"The role of the educator in the development

Independent musical activity of children contributes to the development of such qualities of personality, as initiative, independence, creative activity. The role of the educator is to encourage children to apply skills obtained at musical classes in the daily life of the kindergarten.
For the development of independent musical activities of children, "Music Corners" must be equipped in the group, where children's musical instruments are placed, didactic games, fun toys. Who later can be originated as an educator (Bear played on a balalaika, the hare jumps, the girl is dancing, etc.) To keep the interest of children to independent musical activity, the teacher must update the benefits in the "Music Corner", to replenish it with new attributes and didactic games.
An important role of the educator in the development of independent musical activity of children is to create problem situations, the prompting of children to the variable independent actions, the development of the ability to apply learned in the new conditions. At the same time, decoration strengthens the impressions of children. Under the influence of the joyful sound of music, an expressive word, the elements of costumes in children will arise bright positive emotions. All this will encourage them to express their feelings and in singing, and in dance, and in the game, and also contribute to the formation of interest in music and musical activity as a whole.
Having created the situation in the kindergarten as much as possible with musical intonations, the educator will awaken the interest and love of music in children, as well as contribute to the formation and development of independent musical activities of preschoolers.
Consider various types of musical activities of children in the group:
1.Iigra on children's musical instruments. Children love to play on a metal fondon, harmonica, accordion, triole, a tambourine, drums and other tools, they can perform speakers, rhythmic drawings learned in classes, or come up with and execute their melodies, showing creativity. Often children attract the process of mastering a new tool. In such cases, they teach each other: those that play well on this tool, show the techniques to those who else can not play. Such friendly assistance can most often be observed in senior and preparatory groups. Playing on tools, children learn to distinguish their sound, begin to allocate more likely, they themselves organize the "orchestra", choose a conductor. The role of the educator is to encourage the creative activity of children, teach them to negotiate, follow the game to not turn into a quarrel.
2.Other from the most striking forms of musical independent activities of children is a musical game. Senior preschoolers are already creating the conditions necessary for this game. The game may have a detailed character: several activities are united (execution on the metal fonde and dance, guessing the song on its melody and dance, etc.). In other plot games, children use songs corresponding to their play actions. For example, playing in the parade, boys sing the "drum" M.Krasheva, drums and marching, girls, laying dolls, sing the song "Bay - Bay" M.Krasheva. The song contributes to a more dynamic flow of the game, organize the actions of children.
In this form of independent activities of children, the educator continues to form the ability to negotiate the ability to negotiate (who will do) can prompt the string of the plot for the game, support the activity of any child and helps him organize a collective game.
3.Musical - didactic games used in self-musical activity develop the ability to perceive, distinguishing the main properties of musical sound: "Musical Lotto", "Guess who sings", "two drums", "quieter - louder in Tuben Bay", "Name the song in the picture" and others.
To enrich musical impressions of children and encourage them to apply the skills obtained at musical classes, the educator must fill the regime moments of the sound of famous children of classical works. For example, on the morning gymnastics and during physical education (in the kids), the educator can use the following works: during running and walking in a fast pace, gallop "Brave rider" R. Shuman, "Clowns" D. Kabalevsky, "Dwarrow Dwarves" f . Sheet, "My Horse" A.Grechaninova and others; During the easy run, running the swarming, the pack - "Moth" Maikapara, "Butterfly" F. Coopen, "Merry Walk" B. Tchaikovsky; During the march - "Procession of grasshoppers" S.Prokofieva, march from the cycle "Children's music". Outdoor exercises can accompany the music of I. Jordansky ("Ladushka - Ladushka"), P.I. Tchaikovsky ("New Doll") and others.
For a walk, you can play with children in games, destroyed on music: Dance - the game "Bear", Exercise "Hedgehog and Drum"; Motor exercise "Was a cheerful dog", the game "Where is the fish sleeping?", Song "Ay, Tuki - Tuki - Tuki", finger speech games.
You can also fill in music the time of morning reception of children and evening, during the departure home. Moreover, musical intonations in the morning hours should differ from musical intonations in the evening. In the morning - calm, bright music in character. It is recommended to use products from albums of piano plays for children P.I. Tchaikovsky, A.T. Grechaninova, E. Griga, R. Shuman, S.M. Maikapara and others. This will create an atmosphere of benevolence and positive mood in the morning and for the whole day.
In the evening, the nature of the music should be more moving. This will place children to manifest motor activity, inventing images and embody them in dance. It is recommended to use fragments of symphony works written for children ("Children's Symphony" I.Gaidna, Suite for the Orchestra "Children's Games" J.Biz, etc.)
Thus, the role of the educator in the development of independent musical activity of children is that he is imperceptible to the child encourages him to show activity in various types of music. Activities, creating favorable pedagogical conditions: influence on the musical impressions of the child, deploying children's activities on their initiative. The educator must be tactful, become like an accomplice of children's games. Planning guidance techniques, the educator is planning the following points: what you need to make a new equipment for musical activity of preschoolers (tools, benefits, amateur toys), in what order it is advisable to do, for whom you need to watch to find out the interests, the inclination of children, what kind of activity Do preference children and unilaterally of their interests. At an earlier age, the educator is better to apply the method explaining-illustrative. In turn, the child reproduce these ways. Later, the teacher should use the explanatory-prompting method, and the child is summarized to independent search methods of actions. The display method and detailed explanation are used in teaching children to execute any element of dance or singing intonation. I want to wish that the children act not only on direct instructions and the appearance of the teacher, but without his help. If a child learn to independently perform learning tasks, he will also be able to act and outside of classes: to organize musical games, on your own will sing, dance. The daily work of the teacher with children, knowledge of their interests and abilities allows the educator to fulfill the task qualitatively and responsibly. Independent musical activity in the group, being one of the indicators of the level of development of children, gives an idea of \u200b\u200bthe volume of skills, skills, knowledge that children received as a result of work with them. There is a transfer of the methods of action mastered at musical classes, into completely new conditions, situations; The child is already valid on its own initiative, in accordance with his interests, desires, needs.

Municipal preschool educational

Institution "Kindergarten №251"

Consultation for educators

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

Prepared:

Music leader

Viktorova Elena Vladimirovna.

Preview:

Preview:

Municipal Preschool Educational Institution

"Kindergarten Combined View No. 7" City of Bronnitsy

Consultation

For teachers

2013-2014 academic year

Consultation Plan for Takes

2013-2014 academic year

Education area "Music"

SEPTEMBER

OCTOBER

NOVEMBER

DECEMBER

JANUARY

FEBRUARY

MARCH

APRIL

MAY

SEPTEMBER

Topic Consultation: "The role of the teacher at musical classes."

The leading role in music belongs to the music. Head, because It can convey to children the features of musical works.

However, the lack of understanding of the educational problems of music as an educator can be reduced to "no" all the efforts of the musical leader. Where the teacher loves music, loves to sing there and children with great interest belong to musical classes. In addition, in the section "Movement", music. The head shaves the tool and here is obligatory to show the movements as an educator.

The leading role of the musical leader does not in any way reduce the activity of the educator.

Often, caregivers allow the following errors in class:

1. The teacher is sitting with an insane view
2. The tutor interrupts the execution
3. Give verbal instructions on a par with music. the head (although two centers of attention can not be)
4. Violates the course of classes (enters and coming out of the hall)

The activity of the educator depends on three factors

1. From the age of children: the smaller the children, the more the educator sings, dances and listens on a par with children.
2. From the section of musical education: the greatest activity is manifested in the process of learning movements, slightly less in singing, the lowest - when hearing
3. From software: Depending new or old material

The educator is obliged to attend every musical lesson and actively participate in the process of learning children:

1. Sings with children (not drowning children's singing). When singing, the teacher sits on the chair before the children to show, if necessary, movement, height of sounds, to undermine the rhythm, etc.
2. When teaching children with musical and rhythmic movements (especially in junior groups) - participates in all types of movements, intensifying the kids. In the senior groups - as needed (showing this or that movement, reminding the construction or giving separate instructions in the dance, the game)
3. Sends independent musical activity, including music in games, walks, workflow, using learned from music. Head material.
4. The educator should be able to play all the tools that are used by children on musical classes to be able to correctly show children methods of sound recovery on each instrument
5. Repeats the words of songs with children, and does not memorize like poems, and sings with children
6. Repeats the movements of the dances by writing pre-music on audio cassette.

The more active the educator makes this work, the more new children can learn on musical classes, otherwise musical classes turn into an infinite repetition of the same, i.e. "Turning on the spot"

The admiration of the educator largely depend on the intensity of the work of the musical leader with him. The less the educator is prepared, the more you have to go directly with the musical director.

There are 2 forms of work of the musical leader with the educator

1. Individual consultations: held 1 time in 2 weeks

• Acquaintance with the tasks of the upcoming classes
• The assimilation of the repertoire (checked as the tutor performs children's songs, dances)
• Thinking forms of individual work with children
• Molding music into life
• Conversations about the activity of the teacher to the music. Classes

1. Group consultations:

• Acquaintance with new methodological issues (Song creativity, motor creativity, learning tools for instruments)
• Drawing up scenes of the holiday
• Thinking up surprise moments
• Discussion of various issues
• Open musical classes (for young educators)
• Heading songs for hearing or for their execution on the holidays (paying attention to the purity of intonation and diction)
• Increasing the culture of motion (except for children's games, dancing, exercises, caregivers make more complex movements that contribute to the development of coordination of their movements and general musical development)
• Performing independent tasks (make a dance or exercise for certain music)

• Training educators to use the player, tape recorder, improve knowledge in the field of music, so that he could perform a children's song on musical instruments by notes, sing it

OCTOBER

Topic Consultation: "The interaction of the teacher and the musical leader at the Matinnik."

1. Know the order of numbers by heart.

2. Monitor the discipline to correct children correctly.

3. To know the poems and children of their reading, to suggest the beginning of the poem in time.

4. Take roles in performances. Do not give up the received role.

5. In younger groups, there should be a quick rate of celebrating the holiday without a chain and pause from the leading (because attention in children is unstable).

6. Clearly know when to plant children. When to bring the equipment.

7. The relationship of the teacher with the music director by means of conventional signals (looking at Muz. Aruk.).

8. The role of his hero is to highlight the color pencil immediately after receiving the script.

9. If the child has no pair, the educator replaces it.

10. The tutor should see each child's festival.

11. Try not to criticize and do not pull children, calm them stroking on the shoulder.

The role of the educator at the music lesson and during the holiday.

In the musical development of children, a large role is given to the educator. In class, he actively helps the musical leader: Sings, shows movements, participates in games, dances, if necessary. Organizes self-making guys, includes music in the daily life of the children's team (morning gymnastics, walk, excursion, etc.)

The educator conducts significant work, as it has a direct daily contact with children and can find out the musical interests and inclinations of each child, to create the necessary conditions for the development of creative activities of the guys in the group, agreeing with the teacher-musician.

Diverse the activities of the teacher on festive matinees. The most responsible is the role of the lead. Its emotionality, liveliness, the ability to directly communicate with children, the expressive execution of poetic texts largely determines the overall attitude and the rate of celebration of the holiday. The presenter not only should well know the scenario, musical and literary material so that, if necessary, to give children timely assistance, but also be able to quickly respond to unexpected random changes. From the number of educators, the host of the holiday, his assistants, are distributed to the instructions between the children's garden employees and the deadlines for the execution of these assignments (the design of the hall, the preparation of costumes for children for holiday, gifts, registration of productions, scenes, surprise moments, etc.) is distributed.

On the eve of the holiday, the presenter in the presence of the musical leader checks the readiness of the educators participating with him, clarifies everything related to their joint activities. The presenter is responsible for the artistic and pedagogical content of the entire festive program.

Educators who do not protruding in any roles are with the children of their group. They sing along with children, prepare the details of the costumes, attributes, help when performing games, dance, if necessary.

Assistants of the educator should actively participate in the festive design of the premises, help to wear children before the holiday.

The coordinated work of a kindergarten team provides a holiday at a high artistic and organizational level. Only under such conditions a holiday is a bright, memorable event in the life of a garden, having a large educational value.

NOVEMBER

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

Independent musical activity of children contributes to the development of such qualities of personality, as initiative, independence, creative activity. The role of the educator is to encourage children to apply skills obtained at musical classes in the daily life of the kindergarten.

For the development of independent musical activities of children, "Music Corners" must be equipped in the group, where children's musical instruments are placed, didactic games, fun toys. Who later can be originated as an educator (Bear played on a balalaika, the hare jumps, the girl is dancing, etc.) To keep the interest of children to independent musical activity, the teacher must update the benefits in the "Music Corner", to replenish it with new attributes and didactic games.

An important role of the educator in the development of independent musical activity of children is to create problem situations, the prompting of children to the variable independent actions, the development of the ability to apply learned in the new conditions. At the same time, decoration strengthens the impressions of children. Under the influence of the joyful sound of music, an expressive word, the elements of costumes in children will arise bright positive emotions. All this will encourage them to express their feelings and in singing, and in dance, and in the game, and also contribute to the formation of interest in music and musical activity as a whole.

Having created the situation in the kindergarten as much as possible with musical intonations, the educator will awaken the interest and love of music in children, as well as contribute to the formation and development of independent musical activities of preschoolers.

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

1.Iigra on children's musical instruments. Children love to play on a metal fondon, harmonica, accordion, triole, a tambourine, drums and other tools, they can perform speakers, rhythmic drawings learned in classes, or come up with and execute their melodies, showing creativity. Often children attract the process of mastering a new tool. In such cases, they teach each other: those that play well on this tool, show the techniques to those who else can not play. Such friendly assistance can most often be observed in senior and preparatory groups. Playing on tools, children learn to distinguish their sound, begin to allocate more likely, they themselves organize the "orchestra", choose a conductor. The role of the educator is to encourage the creative activity of children, teach them to negotiate, follow the game to not turn into a quarrel.

2.Other from the most striking forms of musical independent activities of children is a musical game. Senior preschoolers are already creating the conditions necessary for this game. The game may have a detailed character: several activities are united (execution on the metal fonde and dance, guessing the song on its melody and dance, etc.). In other plot games, children use songs corresponding to their play actions. For example, playing in the parade, boys sing the "drum" M.Krasheva, drums and marching, girls, laying dolls, sing the song "Bay - Bay" M.Krasheva. The song contributes to a more dynamic flow of the game, organize the actions of children.

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

3.Musical - didactic games used in self-musical activity develop the ability to perceive, distinguishing the main properties of musical sound: "Musical Lotto", "Guess who sings", "two drums", "quieter - louder in Tuben Bay", "Name the song in the picture" and others.

To enrich musical impressions of children and encourage them to apply the skills obtained at musical classes, the educator must fill the regime moments of the sound of famous children of classical works. For example, on the morning gymnastics and during physical education (in the kids), the educator can use the following works: during running and walking in a fast pace, gallop "Brave rider" R. Shuman, "Clowns" D. Kabalevsky, "Dwarrow Dwarves" f . Sheet, "My Horse" A.Grechaninova and others; During the easy run, running the swarming, the pack - "Moth" Maikapara, "Butterfly" F. Coopen, "Merry Walk" B. Tchaikovsky; During the march - "Procession of grasshoppers" S.Prokofieva, march from the cycle "Children's music". Outdoor exercises can accompany the music of I. Jordansky ("Ladushka - Ladushka"), P.I. Tchaikovsky ("New Doll") and others.

For a walk, you can play with children in games, destroyed on music: Dance - the game "Bear", Exercise "Hedgehog and Drum"; Motor exercise "Was a cheerful dog", the game "Where is the fish sleeping?", Song "Ay, Tuki - Tuki - Tuki", finger speech games.

You can also fill in music the time of morning reception of children and evening, during the departure home. Moreover, musical intonations in the morning hours should differ from musical intonations in the evening. In the morning - calm, bright music in character. It is recommended to use products from albums of piano plays for children P.I. Tchaikovsky, A.T. Grechaninova, E. Griga, R. Shuman, S.M. Maikapara and others. This will create an atmosphere of benevolence and positive mood in the morning and for the whole day.

In the evening, the nature of the music should be more moving. This will place children to manifest motor activity, inventing images and embody them in dance. It is recommended to use fragments of symphony works written for children ("Children's Symphony" I.Gaidna, Suite for the Orchestra "Children's Games" J.Biz, etc.)

Thus, the role of the educator in the development of independent musical activity of children is that he is imperceptible to the child encourages him to show activity in various types of music. Activities, creating favorable pedagogical conditions: influence on the musical impressions of the child, deploying children's activities on their initiative. The educator must be tactful, become like an accomplice of children's games. Planning guidance techniques, the educator is planning the following points: what you need to make a new equipment for musical activity of preschoolers (tools, benefits, amateur toys), in what order it is advisable to do, for whom you need to watch to find out the interests, the inclination of children, what kind of activity Do preference children and unilaterally of their interests. At an earlier age, the educator is better to apply the method explaining-illustrative. In turn, the child reproduce these ways. Later, the teacher should use the explanatory-prompting method, and the child is summarized to independent search methods of actions. The display method and detailed explanation are used in teaching children to execute any element of dance or singing intonation. I want to wish that the children act not only on direct instructions and the appearance of the teacher, but without his help. If a child learn to independently perform learning tasks, he will also be able to act and outside of classes: to organize musical games, on your own will sing, dance. The daily work of the teacher with children, knowledge of their interests and abilities allows the educator to fulfill the task qualitatively and responsibly. Independent musical activity in the group, being one of the indicators of the level of development of children, gives an idea of \u200b\u200bthe volume of skills, skills, knowledge that children received as a result of work with them. There is a transfer of the methods of action mastered at musical classes, into completely new conditions, situations; The child is already valid on its own initiative, in accordance with his interests, desires, needs.

DECEMBER

In kindergarten in order to encourage the child to music, the development of musical abilities is used by various musical instruments, toys, paintings and visual manuals. The success of musical education largely depends not only from sufficient equipment to the doctactic benefits and other materials, but also from their proper use of out-of-classes, taking into account the age of children, their interest and the specific possibilities of kindergartens.

Children of the younger group give percussion instruments: tambourine, drum, rattles, bells;

Middle - You can add wooden sticks, wooden spoons, metallophone (in the second half of the year); There are no more than 3-4 species.

Elders - Rumba, Triangle Metallophone and others (to choose);

Preparatory - Maracas, ratchet, cassays, xylophone, citrate and others.

During the year, toys and benefits change, remove and reiterate to support their interest in them, the desire to act with them.

It is desirable in each group to have a tape recorder and a small set of cassettes or discs with a record of children's songs, folk dance melodies, musical fairy tales. In this case, the teacher will be able to satisfy the desire for children to listen to music, pour, sing or just play.

In his free time, children show individual inconsistencies: some paint, others are slammed, the third sing, they are musicized with the help of children's musical instruments, that is, they act independently. In order for this activity to develop as successful as possible, it is necessary to create the relevant conditions: to highlight the place for classes, arrange a kind of music corner and equip it with appropriate furniture and benefits.

[In the corner there should be a small wardrobe or shelf for storing music aids, - tables with chairs for self-mosicating and desktop doedactic games. There you can also place flowers and decorative works of children. If desired, the music corner can be burned with a screen that is easily cleaned.]

The main content of the corner is a variety of musical manuals. First of all, there is a matter toy and children's musical instruments that are selected at the time of the age of children and the sequence of familiarization with one or another tool during musical training. Musical toys are most often used in plot and didactic games. They mostly enjoy the children of the youngest age (rattles, dulls, bells, etc.) children's tools are like a small similarity of real. Of course, they are greatly simplified and far from completely reproducing the sound of real, although sometimes they wear their names are similar in appearance and method of sound recovery. Secondly, these are a variety of didactic benefits and games, and some of them are self-made. Here are attributes, elements of costumes used by children in musical games, dramatitations, dances.

For the development of sounding hearing, you can use bells, differently sounding in height, and the children recognize which bell "sings" above, what lower, or a metalphone, delivered obliquely, can become a musical ladder.

For the development of rhythmic hearing, it is better to use all the tools of the shock group or by any tool having the sound of only one specific height. For example, children play "Music Echo": one child comes up with his rhythm, and the other immediately repeats it.

For the development of timber hearing, it is very useful to compare the sound of not only "representatives" of various groups - string, brave or shock, but also to offer children a homogeneous tools similar to the timbre and character nature, for example, bubber and tambourines, metal phones and triangles, etc.

JANUARY

Topic Consultation: "Music - didactic games."

Music - didactic games used in self-musical activity develop the ability to perceive, distinguishing the main properties of musical sound: "Music Lotto", "Guess who sings", "two drums", "quieter - louder in Tuben Bay", "Name Song in the picture "and others.

Independent musical activity in the group, being one of the indicators of the level of development of children, gives an idea of \u200b\u200bthe volume of skills, skills, knowledge that children received as a result of work with them. There is a transfer of the methods of action mastered at musical classes, into completely new conditions, situations; The child is already valid on its own initiative, in accordance with its needs.

Music - Didactic Games

1. "APPLAUSE"

One of the easiest music games is to memorize the worn rhythm. There are several participants and the presenter. The first of the participants comes up with the simplest rhythm and turns it into his hands. The next must accurately, without an error, repeat it and come up with the next rhythm, which is transmitted in the same way further. And so in a circle.

Rhythms can be gradually complicated. If someone cannot repeat the opened rhythm from the first time, the presenter should ask you to repeat this rhythm to repeat it as many times as it is necessary for guessing. This is a certain difficulty for someone who offers, asks an example - he should not forget and confused when repeating, that is, the initial rhythmic passage must be difficult to be complicated as much as the author himself can remember it and reproduce it.

The game can be gradually complicated by entering the simplest exclamations or words into the rhythmic pattern, for example: "And once!", Ole-Ole-Ola, "times, two, three, etc., and so on. You can use any funny attacks or Sayings, pronouncing them rhythmically organized.

2. "Stuffers" (noise)

A more complex example of the game is the game using any musical instruments. But do not be afraid, under the tools we mean everything, from which you can remove the sound, everything you can knock or what you can make any noise, ringing, rattling or even rustle. Everything will suit: wooden spoons, wands, metal cutlery, some ratchets, baby rattles. Try using different materials on the timbre - wooden boxes or boxes, metal banks and pots brought from the kitchen (of course, with mom's permission). You can knock on them with metal chopsticks or spoons.

Actually, this game is a continuation of the first. Only the task is complicated by the fact that now we are developing and timbre. There are several children in the game. One of them, the first, must come up with "lose", that is, simply catch up or break any rhythm. For a start, use only two tides. For example, by iron sticks, the performer should part of the pattern slide along the wooden surface, and the part is in the metal. Upon repetition, the next participant can fully fulfill the rhythm without changing the tone, and then as accurately be played as possible using the same items and timbres the same rhythm with the "interruption" of the tone in the same places.

3. Carnival (Maracas)

Well, now let's try to master the rhythms of Latin America. We all familiar with all the words like samba, Rumba. In the end, the popular Macarena dance is also based on Latin American rhythms. Hearing them, we immediately represent the hot Latin Americans in Sombrero, with guitars and with such rustling balls on the handles - they are called Maracas.

For this game, the guys will need new tools, and they will have to do their own hands. To make one of them, you need a simple tin can from under the phanta or another carbonated drink to fill with some small bulk items - rice, sand or small pebbles and gently flush the hole with a scotch or plaster.

The prototype of this tool is the Latin American tool of the chocalo, which is a kind of wooden cylinder. Another tool resembles a guiro, which in its homeland is made of dried pumpkin. To make this tool, it is enough to fall asleep peas in the same tin jar, and the dried bones from olives, stick the hole - and the product is ready.

The game is to, pre-hauling, try to "join" into the sound of a pre-harvested song or composition. Try to make the sounds of your tools exactly coincide with the "shares" of sounding music, with blows of drums or sounds of the bass guitar. At the tambourine and the drum, it is not possible to play such a simplest rhythm, but in Guiro or Maracas, you will not all be obtained immediately - such simple tools require a big skill and a feeling of rhythm. But, putting an effort, you will feel that your group of "musicians" becomes a real Mexican orchestra or participants of the Brazilian carnival.

If you do not find the desired entry, you can use any melody close to rhythm. In combination of songs, not quite suitable in style, with such specific accompaniment you can find even a humorous effect (now many groups are experimenting with styles).

FEBRUARY

Topic Consultation: "Background music in the life of a kindergarten."

The problem of coordinating the activities of all participants in the educational process in an educational institution and the search for its decision does not lose its relevance.

The implementation of dialogues in the educational space of a kindergarten provides children to a sense of psychological comfort, contributes to the creation of conditions for their comprehensive development, helps the effective work of the entire pre-school educational institution as a whole.

The musical education of the child as the most important component of his spiritual development can be a systematic factor in organizing the life of children.

music is able to unite the educational efforts of kindergarten teachers in order to harmonious effects on the identity of the child.

One of the use of the potential of musical art is associated with background music - music sounding the "second plan", without installation on a conscious perception in classes and in free activities. The saturation of children's vital activity of music, expansion and enrichment of the experience of its perception occurs due to involuntary accumulation of musical impressions. Teachers, exploring the features of the development of musical perception, came to the conclusion: not only learning, but also a spontaneous accumulation of experience of perception, intonation reserve is of great importance.

Music repertoire for sounding background together pick up the music director, educator, teacher-psychologist, educator-methodologist.

The use of background music is one of the available and efficient methods of psychological and pedagogical impact on the child in a educational institution and helps to solve many of the tasks of the educational process:

Creating a favorable emotional background, eliminating the nervous tension and preserving the health of children;

Development of imagination in the process of creative activity, an increase in creative activity;

Activation of mental activity, improving the quality of knowledge assimilation;

Switching attention during the study of a difficult educational material, prevention of fatigue and fatigue;

Psychological and physical discharge after training load, during psychological pauses, physical investigation moment.

Teacher, including music in classes (speech development, mathematics, manual labor, design, drawing, etc.), can be guided by the possibility of active and passive children's perception. With an active perception, he deliberately draws the child's attention to the sound of music, its shaped-emotional content, means of expressiveness (melody, pace, rhythm, etc.). With passive perception, the music protrudes the background to the main activity, it sounds not loud, as if in the second plan.

So, in classes in mathematics in order to enhance intellectual activity, increasing the concentration, the concentration of attention is used only by the sound of music by the background. Through the active perception and assessment of musical impressions in the development of speech, the "Dictionary of Emotions" enriched, in everyday life they activate the estimated vocabulary of children. In classroom classroom, the educator may refer to music characterizing the phenomenon of nature that contributes to the manifestation of emotional responses, enrichment and deepening ideas about the object under study. In the field of visual activity in the process of drawing in the presentation, the sound of background music can be used, and during drawing according to the sample, it is proposed to offer musical works for active perception. The listening of music affects the expressiveness of the images created in the drawings, on the originality of the color solutions.

The sound of music by the background in the regime moments (reception of children in the morning, the mood to classes, preparation to sleep, rise, etc.) creates an emotionally comfortable climate in the group.

The interaction of a psychologist with a medical worker will help to make an optimal repertoire for a musical background, corresponding to the physiological features of children. The psychologist, given the features of the psychic, age-age, individual development of pupils, will indicate the feasibility of applying a musical fragment during the day.

The involuntary hearing experience of children should be replenished on the basis of the best samples of musical culture: classical music carries expressive images of eternal concepts - beauty, good, love, light, images of emotional states, characteristic and child, and an adult.

Approximate repertoire background music.

(for senior preschool children)

Relaxing (relaxing): K. Debussy. "Clouds", A.P. Borodin. "Nocturne" from String Quartet, K.V. Glitch. "Melody".

Toning (promoting vitality, mood): E. Grieg. "Morning", I.S. Bach "Joke", I. Strauss. Waltz "Spring Voices", P.I. Tchaikovsky. "Seasons" ("Snowdrop")

Activising (exciting): V.A. Mozart. "Little Night Serenade" (Final), M.I. Glinka. "Kamarinskaya", V.A. Mozart. "Turkish Rondo", P.I. Tchaikovsky. "Waltz Flowers" (from the ballet "Nutcracker")

Soothing (pacifying): M.I. Glinka. "Lark", A.K. Lyadov. "Music Tobackerka", K. Saint-Sans. "Swan", F. Schubert. "Serenade".

Organizing (contributing to the concentration of attention with a malfunctional activity) I.S. Bach "Aria", A. Vivaldi. "Seasons" ("Spring", "Summer"), S.S. Prokofiev. "Marsh", F. Schubert. "Music Moment."

Some musical works have multifunctional use, for example, Musical Cycles P.I. Tchaikovsky and A. Vivaldi "Seasons", ballet P.I. Tchaikovsky "Nutcracker", works V.A. Mozart and others.

Music, developing the ability to experience emotions and feelings arising in the process of perception, affect the improvement of the emotional responsiveness of children in real life. Musical and aesthetic impressions contribute to the development of emotional centers of the brain, intensifying mental activity, which is important for intellectual development of the pupil. Impacting the moral and aesthetic development of the child, the music may be the valuable basis for the educational system in the pre-school educational institutions.

MARCH

Topic Consultation: "Foresting theater in kindergarten".

A finger theater is a magical world in which the child rejoices, playing, and, playing, knows the world around. From the first months of life together with lulled songs, the child gets acquainted with the magic world of fairy tales with the magic world. From fairy tales, children draw ideas about time and space, about human connection with nature, good and evil, about courage, resistance, tricks. The finger theater is a unique opportunity to arrange a fairy tale on her palm in a child in which he will be able to occupy the role of any hero.

Finger theaters are very good for theatrical activity. Theatrical games create an emotional lift, increase the life tone of a child, participating in a home spectacle, the child feels relaxed, freely. The finger theater is a wonderful material for the development of children imagination, thinking and speech. The finger theater contributes to the development of shallow motility. During the games, children, repeating adult movements, activate the hands of the hands. With this, a dexterity is produced, the ability to manage its movements, concentrate attention in one form of activity.

The finger theater is indispensable to work with children with the features of development. Games with small heroes allow you to stimulate speech activity, since all the warmth, originality, the brightness, attached by the author in the figure, involves the child in the fabulous world, helping to remove various blocks. The game is a natural means of self-expression for the child, and the use of symbolic materials helps him distance from problematic (difficult) situations. Forest theater - a great assistant in communicating with a child! Fingering dolls "Right" on the finger will not let you get bored, and make up a company while walking, visiting the clinic or on the road. Fingering dolls will not take a lot of space in the mother's handbag and help entertain baby.

The uniqueness of the theater is still the fact that it is the author's hands of handmade. Finger dollsmade With a soul and carry creative energy, which is capable of transmitting to those who keep them in their hands.

APRIL

Topic Consultation: "The influence of Russian song folklore on the development of game activity."

Folklore is the basis of moral, aesthetic and patriotic education of the child. Folklore material is well perceived by children, its images are available, folk intonations cause a bright emotional response in children.

The song folklore is inextricably linked with the playing activities of children. He hits the child to the world of music, helps to master his native language. The use of a song folklore since younger age allows you to develop a singing voice and a child's rumor.

The use of a song folklore has been reflected in children's game activities. The singing of children's folklore songs in combination with the movements to the music of the song is developing musically - the creative abilities of the child.

The relaxation of the hands is characteristic of Russian songs, their movement during the performance of the song, allows you to remove excessive stiffness in children, there is a breaking of a child, which allows him to freely feel in the game, perform the corresponding movements of the specified image.

Changing rhythms, different dancing in character, the movement for singing is carried by the liberating therapeuting charge of a huge strength.

Game folklore occupies a leading place in children's work. Games with singing and movement are developing interest in singing, the child's memory, the feeling of rhythm develops, the ability to correctly transfer the melody during gaming activities.

Through people's games, children learn to communicate, communicate to folk traditions, to show mutual work, get acquainted with the small genres of folk art.

Each age age is associated with a certain circle of games. Each game performs its own song, gaming chorus, the main function of which is to organize and accompany the game action. The basis of such games is the embodiment of an artistic image in a dramatic action, i.e. In the synthesis of dialogue, musical action, movement, theatrical game.

Each age of the child corresponds to the age selection of people's games, which are accompanied by a song material / song folklore.

Many games are familiar to children:

"Gonchara"

"Bear",

"Barasheny - Globyany",

"Baba Yaga",

"Molchanka",

"The grandfather of Trifon", "Strap", "Zarya-charge", "Bai-Kachi Kachi",

"Sidi, Yasha."

Combining the song of a small folk genre and gaming activity is particularly valuable to learning children. Each game, accompanied by the song, gives children a certain creative game attitude, understanding the derisions of this material to one or another action.

Familiar to children with synthesis of game activity and song folklore, we play along with children. From the game with adults to an independent game is the path that children must pass, mastering two types of different activities in the complex. As a result, we can supplement, change, shift folk folk accents in accordance with the age of children, the tasks of musical education.

Thus, developing speech activity with the help of a song folklore, children are constantly involved in musical art, the formation of new knowledge, skills, skills. The spiritual world of the child becomes more diverse.

The knowledge gained contributes to the successful development of the person in the future, which allows the child to become a highly agreed person who keeps the story and spirituality of their people.

MAY

Topic Consultation: "Moral and patriotic education of preschoolers by means of music."

It is impossible to overestimate the role of music in the moral and patriotic education of preschoolers. Brightly throw out my emotions, express your love attitude to the corner of the homeland in which he lives, the child helps the situation of holidays and entertainment. In addition, the formation of such qualities as collectivism, love for their home, careful attitude towards nature, is constantly carried out at musical classes. Children learn to empathize, exercise in good actions, without noticing it. "Music is a necessary mental attribute of human existence," so said Aristotle. "The case of art is to keep the soul," these are the words of our contemporary V. Rasputin.

Since the music is able to influence the feelings, the mood of the child, it is capable of transforming his moral and spiritual world.

I, as a teacher who carries out musical education of children, I try to work closely with educators and specialists. We decide together, which music to use on complex, thematic classes, how best to present it. Together with teachers, we strive to use musical works, valuable in educational terms in class and in everyday life. We try to reveal their beauty before children, make these works familiar and loved ones. Moreover, those images that attract the attention of children should be bright, specific, causing interest, budding imagination.

The essence of moral and patriotic education is to sow and grow up in the children's soul, the seeds of love for his native nature, to his home and family, to the history and culture of the country, created by the works of relatives and close people, those who are called compatriots.

Patriotic feelings are laid in the process of human life and being, which is within a specific sociocultural environment. People from the moment of birth instinctively, naturally and imperceptibly get used to the environment, nature and culture of their country, to everyday life of their people. Therefore, the base of the formation of patriotism is the deep feelings of love and attachment to their culture and their people.

The large potential capabilities of moral and patriotic impact are in folk music. Folk musical works are unobtrusively, often in a funny game form familiarize children with the customs and life of the Russian people, labor, careful attitude towards nature, and the life, sense of humor.

The works of Russian musical and oral folk art used in working with preschoolers are simple, shaped, melodious, so the children are quickly absorbed. The intonational advantages of songs allow children to use them both in the younger age and in the senior. These songs contribute to the development of initial singing skills in young children. At the older age, they are very effective as a grinding. Russian songs become more understandable, accessible when I include them in such performing activities as a game of children's musical instruments. We have widely used in your work a variety of folk music for learning dance movements, staging, dance, dance, etc. Russian folk music constantly sounds when performing movements on musical classes and in the morning gymnastics. A variety of melodies enriches the musical and rhythmic movements of children, removes them from the stencil and gives the movements a certain color.

The force of impact on a child of works of folk art increases if familiarization with them is carried out on the basis of its own activities of the preschooler. Based on this, in working with children it is necessary to seek them to be not only active listeners and spectators, but also active performers of songs, dance, dance, music games, etc., actively included in the work and on holiday preparation for holidays and entertainment .

In some cases, you can use the relationship of musical and visual art. Folk music is included in the artificial classes when children create decorative compositions based on folk fishers. Often the oral folklore (tales, swelling, proverbs, sayings, riddles, patterings) are included, which enriches the meaningful and shape of speech and stimulates the emotional responses of children, makes the process of perception of folk art with a brighter, deep and conscious.

Thus, bringing children to the musical heritage of their people, we bring up a feeling of patriotism in them, and it is inseparable from the education of the feeling of national pride.

The next stage of work in this direction was the use of music in familiarizing children with the way the Motherland. For a child-preschooler Motherland is a mother, close to native people surrounding it. This is a house where he lives, the courtyard, where he plays, is a kindergarten with his educators and friends. From what sees and hears a child from childhood, the formation of his consciousness and attitude towards the surrounding. Moral education of the child preschooler is, first of all, the upbringing of love and respect for the mother. For many people, this is the word "mother" - the finest word on earth. All children love their moms. They make gifts mama, paint their portraits and even compose about them poems and fairy tales. Songs about Mama stably entered a children's repertoire. The senses of babies are characterized by simplicity, immediacy:

And for cute mommy

Bake two hiking.

In the melody of this song (A. Filippenko "Pupies") sounds and love, and caress, and the desire to make mom is pleasant.

More complex feelings from senior preschoolers. This is pride for your mom:

Let the wind learns, and the stars and the sea,

What is the best of all in the light of my mom!

and the feeling of friendliness: Mom is a senior friend and comrade (Song of Y.Slonova "We are with MoMuy our big friends"), and a sense of tender joy, affectionate calm (song A. Filippenko "Good next to my mother").

Very true notified Russian writer Yu.Ya. Yakovlev: "Love for the Motherland begins with love for the mother. And man begins with his relationship to the mother. And all the best that in man, gets him from the mother. "

The feeling of love for his native nature is another of the terms of patriotism. It is precisely the upbringing of love for his native nature, one can and need to develop a patriotic sense of preschoolers: after all, natural phenomena and objects surrounding the child from his appearance to the light, closer to him and easier for his perception, express more effect on the emotional sphere. In our kindergarten it is achieved by various means, including the means of musical art. Through the perception of musical images, I bring up such an attitude to the images of real nature, which causes various emotional experiences in children, feelings of joy, sadness, tenderness and kindness.

The expressiveness of the music language, the brightness and poetry of the poetry helps the children feel the warmth and cordiality of the songs, chasing the beauty of their native nature. In the repertoire of music on music, many musical works, in which images of animal and birds are familiar with children. Children with great pleasure transmit these images with the help of expressive movements. In addition, in the section of the listening of music, a mass of tool music is offered, characterizing images of nature. Every time cycle (autumn, winter, spring) We are trying to complete the thematic holiday or entertainment.

Planning such holidays, I use such methods and techniques in working with children who direct the attention of children to certain phenomena reflected in music develop the ability to compare real images of the musical works surrounding with artistic images.

This atmosphere of a joyful meeting with his native nature for a long time remains in the memory of the child, contributing to the formation of his consciousness as a citizen and a patriot.

Of particular importance in the framework of moral and patriotic education has the topic "Defenders of the Fatherland". This topic is very loved by children, especially since the majority of our pupils make up the boys. The songs of this topic are easily remembered by the guys. They are especially popular with "brave soldiers", music. A. Filippenko and "We will serve in the army," music. Y. Chichkov. They are written in the pace of march, the content of them is consonant with the desire of the guys to be strong and brave as defenders of our Motherland.

Speaking about the defenders of our Motherland, it is impossible to leave without attention and the topic of the Great Victory. In this thread, we reveal the greatness of the greatness of the Soviet soldier's feat, familiar with the songs of those times and about those times. Musical impressions of preschoolers are based on the knowledge gained in classrooms to familiarize themselves with the surrounding, impressions of the excursions to the monuments of the dead warriors. These events remain in memory of the guys and are an essential factor in the formation of their moral appearance and spiritual education.

So, the joint solution of the problems of moral and patriotic education by teachers and me, as the musical leader of our kindergarten, gave tangible results: the music firmly entered the life of children, took a significant place in their lives.

Consultation for teachers

Topic: "Organization of joint activities of the musical leader and the educator on the musical development of preschool children"

(Term: December, 2015)

The main task of the music leader is to attach a child to the world of music, to teach him, enjoy them, develop musical and creative abilities, to form a moral and aesthetic attitude towards it, the desire is actively creatively to empathize.

Success in this work can be achieved only with the close cooperation of the pedagogues of the kindergarten and family, since the knowledge that the child receives in kindergarten should be supported at home.

The educator and music leader directly interact with the child in the process of organizing his communication with music. The quality of musical education of the child preschooler depends on their level of their competence. In the activities of the musical head of the pre-school educational institution, you can allocatethree main directions:

1) the music director is responsible for the correct formulation and fulfillment of the tasks of the musical education of children;

2) The list of responsibilities of the music leader includes the provision of methodological assistance to the pedagogical team on the organization of children's musical education;

3) An important activity of the musical leader is its interaction with educators and parents of children.

The interaction of the musical leader with dow teachers includes:

Acquaintance of educators with theoretical issues of children's musical education;

Clarification of the content and methods of working on the musical education of children in each age group;

Discussion of holiday scenarios and entertainment;

Participation in the manufacture of festive design, scenery, costumes, in the design of the interior of the pre-school educational institution for the holidays;

Participation in the organization of the subject-spatial musical developing medium DOU;

Providing methodical assistance to educators in solving the tasks of musical education of children;

Participation in Pedagogical Soviets Dow.

Among the many problems of recent times relating to pre-school education, the problem of educators and specialists of the Dow is allocated. The problem of pedagogical interaction of the educator and musical leader in Dow is one of the important: the success of the process of musical development of preschoolers depends on its solution.

The pedagogical interaction of the educator and the musical leader should be based on the following principles:

1. The principle of dialogue.

It is associated with the transformation of the "superposition" of the musical leader and the "subprimacy" of the educator in matters of musical development of preschoolers in the personality-equal position of collaborating subjects.

2. The principle of individualization.

It is based on the use of every participant in the interaction of significant advantages in performing certain types of activities. To implement this principle, each participant of interaction should have strong musical activity skills.

The music director is a specialist who has a musical education involving professional and creative skills, the main of which is the performeal and verbal interpretation of music (O.P. Radynova). The professionalism of the musical leader is unthinkable without constant maintaining the level of its executive skill and its improvement. This level largely determines the degree of perception by children of musical works. The educator should be able to fulfill uncomplicated children's songs, perform musical and rhythmic movements, play for children's musical instruments (metalphone, tambourine, ratchet, dull), organize musical and didactic games. The music director and the educator, complementing each other's efforts, create the effect that occurs during labor cooperation.

3. The principle of problematization.

Having a special education musician does not teach the educator - it actualizes, stimulates his musical opportunities. In order to implement the principle of interaction between the educator - the music director, it is necessary to understand such an important function of the educator's pedagogical activity as ensuring the integrity of the educational process. The basis for this should be the readiness of the educator towards the musical development of preschoolers, perceived by him as an important element of his professional readiness for the raising of children.

In the interaction of the musical leader and the educator, the exchange between them initiatives aimed at comparing their ideas and the formation of a general meaning of activity, which is expressed in joint planning of work on the musical development of children. This is a very important circumstance that is determined by the following. The educator, staying with children in constant contact, taking into account the opinion of the psychologist, knowing the features of family education of children, can give a psychological and pedagogical characteristic of each child and the group as a whole, to put forward overall targets and objectives. Music director as a carrier of specialized knowledge and abilities puts specialized goals.

The form of interaction of the educator and the music director is the inclusion of a holistic program in the "Pedagogical Process Blocks" (according to N.Ya. Mikhailelenko), as well as coordination - the distribution of duties for the embodiment of this program, determining its areas of activity.

1. Block of specially organized learning

(Node)

The leading role in music belongs to the music. Head, because It can convey to children the features of musical works.

However, the lack of understanding of the educational problems of music as an educator can be reduced to "no" all the efforts of the musical leader. Where the teacher loves music, loves to sing there and children with great interest belong to musical classes. In addition, in the "Music and Rhythmic Movements" section, the music director is custodized by the instrument and there is an appointment of movements as an educator.

The leading role of the musical leader does not in any way reduce the activity of the educator.

Often, caregivers allow the following errors in class:

The teacher sits with an insane view.

The tutor interrupts the execution.

Give verbal instructions on a par with music. The leader (although two centers will not be worth being).

Violates the course of classes (enters and coming out of the hall).

The activity of the educator depends on three factors:

From the age of children: the smaller the children, the more the educator sings, dances and listens on a par with children.

From the section of musical education: the greatest activity is manifested in the process of learning movements, slightly less in singing, the lowest - when listening.

From software: depending on the new or old material.

The educator is obliged to attend every musical lesson and actively participate in the process of learning children:

Sings with children (not drowning children's singing). When singing, the teacher sits on the chair before the children to show, if necessary, movement, height of sounds, to undermine the rhythm, etc.

When teaching children with musical and rhythmic movements (especially in junior groups) - participates in all types of movements, intensifying the kids. In the senior groups - as needed (showing this or that movement, reminding the construction or giving separate instructions in the dance, the game)

Sends independent musical activities, including music in games, walks, workflow, using the material learned to the music supervisor.

The educator should be able to play all the tools that are used by children on musical classes to be able to correctly show children sound methods for each tool.

He repeats the words of songs with children, and does not memorize, like poems, and sings with children.

Repeats the movements of the dances by writing pre-music.

The more active the educator makes this work, the more new children can learn on musical classes, otherwise musical classes turn into an infinite repetition of the same, i.e. "Turning on the spot"

2. Block joint activities of teachers with children

Work within this block excludes specially organized classes. Inhabit children in musical activities The educator or music manager, the activity of children can be the result of connecting teachers to the already arising activity. The joint activity unit of teachers with children includes a variety of types of musical activity: listening to the musical work with a further conversation about it, singing, musical and rhythmic games, admission to the game on musical instruments. It is advisable to build joint activities with the "open end", i.e. So that the child can, if desired, can continue her independently. For example, a musical game launched with adults can be continued by children, for which it is necessary to create an objective environment (musical and didactic manuals, tools).

3. Block of free independent activities of children

The child itself chooses activities that meets his inclinations and interests, providing opportunities for self-development. As part of this block, the creative activity of children in different activities, including musical, is developing. The task of the educator and music leader is to create such an objective environment that provides a child the choice of activity corresponding to his interests and has a developing nature. These are musical instruments, books and albums, materials for didactic exercises, allowing children if desired to continue what they are doing in classes and in free joint activities with teachers. Teachers must provide children with the opportunity to act both with peers and individually. In this block, the music director is mainly the organization of the objective environment. The educator connects to the activities of children in cases of situations requiring its intervention.

The admiration of the educator largely depend on the intensity of the work of the musical leader with him. The less the educator is prepared, the more you have to go directly with the musical director.

The most efficient educational tasks are solved if teachers take into account the principle of integrating educational areas, which implies the interaction of the musical leader and educators. The tutor is necessary:

1. Know program requirements for musical education.

2. Know the musical repertoire of his group, to be an active assistant to the musical leader at musical classes.

3. Assistance to the music director in the development of the children's musical repertoire, show samples of accurate movement.

4. Work out movements with children.

5. To deepen the musical impressions of children by listening to musical works in the group using technical means.

6. Develop musical skills and kids skills (melodic hearing, feeling of rhythm) in the process of conducting didactic games.

7. Own the elementary skills of the game on children's musical instruments (metalfone, timber bells, wooden spoons, etc.).

8. Implement the musical development of children, using all sections of the work: singing, listening to music, musical - rhythmic movements, game of dmi, musical and didactic games.

9. Consider the individual capabilities and abilities of each child.

10. Develop independence, initiative of children in the use of familiar songs, rounds, music games in classes, walk, morning gymnastics, in self-artistic activities.

11. Create problem situations that activate children for independent creative manifestations.

12. Attract children to creative games, including familiar songs, movements, dance.

13. Use children who have musical skills and skills in class activities in other activities.

14. Include musical accompaniment to the organization of classes and regime moments.

15. Take an active part in the preparation and holding of holidays, entertainment, musical leisure, puppet performances.

16. Prepare the thematic selection of poetic material to entertainment and musical matinee.

17. Assist in the manufacture of attributes, the design of the musical hall for holidays and entertainment.

18. Be artistic, ingenious, emotionally mobile.

Interaction of the teacher
and musical leader at the matinee

The work of the music leader with the lead and educators for the preparation of the holiday is to maintain a permanent contact, discuss the details of the program, clarify the consistent move of the holiday and the joint actions of all its participants.

All roles are carefully rehearsed and all the nuances of behavior on the festival are specified.

Staging and poems should be honored in a group with all children so that if necessary, a replacement of a sick child may have to have a replacement role in the stage.

Children should not witness adult conversations about New Year's gifts from Santa Claus, about the invitation of anyone on the role of fabulous heroes. Otherwise, surprisability is destroyed - The main component of the holiday.

On the eve of the holiday mastering the presence of a music manager, organizes the readiness of the hall, attributes, elements of costumes and items for games, i.e. Checks the readiness for the holiday.

The educator should know the order of numbers by heart.

Monitor the discipline, correlate children correctly.

To know the poems and children who read them, to suggest the beginning of the poem.

Take roles in performances. Do not give up the received role.

The role of the lead is very responsible, this teacher must possess musicality, artistry, be able to keep on the stage, should be emotional, resourceful.

In younger groups there should be a quick rate of celebration without a chandelier and pauses from the leading (because attention in children is unstable).

Clearly know when to plant children. When to bring the equipment.

The relationship of the teacher with the music director by means of conventional signals (look at the musical leader).

If the child has no pair, the tutor replaces it.

The teacher should see each child's festival.

Try not to criticize and do not pull the children, calm them stroking on the shoulder.

There are 2 forms of work of the musical leader with the educator.

Individual consultations: We are held 1 time in 2 weeks

Consultation content:

Familiarity with the tasks of the upcoming classes;

Assimilation of the repertoire (checked as an educator performs children's songs, dances);

Thinking out forms of individual work with children;

Thinking of making music into life;

Conversations about the activity of the teacher to the music. Classes.

Group consultations:

Acquaintance with new methodological issues (song creativity, motor creativity, learning tools game);

Drawing up the scenes of the holiday;

Thinking of surprise moments;

Discussion of various issues;

Learning songs for hearing or for their execution on holidays (paying attention to the purity of intonation and diction);

Increasing the culture of motion (except for children's games, dancing, exercises, caregivers make more complex movements that contribute to the development of coordination of their movements and general musical development);

Performing independent tasks (make a dance or exercise for certain music);

Training teachers use a tape recorder, improve knowledge in the field of musical letter, so that he can fulfill the children's song on musical instruments by notes, sing it.

Practice shows that the readiness of the educator to the musical development of children in the Dow is manifested in all forms of the organization of musical activity: caregivers are active at musical classes, conduct rounds with singing for a walk, musical and didactic games, use musical works in speech development activities, familiarize themselves . Such activities contribute to the development of children's musicality, brings closer to the educator and child, allows the musical leader to focus on performing skills in the process of development in preschoolers of musical perception. All this is possible with the success of the interaction of the educator and music leader.

Music director E.Ya. Mokhrodeva

Musical development it has nothing to be replaced by universalizing: a formative sphere, thinking is improved, the child becomes sensitive to beauty in art and life.

It is very important that adult, which will reveal the beauty of music, to fulfill the beauty of music, to reveal the beauty of music.

All over the world is recognized that the best conditions for the development of early childhood education, in the family, are created in the family. It depends on congenital musical deposits, the lifestyle of the family, its traditions, the relationship of culture, the consumption of culture ...

The primary, leading type of musical activity of children is the perception of music. This type of activity is available to a child from the moment of birth. Mother's lullaby song - primacy with music. The lack of musical impressions makes it impossible to master the musical language.

An infrared specifically undeveloped manizer, but it is already able to distinguish between many sounding recycling to them. It is gradually developing attention to the sound, the ability to localize the sound source. It develops significantly slower in children sounded rumors.

The feeling of rhythm is laid in every child, but the feeling of music can and teach. You need to listen with a child with any music, as well as children's and lullaby songs. It should be encouraged to dance, marching, bothering in your hands, to encourage the desire to play musical instruments. The first power can be made of drums, and it is possible that it may be, ranging from a pan and ending with a tambourine.

S.Lipan in his book "Believe in your child" calls on parents : "Put!" If parents shy their singing, it is better to do it only in the presence of a baby. Children's songs should be singing, in order for the child to hesitate to have simple melodies and learned to reproduce them, you need to sing and "adults" songs.

Children can feel the music no worse than adults. True, they will not be understood by all words. But the adults, listening to foreign music, also do not understand words.

It is necessary to record on cassettes, dischargeable music (sociable), call the names of the performers, to pay attention to the child's beauty of the human voice, his uniqueness.

For musical development in the family, the following pedagogical methods use:

v.Obviously hearing method - main.

If the child grows in the family, where not only entertaining, but also classical and folk music sounds, he, naturally gets used to her sound, accumulates hearing experience in various forms of musical activity.

v.Visual family education has its advantages. He involves showing children with books with reproductions of paintings, acquainted with folk traditions, rites.

v.Sensual method also important. Brief conversations about music, adult replicas help the child tune in to her perception. During the hearing, the adult can turn the child to change the moods, on the change in the mission.

v.Practical method (Education to the game for children's musical instruments, singing-up-rhythmic movements) allows the child to master certain skills and skills of actuation and creativity.

1. Let the spirit of love and respect for music reign in your home.

2. Cut the music together with the child, be surprised, straighten, rejoice with him when the music sounds.

3. Let the music be welcome and honorary guest in your home.

4. Let the child be a lot of sounding toys: drums, swords, metallophones. Of these, family orchestras can be organized, encourage "music game."

5. Teach children to a attentive listening of music, just a tank TV - the enemy of musical education. Music affects only if you listen to it.

6. Take away the musical side of the development of your child with all seriousness, and you will find what has achieved a lot in everything related to its right upbringing.

7. Early manifestation of musical abilities speaks of the need to start the musical development of the child as early as possible.

8. Do not be upset if your baby has no mood to sing something, or he does not want to dance. Or if such desires arise, then singing in your opinion, it seems far from perfect, and movements are funny and clumsy.

Dont be upset! Quantitative accumulations will definitely go to high-quality. This will require time and patience.

9. The absence of any of the abilities can slow down the development of the rest. So, the task of an adult is to eliminate the not desired brakes.

10. Do not attach your child a shortcut "unmusical", If you did nothing to develop this musicality .

Memo for parents "How to listen to music with a child?"

How long?

The child's attention is 3-4 years old to continuously sounding music is steadily within 1-2.5 minutes, and with small interruptions in the sound between the plays - within 5-7 minutes. The hearing may be more or less long depending on the individual characteristics of the child, its physical condition.

How?

Prepare a tape recorder and cassette in advance. Find a play on the cassette that you will listen. Determine the power of sound. Music should not sound loud! Warn the family members to be quiet and that the music did not enter the room during the sound. Invite a child to listen to music, you can also call someone from family members. Both children and adults listen to music sitting.

When?

Choose a convenient child and adult time during the day (when the child is not passionate about the game, is not excited by the arrival of anyone in the house, feels well). Best of all - after breakfast or day sleep.

The second cassette for children is made up of songs that they sing on musical classes. If you make an entry in mid-January, it will turn out 6-7 songs. Write the same song twice: the first time in the performance of only the music director or together with the children, the second time is the recording "minus one", i.e. Only a musical accompaniment. Thus, the child gets the opportunity to listen to the song and sing as he wants: in the ensemble (first option), or independently (second option).

It is necessary that adults patiently and carefully support the interests of the child to "his cassettes".

Listening songs songs and singing a child can standing, sitting, playing. Parents say that children, tuning, often sit in a row of their toys (dolls, bears) or consider books.

In early April, the songs that children sang from January are recorded on the cassettes. Parents need to save these records, not to wash them. Children and next year are often asked to listen to their songs.

Parents in children's matinees are not only guests, but also participants. Children invite them to a steam dance, along with the guys they sing songs, participate in games, and in the spring you can already put small staging with the participation of not only a child, but also his parents. In this case, the musical leader already conducts individual rehearsals separately with each of the parents at a convenient time for it, and in the absence of children. Adults need to be learned to read expressively text, play the scene.

IT IS INTERESTING

Music therapy and its influence on man

Music therapy may be passive and active. Active - a person himself plays some tool, sings, passive - audition sessions of music.

In the Moscow Institute of Traditional Medicine, music programs are developed and actively used: "Antistress", "Bronchial Asthma", "ulcerative illness of the stomach", "Hypertension".

One of the forms of musical therapy is active vocal exercises.

It has been established that during singing there is a special vibration of internal organs. On the one hand, it helps the diagnosis, on the other, it activates the functions of respiration and blood circulation.

In Tambov, studies were conducted by the impact of music on improving the work of the heart and brain, during which the music helps to normalize the heart rate. The devices recorded the obvious activation of the brain.

The maximum effect produces spiritual music, bell ringing, which consequence this is normalization of sleep, reduce the level of anxiety, improve memory and efficiency.

Doctor of Medical Sciences, Professor Sergey Vaganovich Shushard (at the same time opera singer) conducted research on tumor cells. Extensive cultures were placed in the space between the headphones and were exposed to 4 programs: classical music, estate - symphonic, rock - music and medieval spiritual chants. The strongest effect was the spiritual chants.

The bell ringing affects the work of the blood and lymphatic human systems, the experiences of the treatment of mental illnesses are known. The bell ringing "kills" microbes and bacteria (the effect of ultrasound).

The music perceived by the auditory receptor affects the overall condition of the whole organism, causing reactions associated with changing blood circulation, respiratory.

Music in the kitchen

Even kitchenware Mozhet to be a musical instrument!

· Let's start with orders, it is better to take wooden and hit them in the right rhythm about the palm.

· From the pan, up which tightly covered with dense polyethylene, it will turn out the drum.

· You can still on aluminum saucepans and buckets beaten with a spoon. If you do not bother that there are strength, you will get great musical instrument.

· If you like it, then try and fulfill the folk song "shines a month", accompanied by such "musical instruments", as

♫ glasses

♫ terks

♫ plates

♫

This post was written Friday, September 13th, 2013 at 19:21 in the section ,. You can receive messages by subscribing to the tape. You can

Consultation for educators.

(Training seminar)

"The role of the musical leader in Dow and its interaction with the educator, as a necessary condition for the development of children's creative abilities

The main goal of musical education in kindergarten is to prepare for the school of aesthetically educated and developed child who knows how to emotionally perceive the content of the musical work, to penetrate his mood, thoughts, feelings.

Education of the artistic taste in children, emotional responsiveness to music - the leading tasks of the pedagogues of the kindergarten.

The musical leader of the preschool institution is equally a musician - performer and a teacher musician. Knowledge of psychological and pedagogical features and patterns of educational work in kindergarten helps effectively select innovative methods and teaching and development techniques, successfully form the musical abilities of the child, to influence the children's team from the standpoint of humane pedagogy. The main goal of the teacher - the musician consists not in what and how much he will give knowledge and skills to the child, and whether he will be able to become an accomplice and partner to pupils, will help them make a journey to the amazing world of music.

The activities of the musical leader in the preschool institution are diverse. This is primarily the organization and holding of musical training in accordance with the program chosen by this preschool institution.

Performing educational functions, the music director must have organizational, communicative and constructive abilities.

In addition to holding musical classes, the responsibility of the musical leader includes planning and holding:

1. Regular practices - workshops with educators of each of the age groups;

2. Consultations on the organization of musical zones in groups, selection of musical - didactic games;

3. Leisure and entertainment evenings

4. festive matinees;

5. Music - didactic games (including the manufacture of didactic games and benefits).

The music director conducts work related to the fact that the music is constantly attended in the daily life of the kindergarten (in classes on visual activities, the development of speech, physical education, for walks, etc.)

The contact of the musician - the teacher with parents is very important: holding consultations, help in organizing home phonometh, recommendations on the selection and use of children's musical instruments, on listening to music, viewing the TV shows, etc.

The music director is working on self-education, an increase in the execution of execution, the acquisition of new knowledge, analytical perception of its own activity.

In kindergarten groups, the educator is an active participant in the pedagogical process. He helps the musical leader in conducting classes. The functions of the tutor in each age group are different, and the degree of activity in the exercise is due to the age of children and those specific tasks that are in this lesson. The greatest role as an educator is given in those parts of the classes, which are associated with musical - rhythmic activities: exercises, dancing, games. He sings together with children, plays with them, leads dance, helps them when performing various actions, the educator is involved to show movements in exercises and dances. Little - in the process of listening to music. In his work, the teacher only acts on the instructions of the musical leader (when meeting with instrumental music, he holds a conversation in the picture, when singing can perform a separate verse or phrase, when learning the game chooses the master, helps to distribute roles, i.e. not participating, but only organizes ).

Only close pedagogical contact of the musical leader and the educator will give a positive result when holding musical training!

The skills and skills obtained by children in classes must be fixed, which means that the music should sound and during individual work, morning gymnastics, moving games, conducting didactic games and entertainment, in the evening hours of leisure, to become an illustration for the story, a fairy tale and etc. The educator must carry out continuity between musical activities and other links of the process of musical education and development of children. The tasks of the educator for the musical development of children outside of musical training includes: correction, consolidation of skills and skills obtained at the musical lesson; expanding musical representations, horizons, identification and formation of the inconsistencies and musical interests of each child; The development of musical abilities and independent ways of action. In the individual work, the educator must take into account the characteristics of the child, its ability to music and movement, the degree of absorption of musical material; Intensify passive children, promote the formation of musical interests. To solve these tasks, the teacher - the teacher must have a certain amount of musical - aesthetic knowledge. And choosing musical accompaniment to various classes, the content of works and their emotional impact should be thought out.

The role of the educator in the leadership of the independent activities of children is great. In its work, the educator should apply indirect methods of management and a flexible creative approach. He actively forms the artistic interests of the child, affects his musical impressions obtained in the classrooms, holidays, in the family.

Of great importance is the creation of conditions that contribute to the emergence of the musical activity of children on their own initiative - the musical zone, attributes, benefits, etc.

Thus, the main issues of musical - aesthetic development of preschoolers solves the musical leader, and the tutor is given the role of his assistant, but these relationships are characterized by the unity of the goal, which is the musical development of the child as the main object of pedagogical relations.

Music is a strong and bright means of developing creative individuality, spiritual formation of a person. It indisputably has a huge impact in the formation of individuality, the development of the spiritual formation of a person, starting from early childhood. In one of his works, the Grand Russian critic V.G. Belinsky wrote: "The influence of music on children is beneficial, and the earlier they will begin to experience her influence on themselves, the better for them. They will not transfer it to their children's tongue not across the verbs, but capture them in the hearts, do not force them in their own way, they will not rage about it; But she will fill the harmony of their young souls. " And we can not disagree with this statement, especially since in childhood, the basis of personality development is laid.

The child is natural in his desire to live in the world of paints, sounds, various forms. This world is an inexhaustible source of sense and fantasy development. What will be his guide star in this world, what will attract and behave the baby behind him, from which spring he will draw strength? Of course, this is the beauty of the world itself.

We all in the future we want to see our children creative, spiritually rich, culturally educated people with a developed aesthetic taste. With its attitude to art and indifference, the surrounding adults have a great influence on the formation of the basics of the value orientation of children. The aesthetic development of the child will be much harmonious if the one who himself is deeply passionate about the visual art, music, theater, who sees and feels the beauty of the world, nature, human relationships.

Music can also be the language of communication of the child in early childhood. Music has a special language, allowing to transmit the most subtle shades of human states, experiences, relationships. "Music expresses everything for which there is no words, but what asks from the soul, and that he wants to be expressed" - wrote P. I. Tchaikovsky.

As a result of communication with music, her child sentiment and feelings are transferred: joy, sadness, anxiety and regret, determination and tenderness. This is the power of the psychological impact of music, thanks to the music develops susceptibility and sensitivity. It was the music that, in our opinion, can become an emotional-estimated rod that allows for the formation of aesthetic perception of other types of art and the surrounding world, to develop figurative thinking and imagination, aesthetic consciousness. Therefore, the formation of the basics of musical culture, and through it and artistic, and aesthetic culture of the child - the urgest task of today, allowing to realize the possibilities of musical art in the process of becoming a person. It is not doubting that great importance for the development and formation of thinking from the day of birth and throughout life has communication with music, first of all classical, as well as "riding" music in motion and voice.

The main problem reflecting today's state of education, learning and education is the problem of developing thinking. The study of the person (child, teenager, young men), as a subject of educational and educational activities, is carried out on the basis of theoretical, methodological, psychological and pedagogical approaches.

One of the main principles that ensure the successful mastering of children the basics of modern knowledge is the theoretical nature of their mental activity. The basics of thinking of this type must be formed in children at an early age, in the younger school age, and on the middle and highest level of learning there are their further development.

In the upbringing, we must proceed from the needs of the child. The child is generally, and the kids especially for the right development of the body need a lot to move: walk, run, jump, climb, throw. This is a physiological feature of children's age, this activity is expressed in this activity, there is a strengthened metabolism, the muscular apparatus is being developed, the work of nervous centers is being improved. The smaller the child, the more it needs in motion, and therefore the systematic and musical movement must be introduced as a constant discipline and the earlier, the better. These movements should teach a child to freely manage individual bodies of their body, develop coordination of movements, mastering themselves (courage, determination, resourcefulness, intelligence). Music, merging with the move, connects motor reactions with the laws of musical rhythm, motor centers are raised through music, combines the activities of neuromuscular centers and hearing, coordination of movements is produced, forces are saved.

Along with this, it is impossible to lose sight of that the process of directly musical perception is ambiguous and it also affects the development and formation of a creative person.

At the perception, interests, relationships, the entire preliminary artistic and human life experience are always affected. And, as already noted, a special role is played in this process in this process, the ability to listen to the surrounding, feel, understand, evaluate the beauty of paints and forms, the harmony of sounds and enjoy it. After all, genuine aesthetic perception is always associated with mental excitement, the experience of aesthetic pleasure, the experience of the beauty of the subject.

The process of forming perception arises by installing a teacher-psychologist and an educator for aesthetic perception, which anticipates impressions and experiences. After that, it is possible to seem to considerate to its contemplation, immersed in sensual element. It was the "immersion in the element of sounds, paints, forms, in the element of the words of poem or plastic movement characteristic of the artistic perception process" ... This is a desire to perceive sensory wealth, to feel it is a significant feature of artistic perception.

The next stage is an attempt to enter the fact that these sounds, paints, forms transmit, detect, express. This new level of knowledge and will be the perception of an artistic image.

During the further deepening of perception, not only the artistic image imprinted in the work, but also the work of art as a significant phenomenon begins to be perceived and comprehended. The work becomes an embodiment and symbol of significant aspects of life, creativity, human knowledge. This is the highest level of knowledge, since the process of motion of perception includes the whole human personality with its worldview, ideals, moral feelings, attitude to life.

Requirements for the repertoire for hearing to children paid attention to the well-known scientists, teachers and allocated the following general features and requirements for the repertoire for children:

selection of three sources: folk musical creativity, classics and modern music;

selection of works raising the kindness imbued with humanism;

penetration into the world of senses of children, reflection of their interests, imagery, availability;

brightness, remembrance, support on the intonational-way system of music of different peoples;

reflection of different musical forms (including larger), various genres;

the reflection of modern search in the field of improvement, modernization of the music language, while maintaining an artistic level that meets the requirements of great art.

However, in the practice of the work of kindergartens, the "Children's Repertoire" in fact displaces classical music. It is used rather as an exception, episodically and mainly at older age. Early age is not used to accumulate valuable musical impressions that are not necessary for the formation of the "Thesaurus", the experience of perception of highly artistic samples of musical classics. Thus, depriving children at an early age of the opportunity to listen to classical music, we lose a favorable, "sensitive" age period for the development of the ability to perceive music, missing which, we create additional difficulties in musical development, maybe and irrevocably lose it.

Based on the analysis of psychological and pedagogical literature and the results of its own observations, it is possible to draw preliminary conclusions about what is far from indifferent, what kind of music hears the child, on which repertoire he is brought up. Therefore, it is important to contribute to the accumulation of the experience of the experience of the perception of musical classics, the formation of peculiar standards of perception, i.e. It is necessary to find not only the form of presenting music to children, but to improve the content of the learning.

Pedagogical conditions for the successful development of musical perception in early childhood are:

artistic perfection, brightness and emotional accessibility of musical works;

repetition of impressions (multipleness of sound);

the creation of an emotional mood appropriate to the nature of the music;

creating a positive emotional background of the communication of the child and an adult, encouraging the success of the kid.

interacting children to motor activity, vocalization.

By examining the main positions of the impact of music on the development of individuality, we can bring some outcome of the foregoing.

Music, being one of the most influential forms of art, has a huge impact on the subjective world of the person.

Aesthetic feelings, needs and ideals stimulate socially useful activities, in this and, in our opinion, the main educational function of art and music in particular.

Communication with art is of great importance in the psychological formation of personality, in the development of its universal deposits and personal qualities. Getting from artistic and musical works a huge number of impressions, the child processes them and implements in its creative activity, thereby playing an invaluable role in the development of creative individuality.

The modern world is characterized by the extraordinary contradiability of the processes occurring in all spheres of the life of society and not always implemented in their entirety ontologically positive creativity. The situation is complicated by the growing of the spiritual crisis, manifested in the celebration of utilitarianism, the construction of material needs for the rank of higher needs of a person, material resources - in the measurement of the significance of individuals, and material interests - in the criterion for the justification of the actions of social actors, which, in general, violated the equilibrium: the material side of life Societies developed much stronger than spiritual. As a result, in the words of A. Swituer, civilization became similar to the ship without a steering, which loses his maneuverability and is unstoppable towards the catastrophe.

The search for ways and exit means from such a controversial situation is seen in spirituality, in its "constant, momentary statement" (M. Kule). According to I. A. Ilina, "our time does not need anything like that in spiritual evidence. For "we have come down", and the "track" is not visible. But the trace leading to the spiritual renewal and revival is necessary and possible. " And all this is directly related to the system of education and the education of the people, the formation of high spirituality, which is a holistic set of ideas, ideals, images and feelings oriented on the values \u200b\u200bof an elevated and beautiful, true and righteous-creative. Therefore, it is very important to help every person in the formation of his personal spirituality that gives human life to the highest dimension, the highest meaning and meaning.

Education of spirituality is especially necessary in preschool years, "Since the charge of spirituality during these years is most stable and remains for a long time, determining the spiritual and moral appearance of a person almost for the whole life"

Among the factors of educating the spirituality of preschoolers in the general education system, music is a special place. Being in its essential nature, the ideal phenomenon, and in the ontological data, the reflection of the authenticity of the feelings and the intimateness of being, it has the potencies of the enormous force of pedagogical influence on human spirituality. Her educational mission is a call for good and justice, in the transmission of a more advanced world. Through music, the formation of a strong, creative, viable personality, she "allows you to fully experience the value of life, feel her pulse, the current: she enlisters the inner world of the person and makes it a genuine" spirit aristocrat of the Spirit. " According to Confucius, music gives the personality of integrity and harmony, it is a means of education of the nature of the "noble husband", the distinguishing feature of which was high spirituality.

On the other hand, the music, like what is having beauty in the earthly world, there is a kind of contact of the perfect and real, and this allows you to deepen the way of approving spirituality and awaken the concern with moral problems. According to G. V. F. Hegel, sensual images and sounds act in art not only for themselves and their immediate detection, but in order to satisfy higher spiritual interests in this form, since they have the ability to awaken and affect all depths of consciousness And cause their response in the shower. In the process of communicating with the art I. Kant, I saw an important point - an excess of my own opportunities. He paid attention to the stimulation of the art of spiritual growth of the person, arising from the full perception of the musical work and penetration into its essence. It should be noted that the musical ability, in general, directly and directly associated with the mind - "legislator of morality" (I. Kant), helps to exalted a person and reveal its spiritual essence. The meaning of the music generated by music is not to fully satisfy his empirical desires, but to disclose its potency and moreover, if possible, a versatile way.

The value of music in the education of the spiritual principle was recognized by the creators of musical art themselves. Thus, the Italian composer and the musical theorist of the Renaissance J. Tsarlino argued the opinion that musical art is capable of expressing universal harmony, both world and human. In his treatise, "harmonic establishments" in chapter, "For what purpose do you need to learn music?" He wrote: "Music needs to be studied not as the necessary science, but as a free and worthy, since through it we can achieve a good and worthy behavior leading along the way of good morals ...". G. Gendel wanted his music to not just deliver pleasure, but in order to under her influence, people became better. This is consonant with the dream of L. Beethoven "Carving fire from courageous souls".

About the spiritual and moral impact of music, its ability to ennoble a person wrote specialists in the field of musical pedagogy - L. A. Barenbim, A. B. Goldenveyor and G. G. Neigauses, theorists and methodologists in the field of musical education - B. V. Asafiev, O. A. Apraksin and B. L. Yavorsky. So, B. V. Asafiev called the music "eternally alive" with the implementation of everything that sounds in nature and in the soul of man, and called for not just to entertain music, but to convince and please her.

A look at music from moral position was characteristic of many teachers of past centuries. Ya. A. Komensesky considered musical education as an effective means of forming the spirituality of a growing person, pointed out the need for an introduction to national music already in the Maternal School and offered the mandatory inclusion of music into the program of all four learning steps. S. L. Montesquiene noted the ability of music to awaken all the feelings and mitigate the morals, due to the ability to cause the feelings of meekness, compassion, tenderness, etc. D. Yum emphasized the important role of art and especially music in the upbringing of moral views and feelings.

Music in our life is a living knowledge and performance of a person about himself, it is the way to yourself and the discovery of yourself. It means the continuous process of self-approaching and self-sustavia. Appeal to it provides exceptional possibilities for the "expansion" of consciousness, "enriching the meaning of communication"; It creates prerequisites for the awareness of the reflection process over their own spiritual and spiritual potencies. It can be said that the person who felt deeply and delicately feel the world, knows how to see the beautiful, majestic in the surrounding life and hear the world in all its diversity. V. A. Sukhomlinsky noted that "the music opens the eyes to the beauty of nature, moral relations, labor. Thanks to the music in man, an idea of \u200b\u200bthe elevated, majestic, beautiful not only in the surrounding world, but also in itself, is awakened. His words are that "without music it is difficult to convince the person who enters into the world is that a person is beautiful," specify the thesis of musical education as a human education, expressing the creature of the concept of D. B. Kabalevsky, who argued the need to upbringing preschoolers' musical culture As part of their spiritual culture.

Music in the system of general education is the basis of the process of education of spirituality. Knowledge and skills and skills acquired in the classroom music are becoming a personal spiritual heritage, in their value of the converting spiritual growth and self-affirmation.

Music as a training subject in the general education system can and should be more widely used in order to educate the spirituality of preschoolers.

Aesthetic education refers to the number of problems that the further development of human culture largely depends on the solution. In the second half of the XX century. The problem of aesthetic education is considered by many researchers in a new way: its humanistic focus is sharply sharpened in connection with the global task of conservation and development of culture. In modern society, with particular sharpness, the question arose about attaching the new status of the task of forming a person and, above all, its aesthetic education, promoting the emergence, strengthening and developing new aesthetic, ethical, artistic values \u200b\u200band motivation for each person.

It is well known that the core and the main means of aesthetic education is art, differing in the universality of the impact on the person in all directions. Each of the types of art specifically affects the formation of the inner world of a person. Music in the art system occupies a special place due to its direct integrated effect on man. Monk-axis experience and special studies have shown that music affects both the psyche and human physiology, that it can have a soothing and exciting effect, cause various emotions. In this regard, everything is more approved in the system of aesthetic education Thesis on the importance of musical education of the individual, its meaning for the development of general mental properties (thinking, imagination, attention, memory, will), to educate emotional responsiveness, mental sensitivity, moral and aesthetic ideals of the person . The participation of music in educational processes has acquired a special relevance at the present time. It is no secret that the differentiation of sciences, narrow professionalization create a risk of transformation of people in "single-bone", limited professionals.

In a modern sociocultural situation, music is increasingly nominated for the first plan in the structure of artistic preferences of young people. It is ahead of other arts in terms of the number of consumption due to their direct-sensual features of the impact. But the complex contradictions of the existence, perception, value orientations in music art are hidden behind such a picture. This, for example, a unilateral slope of most people to pop-entertainment music, to that small part of the huge world of musical art that does not require large intellectual and moral efforts to comprehend. Modern media has created the opportunity to "dissolve" music in the field of production, life, leisure. It gets harder to perceive it as an artistic whole. On the contrary, the usual becomes the opportunity to listen to music as a background, not fully perceived. Such a level of culture of perception shapes the surfactant type of musical culture as a whole, when it does not complete the subjectivity of emotional, intellectual, moral and humanistic sides of the musical work. The place of absent culture of relations to musical values \u200b\u200boccupy surfactant requests, dictated by fashion, prestigiousness. Today, the special type of personality musical culture is becoming increasingly, characterized in that it is the separation of its content-humanistic formation to music for the external addiction. A similar type of musical culture, which prevails superficial contact with musical works in exceptionally entertainment purposes, is flawed for the person. It contradicts the potential humanistic capabilities of all musical art.

The perception of music is definitely depends on the person in contact with this art. The formation of musical and aesthetic culture of the personality is a peculiar indicator of the development of the person himself - is one of the most important goals of aesthetic education. Recreation of the emotional experience of mankind, music reveals the ability of each person to experience the most difficult feelings, gives people moral forces, brings up the courage, faith in life, beauty, enriches feeling and intelligence. According to V.A. Sukhomlinsky: "Musical education is not upbringing a musician, but first of all the education of a person.

Specificity of perception and impact of musical art per person

Reflections on the essence of art and its meaning for the formation of personality accompany the history of mankind from ancient times. First of all, we were talking about the education of a particular person, as evidenced by the ancient Chinese treatises, and information about musical education and education in ancient Egypt and India, and the system of aesthetic education of ancient Greece. Folding the soul and body, the harmony of external and domestic (Ellinsky ideal), the impact on the ethical nature of man (Aristotle), the development of a sense of citizenship and social community (John de Grorho), the upbringing of the spirit, intellect, emotions (what the works and later philosophers are talking about , Church figures, scientists of various areas of humanitarian knowledge, teachers, etc.) - examples of how at all times the educational possibilities of music were comprehended and opened.

Another thing is indicative: Throughout history, the most different epochs stated the objective relationship between the nature of the world and the nature of the person characterized in the same aesthetic categories. Pythagoreans, for example, considered it necessary to make their body and the soul of "musical", but also a well-maintained state "Music", because the "right Lada" is subordinate to the "most musical". One of the authors of the late Middle Ages builds a system of aesthetic laws, and its upper level - "Divine Music" - implies universal world order. And a completely modern researcher concludes that "the laws of life are musical, and musicality is the most important sign of beauty."

In fact, at all times, it was not about anything about the development of the Aesthetic development, the development of the aesthetic art in human life, the development of human and society culture is the task that preserves and reinforcing its relevance in the modern world.

The first and main feature of music that generates all others, lies in the intonational nature of this type of art. Music is close and understandable due to similarity with the intonations of human speech. She is the peer of human speech.

Intonation in music as a manifestation of human speech, consciousness and thoughts deeply disclosed in the works of the famous domestic musicologist, academician B.V. Asafieva. Since the appearance of his theory of intonation, none of the aesthetic issues of music recognition is solved dialectically in artificial recognition without contacting this concept. The intonation began to be considered as a foundation as a sound "musical thought", which underlies the musical image of the work, content and forms, creative method and style, realism, nationality and other parties to the musical work.

The second side of the specifics of perception and understanding of the musical image consists in the peculiarities of its gnoseological status.

Music art has an objective basis. But it is not in naturalistic reproduction of emotions, not in the recreating the sound paintings of the objective world, not in the transfer of acoustic phenomena to the area of \u200b\u200bmusical thinking. A person intimates about the world and about himself with the help of historically established means of musical expressiveness, called music. The intonated musical thought acts in the form of a special language and thereby turns into a focus language - a special language of human communication.

Undoubtedly, music has a much smaller subject and conceptual concreteness than other types of art.

But the music is capable of more pronounced and diverse to transfer the experiences of a person, the inner world of his feelings and distillations, emotional and psychological states, their dynamics and overflows. The internal, finest, innermost sides of the human soul, the fact that sometimes not transmitted to the familiar language of human communication becomes an affordable expression of musical sounds, acts as the basis of specific imagery in music. It's not by chance that R. Schuman said that where the word ends, music begins. Musical sounds, specially recycled, built into a certain lade, rhythmic system, manifested in a certain order in the music of Baha, Beethoven, Glinka, etc., as far as they grow from feelings, emotions, mental states of the composer.

Thus, the area of \u200b\u200bsenses and emotions of a person is one of the main items of reflection in the musical image. But they cannot be considered as a purely subjective phenomenon, they, like other forms of awareness of a person of reality, is a subjective image of an objective world. Consequently, the music depicts and expresses validity not directly, like the visual arts, creating an image of any part of the objective world, but indirectly, recreating the world of senses and sensory relations. In detail, this point of view received a substantiation in the concept developed by S.Kh. Rappoport and explaining music as the art of reflection of life and man with specific means.

The third, in importance, one of the main features of music as art, consists in the depth and a huge emotional strength of psychological and physiological impact on a person. It is known that the ancient Greeks used music as a means of healing from bodily and mental illnesses. Music is art temporary and sound. The material, the physical basis of the construction of a musical image protrudes. And although from the infinite diversity of nature sounds of nature for music, only specially possessing musical properties, the effect of sound waves on the hearing organs is performed objectively. It is transmitted through a hearing nerve in the brain and generates a feeling of sound. Volume, timbre, height, the duration of musical sound have not only a specific artistic and figurative value, but also physically affect the person, causing a certain physiological state in it.

Scientific observations show that the sound serves as a stronger sensory stimulus for a person than light or color. Human hearing is able to perceive differences in height from 16 to 20,000 oscillations per second. Violation of the upper threshold causes serious shifts in the human body. Music uses mainly sounds ranging from 16 to 4000 oscillations per second. This range is associated with the historically established practices of human speech and singing. Modern technical means of reproduction of music, having significant sound power, do not provide test points for the volume level. Unfortunately, today in the youth environment, there is often an absolutely blessing position of the perception of music, which sounds the sound of sound at exceeding any artistic measure.

Undoubtedly, the volume of musical sound is the size of historical. Initially, it was asked the characteristics of the most ancient musical instrument - a human voice. Later, musical instruments accompanying singing appear. The favorite instruments of the ancient Greeks were Lira, Kifara, Flute Pana, Avlin. In the period of the Middle Ages in Europe, the tool of home musication was a lute, in a concert, religious and ritual life a body prevailed. The "golden age" of the violin is called the XVII century. Improving the mechanics of clussery leads to the appearance of piano. His versatile nature contributed to an increase in the popularity of this "the most intellectual tool". Each tool briefed the musical hearing of generation in the corresponding volume range. In the conditions of the development of the media, the sound density increased with a wide spread of electronic tools. Human hearing is able to assess the advantages of the "technical" music in all cases where the technique does not become a hindrance to the most music, but, on the contrary, enriches it with new expressive opportunities. But, of course, living instrumental and vocal muscitis, culture and wealth of musical sound in the conditions of directly creative executing remain a real source of full-fledged perception of musical art.

Thus, the impact of music on a person has a pronounced not only artistic-shaped, but also physiological nature. The noted characteristic features of musical art - its intonational expressiveness, gnoseological nature and a specific sensual physiological impact on a person - allow us to approach the issue of the impact that music has a person on the development of the person as a whole.

Socio-functional nature of music:

aesthetic and educational impact on man

Socializing the functions of the impact of music on the personality are diverse. As in society, it can serve as a separate person to serve as a means of knowledge, communications, education of certain emotions, feelings, etc. The story does not know civilizations or individuals who would have done without music. The world in which there is a person is filled with music, and it is objectively necessary for a person, as it is using a whole number of social needs for its help.

If the aesthetic theory has not yet been resolved, the question of the content and number of social functions of art as a whole is still not resolved, it is further developed in music recognition. Although many outstanding philosophers, musicians, starting with antiquity, in modern scientific research on this issue there is no generally accepted point of view wrote about the role of music in the education of a person. Famous musicologist A. Savor, understanding under the feature of the artistic work The real result of the entire system of its impact on the perceive, highlights the campaign, promotion, educational, entertainment and decorated formative functions, educating, cognitive, disinterested pleasure, aesthetic, etc. Among all the impact impacts of music For people, a scientist for a special place put two supernunctions: educational and aesthetic, merging into educational and aesthetic. By virtue of the limitless opportunities for the emotional impact of the music and the limness of cognitive opportunities, educational and aesthetic supernunction, according to the author, dominates others, as it serves as the formation of the entire spiritual world of man.

The theory of polyfunctionality of music A. Kestra had its positive importance at a certain stage of the history of musical and aesthetic knowledge. The modern level of study of the musical culture of society dictates the need for a systematic approach to the problem.

Such approaches are developed in research works by V. Mattles, R. Telcharova, M. Knyazova, who appeared recently. In principle, none of the functions of music called A. Savor cannot be correctly comprehended outside the systemic communication, relationships and interdependence with others. A step by the creation of an organized and dynamic system of functions of musical art can serve as the main, which seems to include and mediate all other functions. Such is aesthetic function. It fixes the presence of aesthetic human attitude towards musical art. Here the aesthetic acts as such a type of music impact on the identity and attitude towards music, which is determined by aesthetic experience, the need, aesthetic ideal. All other functions of musical art seems to be involved and proceed from aesthetic. The aesthetic impact removes the remaining functional values \u200b\u200bof music in its content (cognitive, estimated, catharsic, communicative, educational, hedonistic, etc.), which are not triggered outside the aesthetic impact on the personality. For example, humanistic manifests in music through aesthetic effect on a person, and aesthetic does not become such outside the moral and humanistic assessment of the musical work. Insufficient musical pupils closes access to humanistic ideals of musical art. On the contrary, ignoring the universal content of the musical language leads to empty aesthetics. In such cases, exceptional situations are possible when, with a professional musical culture, its aesthetic function does not find a continuation in moral and humanistic, and the latter does not become a prerequisite for mastering the depths of the beautiful in music. As a result, both in art and in life a person loses the ideals of truth and beauty, professional skills are developing outside the orientation on moral ideals.

Like moral, all other functions of music, its impact on a person are actualized through the aesthetic status of the work, therefore the aesthetic function and acts as decisive in the system of numerous others, providing them with communication and unity.

Thus, objectively by virtue of its artistic and socio-functional nature, music is one of the most "human" arts. Her beauty is in the sincerity of human statement or intonation. Borrowing the mechanism of emotional infection in human speech itself, the music awakens the desire for beauty, good, truth in man. It may not affect the human activity directly, but the emotions caused by her accumulate moral energy in a person, motives for the upcoming activities (it is known that L.S. Vygotsky on this basis has developed the theory of delayed impact of art). Great composers - I.-S. Bach, L. Beethoven, V.-A. Mozart, F. Chopin, M.I. Glinka, M.P. Mussorgsky, P.I. Tchaikovsky, S.S. Prokofiev, D.D. Shostakovich and many others - in their best works, the public consciousness of the era, in excellent artistic form, were put on and solved the most important issues of human being. By virtue of a multifaceted aesthetic, humanistic nature in musical art, humanity still saw a unique tool for influencing a person, encounter it to the experience of social relations.

The music contributes to the development of the emotional and intellectual parties of the individual, the development of its creative abilities, fantasies, imagination, orients the value ideals, human behavior, thereby specifically raising him.

The main subject of art is a person. The humanistic potential of artistic culture is not more promoted by the formation, transformation, socialization of the individual. Since the artistic culture of society acts as a unique system of artistic values \u200b\u200bof different types of art, with a variety of functional impact on the individual, art is most importantly served by the factor in the holistic development of the person. The expression of the artistic culture of the person himself at the level of a specific type of art - music is his musical culture. In turn, the musical culture of the personality as a subsystem in relation to artistic and aesthetic culture is the most important indicator of the level of aesthetic and artistic development of the person.

The world of music can be or not to become an identity. Only spiritual and practical musical activity of the personality is the source and prerequisite for the musical and aesthetic being of the subject. Thanks to it, the existence of musical culture of personality and society is possible. Musical activity, acting as a prerequisite, the process and result of musical development, gives the key to the analysis of the processes of the formation of a person's musical culture. Not only musical activity, but also musical consciousness acquires the form of a person's musical culture. These are two determining components of a human musical culture. In the system of the qualities of the musical culture of the personality, the following indicators can be determined:

- participation in the creation of a musical work, musical and creative activity in the whole manifold forms of musical behavior;

- the system of musical assessment representations, which is formed on the basis of the experience of musical perception and creativity, manifested in musical and aesthetic estimates, views, beliefs;

- volume, quality, systemic and aesthetic and musical knowledge of practical and theoretical nature as the basis for the formation of aesthetic attitude to the phenomena of musical art;

- the impact of developed forms of musical consciousness and activities on other types of material and spiritual activities, the degree of stimulation of the extremisical spheres of human life.

The most important result of the introduction to musical values \u200b\u200bis the formation of musical and aesthetic tastes and identity ideals, which appear by the level of its musical development. Hence, as a subject of particular concerns in the formation of a musical culture of a person, the development of personal assessment representations. Thus, participation in musical creativity through various forms of musical activity, the development of the moral and aesthetic parties of the individual under the influence of its musical and cultural potential, a high level of knowledge and evaluation ideas in music - all these are leading signs that determine the qualities of the human musical culture, its level of musical -Cultural development.