsibilities of a teacher in music education……….9

b) music lessons………………………………………………………. eleven

c) independent musical activity of children………………………..15

d) festive matinee…………………………………………………….. ..17

Conclusion……………………………………………………………………..19

List of references……………………………………………………….. 20

Introduction.

In my work I will consider the concept of musical education, the tasks of musical education, the functions and responsibilities of the teacher in the musical education of preschoolers.

Music plays a special role in raising a child. Children come into contact with this art from birth, and they receive targeted musical education in kindergarten - and subsequently at school.

The influence of music in the development of children's creative activity is very great. Music evokes an emotional response in children before other forms of art. Music brings pleasure even to a 3-4 month old baby: singing and the sounds of a glockenspiel make the baby first concentrate and then smile. The older the children, the brighter and richer the positive emotions evoked by music.

Music accompanies a person throughout his life.

The purpose of the abstract: to consider the role of the teacher in the musical education of preschool children.

Select and study literature on this topic.

The relevance of this topic is that the role of the teacher in the musical education of preschool children is an important component of the development of the child’s personality.

Musical education.

The basis of the theory of musical education of children is the enormous cognitive and educational capabilities of the art of music.

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

Musical education in kindergarten is one of the most important educational tools. In order to carry out this work purposefully and in depth, the entire teaching staff must be responsible for it.

The kindergarten does not set itself the task of educating future professional performers. His goals are to educate the child’s feelings, character and will through the use of musical art, to help music penetrate his soul, evoke an emotional response, a living, meaningful attitude to the surrounding reality, and deeply connect him with it.

In our country, musical education is viewed not as an area accessible only to selected, especially gifted children, but as an integral part of the overall development of the entire younger generation.

It is very important to start musical education as early as possible in order to introduce the child to the whole diversity of musical culture.

Preschool age is the period when the child’s basic abilities are laid, his hidden talents begin to emerge, and his personality actively develops. A child at this age is most receptive to information and is able to realize himself in almost any field. Music opens the way to creativity for a child, allows him to get rid of complexes, and “open” himself to the world. Music influences not only the development of children’s musical abilities, but also contributes to the socialization of the child, prepares him for the “world of adults,” and also shapes his spiritual culture.

By acquiring certain knowledge about music, skills and abilities in the family during kindergarten classes, children are introduced to the art of music. It is necessary to ensure that in the process of musical education, obtaining this knowledge, skills and abilities is not an end in itself, but contributes to the formation of preferences, interests, needs, tastes of children, that is, elements of musical and aesthetic consciousness.

The goal of musical education is to arouse interest in music and develop the child’s emotional and musical abilities.

I believe that the role of musical education of preschool children is very important, because in these years the foundation is laid on which knowledge of a person’s artistic preferences will later be developed,

Objectives of music education.

Based on the goals of music education, music pedagogy sets itself the following tasks:

Foster a love and interest in music. This problem is solved by developing musical sensitivity and ear for music, which help the child to more acutely feel and comprehend the content of the works he hears. Music has an educational effect.
Enrich children's experiences by introducing them in a clearly organized system to a variety of musical works and the means of expression used.
Introduce children to various types of musical activities, developing the perception of music and simple performing skills in the field of singing, rhythm, and playing children's instruments. Introduce the initial elements musical literacy. All this will allow them to act consciously, naturally, and expressively.
To develop the general musicality of children (sensory abilities, pitch hearing, sense of rhythm), to form a singing voice and expressiveness of movements. If at this age a child is taught and introduced to active practical activities, then the formation and development of all his abilities occurs.
Promote initial development musical taste. Based on the impressions received and ideas about music, first a selective and then an evaluative attitude towards the performed works is manifested.
To develop a creative attitude towards 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, and the improvisation of chants. Independence, initiative and the desire to use the learned repertoire in everyday life, play music on musical instruments, sing and dance are formed. Of course, such manifestations are more typical for children of middle and older preschool age.

The main task of musical education of preschool children is to develop emotional responsiveness to music, instill interest and love for it, and bring joy. And joy is an emotion that expresses a feeling of great spiritual pleasure. It arises only when a person satisfies his needs. Consequently, during music lessons, a child should experience a feeling of satisfaction and pleasure from performing various types of musical activities, and become a person capable of creating and thinking creatively.

The tasks of music education apply to the entire preschool age. At each age level they change and become more complex.

The role of the teacher in the musical education of preschool children.

When raising a child through the means of music, the teacher must understand its importance for the comprehensive development of the individual and be its active guide in the lives of children. It’s very good when children dance in circles and sing songs in their free hours. They select melodies on a metallophone. Music should permeate many aspects of a child's life. Only someone who continuously works with children, namely the teacher, can direct the process of musical education in the right direction. In kindergarten, work to improve the level of musical knowledge and develop the musical experience of the teaching team is led by the music director.

Meanwhile, the teacher is not relieved of responsibility for conducting musical education in the group with which he works, even if the kindergarten has a very experienced music director.

Functions and responsibilities of a teacher in music education.

The success of musical development of preschool children largely depends not only

from the music director, but also from the teacher.

The teacher is obliged:

To develop children's independence and initiative in performing familiar songs and round dances in various conditions (on a walk, morning exercises, classes), to encourage children to express their musical impressions in creative games.
To develop an ear for music and a sense of rhythm in children in the process of conducting musical and didactic games.
Deepen children's musical impressions by listening to audio recordings of music.
Know all program requirements for music education, the entire repertoire of your group and be an active assistant to the music director in music classes.
Conduct regular music lessons with the children of your group in the absence of a music director (due to vacation or illness).

The teacher must carry out musical education using all forms of work: singing, listening, musical and rhythmic movements, playing musical instruments.

The teacher receives skills for such work during special training in educational institutions and through communication with the music director at various consultations, seminars and workshops.

Working with the teacher, the music director reveals to him the content of the upcoming music classes. Learns practical material. Of course, the music director also introduces teachers to the immediate tasks that he sets in the process of working on the content of the training program. This helps them monitor each child's progress together. Identify those children who need additional help and outline ways for this help.

Besides. Such work allows the music director, taking into account the capabilities of each teacher, to skillfully use him in the process of musical lessons.

Musical lessons.

It happens that one person moves well, but sings out of tune. The other has a good voice, but is not rhythmic. Teachers' excuses from participating in music classes citing inability to move or undeveloped hearing are completely unconvincing. If a teacher has weak auditory perceptions or insufficiently clear intonation, he can, knowing the program material and repertoire, constantly involve well-singing children in singing songs, and he himself can only sing along with them. He can use an audio recording to listen to music.

The teacher’s participation in a music lesson depends on the age of the group, the musical preparedness of the children and the specific objectives of the lesson.

It is especially important for the teacher to participate in working with younger groups, where he plays the main role in games, dances, and songs. The younger the children, the more active the teacher has to be - to provide assistance to the child, make sure that the children are attentive, and observe who shows themselves and how in class.

In the senior and preparatory groups, children are given more independence, but still, the help of a teacher is necessary.

No matter how high the pedagogical qualifications of the music director, none of the main tasks of musical education can be satisfactorily resolved if it is carried out without the participation of the teacher. And also, if music is played for children only on those days when the music director comes, if they sing, play and dance with children only during music classes.