The role of the educator in the musical education of children. The role of the educator in the musical activity of children At a music lesson

Interaction of a musical director and educator in solving the problems of musical education and development of preschool children.

Attaching great importance to the personality of the teacher, his leading role in the educational process, N.A. Metlov had high hopes for his active participation in the work on the musical and aesthetic education of children. He made the degree of active education dependent not only on natural data (hearing, voice, plasticity of movements) and professional training received at a teacher training school or courses, but mainly on coherence in the work of the educator and
music director, from their mutual interest in the successful musical education of children.
The teacher carries out basically all the pedagogical work in the kindergarten - therefore, he cannot remain aloof from the musical-pedagogical process.
The presence of two teachers in a kindergarten - a music director and an educator, unfortunately, does not always lead to the desired results. There are two extremes here.
1 . When all musical education comes down to just conducting music lessons. At the same time, the teacher considers himself free from the musical development of children. In this case, musical education is not an organic part of the whole life of children: dancing, playing music is not included in the life of the child. The educator, underestimating the importance of musical education in pedagogical work, does not show interest in it and does not know how to arouse interest in children.
2. When the music director acts only as an accompanist, does not take a direct part in
conducting music classes, does not follow how the teacher and children perform songs, dances, movements. An educator who is inexperienced and insufficiently trained in music, working without any help and instructions, can make mistakes in his work, both in the selection of the musical repertoire and in its performance. The fact that cooperation between the educator and the music director is necessary and should be in the integral educational process of the kindergarten is beyond doubt. The only question is: What should it be and how to organize it?
1. The role of the educator in the process of musical education and development of children.
The greatest role of the educator is assigned to those parts of the lesson that associated with musical and rhythmic activities(exercises, dances, games), the smaller one - in the process of listening to music, singing and playing music. The functions of the educator in each of the age groups are different, and the degree of his activity in the lesson is determined by the age of the children and the specific tasks that stand in this lesson.
IN junior groups kindergarten teacher is an active participant in the pedagogical process in a music lesson: he sings with the children, plays with them, dances, monitors the correct posture of the children, helps them perform various actions.
The music director invites the teacher to show the movements in the exercises.

IN middle group kindergarten, the independence of children increases, and the functions of the educator become different. He acts only out of necessity, often in an indirect form reminds, indicates, compares. When learning songs, dances, games, the teacher shows their individual fragments, elements, while performing the already learned musical repertoire with children, only evaluates their activities.

In groups older age the educator performs mainly auxiliary functions: he watches how the children sing, dance, perform musical and rhythmic movements and creatively manifest themselves in various types of musical activities; notes mistakes in order to correct them in the future (in individual work). When getting acquainted with instrumental music, he talks about the picture, when singing he can perform a separate verse or phrase, when learning the game he chooses a leader, helps to distribute roles, i.e. does not participate, but only organizes.

The skills acquired in the classroom must be consolidated, which means that music should also sound during individual work, morning exercises, outdoor games, in the evening hours of leisure, become an illustration for a story, fairy tale, etc.
The role of the educator in leadership is great independent activities of children. In their work, the educator must apply indirect methods of guidance and flexible creativity. He actively forms the artistic interests of the child, influences his musical impressions received in the classroom, holidays, and in the family.

A game, of course, is the main activity of the child outside of classes.
The inclusion of music in the game makes it more emotional, interesting, attractive. Conducting role-playing games with music requires a very careful and flexible guidance of the educator. He, watching the course of the game, encourages children to sing, dance, play on DMI. Many role-playing games arise only when children are given a toy TV, a piano, a theater screen. Children begin to play "musical classes", "theater", perform concerts on "television".

The activities of the educator are also varied at festive matinees.. The most responsible 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 celebration. The leader must not only know the program well, but also be able to quickly respond to unexpected, random changes.
Great pleasure is given to children by solo and group performances of educators. They can play the role of a character, sing a song, perform a dance.
2.The role of the musical director in the process of musical education and development of children.
The teacher-musician works in two directions - with children and educators:
Organization and conduct of the activity itself with children on musical education and development, the basics,
which are incorporated in the methodology of musical education in preschool educational institutions.
The interaction of the music director with the teaching staff of the preschool educational institution, which includes:
1. Familiarization of educators with the theoretical issues of musical education for children;
2. Explanation of the content and methods of work on the musical education of children in each age group;
3. Discussion of scenarios for holidays and entertainment;
4. Participation in the manufacture of festive decorations, decorations, costumes, in the design of the interior of a preschool educational institution for the holidays;
5. Participation in the organization of the subject-spatial musical developmental environment of the preschool educational institution;
6. Providing methodological assistance to the teaching staff in solving the problems of musical education of children;
7. Participation in the pedagogical councils of preschool educational institutions.
FORMS OF INTERACTION between the music director and the teaching staff of the preschool educational institution include:
1. Individual and group consultations during which issues should be discussed -
individual work with children
musical and educational work in groups,
musical repertoire used in the classroom,
issues of organizing the musical environment of the preschool educational institution;
2. Practical exercises of the teaching staff, including learning the musical repertoire.
3. Holding evenings of leisure and entertainment, followed by analysis and discussion from the point of view of the interaction of the entire teaching staff in solving the problems of the musical development of children.

In order for the joint work of the music director and educator in the musical education and development of children to bring the desired results, it is necessary to conduct a certain work with parents which should be based on the principles of interaction and cooperation.
Communication between parents and the music director is largely carried out by the educator, as he has more opportunities to meet with parents every day.
Together, teachers determine various forms of work with parents and include them in their annual work plan.
Forms of work include:
Open Music Classes
Consultations.
Parent meetings.
Workshops.
Joint holidays and entertainment.
Homework.
Children, together with their parents, select pictures or draw in the "Music Notebooks", completed musical works, thereby reinforcing the skills gained in the lesson. Homework is valuable because the joint activities of children and
parents improves the climate in the family, arouses in parents a natural interest in the life of a child in kindergarten.
"Parents' Corner" created specifically to acquaint parents with popular methodological literature on the musical and aesthetic education of children. It contains a music library recommended for parents with audio recordings of musical works, a large selection of "Home Games" for the development of children's musical and creative abilities, as well as advice to parents on various topics.

Summarizing, it should be said that only thanks to such interaction, parents and teachers, we will achieve, firstly, positive results in the musical education and development of children, secondly, we will find understanding between teachers and, thirdly, we will make parents our allies and active participants in the pedagogical process

Only close pedagogical contact between the music director and the educator will give a positive result in the musical development of preschoolers. The educator must carry out continuity between music lessons and other parts of the complex process of musical education and development of children.

The tasks of musical education and development of children outside of classes:

Consolidation of skills and abilities acquired in a musical lesson;

Expansion of musical ideas, horizons;

Identification and formation of inclinations and musical interests;

Development of musical abilities, independent methods of action.

Forms of musical education and development of children outside of classes:

Individual work on the formation of musical interests and abilities of children;

The use of music for a walk, gymnastics, art classes;

Listening to audio recordings, music from radio and TV programs;

Organization of musical and didactic games, entertainment.

Independent activity of children.

To solve these problems, the teacher must have a certain amount of musical and aesthetic knowledge. For example, in individual work with children, the educator needs to take into account the characteristics of each child, his ability to music and movement, the degree to which he masters the material; activate passive children, promote the formation of musical interests.

Help parents in the musical development of preschoolers

Close contact between the music director and parents is very important. The main forms of this work can be called: consultations on the topics “Development of the musical abilities of preschoolers”, “Formation of the musical interests of the child in the family”, etc.; assistance in organizing a home music library; recommendations for the use of children's musical instruments. For the purpose of exchanging information with parents, it can be advised to create an "Ethnobox", which will draw the attention of parents to the revival of ethnoculture in the family, replenish and enrich the knowledge of both parents and teachers in ethnopedagogics.

Musical activity of preschoolers and its tasks

Hearing - perception

In the older group, work on listening to music continues and deepens. It acts both as a section of the lesson, and as a methodical method of work, and as an independent lesson. The perception of children of this age becomes more conscious, manageable. The feelings evoked by music are more differentiated. Arbitrary memory and attention develop. Children notice the similarity of musical works of the same genre, compare familiar works according to their figurative content, the nature of the sound. There is an interest in a piece of music, the stability of experiences and feelings. Significant shifts are observed in the thinking of children: there is a transition from visual-active to visual-figurative thinking. Children's attention is already more stable, so they can listen to quite complex works. The speech of children is quite developed, they are able to express their opinions about music, use various terms and definitions. Their aesthetic experiences become deeper and richer - children react vividly and emotionally to a piece of music.

In the senior group, in the process of listening to music, the following tasks are set:

Analyze works of a solemn, joyful, sad and playful nature;

Perceive samples of Kazakh folk music and musical works of composers of Kazakhstan, know the history of the work, the legends associated with kyuis;

To form knowledge about the life and work of composers of Kazakhstan;

Distinguish the sound of folk musical instruments;

To instill interest in listening to folk music, classical and modern, performed by soloists, choir, instrumental ensembles, orchestra;

Teach memorizing works by introduction and conclusion, by melody, individual phrases, parts;

Develop the ability to distinguish between the nature of music, means of musical expression, express judgments about them, distinguish between two - and three-part forms, song, dance and march genres;

Develop the ability to compare works by similarity and contrast.

Achieving the fulfillment of the tasks set, the teacher strives to:

To teach children to listen carefully to music, to express all their emotions after listening to a piece of music;

Raise interest in vocal and instrumental music;

To instill interest in listening to folk music, classical and modern, performed by choir soloists, instrumental ensembles of various compositions, an orchestra;

Make you want to listen to your favorite songs repeatedly.

The works intended for listening to children of senior preschool age reflect a diverse range of feelings, moods, numerous events and phenomena of the surrounding reality that are accessible to children's perception. Verbal techniques become more detailed, contributing to an in-depth perception of musical works. The life experience of children is widely used, new works are associated with already familiar ones. The perception of music is aimed at mastering the intonation-auditory "fund" of the era. Children need to develop the ability to experience musical content as a specific expressive speech. In the process of analyzing musical works, the requirements for children are gradually increasing. When working with children of older preschool age, it is necessary to partially abandon the verbal-descriptive interpretation of musical content. The word should be only a guideline for the development of the child's creative imagination. Musical perception itself should be developed on the basis of intonation. Let us turn to a well-known example - the play by D.B. Kabalevsky "Clowns". Work on this work traditionally began with the words of the teacher: “Children, many of you were in the circus and saw clowns there ...” Of course, the guys will be happy to talk about clowns, their appearance, funny jokes, and ... the preschooler’s perception is already determined, he knows everything And the music won't do anything for him. We suggest going from music: “Now we will listen to a play by Dmitry Borisovich Kabalevsky (listening), Now tell us what kind of music you heard, give it a name” (children answer). Similarly, we work with Kurmangazy's kuy "Serper" ("Gust"). We invite you to listen to the work and tell us what the dombra told us about, what this music reminds us of and what you can imagine while listening to the kui “Serper”, And only after the children’s answers we tell that Kurmangazy dedicated the kui to his horse Aksur-at, who does not know fatigue, his strong of the article, good disposition, smooth running. This horse can be compared with a horseman, strong, persistent, tireless, striving forward towards his cherished goal. When listening again, invite the children to try to hear the breath of the Kazakh land, feel the joy of the swift running of flying horses and understand the strength of the Kazakh people.

The teacher corrects the answers, directing the attention of young listeners to the expressiveness of the melody. The following methods are quite effective for the formation of the intonation-auditory experience of preschoolers:

Comparison of musical works: contrasting works of the same heat, pieces with the same name, contrasting works that convey different feelings and moods;

Use of cards "color - mood";

Comparison of different interpretations of the performance of the same work (for example, own performance and audio recording);

Comparison of two performance options: solo and orchestral.

All of these techniques can be combined with each other and vary. But all of them will be effective only with expressive, competent execution.

The musical repertoire for listening to music is significant in volume and diverse in content. The previous musical experience of preschool children allows us to speak about both a fairly developed holistic and differentiated perception of children of the sixth year of life, so we deliberately abandoned the traditional method of listening to each piece for three to four lessons. The proposed conversations are held as part of one or two sessions, depending on the characteristics of the children in the group. It is permissible to conduct separate conversations in the evening hours if the teacher has problems with time in a music lesson. At the discretion of the music director, it is possible to replace works, but only with the preservation of the leading principles of their selection - artistry and accessibility for children's perception.

The program also provides for acquaintance with samples of Kazakh folk music, the formation of knowledge among preschoolers about the composers of Kazakhstan, acquaintance with the history of works, legends associated with kyuis.

Singing

The song is of great importance for children of preschool age. At this age, preschoolers show a special interest in singing. They learn and memorize songs quickly. At this age, children already have a certain musical experience. There are elements of creativity in singing. Breathing improves, voice develops, its range expands. Children develop a well-known system of ideas about pitch, timbre, and the power of musical sound. In singing, musical play, children consciously strive for the expressiveness of the created images. A child of this age represents the goal, subordinates to it the method and order of performing actions.

When teaching singing to children of the older group, the following tasks are set for the teacher:

To teach children to expressive singing without tension, with a light sound, smoothly;

Teach to take breath between musical phrases;

Pay attention to diction;

Observe dynamic nuances;

Sing in chorus and individually in a range re - si first octave;

Clearly express intonation;

Distinguish by ear intonation accurate and false sounding;

To consolidate the ability to simultaneously start and end a song, convey the nature of the melody, sing with adults without instrumental accompaniment and independently with accompaniment;

Encourage to remember and sing previously learned songs, to maintain the correct posture while singing;

Introduce some special terms: melodiousness, abruptness, diction, ensemble, sound power, tempo, song form, verse, chorus, refrain, phrase, introduction, conclusion;

Develop melodiousness of sound, using folk songs, chants.

At this age, children are called the names of the composers who wrote the songs. The learning process is carried out in three stages. Conversations and questions to children become more diverse, as the content of the songs becomes more complicated. Illustrated material is used to a lesser extent - mainly when it is necessary to explain unfamiliar words in the text. Learning the song begins after the lesson in which the hearing was held. In each lesson, you need to achieve better results than in the previous one, and not mechanically sing songs. In the work on the expressiveness of the performance, it is necessary to proceed from the content of the songs, rely on the emotional perception of the child. Learning songs can sometimes start with a chorus, if necessary, transpose the melody into a key that is convenient for the child's voice. Before singing, it is necessary to concentrate the attention of children, to chant, to use a special system of exercises. When the song is mastered, it can be performed in subgroups and individually. This will give the children the opportunity to hear and appreciate the singing of their comrades. The repetition of familiar songs should be carried out in different forms so as not to reduce the interest of children. For example, in the form of a “riddle” - recognizing a melody played on an instrument, a “music box” - where songs “live” or a “musical tree” - on which notes with songs grow, etc.

One of the main conditions of songwriting is the ability to keep writing within the limits of a given key. It is characterized as the ability to emotionally distinguish the modal functions of the sounds of a melody, to feel the subordination of sounds, the coloring of major and minor. You can use the following tasks: “Sing the phrase to the end” (the teacher starts, the child finishes); independent finding by the child of a stable sound (tonics); orientation in distinguishing major and minor modes (“Merry and sad bell”, “Sun and rain”)

The program included songs by famous Kazakh composers. The content of each of the songs is revealed by the titles of the works: “Anұran” - “Hymn”, “Bizdin tu” - “Our flag”, etc. The songs are intended both for listening and for singing. Some songs are written in a high texture and therefore, there may be some difficulties in learning and performing them. In this case, you can make small changes to the melodies at the discretion of the music director. Of particular importance is the initial acquaintance with these works. Using the verbal method, the music director must skillfully conduct a conversation on the content of the song. During the conversation, the children talk about their native land, about Kazakhstan, about the people who live in the republic. It is possible that the children themselves will tell the content of the song, and then the music director will only have to supplement and support their story. In the song "Anuran" one should pay attention to notes with dots, to their exact performance, as they give the song an energetic, cheerful, anthem-like character. Learning should begin with a chorus. Given the performance capabilities of children, you need to choose the right tone.

Learning the song "Bizdin tu" requires work on the eighth pauses that occur at the end of some measures, otherwise the song will lose its rhythm and, accordingly, its character. In addition, it is important to ensure that the children sing the last notes before pauses, and pronounce the endings of words well.

The song "Tugan zher" by K. Duysekeyev is a story of children about their native land where they live, about their parents, about grandparents living in the village, about the fact that children are proud of them. The melody of the song is permeated with children's joy, fun, energy. The song can be accompanied by dance movements invented by the children themselves. When working on a song, you should pay attention to those places where the syllable “a-a-a” is sung. Before this phrase, you must definitely take a good breath. Children should sing calmly, without straining, without pinching the vocal apparatus. It will be advisable if you sing similar, but simple exercises before performing. The song can be performed on holidays dedicated to Nauryz, Republic Day, Independence Day, Children's Day, etc.

In the song "Nauryz Ani" by B. Amanzholov, it is necessary to teach children to sing whole notes to the end. T. Muratov's song "Nauryz toyy" is written in a convenient key for children of senior preschool age, it is easy to learn and remember. It can be put as a separate concert number. At the discretion of the music director, dance moves can be added.

“The role of the educator in the musical activity of children »

Target: Tell teachers about the role of the educator in music classes and matinees.

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 contributes to the development of speech, emotions, movements, gives children joy, encourages activity, enriches with vivid artistic impressions. Music gives pleasure even to a 3-4-month-old baby: singing, the sounds of a metallophone cause the baby to first concentrate, and then smile. The older the children, the brighter and richer the positive emotions caused 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 educator is of great importance. The final result of the upbringing of 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, to be able to sing expressively, move rhythmically and play musical instruments to the best of their ability. The most important thing is to be able to apply your musical experience in raising children.

Raising a child by means of music, the teacher must understand its significance for the comprehensive development of the personality and be its active guide in the life of children. It is very good when children dance in their free hours, sing songs, pick up melodies on the metallophone. Music should permeate many aspects of a child's life. Directing the process of musical education in the right direction can only be the one who works inseparably with children, namely, the educator. 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 extensive musical training: they learn to play an instrument, sing, dance, master the methodology of musical education. In kindergarten, the music director conducts work to improve the level of musical knowledge, develop the musical experience of a team of teachers.

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

The educator must:

To develop independence, initiative of children in the performance of familiar songs, round dances in various conditions (during a walk, morning exercises, classes), to help children express their musical impressions in creative games.

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

Deepen the musical experience of children by listening to music in audio recordings.

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

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

Excuses of educators from participating in music classes with reference to the inability to move or undeveloped hearing are not at all convincing. If the teacher has weak auditory ideas, insufficiently pure intonation, he can, knowing the program material and repertoire, constantly involve children who sing well in singing songs, and he himself can only sing along with them.

The participation of the educator in a musical lesson depends on the age of the group, the musical preparedness of the children and the specific tasks of this lesson. It is especially important for the educator to participate in work with younger and middle groups, where he plays the main role in the game, dance, song. The younger the children, the more active the educator has to be - to help the child, to make sure that the children are attentive, to observe who and how manifests himself in class.

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

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 sounds for children only on those days when the music director comes, if with children sing, play and dance only in music classes.

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

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

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

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

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

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

Outside of music lessons, when fixing a song, you can’t teach children words without a melody. Musical accents do not always coincide with textual ones. When singing a song in class and with accompaniment, children will experience difficulties.

At the third stage of learning (at 5-6 lessons), when the children are already expressively singing the song, the teacher does not sing with the children, since the task of this stage is independent emotionally expressive singing without the support of an adult's voice. Children must begin the song on their own with or without an introduction, perform all 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 formed and adult assistance is needed.

When learning non-plot games with children, the teacher gives explanations, instructions, comments during the game, can join the game at its first performance or when the game requires an equal number of 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, instructions and the children play again. The teacher, watching the children play, helps the music director with advice - suggests that it still doesn’t work, what movements should be learned in exercises for further improvement.

The teacher acts in the same way during the performance of dances. The teacher shows a new dance, the elements of which the children learned during the exercises, together with the music director or with the child if the dance is performed to the accompaniment of the music director. In the process of learning, the teacher gives instructions, helps to perform movements correctly, suggests a change of movement, paying attention to changes in music, dances with children who do not have a partner. At the final stage of learning, children dance on their own. In dances - improvisations conducted with older children, the teacher does not participate, since they are held in order to develop the creative initiative of children. He can write down 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 remarks are made by the music director. The teacher can, in agreement with him, improvise the dance, and offer the children to perform it in their own way.

In the final part of the lesson, the teacher usually does not actively participate (with the exception of the younger groups), since the music director gives the assessment of the lesson.

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 the 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, holding it and consolidating the impressions received by children can be considered as links in a single pedagogical process.

The activities of the educator at matinees are very diverse. The leading role is the most responsible. His emotionality, liveliness, ability to communicate directly with children, expressive performance of poetic texts largely determine the general mood and pace of the celebration. The facilitator not only needs to know the script, but also be able to quickly respond to unexpected random changes.

Great pleasure is given to children by solo and group performances of educators. They can show various dances, sing songs, play the role of a character. Educators 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, details of costumes, change children's clothes on time, help them, if necessary, during the game and dance. After the holiday, children remember the performances they liked for a long time. The educator should strive to consolidate these impressions by linking them with the topics of their 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, repeat their favorite songs, games, and dances in a group and on a walk.

The quality of the musical work of the educator, the development of his activity depend not only on his abilities and experience in this area. An important role here is played by the ability of the music director to take into account the characteristics of the character of each educator: to approve the shy, instill in them confidence in their abilities, and arouse a desire to correct the mistakes made. It is necessary to accustom to punctuality those who are frivolous in their duties, to encourage further improvement of those who are satisfied with what has been achieved. There is no doubt about the role of the educator in the musical activity of children. He, along with the musical director, is of great importance in the matter of musical and aesthetic education. As for duties, there is no need to draw a clear line - this should be done by the educator, and this is the responsibility of the music director. Only joint activity, a joint creative approach to this issue will be able to bear fruit.

BIBLIOGRAPHY:

1. N. A. Vetlugina "Methods of musical education in kindergarten"

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

3. E. I. Yudina "The first lessons of music and creativity"

4. Journal "Handbook of Music Director"

Advice for educators on the topic:

"Pedagogical technologies for organizing the process of perception of music by children of preschool age"

Listening to music by children is carried out in the process of musical and pedagogical work, in the course of participation in all types of children's musical activities, at leisure activities and holidays. The music director traditionally devotes part of the lesson to listening to music, using certain methods and techniques to organize it.

The educator should also turn to listening to music, organizing this process as an activity or initiating children to independently perceive the works. Children also listen in the family, attending concerts, musical performances, etc. with their parents.

Pedagogical technology is a tool for the professional activity of a teacher. On what principles is the technology of the process of perception of music by preschoolers based?

Principles and technologies of music perception:

The principle of humanization - the personal and individual qualities of the child are taken into account in the process of perceiving musical works

The principle of the age characteristics of the child - the results of diagnostics and the main changes in the perception of music in each age group are taken into account

The principle of development of subjective qualities - the musical interests and orientation of the child to a specific type of musical activity are taken into account

The principle of subject-subjective interaction - the freedom of reactions and statements of the child, the prevention of violent, harsh measures that limit the impulses of the child are taken into account. The child can choose the types of artistic activity in which he would find the embodiment of what he heard in music, act as the initiator of listening to music, name the educator the musical works that he wants to listen to. The teacher should sympathetically respond to these initiatives.

The principle of pedagogical support - the actions of the teacher should be aimed at helping a child experiencing certain difficulties in the process of perceiving music, relieving emotional tension and discomfort.

The principle of professional cooperation and co-creation is the obligatory interaction of the music director and educator, close cooperation with the family, other specialists working in kindergarten.

The principle of purposefulness of the process of perception of music by children - the teacher needs to know for what purpose musical perception is organized

The principle of selecting musical works - it is necessary to select musical works according to certain criteria, corresponding to the age characteristics of children

The principle of systematicity and consistency - it is necessary to systematically work on the perception of music by preschoolers, the gradual complication of musical content

The principle of productivity - the result of the perception of music should be a certain creative product, for example, an image embodied in a drawing, dance, playing music, a game, a word, etc.

The principle of syncretism is the combination of different methods and methods of artistic and creative activity of preschoolers.

Listening to music can be divided into four stages of actions of teachers in the process of organizing children's perception of music:

1. attracting children's attention to listening to music, tune in to perception;

2. repeated listening with subsequent musical analysis, analysis of impressions;

3. fixing ideas about the music heard in the musical experience of the child, memorizing the work, willingness to talk about it, the desire to listen again;

4. creation of conditions for the child to express the results of musical perception in play, art, motor activity.

Stages of organizing the perception of music by preschoolers in a group, with the direct assistance of a teacher-educator.

1. organization of the developing environment in the group.

2. accumulation of musical experience in children, practical skills in visual activity, activation of creative imagination.

3. independent productive activity of children. At this stage, it is proposed to organize listening to music, after which children can express their fantasies in visual activities (drawing, modeling, applications).

The activity of the educator at the first stage is to create a musical zone for listening to music, which should contain muses. center, music discs, portraits of famous composers, musicological books accessible to children, illustrations for music. works, reproductions of paintings.

After organizing a music zone or a corner for listening to music, it is necessary to have a conversation with the pupils on the topic “What's new in the group?” thus setting them up for a specific type of musical activity.

At the 2nd stage, the educator carries out work on the accumulation of ideas, impressions and emotional experiences by children in the course of perceiving music. This work is carried out in a certain logic.

Introductory part. Games and exercises (2-3) for the development of children's creative imagination.

Main part. Organization of the process of perception of musical works (1-2), conversation about what they heard.

Final part. Option 1 - Active listening. With the help of plasticity and elements of dance movements, invite the child to express his impressions of what he heard. The second option is to express musical impressions with the help of visual activity (drawing).

The educator conducts such work with children once a week during the entire academic year, as a consolidation of the skills and auditory perceptions acquired in music classes.

It is this kind of work that will allow us to approach the final stage of technology - independent productive activities of children and integrated classes in musical and visual arts.

Gogoberidze A. G. "Theory and Methods of Musical Education of Preschool Children"

Advice for educators on the topic:

"The role of the educator in the development independent musical activity of children.

Independent musical activity of children contributes to the development of such personality traits as initiative, independence, creative activity. The role of the educator is to encourage children to apply the skills learned in music lessons to the day-to-day life of the kindergarten.

For the development of independent musical activity of children in the group, "musical corners" should be equipped, where children's musical instruments, didactic games, fun toys are placed, which can later be beaten by the teacher (the bear plays the balalaika, the hare jumps, the girl dances, etc.). ) In order to maintain the interest of children in independent musical activity, the teacher should update the manuals in the “musical corner” once a month, replenish it with new attributes and didactic games.

An important role of the educator in the development of independent musical activity of children is the creation of problematic situations, the encouragement of children to variable independent actions, the development of the ability to apply what they have learned in new conditions. At the same time, artistic design enhances the impressions of children. Under the influence of the joyful sound of music, expressive words, elements of costumes, children will have bright positive emotions. All this will encourage them to express their feelings in singing, dancing, and playing, and also contribute to the formation of interest in music and musical activity in general.

Having thus created an environment in the kindergarten filled with musical intonations as much as possible, the teacher will be able to arouse interest and love for music in children, as well as contribute to the formation and development of independent musical activity of preschoolers.

Consider the various types of musical activities of children in a group:

Playing children's musical instruments . Children are very fond of playing the metallophone, harmonica, button accordion, triplet, tambourine, drum and other instruments, they can perform chants, rhythmic patterns learned in the classroom, or they invent and perform their own melodies, showing creativity. Often children are attracted by the process of mastering a new instrument. In such cases, they teach each other: those who play this instrument well show the tricks to those who do not yet know how to play. Such comradely help can most often be observed in senior and preparatory groups. While playing instruments, children learn to distinguish between their sounds, begin to single out the ones they like more, organize an “orchestra” themselves, and choose a conductor. The role of the educator is to encourage the creative activity of children, teach them to negotiate, make sure that the game does not turn into a quarrel.

One of the most striking forms of musical independent activity of children ismusical game . Older preschoolers themselves create the conditions necessary for this game. The game can have a detailed character: several types of activities are combined (performance on the metallophone and dance, guessing the song by its melody and round dance, etc.). In other role-playing games, children use songs that correspond to their game actions. For example, playing in the parade, the boys sing "Drum" by M. Krasev, drumming and marching, girls, laying the dolls, sing the song "Baiu - bai" by M. Krasev. The song contributes to a more dynamic flow of the game, organizes the actions of children.

In this type of independent activity of children, the educator continues to form the ability of pupils to negotiate (who will do what), can suggest the plot for the game, support the activity of any child and helps him organize a collective game.

Musical - didactic games , used in independent musical activity, develop in children the ability to perceive, distinguish the main properties of musical sound: “Musical Lotto”, “Guess who sings”, “Two drums”, “Hush - louder in a tambourine beat”, “Name the song from the picture” and etc.

To enrich the musical impressions of children and encourage them to apply the skills acquired in music lessons, the educator must fillregime moments the sound of classical pieces known to children. For example, onmorning exercises and during physical education classes (for kids) the teacher can use the following works: while running and walking at a fast pace, gallop "Brave Rider" by R. Schumann, "Clowns" by D. Kabalevsky, "Dwarf Dance" by F. Liszt, "My Horse" by A. Grechaninov and others; during light running, loose running, flock - “Moth” by S. Maykapar, “Butterflies” by F. Couperin, “Merry Walk” by B. Tchaikovsky; during the march - "Procession of Grasshoppers" by S. Prokofiev, a march from the "Children's Music" cycle. General developmental exercises can be accompanied by music by I. Iordansky (“Ladushki - patty”), P.I. Tchaikovsky (“New Doll”) and others.

On a walk you can play with children the games learned in music lessons: dance - the game "Bear", the exercise "Hedgehog and Drum"; motor exercise “There was a funny dog”, the game “Where does the fish sleep?”, the song “Ay, tuki - tuki - tuki”, finger speech games.

You can also fill the time with musicmorning reception of children and evening while leaving home. Moreover, musical intonations in the morning hours should differ from musical intonations in the evening. In the morning - calm, light in nature music. It is recommended to use works from albums of piano pieces for children by P.I. Tchaikovsky, A.T. Grechaninov, E. Grieg, R. Schumann, S.M. Maykapar and others. This will create an atmosphere of benevolence and positive mood in the morning and throughout the day.

In the evening, the nature of the music should be more mobile. This will dispose children to the manifestation of motor activity, inventing images and embodying them in dance. It is recommended to use fragments of symphonic works written for children ("Children's Symphony" by I. Haydn, suite for orchestra "Children's Games" by J. Bizet, etc.)

Thus, the role of the educator in the development of independent musical activity of children lies in the fact that he imperceptibly for the child encourages him to be active in various types of music. activities, creating favorable pedagogical conditions: influence on the musical impressions of the child, deployment of children's activities on their initiative. The teacher must be tactful, become, as it were, an accomplice in children's games. When planning management techniques, the educator outlines the following points: what needs to be added from the equipment for the musical activity of preschoolers (instruments, manuals, amateur toys), in what order it is advisable to do this, who needs to be observed in order to find out the interests, inclinations of children, what type of activity give preference to children and whether their interests are one-sided. At an earlier age, it is better for the educator to use the explanatory-illustrative method. In turn, the child reproductively learns these ways. Later, the teacher should use the explanatory-motivating method, and the child is led to independent search methods of action. The demonstration method and detailed explanation are used when teaching children to perform any element of dance or singing intonation. I would like to wish that the children act not only on the direct instructions and display of the educator, but also without his help. If a child learns to independently perform educational tasks, then he will also be able to act outside of class: organize musical games, sing and dance at his own request. The daily work of the educator with children, knowledge of their interests and abilities enables the educator to perform the task efficiently and responsibly. Independent musical activity in a group, being one of the indicators of the level of development of children, gives an idea of ​​the amount of skills, abilities, knowledge that children have received as a result of the work carried out with them. There is a transfer of methods of action mastered in music lessons to completely new conditions, situations; the child acts already on his own initiative, in accordance with his interests, desires, needs.

QUESTIONNAIRE FOR TEACHERS

"MUSICAL NEEDS OF CHILDREN"

1. What are the musical needs of the children in your group?A. In the game.B. In independent musical activity.B. Do not appear at all.G. Other.

2. What types of musical activities do children prefer to others?A. Listening.B. Singing.B. Musical-rhythmic movements.G. Playing children's musical instruments.D. Musical and didactic games.

3. How is interest shown in the musical repertoire?A. Does not appear at all.B. There are favorite songs that they sing on their own.B. Other.

4. In what kind of musical activity do children show their creative abilities best and most often?A. In singing.B. In musical games.B. In dancing.D. When staging songs.D. Other.

5. Are the musical and cognitive abilities of children in your group manifested?A. Didn't notice.B. In statements about the nature of music.C. Draw an analogy between life and musical phenomena.G. Other.

"The role of the educator in the process of musical education of preschoolers"

The implementation of the process of musical education requires a lot of activity from the teacher. Are kindergarten teachers always involved in the musical education of children? Are they aware of the importance of such participation? Most often, the educator considers it his duty only to be present at the music lesson - to maintain discipline. Meanwhile, without the active help of the educator, the productivity of music lessons turns out to be much lower than possible. We, music directors, would like to see the interest of educators in the process of music lessons. When a child sees that the educator performs all the tasks with interest, he himself is included in the process with even greater inspiration. After all, the teacher is an absolute authority for him, and no matter what happens in the classroom, the child will constantly focus on the teacher.

How is the interest of the educator in the music lesson manifested? First of all, the educator needs to understand that in a music lesson he is the same participant as the children, and not the warden. Imagine that you are a child, you are interested in everything and you and your children sing songs cheerfully, dance fervently, listen to music thoughtfully ... And you do it not as a duty, but with your soul, but do not forget that there is a pedagogical process that needs to be controlled.

Now let's move on from aesthetics to organizational issues.

SO:

1. At a music lesson, children should be smartly dressed, comfortable shoes on their feet, girls must wear skirts.

2. Starting from the middle group of children, it is necessary to build, alternating a boy and a girl.

3. You should come to the lesson 2-3 minutes before the start in order to line up and set up the children for the lesson.

4. The teacher brings with him a hardcover notebook with spirals and a pen to write down the words of songs, games, dance movements, recommendations, etc.

5. During the lesson, it is advisable not to leave the hall, so as not to miss any material.

6. Perform exercises with children, dance movements, games, sing songs, etc.

7. Monitor the correct performance of movements by children

8.Before class, it is necessary to observe musical silence: do not turn on the tape recorder, as children have impaired auditory perception and concentration.

9. In free activity, consolidate the material received in the lesson.

Educators should be well aware that the education of a harmoniously developed personality goes primarily through music. To do this, one must clearly and distinctly imagine by what means, methodological methods one can lay the foundation for the correct perception of music.

The teacher needs to know :

All program requirements for musical education,

The musical repertoire taught by the group

Be an active assistant to the music director in music classes;

To be able to show examples of the exact execution of dance movements, to have the skills of song performance;

To be able to conduct music lessons with the children of the group, in the absence of a musical director,

Learn the song and dance repertoire with lagging behind children;

To consolidate children's musical impressions by listening to music in a group using TCO tools.

Use musical and didactic games for the development of musical ear, memory, rhythm in the independent activities of children;

To develop independence, initiative of children in the use of familiar songs, round dances, musical games in the classroom, a walk, morning exercises, in independent artistic activities;

Engage children in creative games, including songs, dances, music games,

Use musical accompaniment in the organization of classes and regime moments,

Take an active part in musical celebrations, entertainment, leisure activities, puppet shows;

Prepare collections of poetic material for holidays and entertainment;

To assist in the manufacture of attributes, the design of the music hall for the holidays.

During a music lesson, the role of the educator differs, depending on the parts of the lesson and tasks, from alternating his active participation or passive.

So, for example, during listening to music :

1. By personal example, he brings up in children the ability to listen carefully to a piece of music, expresses interest;

2. Monitors discipline;

3. Assists the music director in the use of visual aids and other methodological material.

When singing, singing :

1. Does not participate in singing.

2. Sings with children, learning a new song, showing the correct articulation

3. Supports by singing while performing familiar songs, using the means of mimic and pantomimic expressiveness.

4. When improving the song being learned, sings along in “difficult places”.

5. Does not sing with children during independent emotional and expressive singing (exception - singing with children of early and younger age)

Learning and reinforcing musical rhythmic movements and games:

1. Participates in showing all kinds of movements, giving appropriate recommendations to children.

2. Gives clear, precise, aesthetic standards of movements (with the exception of exercises for the development of children's creative activity).

3. Takes a direct part in the performance of dances, dances, round dances. In older preschool age, familiar dances and dances are performed by children on their own.

4. Corrects the performance of movements by individual children during dance, exercise, play.

5. Explains and controls the fulfillment of the conditions of the game, contributing to the formation of behavioral skills during the game.

6. Takes one of the roles in the story game.

7. Monitors discipline throughout the entire music session.