Musical and didactic games for the development of musical and sensory abilities. methodological development on the topic

The Germanization of public life is one of the global problems of our time. It requires humanity to revise the content of the sciences that reproduce its spiritual potential.

Understanding musical art as a holistic spiritual world that gives the child an idea of reality, its laws, about himself, is possible through the formation of musical sensory abilities, the development of which remains relevant in modern musical education.

The development of musical abilities is one of the main tasks musical education children. A cardinal question for pedagogy is the question of the nature of musical abilities: whether they are innate properties of a person or develop as a result of the influence of the environment of training and education.

Emotional responsiveness to music can manifest itself in children very early, in the first months of life. The child is able to react animatedly to the sounds of cheerful music - with involuntary movements and exclamations, and with concentration, with attention to perceive calm music. Gradually motor reactions become more voluntary, coordinated with music, rhythmically organized.

According to experts, preschool age is a synthesistic period for the formation of musical abilities. All children are naturally musical. Every adult needs to know and remember this. It depends on him and only on him what the child will become in the future, how he will be able to dispose of his natural gift. "Music of childhood - good teacher and a trusted friend for life."

The early manifestation of musical abilities indicates the need to start the musical education of the child as early as possible. The time lost as an opportunity for the formation of the intellect, creative and musical-sensory abilities of the child will go irretrievably. Therefore, the field of study is the method of musical education of older children up to school age.

Of course, the very organization of the use of musical and didactic games requires the teacher to understand the significance and value of the musical and sensory development of children, great creativity and skill, the ability and desire to aesthetically produce and arrange material, and not every music director has such abilities.

Music has always claimed a special role in society. Music can affect the emotional well-being of a person.

It is considered proven that if for the musical development of a child from birth created the necessary conditions, then this gives a more significant effect in shaping its musicality. Nature has generously rewarded man. She gave him everything in order to see, feel, feel the world around him.

Everyone is naturally musical. Every adult needs to know and remember this, since it depends on him what his child will become in the future, how he will be able to dispose of his natural gift. The music of childhood is a good educator and a reliable friend for life. Early manifestation of musical abilities indicates the need to start the musical development of the child as early as possible. The time lost as an opportunity to form the intellect, creative, musical abilities of the child will be irreplaceable.

Musical abilities in all children manifest themselves in different ways. For someone already in the first year of life, all three basic abilities are manifested quite clearly, they develop quickly and easily. This testifies to the musicality of children. In others, abilities are discovered later, it is more difficult to develop. It is most difficult for children to develop musical and auditory representations - the ability to reproduce a melody with a voice, accurately intoning it, or pick it up by ear on a musical instrument.

Most preschoolers do not develop this ability until the age of five.

Of great importance is the environment in which the child grows up (especially in the first years of life). The early manifestation of musical abilities is observed, as a rule, in children who receive sufficiently rich musical impressions.

The perception of music is a complex process that requires attention, memory, developed thinking, and various knowledge from a person. All this is not yet available for preschoolers. Therefore, it is necessary to teach the child to understand the features of music as an art form, to consciously focus his attention on the means of musical expression (tempo, dynamics), to distinguish musical works by genre, character.

It is for this purpose that musical and didactic aids are used, which, acting on the child in a complex way, cause him to visual, auditory and motor activity, thereby expanding the musical perception as a whole.

All benefits are conditionally divided into three groups:

Benefits, the purpose of which is to give children an idea of the nature of music (cheerful, sad), musical genres (song, dance, march). "The sun and the cloud", "Pick up the music"

Benefits that give an idea about the content of music, about musical images. "Learn a fairy tale", "Pick a picture"

Benefits that form in children an idea of the means of musical expression. "Musical House", "Who did the bun meet."

As practice has shown, the systematic use of aids arouses in children an active interest in music, in tasks and contributes to the rapid mastery of the musical repertoire by children.

Musical and didactic aids contribute to a more active perception of music by preschoolers, allow them to familiarize them with the basics of musical art in an accessible form.

Kinds independent activity child in kindergarten varied. Among them is music. In their free time, children arrange games with singing, independently play children's musical instruments, and organize theatrical performances. One of the most important means of developing children's independent musical activity is musical didactic games and manuals. This is another of the purposes of which these games and manuals serve.

The main purpose of musical and didactic games and manuals is the formation of musical abilities in children; available game form help them understand the ratio of sounds in height; develop their sense of rhythm, timbre and dynamic hearing; to encourage independent actions using the knowledge gained in music lessons.

Musical didactic games and manuals enrich children with new impressions, develop their initiative, independence, ability to perceive, distinguish the basic properties of musical sound.

The pedagogical value of musical and didactic games and manuals is that they open the way for the child to apply the acquired knowledge in life practice.

Musical didactic games should be simple and accessible, interesting and attractive. Only in this case they become a kind of stimulus for children to sing, listen, play, dance.

In the process of games, children not only acquire special musical knowledge, they form the necessary personality traits, primarily a sense of camaraderie and responsibility.

The use of musical and didactic games and manuals in the classroom makes it possible to conduct it in the most meaningful and interesting way.

In games, children quickly learn the requirements of the program for the development of singing and musical-rhythmic movements and in the field of listening to music. Games that are held in the classroom act as a separate type of musical activity and have an educational character.

Musical tasks performed with the help of musical didactic games and manuals arouse interest, activity in children, develop independence in musical activity, which acquires a creative character.

Content

Chapter I Theoretical basis mu developmentlinguistic and sensory abilities of children of primary school age ……………………………

Conclusions on the first chapter ……………………………………………………………

Conclusion………………………………………………………...………………

Listsources used……………………………………….……

Annex 1……………………………………………………………………...

Annex 2……………………………………………………………………...

Annex 3……………………………………………………………………...

Appendix 4……………………………………………………………………...

Introduction

The humanistic trend in the formation of society is inextricably linked with the idea of a "developing personality in a developing world." The solution to this problem directly depends on the level of education - the most important component of human culture. According to experts, in the modern world it is important to shift the center of gravity to the individuality of a person, study his self-movement, develop his spirituality and attitude to the world around him in various activities, among which musical activity occupies one of the central places.

Lesson 3. The pitch of the musical sound, (end)

Class: 3 "B"

Topic: What is musical speech?

Purpose: to consolidate auditory ideas about the pitch of a musical sound

Tasks:

Educational

Developing: develop mental processes of attention, imagination and thinking; develop interest in music and musical pursuits; ear for music, sense of rhythm, musical memory, figurative and associative thinking, imagination;

Educational: to reinforce in children the idea of \u200b\u200bthe pitch of a musical sound.

Personal: formation of motivation for musical creativity, purposefulness and perseverance in achieving the goal in the process of creating a situation of success in the musical and creative activity of students;

Metasubject:

cognitive:

Implementation of one's own creative ideas, preparation of one's performance and the performance itself with audio, video and graphic accompaniment;

regulatory:

- communicative:

Lesson progress

Introductory part

Mutual greeting.

Organization of students' attention (quick inclusion of children in a business rhythm, composure, content, exactingness, correct choice of educational place)

Personal

Regulatory

Main part

Implementation of various measures to stimulate the activities of schoolchildren.

Teacher. Guys, do you want to play the piano yourself? Only we will not have an ordinary piano, but a live one! ( Seven people come to the board and stretch one hand forward.) These are our notes: Do, Re, Mi, Fa, Sol, La, Si. So, who wants to be the first to play our unusual piano?

(Children come out and “play” melodies, the teacher can play along with them on the piano so that the children intones more accurately.)

Guys, you are just great! You have amazing melodies!

cognitive

Final part

- consolidation of what has been learned;

- conclusion on the topic of the lesson (formulated by the teacher).

Let's now remember what we learned about musical sounds?

Children. Sounds are high and low, sounds can follow up or down, in order or through one sound.

Reflection verbal

Parting.

Expand the stock of musical impressions in independent creative activity.

Communicative;

Lesson 4. Dynamics as a means of musical expression

Class: 3 "B"

Topic: What is musical speech?

Purpose: the formation of children's ideas about dynamics as a means of musical expression

Tasks:

Educational:

educational: to form in children an idea of \u200b\u200bthe power of the sound of musical sound;

Universal learning activities:

Personal:

Metasubject:

cognitive:

- fulfillment of creative tasks that do not have an unambiguous solution;

- realization of one's own creative ideas, preparation of one's performance and the performance itself with audio, video and graphic accompaniment;

Satisfying the need for cultural and leisure activities that spiritually enrich the individual, to expand and deepen knowledge in the field of musical art.

- regulatory:

Agree on the distribution of functions and roles in joint musical activities;

Exercise mutual control, adequately assess their own behavior and the behavior of others;

- communicative:

- gain experience in communicating with listeners in the conditions of public presentation of the result of creative musical and performing activities

Lesson progress

Introductory part

- organizing students for classes

eye contact, concentration

Mutual greeting.

Checking the readiness for the lesson.

Teacher. Guys, in the last lesson we talked with you about the fact that sounds are high and low. And today we will talk about another property of musical sound - dynamics. "Dynamics" in Greek means "force, relating to strength." In other words, dynamics is the power of sound.

They show emotional responsiveness, personal attitude in the perception and performance of musical works.

personal;

Regulatory

Main part

Let's compare two butterfly drawings: how do they differ from each other?

Children. One drawing is in black and white and the other is in color.

Teacher. Which one is prettier?

Children. Color.

Teacher. And why?

Children. It has many colors, the colorful butterfly is more beautiful, brighter than black and white.

Teacher. Quite right. And if you carefully listen to the sound of human speech, you will notice that it is rich in various dynamic shades. Thanks to them, our speech becomes more colorful, like our butterfly.

After all, we never speak only quietly or only loudly. The same word can be said shows voice) very loud, moderately loud, a little quieter, quiet and very quiet - in a whisper, barely audible. The strength of the voice will depend on how important what is said to us, what and to whom we want to communicate. So it is in music: dynamic shades are a kind of musical colors that color the melody in different colours and thereby make it sound more expressive.

Let's play a game called "Loud-Quiet Drinking" and you can see for yourself that the sounds have different sound strengths.

And the Kitten will help us with this ( soft toy). Just first, let's think about what song do you know so that everyone can sing it?

Children. You can sing the song "Smile".

The game "Loud-quiet binge"

A driver is selected who leaves the room. The rest agree where to hide the toy. The task of the driver is to find it, guided by the volume of the sound of the song that all participants will sing. Everyone needs to remember the basic rule: the sound of the song intensifies as it approaches the place where the toy is located, or weakens as it moves away from it. If the child successfully coped with the task, when repeating the game, he has the right to hide the toy.

Choose words that reflect the content of musical works

Embody in the drawings the images of the beloved heroes of musical works

cognitive

Regulatory

Personal

Communicative

Lesson 5. Dynamics as a means of musical expression (continued)

Class: 3 "B"

Topic: What is musical speech?

Purpose: to expand children's ideas about dynamics as a means of musical expression

Tasks:

Educational: to bring up creativity in the child's activities; musical taste; moral and aesthetic feelings.

Educational

Educational:. expand children's understanding of the power of musical sound;

Universal learning activities:

Personal:

- the formation of ideas about moral standards, the development of goodwill and emotional responsiveness, empathy with the feelings of other people based on the perception of works of world music classics, their collective discussion and interpretation in different types musical performing activity;

Metasubject:

cognitive:

Adequate perception of musical works, awareness of the ambiguity of the content of their images, the existence of various interpretations of one work;

regulatory:

Accept and save learning goals and objectives, in accordance with them plan, control and evaluate their own learning activities;

Agree on the distribution of functions and roles in joint musical activities;

Exercise mutual control, adequately assess their own behavior and the behavior of others;

Predict the content of a musical work by its title and genre;

communicative:

Listen to the interlocutor and conduct a dialogue; participate in a collective discussion, take different points of view on the same problem; express your opinion and argue your point of view understand the similarities and differences between colloquial and musical speech;

Understand the compositional features of oral (colloquial, musical) speech and take them into account when building your own statements in different life situations;

Lesson progress

Introductory part

- organizing students for classes

eye contact, concentration

Mutual greeting.

Teacher. Guys, let's remember what we learned in the last lesson.

Children. We learned that sounds are different not only in height, but also in sound strength.

Teacher. Right. What are dynamic shades?

Children. These are musical colors that color the melody. Thanks to them, music becomes more interesting, better, more beautiful.

Repeat what was learned in the past.

Communicative

Regulatory

Main part

Teacher. Guys, let's play a game and remember what dynamic shades are.

Game "Cat and Mice"

The cat child is squatting or curled up in a chair, with his back to the rest of the mouse children - he is sleeping. "Mice" - at the opposite wall (in the hole). As soon as the music begins to sound, the “mice” quietly emerge from the hole, silently move around the room in different directions (looking for food), gradually approaching the “cat”. "Cat" pretends to be asleep; it is forbidden to touch it. As soon as the music starts to sound loud, the “cat” opens its eyes, jumps up and catches the “mice”, which quickly run back to their hole. Caught mice are out of the game. The game is repeated.

Participate in collective games-dramatizations.

They carry out experiments of improvisation and composition in the game, plastic.

Regulatory

Personal

Communicative

Lesson 6. Dynamics as a means of musical expression (end)

Class: 3 "B"

Topic: What is musical speech?

Purpose: to consolidate children's ideas about dynamics as a means of musical expression

Tasks:

Educational: nurture creativity in the activities of the child; musical taste; moral and aesthetic feelings.

Developing: develop mental processes of attention, imagination and thinking; interest in music and musical pursuits; ear for music, sense of rhythm, musical memory, figurative and associative thinking, imagination;

educational: to consolidate in children the idea of \u200b\u200bthe power of the sound of musical sound.

Universal learning activities:

Personal:

- the formation of ideas about moral standards, the development of goodwill and emotional responsiveness, empathy with the feelings of other people based on the perception of works of world musical classics, their collective discussion and interpretation in various types of musical performance activities;

Metasubject:

- cognitive:

Fulfillment of creative tasks that do not have an unambiguous solution;

The implementation of the synthesis of a musical work as a compilation of a whole from parts;

regulatory:

Accept and save learning goals and objectives, in accordance with them plan, control and evaluate their own learning activities;

Agree on the distribution of functions and roles in joint musical activities;

Exercise mutual control, adequately assess their own behavior and the behavior of others;

Predict the content of a musical work by its title and genre;

- communicative:

Understand the compositional features of oral (colloquial, musical) speech and take them into account when building your own statements in different life situations;

Lesson progress

Introductory part

- organizing students for classes

eye contact, concentration

Mutual greeting.

Teacher. Guys, in the last lesson we learned to distinguish between dynamic shades and played the game "Cat and Mice", which you really liked. Let's play again and remember what dynamic shades are

And today we have a more difficult task: to get acquainted with the designation of dynamic shades. But first, let's read The Tale of the Cat.

Repeat the past

Communicative

Main part

- updating basic knowledge about music

There lived a cat Vasily.

The cat was lazy!

sharp teeth and fat belly.

He always walked very quietly.

Loudly, persistently asked to eat,

Yes, a little quieter on the stove snoring -

That's all he could do for you.

The cat once sees a dream like this,

As if he started a fight with mice.

Screaming loudly, he scratched them all

With its teeth, clawed paw.

In fear, the mice silently prayed:

Oh, have mercy, have mercy, have mercy!

Then the cat exclaimed a little louder: “Shoot!” -

And scattered they rushed.

But in fact, at the time when our Vasily was sleeping, this is what happened:

The mice quietly came out of the mink,

Loudly crunching, ate bread crusts,

Then a little quieter, laughing at the cat,

They tied his tail with a bow.

Vasily woke up, sneezed loudly,

He turned to the wall and fell asleep again.

And the lazy mice climbed on the back,

Until the evening they made fun of him loudly.

E. Koroleva

Guys, in music there are special designations for sounds of different strengths.

f (forte) - loud

mf (mezzo-forte) - moderately loud; slightly quieter than forte r (piano) -quietly

m p (mezzo-piano) - slightly louder than piano sf (sforzando) - suddenly loud

Staged program content, folk tales.

They stage program content, folk tales.

Familiarize yourself with the elements of musical notation.

Regulatory

Communicative

cognitive

Personal

Final part

- consolidation of what has been learned;

And now we complicate the task: Instead of the Russian words “quiet”, “loud”, we will pronounce the Italian ones - “forte”, “piano” - and also change the strength of the voice.

Reflection verbal

Parting.

Summing up the lesson

Lesson 7. The duration of the musical sound

Class: 3 "B"

Topic: What is musical speech?

Purpose: the formation of children's ideas about the duration of a musical sound

Tasks:

Educational: to bring up creativity in the child's activities; musical taste; moral and aesthetic feelings.

Educational: to form in children an idea of the duration of a musical sound;

Universal learning activities:

Personal:

Metasubject:

cognitive:

Adequate perception of musical works, awareness of the ambiguity of the content of their images, the existence of various interpretations of one work;

Fulfillment of creative tasks that do not have an unambiguous solution;

The implementation of the synthesis of a musical work as a compilation of a whole from parts;

regulatory:

Exercise mutual control, adequately assess their own behavior and the behavior of others;

Agree on the distribution of functions and roles in joint musical activities;

Accept and save learning goals and objectives, in accordance with them plan, control and evaluate their own learning activities;

communicative:

Understand the compositional features of oral (colloquial, musical) speech and take them into account when building your own statements in different life situations;

Indirectly enter into a dialogue with the author of a work of art by identifying the author's meanings and assessments, predicting the course of events, comparing the result obtained with the original in order to make additions and adjustments to the course of solving the educational and artistic task.

Lesson progress

Introductory part

Children. When you scream loudly in the forest, the echo responds to us.

Teacher. Right. And now I will play you a melody, and you, like an echo, will clap it with your hands. Shall we try? ( First, the children clap in turn, and then stand in a circle and clap the same melody in a circle.)

Guys, in previous lessons we learned that the melody is made up of what sounds?

Children. From high and low.

Teacher. And what makes the melody expressive?

Children. Dynamic shades.

Teacher. But any melody will seem unattractive if the sounds that make it up are the same in their duration, or, as the musicians say, in their duration.

They show emotional responsiveness, personal attitude in the perception and performance of musical works. Dictionary of emotions.

Personal

Regulatory

Main part

Teacher. Guys, let's play a game called "Echo". Do you know what an echo is?

Both in the game (we just played it), and in music, we can hear such rhythm: long, short, medium-duration sounds evenly, ordering alternate, forming colorful rhythmic patterns, or, as musicians say, a rhythmic pattern .

I have one very interesting game, which is called “Hurry and Onlookers”: I will play a melody, and you should clap one note at a time - “hurry” or “onlookers”, who will start clapping sooner or later, are eliminated from the game.

There are moods, feelings and character of a person expressed in music.

Watch the music in a person's life.

Communicative

cognitive

Final part

So we'll find out which of you is the most attentive!

Reflection (scale, verbal)

Parting.

Summing up the lesson

Regulatory

Lesson 8. Voices of musical instruments

Class: 3 "B"

Topic: What is musical speech?

Purpose: the formation of children's ideas about the timbres of the sound of musical instruments

Tasks:

Educational: nurture creativity in the activities of the child; musical taste; moral and aesthetic feelings.

educational: to form in children an idea of the timbre of musical sounds.

Universal learning activities:

Personal:

- development of motives for learning activities and the formation of the personal meaning of learning by revealing the connections and relationships between music and life, mastering ways to reflect life in music and various forms the impact of music on a person;

Formation of ideas about moral standards, development of goodwill and emotional responsiveness, empathy with the feelings of other people based on the perception of works of world musical classics, their collective discussion and interpretation in various types of musical performance activities;

Metasubject:

- cognitive:

- comparison, analysis, synthesis, generalization, classification according to generic characteristics, establishing analogies and cause-and-effect relationships, building reasoning, referring to known concepts, making assumptions and supporting evidence;

Understanding the difference between the reflection of life in scientific and artistic texts;

- regulatory:

Exercise mutual control, adequately assess their own behavior and the behavior of others;

Predict the content of a musical work by its title and genre;

Mobilization of forces and volitional self-regulation in the course of gaining experience in collective public speaking and in preparation for it.

- communicative:

Understand the compositional features of oral (colloquial, musical) speech and take them into account when building your own statements in different life situations;

Lesson progress

Introductory part

Teacher. Warm - cold, hard - soft, light - heavy, dull - brilliant... If there is a person on earth who has never heard music, he is unlikely to believe that these words refer to an invisible and intangible sound.

Watch the music in a person's life.

There are moods, feelings and character of a person expressed in music.

cognitive

Communicative

Main part

Children. Because they sound different.

Teacher. And how to distinguish the sound of one musical instrument from the sound of another?

Teacher. Why are high-pitched sounds in our imagination most often painted in transparent colors? bright hues, and low sounds evoke the feeling of dark, cold colors? This is the mystery of another property of sound - timbre. You can give a low sound a few more characteristics: thick, deep, masculine, harsh, grouchy, velvety, rich.

Any musical instrument has a timbre. Can you guess a musical instrument without seeing it?

Game "Define the tool"

Game material: metallophone, bell, triangle, tambourine, violin, wooden spoons, piano.

Game progress. One child turns away, another plays a melody on some musical instrument; after that, the first child must find this tool and name it.

Watch the music in a person's life.

There are moods, feelings and character of a person expressed in music.

Compare musical and speech intonations, determine their similarities and differences.

Participate in the game.

Personal

Communicative

cognitive

Stage 3. Final part

- consolidation of what has been learned;

Reflection verbal

Parting.

Summing up the lesson

Regulatory

Lesson 9. Means of musical expression .

Class: 3 "B"

Topic: What is musical speech?

Purpose: the formation of children's ideas about the relationship of means of musical expression

Tasks:

Educational: nurture creativity in the activities of the child; musical taste; moral and aesthetic feelings.

Educational: to consolidate in children ideas about the relationship of means of musical expression: height, duration of musical sounds, dynamics, timbre;

Universal learning activities:

Personal:

Development of the motives of educational activity and the formation of the personal meaning of learning by revealing the connections and relationships between music and life, mastering the ways of reflecting life in music and various forms of the impact of music on a person;

- the formation of aesthetic needs, values and feelings based on the development of musical and aesthetic consciousness;

Formation of motivation for musical creativity, purposefulness and perseverance in achieving the goal in the process of creating a situation of success in the musical and creative activity of students.

Metasubject:

- cognitive:

Adequate perception of musical works, awareness of the ambiguity of the content of their images, the existence of various interpretations of one work;

Fulfillment of creative tasks that do not have an unambiguous solution;

The implementation of the synthesis of a musical work as a compilation of a whole from parts;

- regulatory:

Exercise mutual control, adequately assess their own behavior and the behavior of others;

Predict the content of a musical work by its title and genre;

Anticipate composer's decisions on the creation of musical images, their development and interaction in a piece of music;

- communicative:

- understand the compositional features of oral (colloquial, musical) speech and take them into account when building your own statements in different life situations;

Gain experience in communicating with listeners in the conditions of public presentation of the result of creative musical and performing activities

Improve their communication skills and skills, based on the knowledge of the compositional functions of musical speech;

Create musical works based on poetic texts and publicly perform them solo or with the support of classmates.

Lesson progress

Introductory part

Teacher. Guys, in all previous lessons we talked about sounds. Let's remember what sounds are?

Children. Musical and noise.

Teacher. Right. Do all musical sounds sound the same?

Children. No, it's different. Sounds are high and low, loud and quiet, long and short.

Watch the music in a person's life.

Distinguish moods, feelings and character of a person expressed in music

cognitive

Communicative

Personal

Main part

Teacher. In one beautiful forest there lived a bird. She sat on a branch and sang: ta-ta-ta, ta-ta-ta (the teacher plays the piano and sings on the note "to" the first octave). What's her voice like?

Children. Kind, soft, full-sounding.

Teacher. The bird taught her little chicks to sing: ta-ta-ta. (Learning with children, you can invite the child to play along on the metallophone.) And the chicks sing like this: ta-ta-ta, ta-ta-ta. (The teacher plays the piano and sings on the note “do” of the second octave.) How do their voices sound?

Children. Thin, gentle, loud. (Learning with children, one of the students plays along on the metallophone.)

Teacher. But suddenly a strong wind came up and scattered the chicks. The mother of the birds got excited, began to look for and call her chicks: ta-ta-ta, ta-ta-ta. ( And the chicks heard their mother's voice and responded: ta-ta-ta, ta-ta-ta. ( Performed with children, accompaniment on piano and metallophone.) Guys, tell me, do mother birds and chicks have the same or different voices?

Children. Different.

Teacher. What is the difference?

Children. They differ in height: the chicks have a high voice, and the bird has a low one.

Teacher. Well done. But, besides the fact that sounds are high and low, they can also differ in duration, that is, they can be long and short. For example: "A grasshopper was sitting in the grass..." (The teacher sings a song and claps her rhythmic pattern with her hands.) Do you know how? Here it is important not to rush, not to be "hurried", or not to fall behind, not to be "onlookers".

The game "Hurry and Gawkers"

All participants in the game stand in a circle. They choose any familiar song to perform (for example, “A grasshopper was sitting in the grass”). They sing a song and alternately clap its rhythmic pattern in a circle (each makes one clap). Whoever makes a mistake (“hurry” or “onlooker”) is out of the game.

Teacher. We have seen once again that the sounds differ in pitch and duration. Their sound may also differ in timbre. How many of you remember what timbre is?

Children. Sound coloring.

Teacher. By timbre, we distinguish the voices of people and the sound of musical instruments. In the last lesson we played the game "Identify the instrument". Let's check how well you have learned to identify musical instruments by their sound. ( The game "Identify the tool" is being played.)

All instruments are correctly identified. Musical sounds are also distinguished by the strength of their sound - dynamics.

(The game “Loudly-Quietly Drinking” is held, then “Cat and Mice”.)

Parting

They show emotional responsiveness, personal attitude in the perception and performance of musical works. Dictionary of emotions.

Reveal the similarities and differences between musical and pictorial images.

Compare musical and speech intonations, determine their similarities and differences

They learn and perform samples of musical and poetic creativity of the game.

Participate in collective games-dramatizations.

Watch the music in a person's life.

There are moods, feelings and character of a person expressed in music.

cognitive

Regulatory

Communicative

The importance of the development of musical-sensory abilities in preschool children

Researches of famous scientists, teachers prove the possibility and necessity of forming a child's memory, thinking, imagination from a very early age.

The possibility of early development of musical abilities in children is no exception. There is evidence that confirms the facts of the influence of music on the fetus that is formed during the pregnancy of a woman and its positive effect on the entire human body in the future.

Music has always claimed a special role in society. In ancient times, music and medical centers treated people for longing, nervous disorders, diseases of the cardiovascular system. Music influenced intellectual development, accelerating the growth of cells responsible for human intelligence. Music can affect the emotional well-being of a person.

The emotional impact of harmonious sound combinations is amplified many times if a person has a fine auditory sensitivity. A developed ear for music makes higher demands on what is offered to him. Heightened auditory perception paints emotional experiences in bright and deep tones. It is difficult to imagine the most favorable period for the development of musical abilities than childhood. Development of musical taste, emotional responsiveness in childhood creates "the foundation of the musical culture of a person, as part of his general spiritual culture in the future." (15; p. 200)

Teachers, musicians came to the conclusion that everyone has the makings of musical activity. They form the basis of musical abilities. The concept of "non-developing ability", according to scientists, specialists in the field of research into the problems of musicality, is in itself absurd.

It is considered proven that if the necessary conditions are created for the musical development of a child from birth, then this gives a more significant effect in the formation of his musicality. Nature has generously rewarded man. She gave him everything in order to see, feel, feel the world around him.

Special or basic abilities include: pitch hearing, modal sense, sense of rhythm. It is the presence of them in everyone that fills the music heard by a person with new content, it is they that allow one to rise to the "tops of a deeper knowledge of the secrets of musical art." (15; p.235)

The development of musical abilities is one of the main tasks of the musical education of children. A cardinal question for pedagogy is the question of the nature of musical abilities: whether they are innate properties of a person or develop as a result of the influence of the environment of training and education.

At different historical stages of the formation of musical psychology and pedagogy, and at the present time, there are various approaches to the development of theoretical, and, consequently, practical aspects of the problem of developing musical abilities.

BM Teplov in his works gave a deep comprehensive analysis of the problem of the development of musical abilities. He clearly defined his position on the issue of innate musical abilities. The musical abilities necessary for the successful implementation of musical activity, according to Teplov, are combined into the concept of "musicality". And musicality is "a complex of abilities required for practicing musical activity, unlike any other, but at the same time associated with any type of musical activity."

A person also has general abilities that are manifested in different types of activity. A qualitative combination of general and special abilities forms a broader concept of musical talent compared to musicality.

Each person has an original combination of abilities that determine the success of a particular activity.

Music is the movement of sounds, different in height, timbre, dynamics, duration, organized in a certain way in musical modes (major, minor), having a certain emotional coloring, expressive possibilities. In order to perceive the musical content more deeply, a person must have the ability to differentiate moving sounds by ear, to distinguish and perceive the expressiveness of rhythm.

Musical sounds have different properties, they have height, timbre, dynamics, duration. Their discrimination in individual sounds forms the basis of the simplest sensory musical abilities.

The duration of sound is the basis of musical rhythm. The feeling of emotional expressiveness, musical rhythm and its reproduction form one of the musical abilities of a person - a musical-rhythmic feeling. Pitch, timbre and dynamics form the basis of pitch, timbre and dynamic hearing, respectively.

The modal sense, musical-auditory representations and the sense of rhythm are the three main musical abilities that form the core of musicality.

fret feeling .

Musical sounds are organized in a certain way.

A modal feeling is an emotional experience, an emotional ability. In addition, the modal feeling reveals the unity of the emotional and auditory aspects of musicality. Not only the mode as a whole, but also individual sounds of the mode have their own coloring. Of the seven steps of the mode, some sound stable, others - unstable. From this we can conclude that the modal feeling is the distinction not only of the general nature of music, the moods expressed in it, but also of certain relationships between sounds - stable, complete and requiring completion. The modal feeling is manifested in the perception of music as an emotional experience, "felt perception". Teplov B.M. calls it "the perceptual, emotional component of the musical ear". It can be detected when recognizing a melody, determining the modal coloring of sounds. At preschool age, indicators of the development of modal feeling are love and interest in music. And that means modal feeling is one of the foundations of emotional responsiveness to music.

Musical and auditory performances

In order to reproduce a melody by voice or on a musical instrument, it is necessary to have auditory representations of how the sounds of a melody move - up, down, smoothly, in jumps, that is, to have musical and auditory representations of pitch movement.

To play a melody by ear, you need to remember it. Therefore, musical-auditory representations include memory and imagination.

Musical and auditory representations differ in the degree of their arbitrariness. Arbitrary musical and auditory representations are associated with the development of internal hearing. Inner hearing is not just the ability to mentally imagine musical sounds, but arbitrarily operate with musical auditory representations. Experimental observations prove that for the arbitrary presentation of a melody, many people resort to internal singing, and piano learners accompany the presentation of the melody with finger movements that imitate its playback on the keyboard. This proves the connection between musical and auditory representations and motor skills, this connection is especially close when a person needs to arbitrarily memorize a melody and keep it in memory.

Active memorization of auditory representations, - notes B.M. Teplov, - makes the participation of motor moments especially significant.(24; p.328)

The pedagogical conclusion that follows from these observations is the ability to involve vocal motor skills (singing) or playing musical instruments to develop the ability of musical and auditory representations.

Thus, musical-auditory representations are an ability that manifests itself in the reproduction of a melody by ear. It is called the auditory or reproductive component of musical hearing.

Sense of rhythm is the perception and reproduction of temporal relationships in music.

As observations and numerous experiments testify, during the perception of music, a person makes noticeable or imperceptible movements corresponding to its rhythm, accents. These are movements of the head, arms, legs, as well as invisible movements of the speech and respiratory apparatus.

Often they arise unconsciously, involuntarily. A person's attempts to stop these movements lead to the fact that either they arise in a different capacity, or the experience of the rhythm stops altogether. This indicates the presence of a deep connection between motor reactions and the perception of rhythm, the motor nature of musical rhythm. But the feeling of musical rhythm has not only a motor, but also an emotional nature. The content of the music is emotional. Rhythm is one of the expressive means of music, through which the content is conveyed. Therefore, the sense of rhythm, like the modal sense, forms the basis of emotional responsiveness to music.

The sense of rhythm is the ability to actively (motorly) experience music, feel the emotional expressiveness of the musical rhythm and accurately reproduce it.

So, Teplov B.M. distinguishes three main musical abilities that make up the core of musicality: modal feeling, musical and auditory representations and a sense of rhythm.

N.A. Vetlugina names two main musical abilities: pitch hearing and a sense of rhythm. This approach emphasizes the inseparable connection between the emotional (modal feeling) and auditory (musical-auditory representations) components of musical hearing. The combination of two abilities (two components of musical ear) into one (tone pitch) indicates the need for the development of musical ear in the relationship of its emotional and auditory foundations.

Researchers often face the question, in what types of activities do musical and sensory abilities develop?

For example, emotional responsiveness to music can be developed in all types of musical activity: perception, performance, creativity, as it is necessary to feel and comprehend the musical content, and, consequently, its expression.

A modal feeling can develop during singing, when children listen to themselves and to each other, control the correct intonation with their ears.

Musical and auditory representations develop in activities that require the distinction and reproduction of a melody by ear. This ability develops, first of all, in singing, and in playing high-pitched musical instruments.

The sense of rhythm develops, first of all, in musical-rhythmic movements, corresponding in nature to the emotional coloring of the music.

The main carriers of content in music are sound-pitch and rhythmic movements. Their sensory basis lies in the recognition, comparison of moving sounds (different in height, dynamics, duration, timbre) and their reproduction.

According to psychologists (L. A. Wenger, A. V. Zaporozhets and others), sensory abilities (sensation, perception of objects and their properties) are perceptual orienting actions mediated by sensory standards. When perceiving a form, such standards are geometric figures, when perceiving color - a lattice of colors of the spectrum, etc.

Standards have their own types in auditory perception - these are phonemes of the native language, sound-pitch relations.

Distinguishing the properties of sounds forms the basis of the simplest sensory musical abilities, on the basis of which more complex formations are formed. Thus, duration is the basis of musical rhythm. Pitch, timbre and dynamics are the basis of pitch, timbre and dynamic hearing.

Thus, under sensory musical ability understand the qualities that develop the auditory perception, underlying the knowledge of music (V. P. Anisimov, O. P. Radynova, etc.).

This is expressed by the following characteristics:

■ distinguishing the properties of musical sounds;

■ distinguishing their expressive relationships;

■ the quality of the survey of musical phenomena, involving the recognition of the properties of musical sounds, comparing them by similarity and contrast;

■ selection of other sounds from the complex;

■ distinguishing their expressive sound;

■ playback with simultaneous auditory control in singing, on a musical instrument;

■ combination of sound combinations;

■ comparison with accepted standards.

In accordance with this, musical-sensory education involves (N. A. Vetlutina, O. P. Radynova, etc.):

■ formation of children's auditory attention;

■ concentration of attention on various sound combinations;

■ the ability to catch the change of contrasting and similar sounds and sound complexes.

musical sensory development most successfully carried out, according to scientists, with a special organization of the process of education and training - in perception, singing, movement, playing musical instruments. At the same time, no musical activity is complete without a sensory experience. In musical activity, as in all types of children's activity, everything begins with the knowledge of the subject through the sensory principle, that is, without the participation of analyzers, in particular auditory, the child will not be able to develop and gain knowledge about the sound composition of what is heard. Therefore, in musical activity, as in

any other, sensual, i.e. sensory, experience is the basis of all its types.

Sensory music experience- this is the presence of developed auditory sensations, ideas, as an effective visual orientation in pitch, rhythmic, timbre and dynamic relationships associated with the expressive means of music. The result of the sensory musical education of children is a certain level of their development, which ensures the quality of the emotional and conscious experience of music, and through this, an emotional, conscious attitude to the phenomena of the surrounding life.

Scheme 6

Scheme 5

Summarizing, we note that scientists point out the importance and significance of musical and sensory development, during which the following occurs:

■ holistic development of the child's senses;

■ the formation of sensory processes that underlie the comprehensive development of the child;

■ motivation for emotional aesthetic experiences, which leads to transformation according to the laws of beauty of the surrounding world, to active thinking, i.e. development of the child's personality.

This is due to the fact that all of the listed properties of sound are inherent not only in musical sounds, but also in speech sounds, noises, bird voices, etc. Therefore, due to the formation of sound sensations, the subtlety of distinguishing sounds, the child understands not only music, but also the sounding world around (Yu. B. Aliev, O. P. Radynova and others). If the development

sensory abilities to perceive sounds do not occur, children have poorly developed auditory attention and auditory memory. In addition, they are not musical, they do not have the desire and ability to listen to music, to enjoy it, they do not understand that with the help of music, with the help of sounds, you can express your own feelings.

"A set of exercises for the development of musical and sensory abilities of children of primary and secondary preschool age through the use of non-traditional sensory standards"

Tasks:

To develop musical and sensory abilities (rhythmic, timbre, dynamic, sound-altitude hearing).

Develop fine motor skills fingers.

Improve the work of the articulatory apparatus.

Develop coordination of movement and speech.

Develop musical memory.

Games with maracas

The exercise: a) They knock with maracas and at the same time say: “Knock knock”

b) They rustle with maracas, at the same time they say: "Shhh."

a) They knock maracas on the chest and say: “Bam-bam” (small

drums")

b) Rustle with maracas, say: "Shhh"

a) They knock with maracas on their legs alternately, they say “Top-top”.

B) They rustle with maracas, at the same time they say: “Shhh.”

Reference: The first two movements with maracas are performed without musical accompaniment, and then they use simple two-part music. The complex is used for the development of coordination of movements and rhythmic hearing in preschoolers.

The exercise: When the music is loud, the children rustle their maracas loudly. When the music is quiet, the children slowly tap their maracas rhythmically.

Reference: The complex is used for the development of dynamic hearing in children.

The exercise: a) Children hold the maracas with their fingers and rotate the maracas towards themselves, then the children rotate the maracas from themselves.

b) Children cover the maracas with the palms of their hands and roll them back and forth. Then, draw circles on the legs clockwise, and then vice versa. You can draw winding "paths", etc.

Reference: The complex is performed accompanied by calm, not loud music. Helps develop coordination and fine motor skills in children.

The exercise: Children are offered to determine by ear what is hidden in maracas: cereals (peas, millet, rice); beads (glass or plastic), etc.

Reference: In these tasks it is better to use large kinderiki .

The complex helps the development of timbre hearing, attention and memory.

Rhythm pad games

1. a) For the first part of the music, the pillow is shifted from palm to palm, saying: "Here, here."

b) For the second part of the music, the children take the pillow by the opposite ends and rustle it near the ear, saying: "Shhh."

2. When the music is loud, the children shift the pillow with their palms and say out loud: “So, so.”

When the music is quiet, the children hold the pillow in one palm, and with the fingers of the other hand they gently tap on the pillow, saying: “Knock-knock”. The complex develops coordination of movements, fine motor skills of hands and dynamic hearing.

3. Children take the pad in their palms and massage them with rotational movements. Then, plastic balls in the pad are sorted out with all fingers. This massage helps the development of fine motor skills of the hands. The game is performed to the sounds of calm quiet music.

4. Children hold the pillow in the palm of their right hand, and with the fingers of their left hand they tap on the pillow, saying: “Choo, choo.” The pace is gradually picking up. Then, the pad is transferred to the palm of the left hand, and the fingers of the right hand tap on the pad, starting at a fast pace, gradually slowing down the pace. The game helps children feel changes in pace, develop fine motor skills of the fingers.

The game is played without musical accompaniment.

Stick games

1. Children sit on chairs in a row. Each child has two sticks in their hands. All children turn to the right and tap on the shoulders of the sitting child in front, saying: “Knock, knock.” Then,

They tap on the entire back with chopsticks (“put dots”), saying: “Top, top.” Then, they “draw” winding paths with sticks, saying: “That, that.” Children turn to the left and repeat the entire massage complex.

reference: The game helps the development of rhythmic hearing in preschoolers, coordination of words and movements, strengthens the articulatory apparatus; develops fine motor skills of the fingers; communicative culture. To perform this complex, it is better to use sticks. middle length, about 25 cm. Before starting the complex, explain to the children that massage should be done carefully so as not to cause pain.

2. Children hold both sticks with open palms of their hands and roll them slowly up and down, saying: "Burn, burn." Then, they put the sticks on their knees, roll them with the palms of their hands, saying: "Ru, ru." You can invite children to draw circles with sticks clockwise, and then counterclockwise; winding paths or waves in the direction from oneself and towards oneself.

Help: D For this complex, it is better to use short sticks, about 15 cm long, of medium thickness. The complex develops fine motor skills of the fingers, coordination of movements; activates the articulation apparatus.

3. When the music is loud, the children rhythmically tap their sticks, loudly saying "boom, boom." When the music is quiet, the children rhythmically rub the stick with the second stick (the movement is similar to repairing a pencil with a knife), saying: “Wh.” The complex develops dynamic and rhythmic hearing in preschoolers; coordination of movements; fine motor skills of fingers; articulation apparatus. In this complex, you can use various simple rhythmic combinations with sentences. For example: "Tra-ta-ta",

"Boom, boom, tra-ta-ta"; "Tu-tu, tu-u-u"; "Ru-u-u, tu-tu"; “Tu-tu-tu-tu, tu-u, tu-u”, etc.

4. Children stand in pairs facing each other. Each has one stick in his hand, about 25 cm long. The hand with the stick is extended forward. One child taps a stick on a stick in front of him standing child and says, "Hi!" The second child replies: "Hi!" and at the same time taps on the wand of the first child. You can come up with many words for children with the simplest rhythm encrypted in them, for example: 1 child says: “Cockerel” 2 child answers: “Chicken”; "Ko-ko-ko", "Chick-chick-chick"; "Meow", "Murmur"; "Cap-cap", "Knock-knock-knock", etc. The complex develops coordination of movements; articulation apparatus; fine motor skills of fingers; rhythmic performances; muscle memory; Creative skills and communicative culture of preschoolers.