"Musical and rhythmic development of preschool children" - Document. Development of musical abilities in preschool children

Grinina Elena Vladimirovna,
musical director GBDOU kindergarten №43
Kalininsky district of St. Petersburg.

One of the most important tasks in working with preschoolers is the formation

metro-rhythmic feeling in all its diversity: a sense of tempo, meter, rhythm - rhythmic pattern, form.
At the same time, all its components are important, but among them the main one is the feeling of uniform metric pulsation, the feeling of the inner time of music. Rhythmic organization is the foundation of life.

Everything around us lives according to the laws of rhythm: the change of seasons, day and night, heartbeat, age processes.

It was found that poor perception of the rhythmic structure of the sound environment

sharply inhibit the formation of speech at an early age. The ability to correctly reproduce a variety of rhythms contributes to the correct reproduction of the rhythmic pattern of words, their syllable structure, accelerates the development of other linguistic abilities (for example, word formation), allows you to correctly place stress and hyphenation.

The perception of the rhythmic basis is often difficult.

That is why it is necessary to set the following goals and objectives in working with children:

educational:develop a sense of rhythm; pushing against the inner hearing; promote the development of cognitive interest; learn to use sound models; to convey rhythmic patterns of various types of movement, as well as "sounding gestures"; learn to highlight a strong beat; to exercise the skills of the perception of musical phrasing; train auditory attention; develop responsiveness;

educational:develop creative imagination; foster friendly relations between children; involve in research activities.

But what is rhythm? Rhythm (translated from Greek - proportionality) is the alternation of different durations of sounds in music.

Evenly falling drops of water do not yet form a rhythm. The beat of the metronome itself is not yet rhythmic. That is, not every grouping and division of the time series forms a rhythm. A prerequisite for rhythmic grouping, and, therefore, for rhythm in general, is the presence of accents, i.e. more intense or in any other way prominent irritations. There is no rhythm without accents. Rhythm is an even alternation of strong and weak beats.

The sense of rhythm is the ability to perceive and reproduce a musical rhythm based on an emotional criterion (the ability to feel, hear an accent, a stimulus) based on motor skills. Perception of rhythm is never only auditory; it is always an auditory-motor process.

There is also the concept of "musical rhythmic feeling".

Rhythmic ability has a special place in the development of a child. Already in the earliest manifestations of babbling, the rhythmic repetition of homogeneous syllables is found, then the alternation of heterogeneous ones. There is a close connection between babbling and rhythmic movements: the child rhythmically waves his arms, jumps, knocks with a toy, while shouting out syllables in the rhythm of movements, and as soon as the movements stop, he stops talking.

Rhythmic ability is formed in the development of children, especially at the stage from 2 to 9-10 years old.

The sense of rhythm is one of the main musical ability... It has not only a motor, motor nature, but also an emotional one. The development of a sense of rhythm is based on the perception of the expressiveness of music.

A child who cannot hear the meter moves poorly, does not feel the form, does "everything is wrong." All efforts are directed at fostering a sense of meter, especially in the first year of being in a preschool institution. To develop a sense of meter, a uniform movement is used: walking to the music, swaying, "droplets", beating a bell, etc. (Grechaninov "Morning Walk", Krasev "Summer Day", Kachurbina "Lullaby", etc.)
In working on the rhythm, you need to adhere to a certain sequence, which has been confirmed many times in practice:
1. Uniform metering of music.
2. Highlighting a strong beat (accent).
3. Timing (strong and weak beats).
4. Mastering rhythmic patterns and their imposition on the metric grid without counting, per beat.
Perception of musical rhythm is always an active process. According to B. Teplov, he is not only auditory, but auditory. Therefore, the initial perception of music in children is associated with unconscious movement, with the unconscious use of the basic rhythmic units in the game: quarters and eighths.
Therefore, the study of the ratio of durations is associated with movement: a quarter is a step, an eighth is a run, a half is a stop. In the name of the durations, rhythmic syllables are used: a quarter - "ta", eighths - "ti-ti", half - "tu". Conditional movements (the so-called "smart palms") are introduced to indicate the duration: eighths - light tapping with fingertips on the other palm, a quarter - claps, half - handles on the belt.
Examples of comparing quarters and eighths sounding simultaneously in different voices in a piece of music (Handel's Passacaglia) are useful; in a poetic text. A poem with the following content is learned with children:
I walked with dad along the path,
So the legs only flickered
Just no matter how hard I tried
Daddy stayed behind.
Then the children repeat the text, marking their steps (quarters) on their knees with their palms, alternately with their right and left hands, then the children read the same text, but make two light strokes with each pen (eighth); they begin to understand that dad has a wide step and, in order to keep up with him, the baby needs to take two small steps. Then the steps of the dad and the baby are fixed with cubes. Red cubes - daddy's steps, blue cubes - baby steps. Children again begin to read the poem, but at the same time they do not hit with a palm, but with a stick on a cube. Rhythm-syllables are also introduced here.
Two girlfriends, two eights
They live in a blue house.
"Tee-tee" will hit the hammer,
Two eights are right there.
In the red house - a quarter "ta" - she does not need vanity.
"Ti-ti-ti" -the eighth run,

A quarter of "ta" walks in steps

With the help of cubes, you can compose different rhythmic two-measures, pronouncing them with rhythmic syllables and marking them with your palms (we play "little trains").
Children continue to learn to speak rhythmically the texts of various poems with a characteristic swing on straight legs (a quarter). For instance:
Blow the pipes, blow the spoons
Matryoshka dolls came to visit us.
There is a gradual assimilation of various rhythmic formulas.

Work on the development of a sense of rhythm can be distinguished in two directions:

1. Intuitive listening to durations, rhythmic patterns, metro-rhythmic pulsations, the feeling of strong and weak beats in a beat.
2. Conscious assimilation of the metro rhythm based on the study of rhythmic patterns of musical literacy on initial stage (short and long sounds, rhythmic pattern, pause) and then children get acquainted with such concepts as: treble clef, notes, duration.

Studying various types of movement (march, leaps, gallop, etc.), you should highlight a strong beat during movement with claps or use various noise instruments to convey the metro rhythm of the music.

Moving at the right pace is a challenge for children. In order to develop and consolidate the skill in children to correctly determine the tempo, maintain it throughout the sound of the music, we select the appropriate pieces. So, performing the exercise "Speed \u200b\u200bup and slow down" children react to a gradual change in the tempo of the music.

To teach children to maintain a given tempo, you can use the following technique: performing the Yanka dance with the cessation of sounding, children continue to move at a given tempo. Then we complicate things: the music is interrupted during the dance, then resumed to check the tempo with the children.

Help children to start the movement correctly after the musical introduction, perhaps by means of a conductor's gesture, having previously played with them in such games as: “Let's get to know”, “Autumn has come to visit us”, to highlight a strong beat. This is followed by the complication of the perception of the metro rhythm, the teacher throws the ball at a strong beat and says the first syllable of the child's name; on a weak beat, the child catches the ball and pronounces the second syllable of his name ("Ball").

You can improve the metro-rhythmic feeling and develop the skills of rhythmic hearing through more complex rhythmic games and tasks. For example: in the game "Onlookers and Hurries" children listen to the music attentively from the beginning, then slap the rhythmic pattern of the melody. In the next lesson, forming a circle, each child slaps in turn only one sound of a melody and, as it were, passes it on to a neighbor. Most often, children make a mistake at the end of a musical phrase, where the rhythm changes. In the game "Orchestra" children are divided into two groups: one - slaps the accompaniment, the other - the rhythmic pattern of the melody. Noise instruments can be used in this game. In the next lessons, complicated tasks follow. The first group is given the task to move and simultaneously clap "quarters", the second - to jump "eighths". Children like such tasks, they easily cope with them.

As a result of the use of "Sounding Gestures", children have a huge number of options for their combination and combination. Children compete in art and resourcefulness, come up with various options. Beginning with the simplest poem "Teddy bear"

One of the methods of developing a sense of rhythm is recognizing a melody by just one rhythm. This method relies on the inner ear and on clear musical images imprinted in the memory (the child remembers the perceived rhythm with his inner ear and compares it with other rhythms, and as a result he remembers the rhythm of a familiar song exactly coinciding with the rhythm he just heard). At the first stage of acquaintance with musical models, such material is selected in which long and short sounds, quarters and paired eighths are found immediately in the initial melody.

If the rhythmic movement consists of one quarter or eighth, the child does not get the opportunity to feel the ratio of these durations.

Children really like to slap off the rhythmic pattern written on the card (“Rhythmic Lotto”); children easily slap off the durations, lay out the rhythmic patterns (“Lay out the rhythmic pattern”) and analyze them. In this case, the technique adopted in the relational system is applied: the quarters are designated by the syllable "ta", the eighth by the syllable - "ti".

Children love to perform rhythmic patterns in different ways: claps, playing with fingers on the table and the floor, walking, running, waving their hands, as a result, children develop a sense of rhythm and the ability to control their movements.

Very often, using the technique of slapping the rhythmic pattern of dance elements, "laying out" them with sound models on a flannelgraph (long and short sticks, as well as musical notation - by the middle of the school year, the children of the preparatory group are already familiar with the concepts: note, quarter, eighth, treble clef ), "Building" from children .

To maintain interest in rhythmic activity:

• in the games "Chanterelle-sister" (model A.Oliferova), "Gnomes" (model Sokolova SN), along with the artistic word, you can enter the moment of theatricalization;
• for the exercises "We dance", "Rhythmic loto", "Repeat" together with children, it is possible to make new versions of noise instruments (bottles, mushrooms, boxes, etc.).

Using the didactic material for the game "Rhythmic Lotto", the following technique is possible: first, children transmit the rhythmic pattern from the card with "sounding gestures", noise instruments, then they perform dance elements with a similar rhythmic pattern; later, when composing a dance, children independently propose associative movements that convey rhythmic the basis of the dance.

In the games "Monkeys", "Funny notes", "Here are the notes" solving a problem situation, children show individual creativity, not imitating each other, but adding each other, thus, the teacher forms collective creativity.

Algorithm of actions for developing the skills of transferring rhythmic patterns:

1. Use simple rhythmic patterns (available), but immediately with the differentiation of sounds;
2. Use noise musical instruments to convey rhythmic patterns;
3. Play rhythmic patterns one at a time and in a group;
4. Play rhythmic patterns in subgroups;
5. Play the rhythmic pattern in subgroups, one group reproduces

"Sounding gestures", the other moves in the rhythm of the picture as if "walking" it;

1. The transfer of the rhythmic pattern by children from each other in a circle;
2. Acquaintance with sound models (long and short sounds) "ti", "ta". Differentiation of sounds;
3. Strengthen the skills to act with sound models (the teacher lays out the rhythmic pattern, the children reproduce; the child lays out - everyone else and the teacher reproduce);
4. Introduce the concept of a musical pause;
5. Acquaintance with musical notation, concepts - treble clef, quarter notes, eighth notes;
6. Building rhythmic patterns with sound models from children;
7. Recognize a familiar melody, dance, dance elements by the rhythmic pattern (by ear, by the card).

Algorithm of actions for the perception of musical phrases:

1. Isolation of a strong beat from the beat ("Ball", "What's your name?", "Autumn has come to visit us");
2. Games with pauses (stopping motion);
3. Determination of the beginning and end of a musical phrase by sounding gestures ("Uncle Stepa", "Hares and Wolves", "Catch the Mouse");
4. Simultaneous slamming of a musical metro rhythm - one group, rhythmic pattern, another ("Orchestra");
5. Patting musical phrases in turn, one subgroup starts, the other ends on time by entering ("Don't be late");
6. Smooth change of pace ("Speed \u200b\u200bup and slow down");
7. Movements with music and without it (children start movements with music, then the music dies down, children keep the given pace of movement).

To consolidate the skills acquired in music lessons, already familiar material can be used in the free activities of children:

• in a group, using didactic material for rhythmic games and exercises, with peers and a teacher;
• On a walk in outdoor games and drawing with crayons on the asphalt ("Rhythmic Lotto", "Draw a rhythm with crayons");
• with parents, at holidays, family celebrations, games such as: ("Chick - boom", "Onlookers and hurry", "Lay out a rhythmic pattern", "Monkeys", "Japanese machine", "Let's get acquainted", "Hello" and etc.).

Bibliography:
1. M. Andreeva, E. Konorova "First steps in music", - M., "Music", 1979.
2 "Progress", 1989.
3. D.B. Kabalevsky "How to Tell Children about Music". - M., "Education", 1983.
4. S.I. Bekina and others. Music and Movement. - M., "Education", 1983.
5. I. Domogatskaya "First lessons of music". - M., "Rosman", 2003.
6.T.L. Stoklitskaya "100 Solfeggio lessons for the little ones". - M., "Music", 1999.
7. S. Rudneva, E. Fish “Rhythm. Musical movement ". - M., "Education", 1972.
8. N.A. Vetlugin "Musical education in kindergarten". - M., "Education", 1981.
9.O.V. Savinkova, T.A. Polyakova "Early musical and rhythmic development of children." - M., LLC "Presto", 2003.
10. E.V. Konorov "Methodological guide to rhythm". - M., "Music", 1973.
11. G. Struve "Choral solfeggio". - M., TsSDK, 1994.
12. N. Vetlugina "Musical Primer". - M., "Music", 1973.
13. L.I. Chustov "Gymnastics for musical ear". - M., "Vlados", 2003.

Development of musical and rhythmic abilities

in older children preschool age

Bykovskikh Elena Vasilievna,

musical director of MBDOU number 43,

usolye-Sibirskoe

On development of creative imagination music can have a particular effect. This is due to its nature: high emotionality, abstractness of language, which allows a wide interpretation of the musical artistic image, depending on the individual life experience and observation of the child. The influence of music on the development of imagination occurs, first of all, in the process of its perception, which is inherent in the creative nature of all kinds musical activities, including dance. The game features of dance also characterize it as an activity favorable for the development of creative abilities in preschoolers.

All of the above shows that dance - type of artistic activity, optimal for the formation and development of children's creativity.

Observations reveal that preschoolers who are taught according to the traditional method, despite the average level of development of their musicality and motor skills, nevertheless, in the overwhelming majority of cases, turn out to be incapable of performing creative tasks: they either refuse such tasks, or try to complete them, but show no creativity.

Based on the foregoing, it can be assumed that one of the main conditions for the development of creativity in dance in preschoolers is conscious attitude of children to the means of dance expressiveness, mastering the language of pantomimic and dance movements.

For the formation and development of musical and motor creativity in preschoolers, it is extremely favorable plot dance. This is a very vivid and expressive form of children's artistic activity, which arouses keen interest in children. The attractiveness of the plot dance is due to its features: the figurative reincarnation of the performers, the diversity of characters and their communication with each other in accordance with the plot development. Thanks to these features, a kind of play situation is created in it, encouraging children to be creative and, therefore, contributing to its development.

The diversity of characters eliminates the possibility of children imitating each other in this type of dance (after all, a heavy bear cannot move in the same way as a graceful fox). It encourages each participant independently seek expressive movements. Plot development helps the child to see a special form of story in dance and perceive expressive movements as specific means that convey its content, that is, acting as a kind of language.

In this way, very favorable conditions are created in the plot dance for the development of this language by children, in connection with which various plot dances are widely used. In the process of work, toys, attributes are used in order to encourage children to more expressive performance of movements.

It is extremely important to cultivate an attentive attitude of children to each other, their ability to sincerely rejoice in the achievements of their comrades. All this creates a truly creative atmosphere in the classroom, without which the formation and development of creativity is impossible.

Bibliography:

1.Asafiev B.V. On musical and creative skills in children: Selected articles on musical enlightenment and education. 1975

2.Koroleva E.A. Early dance forms. 1983

3. Gorshkova E.V. From gesture to dance. 2002

1.1 Historical and logical analysis of the problem of the development of the sense of rhythm in older preschool children

The term Rhythm (from the Greek ritmos - teku) is the third most important element of the musical language. This concept implies the peculiarities of the distribution of sounds in time. Who gave the basis for the concept of rhythm, several variations of the term and references to repeats

Reflection of the rhythms of reality in a person's consciousness is a condition for his adequate orientation in time. The ability to perceive and reproduce rhythmically proceeding processes resulting from this reflection is called the sense of rhythm. It is necessary for a person when he is faced with the task of rhythmizing an activity or mastering an objectively set rhythm in it.

"The unity of life is only the unity of rhythm" - such an aphorism is put into the mouth of the artist Vincent Van Gogh by the author of the book about him I. Stone. [link] This statement contains a high truth that explains the omnipotence of rhythm in art: it comes into art from life, and least of all as a conscious reflection of it.

Over the centuries-old history of music, there have been many judgments about rhythm, but despite the abundance of descriptions and theories about rhythm, what is said in them is not enough to understand its current state, to answer the questions of creative practice of rhythm. Rhythm is one of the primary sources, the primary elements of music, always vital for musical art. Historians believe that even in ancient times, music began with the allocation of rhythm. At the same time, the music was mainly vocal, and the musical rhythm was a natural rhythm generated by speech. In the history of European music, parallel to the development of harmony, melody and all other elements, the development of the rhythmic side also took place, sometimes leading to a sharp breakdown of established and traditional concepts of rhythm, to a change in "rhythmic thinking". The evolution of rhythm prompted the theoretical thought to describe new rhythmic phenomena, establish rhythm patterns, develop compositional rules for rhythm and explain its essence. The need for creative substantiation of rhythm phenomena was especially felt during periods of sharp qualitative shifts in rhythm. In the work of Stravinsky, one of the greatest composers of the 20th century, rhythm occupied the same important, leading position as harmony had previously occupied. This fact alone makes us appreciate the possibilities of rhythm in a new way.

The understanding of musical rhythm in musicological literature is very different, even contradictory. Bulich argued that in no other area of \u200b\u200bmusical knowledge there is such clear and, at the same time, such meager information as in this one. The role of rhythm is not the same in different national cultures, in different periods and styles of the centuries-old history of music. BM Teplov said that sometimes rhythm is in the foreground, as, for example, in the cultures of Africa and Latin America. In other cases, his direct expressiveness is absorbed by the expressiveness of pure melos, as, for example, in some types of Russian lingering song. But under any conditions, music that unfolds in time has one form or another of rhythmic organization.

Musical rhythm is one of the most complex rhythmic formations in terms of organization. There is a narrow and broad understanding of musical rhythm. The broad definition of musical rhythm is considered as the temporal and accent side of melody, harmony, texture, thematicism and all other elements of the musical language, that is, the connection of the musical rhythm with all other parameters of music is emphasized.

A.A. Mazel and V.A. Zuckerman give the concept of rhythm in its narrow sense as a temporal pattern, which is the organization of sounds according to their duration. That is, the musical rhythm is equated to the rhythmic pattern. The same authors note that the rhythmic pattern is formed from a combination of the same or different durations, accentuated in a certain way, or, in other words, metrized and sounding in certain tempo frames.

Consequently, meter and tempo, as well as rhythmic pattern are the main components of musical rhythm.

So, the sense of rhythm is the perception and reproduction of temporal relationships in music. Accents play an important role in the dissection of musical movement and perception of the expressiveness of the rhythm.

E.V. Nazaikinsky who is a teacher-musician? Researcher? considers musical rhythm as a temporary organization of musical tissue, which is a regular distribution in time of rhythmic units (rhythmic pattern), subordinated to the regular alternation of functionally differentiated for perception, reference and transitional fractions of time (meter), which occurs at a certain speed (tempo) ...

Musical rhythm is the movement of sounds and pauses, varied in duration (more often) or monotonous (less often) against the background of a meter, and the total sum of all durations is equal to the digital designation at the key, i.e. measure. In short, the flow of sounds in a unit of time conditional in tempo is a rhythm.

Consequently, the musical rhythm includes, as separate aspects, the rhythmic pattern, which is a kind of matter of rhythm, the meter - the system of rhythmic organization, and tempo - qualitative and quantitative characteristics of the rate of the rhythmic process.

Rhythmic units in music are, first of all, the duration of individual sounds and pauses.

In the psychological nature of musical-rhythmic feeling, it is necessary to answer the question of what kind of temporal relationships are meant when it comes to the sense of rhythm, in other words, to answer the question of what should be understood by the term "rhythm". BM Teplov defined rhythm as an all-encompassing concept, apparently characterized by only one very vague feature: the temporal or spatial order of objects, phenomena, processes. He believed that proceeding from such a meaningless concept, it is hardly possible to come to an analysis of rhythmic feeling.

The importance of the development of rhythmic hearing in musical education child is that it:

Helps develop musical abilities and enriches the emotional world of children;

Develops cognitive abilities;

It fosters activity, discipline, a sense of collectivism.

Emotional responsiveness to music is considered the main sign of musicality, i.e. the ability to experience it, as well as an ear for music and a sense of rhythm. Rhythm is one of the expressive means of music through which content is conveyed. The importance of the development of rhythmic hearing in the musical education of a child lies in the fact that it: helps the development of musical abilities and enriches the emotional world of children; develops cognitive abilities; fosters activity, discipline, a sense of collectivism.

In an effort to establish in the future some essential for our purposes signs of rhythm, we will have in mind only such an understanding of this term, which is directly related to the practice of art and in particular to the practice of "temporary arts". Rhythm is some definite organization of the process in time. Finally, rhythm appears as a kind of universal cosmic category. According to B. M. Teplov, space and time are filled with matter, subject to the laws of eternal rhythm. However, not every grouping and division of the time series forms a rhythm. A prerequisite for rhythmic grouping, and, therefore, for rhythm in general, is the presence of accents, i.e. more intense or in any other way prominent irritations.

One of the opponents of any motor theories of rhythm, E. Meimann, was forced in his research to come to the conclusion that the extreme subtlety in establishing the proportions of durations, which every good musician-performer reveals, must be explained by the presence of some auxiliary means at the disposal of a musician-performer he considered "rhythmic movements" or "rhythmidation of movements."

In musical pedagogy, the belief is very widespread that the sense of rhythm lends itself little to education. Most teachers tend to distinguish in this respect between ear for music and a sense of rhythm, believing that the latter is much more difficult to develop than ear for music. Bearing in mind the difficulties with which musical-rhythmic education is associated, some authoritative specialists are sometimes inclined to be very skeptical about even the promising and potential possibilities of this education. A.B. Golzenveiser spoke out categorically about the development of musical-rhythmic feeling. He believed that this is as difficult to achieve as, say, to achieve that a person has a long nose. In his practice, there were cases when pupils with a very weak rhythm developed and became rhythmically complete, but nevertheless he said that this was achieved with great work.

The active motor nature of the musical-rhythmic feeling was perfectly understood by E.-J. Dalcrose. This, of course, is the main reason for those remarkable successes in relation to the education of a sense of rhythm, which he managed to achieve. One cannot disagree completely with such provisions of his theory as any rhythm is movement; our whole body participates in the formation and development of a sense of rhythm; without bodily sensations of rhythm, musical rhythm cannot be perceived.

Thus, references to the experience of past years to prove that the development of musical-rhythmic feeling is extremely limited within its limits are completely unfounded. We do not have direct experimental material on the development of musical-ethnic feeling. As for the musical rhythm, the experimental data do not give any reason to doubt the educability of the rhythmic feeling. According to Alsira Legasti de Arismendi, there is every reason to assert that work on rhythm is practically available to every educator. The joy that rhythmic exercises and games bring to children has a beneficial effect on their musical and general development. "

Over creation modern system Many musicians, teachers, psychologists, methodologists, music directors of preschool institutions worked for musical and rhythmic education. The leading place among them belongs to N.G. Alexandrova, as well as her students and followers - E.V. Konorova, N.P. Zbrueva, V.I. Griner, N.E. Kizelvater, M.A. Rumer.

"Development of musicality in children of primary preschool age (3-4 years) through musical and rhythmic skills"

Our children live and develop in difficult conditions of the musical society. Modern rock music, which sounds everywhere and is cultivated by the media (whether we want it or not), is heard by our children. Its shamanic rhythms, ultra-high frequencies, unbearable loudness, "fall" into the subconscious, exerting a strong negative effect on the emotional state of a person, destroying his soul, intellect, personality.

Parents and teachers should do everything possible so that the child learns and falls in love with other, real music. The foundations of musical culture are laid primarily in preschool age.

It is here at this time that the child will join the art, from which, according to Goethe, “paths diverge in all directions”, the years of life when the child is especially sensitive to everything around him, decisive in his musical and aesthetic development.

Childhood is the most favorable period for the development of musicality and musical abilities. The omission of this period is irreparable. Communication with music forms a creative personality, creates favorable conditions for the development of aesthetic, in the words of L. Vygotsky, "smart" emotions. After all, emotional responsiveness is associated with emotions of a higher order and underlies the aesthetic consciousness of a person's personality.
Music helps children learn about the world, fosters not only their artistic taste and creative imagination, but also love for life, attention to another person, nature, interest in the peoples of their homeland and other countries.
This is how a full-fledged personality is formed, a person capable of feeling and compassion.

Music has an intonation nature similar to speech. Like the process of mastering speech, which requires a speech environment, in order to fall in love with music, a child needs to have experience of perceiving musical works of "different eras and styles", get used to its intonations, empathize with its moods.

The famous folklorist GM Naumenko wrote: “... the child learns the skills and language of the one who brings him up, communicates with him. And what sound information he absorbs in early childhood, that will be the main supporting poetic and musical language in his future conscious speech and musical intonation. " Therefore, children, who were rocked to lullabies, were brought up on pestushki, entertained with jokes and fairy tales, with which they played, performing nursery rhymes, the most creative, with developed musical thinking. Music, which conveys the whole gamut of feelings and their shades, can expand the baby's idea of \u200b\u200bthe world around him.

In addition to the moral aspect, musical education is of great importance for the formation of aesthetic feelings in children: by joining the cultural musical heritage, the child learns the standards of beauty, appropriates the valuable cultural experience of generations, this will not pass without a trace for the subsequent development of a person, his general spiritual formation.

Music perception - a complex mental process. This is not just a mechanical, mirror image by the human brain of what is in front of his eyes or what his ear hears. This is always an active process, active activity, which is the first stage of the thought process. Initially, at a younger preschool age, musical perception is characterized by an involuntary character, emotionality. It is often impulsive in nature, expressed in spontaneous, momentary motor reactions of a child to music. Gradually, with the acquisition of some experience, as he masters speech, the child can perceive music more meaningfully, correlate musical sounds with life phenomena, and determine the nature of the work.

The accumulation of musical impressions is the most important stage for further development musical perception children. The quality of perception largely depends on tastes and interests. If a person grew up in a “non-musical” environment, he often develops a negative attitude towards “serious” music. Such music does not evoke an emotional response if a person is not used to empathizing with the feelings expressed in it from childhood.

Preschool teacher N. A. Vetlugina writes: "The development of musical sensitivity is not a consequence of age maturation of a person, but is a consequence of purposeful upbringing." Thus, perception depends on the level of musical and overall development a person, from purposeful education. Both emotions and thinking are involved in the perception of works of art. Deprived of its emotional content, music ceases to be art. Only through the expression of emotions can she convey "thoughts and images."

The difference in the nuances of music develops in children, starting with early age... At each age stage, the child distinguishes the most vivid means of expression with the help of the possibilities that he possesses - movement, word, play, etc. Therefore, the development of musical perception should be carried out through all types of activities. In the first place, you can put listening to music.

Receiving various musical impressions from childhood, the child gets used to the language of intonations of folk classical and modern music, accumulates experience of music perception, different in style, comprehends the “intonation vocabulary” of different eras. The famous violinist S. Stadler once remarked: "To understand a beautiful fairy tale in Japanese, you need to know it at least a little." As mentioned above, the acquisition of any language begins in early childhood. The musical language is no exception. Observations indicate that young children enjoy listening to early music: J.S.Bach, A. Vivaldi, W.A. Mozart, F. Schubert and other composers - calm, cheerful, affectionate, playful, joyful.

They react to rhythmic music with involuntary movements. Throughout preschool childhood, the circle of familiar intonations expands, consolidates, preferences are revealed, the foundations of musical taste and musical culture as a whole are formed.
So, music develops the emotional sphere. But how does her interaction with rhythmic movements affect the development of children's musicality?

Musical-rhythmic movement- one of the types of musical activity in which the content of the music, its character are transmitted in movements. Plot-like movements are used as a means of deeper perception and understanding.

By definition, it is easy to develop children's musicality through musical rhythmic movements, since this is the most natural kind of musical activity for a child. The kid, barely standing on his feet, not yet able to sing, is already moving to the music. Since ancient times, movements to music have been used in raising children (Ancient India, China, Greece). The synthesis of music and movements concretizes the game image. On the one hand, the musical image contributes to a more accurate and emotional performance of the movements, on the other hand, the movements explain the music, the main means of expression.

Such complex phenomena as metro rhythm, register, musical form, which are difficult to explain to children in words, are perceived by preschoolers not only with the ear, but also with the whole body, which increases the musical experience, makes it more conscious.
Scientific studies have proven that any sound causes muscle contractions in humans. The entire body responds to the action of music. Perception and understanding of music consists in feeling it by ligaments, muscles, movement, breathing.

Thus, the perception of music is an active auditory-motor process. Through movement, the child perceives music brighter and more emotionally, feels a change in its mood, consolidates knowledge about the means of musical expression, understands and feels it, develops emotions, interests, tastes, i.e. joins

musical culture, his spiritual world is enriched. In addition, through musical-rhythmic movements, the child develops musical abilities: musical perception and memory, rhythmic feeling, modal feeling, etc. of course, speech formation is faster.

In addition to these abilities, general and fine motor skills, coordination of movements, a reference point in space, and plasticity are significantly improved.

Musical rhythmic movements are the most natural type of child's activity. Already in the first year of life, the baby, having heard the music, begins to emotionally react to its sound with movements of his arms and legs. Music, evoking a violent emotional response in preschoolers, involves them in movement. Musical-rhythmic activity attracts children with its emotional coloring, the opportunity to actively express their attitude to music in movements.

Thanks to this type of activity, the natural need for movement in children is satisfied.

The "Kindergarten Education Program" sets forth the following tasksand requirements: “Teach children to move rhythmically in accordance with the different nature of the music; dynamics (loud, moderate, quiet,); registers high. medium, low); go from a moderate pace to a fast or slow pace; mark the meter in motion (a strong beat, metric pulsation and the simplest rhythmic pattern in claps; change movements in accordance with the two- and three-part form and musical phrases.

In music lessons, children acquire musical rhythmic skills and expressive movement skills. The teacher, just like the music director, must teach children, before performing movements to the music, to correctly take the starting position, observe the coordination of arm and leg movements, and monitor posture.

The teacher must strive not only for the assimilation of any movement, but also for its high-quality, expressive performance. Freedom, naturalness, the absence of any tension - this is what should be characteristic for children to perform musical rhythmic movements... Of course, this is a difficult task, but it is quite feasible if the teacher takes into account the following principles in his work with children: a comprehensive solution to the main tasks of musical education: systematic, gradual, consistency, repetition. These are the basic pedagogical principles. Children will not be able to perform movements to the music freely if the dance, the game is learned right away, without the previous preparatory exercises aimed at mastering the necessary motor and dance skills. Children perceive music more meaningfully when they can express their attitude to it through musical rhythmic movements to the music. The selection of specific exercises helps to understand the means of musical expression. Children change the direction of movement with a change in musical phrases and parts of the work, change the nature of these movements with a change in dynamics, register, tempo of the music.

The ability to mark the beginning and end of a piece of music in movement, to highlight the rhythmic pattern, to highlight the rhythmic pattern of a melody, to understand the means of musical expression helps children to perform various kinds of movements and dances more efficiently.

The system of exercises, built according to the principle "from simple to difficult", taking into account all the necessary musical and rhythmic skills and the skills of expressive movement, provided that the tasks are repeated many times, will help to successfully fulfill the requirements of the program.

The main methodological technique in working with children on musical-rhythmic movements is the expressive performance of music. Music encourages the child to move. He is delighted with complete merging with music. The child's perception and understanding of the musical image and, ultimately, the quality of the movement performed depends on how the music is performed by the teacher. The second main principle is a qualitative, expressive demonstration of movement by a teacher. Here, in addition to the movement of arms and legs, you need to connect emotions, head turns, posture, facial expressions, pantomime. The child, as a rule, copies the actions of the teacher, tries to imitate him in performance. Therefore, I believe that the teacher needs to work on his own technique for performing various kinds of dance movements within the framework of the program, develop the plasticity of the movements, perform them clearly to the music (to a strong beat), because he is the first assistant to the music director in the classroom.

As mentioned above, the technique of performing one and the same movement, for example, a "spring", is performed in each age group with a gradual complication, and is perfected gradually from year to year. If at a younger age, children are taught only to squat slightly, on average - to perform on a strong beat of music, in an older age - with a turn of the body, in the preparatory group - with hands connected. Therefore, little ones should never be taught what is easy to do at an older age - they simply cannot do it due to poor coordination. Accordingly, there will be no joy of creativity that should be present at music lesson, and an elementary drill will appear. The software requirements should not be overstated - they are reasonable and affordable for every age group. It is important to choose beautiful music and perform the show emotionally, accompanying it with a clear explanation and score. In the future, after the children have fully mastered the movements, there is no need to count.

Children 3-4 years old have an increased emotional response to music,the desire to move under it makes the musical movements of children of this age one of the most favorite types of musical activity. Children of this age can distinguish between bright, contrasting music (march, dance, lullaby), can run, jump, dance to fast, cheerful, loud music, shake a doll (bear) to quiet, slow, sad music, can perform figurative movements, coordinating them with the character of music ("birds are flying", "bunnies are jumping", etc.).

The need to obey the music in dances, games, exercises fosters attention and intelligence in children. At the same time, the teacher organizes dances and games based on a piece of music with contrasting parts, i.e. on the simplest two-part work. In order for children's actions to be accompanied by music to be free, light, clear, so that children can use them in their creative compositions without much difficulty, it is necessary to perform the same movement repeatedly - exercises. The purpose of the exercises is different:

- to improve the basic types of movement (walking, running, jumping)

- for preliminary learning of movements for non-plot games and dances

- to develop the expressiveness of the movements of the characters of story games

- for compositional completeness of musical and rhythmic movements.

The last exercises are mostly carried out with objects: flags, hoops, ribbons, sticks, balls, flowers, balls, leaves, snowballs, etc. When choosing musical material for exercises, it is necessary that any, even the smallest and simplest, work has artistic merit that develops both the auditory perception and the artistic and musical taste of the child. The purpose of the exercises is to teach children to perform musical and rhythmic tasks, to develop a technique of movements. Exercises are closely related to dancing, games and are aimed at developing children's musical perception and rhythm of movements.

A variety of methodological techniques used to familiarize children with the exercise and during its learning should correspond to the general guidelines of musical and motor development: to deepen the musical perception of children, the content and emotionality of their movement, to develop independence and creative activity in children.

In the process of mastering and repetition, not only all the exercises in general, but also each movement should always have a certain content related to music and understandable to children (a playful, plot or purely emotional image). Formal, meaningless, joyless performance, mechanical repetition (copying) of the shown movements by children harms them, interferes not only with their musical-motor, but also their general development. Learning movements without musical accompaniment, when the live rhythm of the music is replaced by dry arithmetic counting, does not contribute to the musical development of children. Movement learned under the count does not merge later with music and cannot be a means of transmitting musical images.

In all age groups the basis for improving movement and educating children of the necessary musical and motor skills is direct impact of music: it increases the emotional and muscle tone, the movements of children, even in the younger groups, become more active, more coordinated, more precisely, more definite. Strengthening, clarifying and deepening this impact, first of all, helps the one corresponding to the music game image ("Birds are flying", "Horses are galloping", "Run to me!" And other exercises). Supported by the educator's explanations (stories, leading questions, reminders), the play image awakens the imagination and directs the imagination of children, fills their movements with close and interesting content, makes music clearer and more understandable for children.

To teach children of the younger group to perform movements correctly, accurately, expressively, the teacher, repeating the exercise, draws the children's attention to the nature of the music: “Listen to how light and gentle the music sounds - just as easily as little birds fly”; “The music is funny - the horses are happy that they can ride”; “The music is quiet when I run away from you; when you run to me, it is loud, ”etc. Children try to run easier, jump more energetically, start moving in time to the music. With such techniques, the teacher further activates the perception of music by children and enhances its emotional and motor impact on them. Sometimes children feel the character of the music, but they cannot or do not know how to convey it in motion. In this case, the teacher uses auxiliary exercises, reminds the children or repeats previously learned exercises with similar tasks, compares the new movement and music with the already known, explains to the children their mistakes, includes new exercises in the classes that help correct these mistakes, etc. You should not use the display when introducing children to exercises based on imitative or visual movements. It is necessary to make sure that the children are familiar with and understand the actions, images, objects that make up the content of the exercise. You can play music, and then invite the children to "show the image", after which gradually, with leading questions, explanations and, of course, prompting showing details and techniques help children create an expressive musical and movement image. It is not recommended to conduct a verbal analysis of musical images and movements before the children perform the exercise. After a short explanation of the content of the exercise (for example, "the beetles were flying - they suddenly fell on their backs and swung their paws"), the children should be invited to move and at the same time listen to the music. You should also give children the opportunity to "grope" the movement at the same time as the perception of music in those cases when children have to find it themselves (for example, "Build a circle"). Movements in musical movement exercises should never be presented to children as unchanging models: the task of the exercises is to show children different expressive possibilities that are new for them.

One of the main conditions for successful work on the development of movements is a purposeful choice of exercises and their correct sequence. To choose the right exercises and work on them successfully, you need to clearly understand the main main task of each exercise... The common task for all exercises is to reflect the nature (content) of the music. Guided by this, the teacher will be able to understand the interconnection of the exercises, systematically and purposefully plan and carry out work on the development of children's movements:

• develop rhythm, consistency of movements and music, the ability to respond to the beginning and end of music, to the change of parts (hear the 2-part, and at the end of the year, the 3-part form),
• to react by changing the movement to a change in the strength of the sound, to teach to move in accordance with the marching, calm, dancing nature of the music, to help master a certain stock of expressive movements: to walk rhythmically, to run, to jump easily, to gather in a circle, walk in a circle, move in pairs, perform a straight gallop , tap with one foot, take a gentle, gentle step,
• perform figurative movements: bunnies are jumping, birds are flying, a bear is walking, a car is driving.

Children of this age form the concept that it is possible not only with words, but also with sounds (music) to tell about sad and funny things. They consciously perceive the contrasting nature of music, they know how to say what a particular song or play is talking about.

Babies develop emotional responsiveness to music, a desire to move in accordance with its character. The main thing in the classroom is to create favorable conditions, an atmosphere of joy for fostering love for music. In the classroom, various techniques are used.

When children themselves cannot expressively move, speak out about the nature of the work, they need help. The technique of verbal assimilation is applied

music - quietly, in the course of the sound of the work, facilitating its assimilation not only by intonation, but also by facial expressions, I explain: "What a gentle, affectionate music." With this music sounding

facial expressions (mimic assimilation) and voice intonation (intonational assimilation) are likened. You can gently touch the baby's hand (tactile assimilation). Encourage him to express the nature of the sound with musical-rhythmic movements (motor, rhythmoplastic assimilation). Kids better perceive the melody from the voice, you can quietly sing along to the melody while the piece is playing, "bring it to the voice" (vocal assimilation of music). This method encourages children to hum the melodies they love.

Thus, thanks to the combination of different types of assimilations (verbal, mimic, intonational, vocal, tactile), kids learn to speak out about the nature of the music, to coordinate actions according to the change in parts of a piece of music, to perform figurative movements through images of their external actions. In other words, their emotional responsiveness, a conscious perception of music, develops.
The peculiarities of the music and the movements associated with it are supported by an adult's musical-movement display, as well as in short verbal explanations. If the children do not reflect well the character of the music in the movements of this or that character, the exercise is not interrupted because this reduces his emotionality. After the end of the exercise, this movement is shown again. For example: if hares jump up and down heavily and noisily, I draw the children's attention to the music that accompanies the movement, I say that the music tells how the bunnies lightly jump and re-show the movement. I myself move a lot with the children, I try to be emotional, plastically expressive, thereby demonstrating the most complete possibilities of embodying the image (available to kids).

Types of musical rhythmic movements
Musical education by means of movement is carried out in games, round dances,

dances, dances, exercises, dramatizations, accessible and interesting to children.
Play is the most active creative activity aimed at expressing the emotional content of music, carried out in figurative movements. The game has a certain plot, rules, musical and educational tasks and, clothed in an interesting form, helps to better master the program skills.
The musical compositions and the content of the games meet general educational objectives. Their themes are shaped under the influence of other sections of upbringing — acquaintance with the social environment, with nature, etc. We also note the influence of children's folk games, which partially determine the theme with its fairy-tale characters (especially from the field of the animal world) and the form (round dances) of musical games. What does a modern approach to the development of a child's emotional-figurative perception through expressive movement mean? At the center of the process should be the personality of the child in an educational environment that guarantees the transition to a humanistic model of pedagogical technologies based on personality-oriented education.
As a result of the work carried out, children acquire skills and abilities, perceive a piece of music as a whole; trace the development of a musical image, expressively move in accordance with it; consciously speak out about the emotional-figurative content of music, convey their emotional attitude to music through the culture of movements; distinguish between expressive and pictorial means; they react in movement to violations of tempo, dynamics, register, metro rhythm; determine the character, form of the work, genre basis, move in accordance with the diverse nature of the music; give preference to any work, speak out why they like it; motor qualities develop: coordination, dexterity, plasticity, expressiveness, they are oriented in space; creative imagination, imagination, the ability to empathize and embody in movement the feelings and mood of music develops. On the basis of the development of plastic capabilities, the expansion of motor experience, to lead children to the development of the creative potential of the individual, to the creative interpretation of a musical work, the disclosure of their own individuality, the ability to self-expression.

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Designing the use of rhythmic exercises in the development of musical abilities in older preschool children

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Introduction

Chapter 1. Theoretical foundations of the development of musical abilities

1 Abilities as a psychological and pedagogical category

2 The concept of musicality and musical ability

3 Musical and rhythmic activity. Types of musical and rhythmic activities

4 Features of the development of musical abilities in preschoolers

5 The value of musical and rhythmic activity for preschool children

Chapter 2. Studying the peculiarities of musical abilities and sense of rhythm in older preschool children

1 Purpose and objectives of the ascertaining experiment

2 Methods of conducting the ascertaining experiment

3 Analysis of the results of the ascertaining experiment

Chapter 3. The program for the development of a sense of rhythm in older preschool children in musical and rhythmic activity

1 Explanatory note

3 Results of work on the development of a sense of rhythm in musical and rhythmic activity of older children

Conclusion

Bibliographic list

Introduction

The child's musical activity is directly related to the life around him, which represents the widest nutrient layers for the formation of musicality.

Scientific research of practicing teachers N.A. Vetlugina, A.I. Burenina, O. P. Radynova, K.V. Tarasova and many others, indicates that the development of musical abilities, the formation of the musical foundations of musical culture, i.e. musical education should begin at preschool age.

"Only by developing the emotions, interests, tastes of the child, it is possible to introduce him to musical culture, to lay its foundations. Preschool age is extremely important for the further mastery of musical culture. man, his general spiritual formation "- writes B.М. Teplov.

The solution to the problem of forming a comprehensively developed personality is possible only under the condition of the harmonious development of its abilities, which in turn presupposes a systematic approach to the upbringing and education of the younger generation. Aesthetic and artistic education has a special place in this system.

Aesthetic education is aimed at developing the abilities of preschoolers to perceive, feel and understand the beautiful, thereby becoming involved in various types of artistic activity.

Musical education is one of the central components of aesthetic education. It plays an absolutely exceptional role in the development of a preschool child. This role is determined by the specifics of music as an art form, on the one hand, and the characteristics of preschool age, on the other. "Music is the art of direct and strong emotional impact. Since it reflects," objectifies "human emotions. Thanks to this remarkable feature, music provides incomparable opportunities for the development of the emotional sphere of a person, especially in preschool childhood, when emotions are a factor regulation of behavior and the formation of personality as a holistic education "- L.S. Vygotsky.

Musical education is an effective means for cognitive development child, because music carries a huge world of ideas, thoughts, images that become the property of the child in the process of musical activity.

Preschool childhood is a sensitive period in the development of abilities. In the structure of musicality, the leading place is taken by the rhythmic feeling.

The sense of rhythm is the ability underlying all those manifestations of musicality that are associated with the reproduction and invention of temporal relationships in music. Musical-rhythmic feeling can develop only in the process of musical activity.

These questions were studied by many teachers and psychologists: B.M. Teplov, K.V. Tarasova, N.A. Vetlugina, N.A. Metlov, B.V. Asafiev, V.N. Shatsky, N. Ya. Bryusova, T. Babadzhan and others.

The analysis of scientific literature and the practice of musical education of preschoolers made it possible to highlight the contradiction between the potential capabilities of children in the manifestation of musical abilities and their insufficient implementation in practice.

Research object: the sense of rhythm and its development as the main ability in the structure of musicality.

Research subject: musical and rhythmic activity as a means of developing a sense of rhythm.

Purpose of the research: theoretical and experimental study of the process of rhythm development in older preschool children in musical-rhythmic activity.

The goal was specified in the tasks:

Analyze the literature on the development of a sense of rhythm in older preschool children; the use of musical and rhythmic activities in working with children.

Choose a diagnostic toolkit aimed at studying the level of development of musical abilities and sense of rhythm in older preschool children.

To study the level of formation of the sense of rhythm and musical abilities using diagnostic tasks.

To develop a program for the development of a sense of rhythm in musical and rhythmic activity.

To test the program and evaluate the effectiveness of musical-rhythmic activity as a means of developing a sense of rhythm in older preschool children.

Research hypothesis:

Musical rhythmic activity can be an effective means of developing a sense of rhythm if the following conditions are met:

preschool age is a sensitive period for the formation of a sense of rhythm;

if the sense of rhythm is the main ability in the structure of musicality;

if musical and rhythmic activity is the main means of developing a sense of rhythm;

purposeful selection of special forms, productive methods and techniques of musical-rhythmic activity, contributing to the effective development of a sense of rhythm.

Study contingent: older preschool children.

The theoretical significance of the study lies in the analysis of sources on this issue, generalization of the available diagnostic techniques sense of rhythm and in the theoretical substantiation of the chosen problem.

The practical significance of the study lies in the fact that the developed program for the development of a sense of rhythm in older preschool children in musical-rhythmic activity can be recommended to a music director in collaboration with an educator and a psychologist.

The methodological and theoretical basis of the research is the approaches to the problem of the development of abilities developed by psychologists and educators (Teplov B.M., Vygotsky L.S.), psychological and pedagogical theory of activity (Rubinshtein S.L., Shadrikov V.D.), theory of activity (Rubinstein S.L. Shadrikov V.D.), theory music learning and education (Vetlugina N.A., Zimina A.N., Orf.K., Radynova O.P.)

Experimental base: Municipal autonomous educational institution Medium comprehensive school No. 5 structural unit "Kindergarten No. 12". Between 2013 and 2015. The experiment involved 10 older preschool children; educators; musical director: psychologist.

Chapter 1. Theoretical foundations of the development of musical abilities

1.1 Abilities as a psychological and pedagogical category

The issue of ability is being considered by many scientists. "Human abilities that distinguish a person from other living beings constitute his nature, but human nature itself is a product of history," wrote S. L. Rubinstein. Human nature is formed and changed in the process of historical development as a result of human labor activity. Intellectual abilities were formed by to the extent that, changing nature, a person cognized it, artistic, musical, etc. were formed with the development of various types of art. "

Every ability is the ability to do something, to do something. A person's presence of a certain ability means his suitability for a certain activity. the ability must include various mental properties and qualities necessary due to the nature of this activity and the requirements that it makes.

Abilities have organic, hereditarily fixed prerequisites for their development in the form of inclinations. People from birth are endowed with various inclinations. Differences between people in the inclinations lie, first of all, in the innate features of their neuro-cerebral apparatus - in its anatomical, physiological, functional features. There is a very large distance between inclinations and abilities. The inclinations are only a prerequisite for the development of abilities. Developing on the basis of inclinations, in which the inclinations are included as a starting point, as a prerequisite.

One should not think that every ability has a special deposit. The inclinations are multivalued and can be realized in various types of abilities, on their basis different abilities can be developed depending on how a person's life will go, what he will learn, what he is inclined to. The inclinations can, to a greater or lesser extent, determine the originality of a person's development, the style of his intellectual or other activity.

According to V.V. Bogoslovsky, ability is a synthesis of the properties of a human personality that meets the requirements of activity and ensures high achievements in it. Also V.V. Theological distinguishes the types of abilities according to their focus, or specialization. In this regard, in psychology, special abilities are usually distinguished.

General abilities are understood as such a system of individual-volitional personality traits, which provides relative ease and productivity in mastering knowledge and carrying out various types of activity, general abilities are a consequence of both a rich natural talent and the all-round development of a personality.

Special abilities are understood as such a system of personality traits that helps to achieve high results in any special field of activity, for example, literary, visual, musical. Special abilities should include the ability to practice, namely: constructive, technical, organizational, pedagogical and other abilities 26.

Special abilities have developed in the course of the development of human society. The development of special abilities is a complex and lengthy process. Different special abilities have different time of their detection. Earlier than others, talents are manifested in the field of arts, and above all in music. It was found that at the age of up to 5 years, the development of musical abilities occurs most favorably, since it is at this time that the child's ear for music and musical memory are formed.

Thus, each activity has specific requirements for both general and special abilities.

In the textbook of E.I. Rogov's "General Psychology" this issue is considered in the following way. Abilities are only the possibility of a certain assimilation of knowledge, abilities, skills, and whether it becomes an activity depends on various conditions. So, for example, the mathematical abilities revealed in a child are in no way a guarantee that the child will become a great mathematician.

However, knowledge, skills and abilities remain external to the abilities only as long as they are not mastered. Finding themselves in activity as the individual assimilates them, abilities develop further, forming structure and originality in activity.

Thus, it is mono to say that abilities are manifested not in the knowledge and skills themselves, but in the dynamics of their consumption, in how quickly and easily a person masters a specific activity. The quality of the performance of the activity, its success and level of achievement, and also how this activity is performed, depends on the abilities.

A significant contribution to the development of the general theory of abilities was made by our Russian scientist B.M. Teplov. He identified the following three main features of "ability".

"Firstly, abilities are understood as individual psychological characteristicsdistinguishing one person from another; no one will talk about abilities when it comes to properties in relation to which everyone is equal.

Secondly, not all individual characteristics in general are called abilities, but only those that are related to the success of performing any activity or many activities.

Thirdly, the concept of "ability" is not limited to those knowledge, skills or abilities that have already been developed by a given person. "

Only through constant exercise associated with systematic exercise such complex types human activities, such as music, technical and artistic creativity, mathematics, sports, etc., we support and develop further the corresponding abilities.

The author of the modern concept of human abilities V.D. Shadrikov defines abilities as properties of functional systems that implement individual mental functions, which have an individual measure of expression, manifested in the success and qualitative originality of the development and implementation of activities. The indicators of the manifestation of abilities are the productivity, quality and reliability of the activities performed by a person 50.

The scientist managed to identify the general cognitive and psychomotor abilities of the individual and the criteria for the productivity of mental processes that determine them.

All types of activity are based on these abilities, since a person is endowed with them by nature. In a particular person, Shadrikov notes, each of the abilities has its own measure of expression in accordance with the criteria by which it is possible to determine the characteristics of the development of a particular ability. Therefore, a person whose abilities are pronounced and allow him to work productively, efficiently and reliably, i.e. to solve the problems of specific activities, can be called capable.

Shadrikov proposed a structure of abilities, which includes functional and operational components that are formed during a person's life in the process of communication and activity.

The functional component of abilities is more stable, it is inherited to a certain extent. In contrast, the operational component of abilities is changeable and variable, since it depends on the type and nature of a person's activity and is an individual acquisition of a personality.

Thus, special abilities are variants of the manifestation of general abilities, their operational form, is formed under the influence of the requirements of activity. So, for example, for musical activity, the features of efficiency acquire such general cognitive abilities as perception, memory, representation, imagination, thinking, and psychomotor abilities.

V.V. Bogoslovsky argued that the nature of human abilities still causes quite heated debate among scientists, and one of the dominant points of view, leading its history from Plato, claims that abilities are biologically determined and their manifestation depends entirely on the inherited fund.

A kind of combination of abilities that provides a person with the opportunity to successfully perform any activity, on

A high level of development of abilities is called talent. According to V.V. Bogoslovsky, talent is a certain combination of abilities, their totality. A single isolated ability, even a very highly developed one, cannot be called a talent.

The highest level of development of abilities is genius. However, it cannot be said that all the individual qualities of a genius are developed to the same degree. Genius has its own "profile", some side dominates, some abilities are manifested in his work.

The formation and development of human abilities is impossible without mastering the products of human culture, without mastering the abilities of many generations, which are recorded in the cultural heritage. The mastery of the achievements of social development, their "translation" into "their" abilities is accomplished through other people, i.e. in the process of communication, which is in its function a process of education.

However, it would be wrong to say that the individual assimilates the entire content of human culture. The achieved level of cultural development of the country, although it influences the development of abilities, does not directly and directly determine them. Moreover, the development of abilities is determined not so much by the products of human culture as by the activity of a person to assign them. Human abilities develop in activity.

From all of the above, an input can be made: the more different types of activity in a person's life, the more developed his individual abilities.

1.2 Concept of musicality and musical ability

Musical ability is often characterized with the term "musicality", which is used both in science and at the everyday level. A person is called a musical person who not only knows how to do something in the field of music (for example, play the piano fluently), but do it with pleasure, easily, causing an emotional response from the audience. Such a definition is not always applied to professional musicians, but a child who still has few skills and abilities may well be called a musical one.

The development of musical abilities is one of the main tasks of the musical education of children. B.M. Teplov in his works gave a deep, comprehensive analysis of the problem of the development of musical abilities. B.M. Teplov clearly defined their position on the issue of the innateness of musical abilities. Based on the work of the outstanding physiologist I.P. Pavlova, he recognized innate properties nervous system human, but did not consider them only as hereditary. He separates the innate properties of the nervous system from the mental properties of a person and emphasizes that only anatomical and physiological characteristics can be innate, i.e. the makings that underlie the development of abilities.

Musicality, as B.M. Teplov is a complex of abilities required for practicing musical activity, unlike any other, but at the same time associated with any apparently musical activity.

"The problem of musicality," emphasizes BM Teplov, "is primarily a qualitative problem, not a quantitative one." Every normal person has some kind of musicality. The main thing that should interest the teacher is not the question of how musical a particular student is, but the question of what his musicality is and what, therefore, should be the ways of its development.

A person's ability is formed in activity, according to specific psychological laws. There is a possibility of change, development of basic sensory qualities that are closely related to musical abilities, i.e. there are no abilities that do not develop in the process of education and training. BM Teplov obtained data that indicate the compensation of some properties by others. For practicing musical activity, not only musical data, sensory and emotional, are important, but also those properties that are needed both for music and for many other types of activity, for example, the ability of attention, imagination, volitional traits. General features, which primarily include the properties of intelligence, appear within special abilities and are inextricably linked with them. Thus, special abilities essentially depend on the abilities of the intellect and other personality traits.

In musical and pedagogical practice, the following three are usually understood as the main musical abilities: ear for music, a sense of rhythm and musical memory. The term ear for music usually includes a very broad and insufficiently defined content. It is necessary to divide the concept of ear for music into the concept of pitch hearing and timbre hearing. Since in music the main carrier of meaning is pitch and rhythmic movement, and the timbre element has, although very important, but subordinate, then as the main musical abilities that form the core of musicality, it is necessary to accept those that are associated with the perception and reproduction of pitch and rhythmic movement. Such are the ear for music as pitch hearing and the sense of rhythm.

Figure 1 Types of Basic Musical Abilities

A freaky feeling, i.e. the ability to emotionally distinguish between the modal functions of the sounds of a melody, or to feel the emotional expressiveness of the sound-sounding movement. This ability can be called the emotional, or perceptual, component of ear for music. The fret feeling forms an indissoluble unity with the feeling of musical height, i.e. height separated from the timbre. The fretting feeling is directly manifested in the perception of the melody, in its recognition, in the sensitivity to the accuracy of intonation. It, along with a sense of rhythm, forms the basis of emotional responsiveness to music. AT childhood its characteristic manifestation is love for music, interest in listening to it.

The ability for auditory representation, i.e. the ability to freely use auditory representations that reflect pitch movement. This ability can also be called the auditory or reproductive component of musical ear. It is directly manifested in the reproduction of melodies by ear, primarily in singing. Together with the modal feeling, it forms the basis of harmonic hearing. At higher stages of development, it forms what is usually called the inner hearing. This ability forms the main nucleus of musical memory and musical imagination.

Musical-rhythmic feeling, i.e. the ability to actively (motor) experience music, feel the emotional expressiveness of the musical rhythm and accurately perceive it. At an early age, the musical-rhythmic feeling is manifested in the fact that listening to music is directly accompanied by one or another motor reaction, which more or less accurately conveys the rhythm of the music. This feeling underlies all those manifestations of musicality that are associated with the perception and reproduction of the temporal course of musical movement. Along with modal feelings, it forms the basis of emotional responsiveness to music.

The strongest impressions and experiences of a child are associated with sounds, music sounds in everything. Meanwhile, the musical development of a child is a complex, multi-component phenomenon that includes various components that are closely interconnected: between natural inclinations and the musical abilities formed on their basis; internal developmental processes and experiences that are passed on to the child from outside; assimilation of experience and the development taking place in this process. Thus, a combination of various internal processes and external influences on them is obvious.

According to V.S. Mukhina, the main driving force behind the development of the child's psyche is the child's interaction with the conditions of his existence, with the social environment: with the world of man-made things, relationships, ways of behavior. It is necessary to add to this series the world of artistic culture, in particular, musical.

The child's musical activity is directly related to the life around him, which represents the widest nutrient layers for the formation of musicality. So, according to Montessori's beliefs, it is important to create a certain environment that would contribute to the child's self-development, including artistic. The process of acquiring life, social musical experience by a child reveals and develops his special features (based on natural inclinations); forms musical interests; stimulates the emergence and development of emotional responsiveness, the desire for active creative activity.

The main role in the development of a child's musicality is played by the adults around him, who can create conditions for the most successful and harmonious course of this process. After all, it is precisely the conditioning by external influences that is one of the decisive factors contributing to early musicality. In this case, the directions of adult activity are the organization of the musical environment and the organization of interaction with children about music, including with the help of non-verbal means. With the correct organization of the musical environment for the child, the problem of the accumulation of auditory images and the development of auditory attention is positively solved. The saturation of the children's auditory space with musical sounds should be done gradually, with a careful attitude to the child's delicate hearing aid. Thus, the decisive factor in the musical development of the child is the organizing environment, the upbringing conditions of which facilitate (or inhibit) the process of increasing the level of musicality.

1.3 Musical and rhythmic activity. Types of musical and rhythmic activities

Musical-rhythmic activity is one of the types of musical activity in which the content of music, its character, images are transmitted in movements. The main thing is music, and a variety of physical exercises, dances, plot-figurative movements are used as a means of deeper perception and understanding.

The system of musical rhythmic movements has a positive effect on the functional activity of the body. THEM. Sechenov, characterizing the relationship between auditory and muscle sensations, emphasized its importance for ontogenesis. And the system of musical and rhythmic education created by the Swiss musician and teacher J. Dalcroze, which became widespread at the beginning of the 20th century. in Europe, confirmed the statement of I.M. Sechenov. E. Jacques-Dalcroze's method, used and currently based on the relationship between music and movement, have a positive impact on each other. This connection ensures the formation in children of both musical and rhythmic skills (rhythmic, dynamic, timbre musical ear, the ability to distinguish the form, the nature of a musical work), musical memory, attention, and motor skills, which ensure the coordination of means of musical expression and their transmission in various movements in games, dances, exercises.

The special value and vitality of his system of musical and rhythmic education lies in its humane character. E. Jacques-Dalcroze was convinced that it is necessary to teach rhythm to all children. He developed in them a deep "feeling", penetration into music, creative imagination, formed the ability to express oneself in movements.

E. Jacques-Dalcroze created a system of rhythmic exercises, according to which he taught his students for tens of years; in it, musical and rhythmic tasks were combined with rhythmic exercises (with a ball, ribbon) and games.

The development of musical abilities is carried out in the process of improving hearing and the ability to coordinate their movements with music. It is necessary to start developing these skills as early as possible in an accessible and interesting form for preschool children: rhythmic exercises, musical games, dances, round dances.

Russian psychology also claims that the effect of music on the general functional activity of a child causes motor reactions in him. According to the psychologist B.M. Teplova, the perception of music "is completely directly accompanied by these or those motor reactions, more or less accurately conveying the temporal course of musical movement ...". By selecting appropriate pieces of music, one can evoke certain motor reactions, organize and influence their quality.

In our country, the system of musical and rhythmic education was developed by N.G. Alexandrova, M.A. Rumer, E.V. Konorova, V.A. Griner et al. With regard to preschool age, special studies were carried out by N.А. Vetlugina, A.V. Keneman and their students M.L. Palavandishvili, A.N. Zimina. The development of the content of rhythmics was attended by M.A. Rumer, T.S. Babadzhan, N.A. Metlov, Yu.A. Dvoskin. How much later did A.N. Zakolpskaya, S.G. Tovbin.

In kindergarten, instead of the term "rhythm", at first they used the terms "rhythmic movements", "musical movement education", then "movement to music", "musical movement", "musical rhythmic movements", "musical rhythmic activity". For many years there has been a debate about the most accurate formulation. However, there is no fundamental difference between all these terms, since most specialists in musical and rhythmic education in preschool institutions they rightly considered music to be the "initial moment" in rhythm, and movement as a means of its assimilation.

T.S. Babajan determines the practice of rhythm as a "musical core", and considers movement as the revelation of emotions associated with a musical image.

The question of the relationship between music and movement in rhythm has been resolved unequivocally: music is assigned the leading role, movement is of secondary importance. At the same time, experts made an important conclusion: only the organic connection between music and movement provides a full-fledged musical and rhythmic education of children.

Musical-rhythmic activity is a type of musical activity, the basis of which is the interaction of music and rhythmic movement. In the process of movements to music, preschoolers master the culture of the body, the "language of movements", the movements are improved, their expressiveness appears.

The practice of using musical-rhythmic activity shows that the earlier it is used in developing work with children (in the form of rhythmic exercises, musical games, dances, round dances), the higher the results in the development of the child's speech function, voluntary activity, motor skills, plasticity, expressiveness movements, non-verbal communication, as well as in the development of musical abilities.

Movement to music as a form of musical activity consists of two components.

Musical and rhythmic skills (the ability to convey through movements the means of musical expression: rhythm, tempo, dynamics, form, character of a musical work)

Skills of expressive movements (basic, gymnastic with and without objects, plot-like, dance).

These components are closely related, and their mastery by children is carried out through games, dances and exercises. In the process of forming movements to music in children with problems, the following tasks are solved:

Development of musical perception, the ability to convey various means of musical expression (rhythm, tempo, dynamics, form, character of a musical work), to reflect genres of music in free movements (march, dance, song);

Mastering the "language of movements", the ability to convey a musical image with the help of gestures, facial expressions, pantomime, in dance, play;

Development of creative manifestations in movements to music, the formation of musical and motor improvisation in plot-play compositions, sketches, plot dances;

Implementation by means of movements for the development of the cognitive, emotional-volitional, motor, personal spheres of the child.

The solution to these problems occurs through the main types of movements to the music used in preschool educational institutions.

From physical exercises in musical-rhythmic activity, basic movements are used (walking, running, jumping, jumping), general developmental (without objects and with objects) and drill exercises (building, rebuilding and moving). In musical and rhythmic activities, simple elements of folk dances, round dances, ballroom dances are used, which form the basis of modern children's compositions. Subject-shaped movements include imitation of the habits of animals and birds, the movement of various vehicles, actions characteristic of any profession, etc.

Musical play is the most active creative activity aimed at expressing the emotional content of music, carried out in figurative movements. L.S. Vygotsky considered play to be the genetic basis, source, root of all creativity, its preparatory stage, and saw manifestations of the connection between children's creativity and play in the syncretic nature of its primary forms, its improvisational character, and close connection with personal experiences. The game has a certain plot, rules, musical and educational tasks.

The theme of musical games is influenced by other sections of education - acquaintance with the social environment, with nature, etc., it is also worth noting the influence of children's folk games, which partially determine the theme of its fairy-tale characters and the form of musical games.

The difference between musical games in the method of musical education can be represented as a diagram. It should be noted that plot games are a type of activity where certain characters appear, the action unfolds and the main task is solved - to convey the game image of the character. Non-plot - games, the rules of which are related to music, and the problem is solved - to move in accordance with the content, character and form of a musical work. The construction of games depends on their content. In general, it can be noted that musical games in their tasks belong to didactic ones, in nature to mobile ones. Their content is in full accordance with the music.

Often, musical games with a drain are used to develop a sense of rhythm, expressiveness of movement, fantasy, imagination. The peculiarity is that all these games can be played without musical accompaniment, melodic text, which to a certain extent replaces the melodic melody.

Most of these games are based on folk texts. They are especially convenient for singing expressive pronunciation (intonation).

The presence of a melodic and rhythmic beginning allows you to perform movements according to the content of the text at the desired rhythm and tempo.

The text of any game can be used to develop a child's sense of rhythm. It is also important that the text does not have to be memorized specifically with the child. It is remembered during the game action. The main condition is an expressive, as if in a chant, rhythmic pronunciation of the text.

Children's, round dances, dances, including elements of folk and classical dance movements, are a peculiar form of musical-rhythmic movements. There are the following types of children's dances, round dances, dances:

Dances with fixed movements. Their construction always depends on the structure of a piece of music. A two-part dance corresponds to a two-part dance.

Combined dances with fixed movements and free improvisation. For them, two-part works with a pronounced contrasting structure or two independent pieces of a different nature, but similar in style, are selected.

Free dances. They are creative and are performed to folk dance melodies. Children use familiar elements of dances, structures, exercises, combine them in their own way, come up with "their own" dance. musical rhythmic children preschool

Round dances of a dance character. They are more often associated with folk songs. Performing them, children stage the plot, accompanying it with dance movements. For example, we can name the well-known popular dance "Karavai", as well as others related to entertainment, holidays, for example, with a Christmas tree (New Year's round dances).

Children's "ballroom" dance. Includes a variety of polkas, gallops, waltz-like movements. The light animating nature of the music is accompanied by repetitive dance movements. The simplest elements of modern dance available to preschool children are also used.

"Characteristic" dance. In it, dancing movements are performed by any character in his characteristic manner (Petrushka dance, dance of snowflakes, bears, bunnies, etc.).

Exercises. Most of the musical and rhythmic skills are easily mastered in the course of learning games, dances, round dances. And yet, some of them require more training, extra effort. The teacher, putting on the task in an interesting form, helps the children cope with it. Exercises, mainly of a play nature, are simple in structure, develop children's motor skills: running and whirling with "sultans" in their hands, running in pairs, stomping, slapping, etc.

Thus, the basis of musical-rhythmic activity is the interaction of music and movement. Musical education by rhythmic movements is carried out in games, round dances, dances, exercises accessible and interesting to children.

1.4 Features of the development of musical abilities in preschoolers

Let us underline the idea of \u200b\u200bB.M. Teplova that a person's musicality "depends on his innate individual inclinations, but it is the result of development, the result of education and training." This is confirmed by other researchers. For example, K.V. Tarasova writes: "The process of formation of musicality is determined mainly by the system of educational influences." A.L. Goediner, noting that in the process of education, innate prerequisites develop and thereby open the way for professional musical activity. Under the confluence of unfavorable conditions, even in the presence of large natural data, abilities may remain undeveloped, and potential opportunities unrealized. Thus, musicality determines the orientation of the personality, while the processes of activity, in turn, reveal the potential and develop it. This is a fundamentally important position for those who work with young children, contributing to their diversified holistic development.

The preschool period is a period of accumulation of musical impressions, intensive development of musical perception. Depending on the age level of development, the character of the musical activity of the preschool child changes significantly.

The child's musicality begins to manifest itself quite early, even before the age of two.

At the beginning of the first months of life, musical sound affects the child purely impulsively, causing a reaction of revival or peace. Gradually, with age and as targeted upbringing, children. They begin to perceive music in accordance with the emotional and semantic content, rejoicing or sadness, depending on the nature of the music, and only later perceives the expressiveness of the image.

In the period of early childhood (1-3 years), the child most clearly manifests the need to communicate not only with an adult, but also with peers. He masters orienting actions with surrounding objects. The child develops a desire for musical activity, the child is interested in movement to music, in singing. All this serves as a prerequisite for musical activity. Children are emotionally responsive to music. Auditory sensations are more differentiated: the child distinguishes between high and low sound, loud and quiet sound. The first consciously reproduced singing intonations appear. Children willingly move to the music: clap, stamp, spin.

At the next age stage (3 - 7 years old), the child shows a great desire for independence, for a variety of actions, including musical activity. Children develop musical interests.

Children 3 - 4 years old have a desire to play music and be active. They master the simplest singing skills. The ability to perform simple movements to the music gives the child the opportunity to move more independently in musical games and dances.

Children 4 - 5 years old show great independence and active curiosity. The child begins to comprehend the connection between phenomena, events, make the simplest generalizations, including in relation to music. But he understands that the lullaby must be sung quietly, slowly. The child understands the requirements of how to sing a song, how to move in a dance. The child's vocal apparatus is strengthened, so the voice acquires some sonority, mobility. Vocal-auditory coordination is getting better. Children are able to memorize a sequence of movements by listening to music. At this age, interests in various types of musical activity are more clearly revealed.

Children 5 - 6 years old, against the background of their general development, achieve new quality results. They are able to distinguish and compare the signs of individual phenomena, including musical ones, to establish connections between them. Perception is more purposeful: interests, the ability to even motivate their musical preferences, their assessment of works are more clearly manifested. At this age, children not only prefer this or that kind of musical activity, but also selectively relate to its various aspects. The child's vocal cords are significantly strengthened, vocal-auditory coordination is improved, and auditory sensations are differentiated.

Children 6 - 7 are able to notice not only the general nature of the music, but also its mood. They already classify works as a specific genre. Children master the simplest techniques of playing percussion, strings, wind children's musical instruments.

A short overview age characteristics the musical development of children can be completed by highlighting their characteristics.

First, the level of musical development depends on the general development of the child, on the formation of his body at each age stage.

Secondly, the level of musical development of children of different ages depends on the active learning of musical activity.

Not all children of the same age are the same in terms of musical development. There are significant deviations in force individual characteristics... Consequently, it is necessary to take into account both the age and individual characteristics of children. The process of developing musical abilities in general can be represented as follows: increased reactivity to musical impressions gives the child a tendency to listen to music, perform and write, which cease to have a steady need to make music, participate in various types of musical activity, create a musical environment around him ... Thus, musicality is considered not only in terms of its leading components (emotion and hearing), sensory abilities (pitch hearing and sense of rhythm), but also in connection with specific types of children's activities: perception, performance, creativity. The influence of various types of musical activity on the development of musical abilities. Musicality as a complex of musical abilities arises and develops in various types of musical activity of a child.

1.5 The value of musical and rhythmic activity for preschool children

Movements to the music of preschoolers form both a general musical career and body culture, which is a necessary condition for their harmonious development.

Musical-rhythmic activity involves acquaintance with the elements of musical literacy, the development of orientation in space, the formation of artistic and creative abilities, forms the correct posture, fosters perseverance, willpower, collectivism.

Musical-rhythmic activity is an additional reserve of children's motor activity, a source of their joy, increased efficiency, relaxation of mental and mental stress, and, consequently, one of the conditions for their successful preparation for educational and work activities. The training of the finest motor skills, which is carried out in the process of teaching musical-rhythmic activity, is associated with the mobilization and active development of many physical functions of the human body: blood circulation, respiration, neuromuscular activity. Understanding the physical capabilities of your body contributes to the development of self-confidence, prevents the emergence of various psychological complexes. Classes in musical and rhythmic activities help to develop those aspects of the personal potential of children on which the content of other objects has a limited influence: imagination, active creative thinking, the ability to consider life phenomena from different positions.

Musical-rhythmic movements help a child learn to control his body, coordinate movements, harmonizing them with the movement of other children, teach spatial orientation, strengthen the basic types of movements, and contribute to the development of dance movements.

Special rhythmic exercises play an important role. From the existing variety methodological techniques the simplest and most accessible is rhythmic walking with an emphasis on a certain count, with claps, exercises with the movement of the arms and body, pronouncing verses, proverbs, tongue twisters (without musical accompaniment). Such exercises develop not only a sense of rhythm, but also breathing and diction. You can use not only walking in a straight line, but also include movements according to a given pattern (diagonal, circle, snake, middle of the hall, etc.).

In the process of training, it is important to set the back or form the correct posture. Posture is usually called the ability of a person to hold his body in various positions. Posture can be right or wrong. Correct posture is the habitual posture of a naturally standing person who has the ability to keep the body and head straight without unnecessary active stress. A child with the correct posture has an easy gait, the shoulders are slightly lowered and laid back, the chest is forward, the stomach is tucked up, the legs are extended at the knee joints.

A child who does not know how to properly hold his body stands and walks on bent legs, slouched over, head and shoulders bowed, stomach outstretched.

This is not only ugly, but also harmful. Poor posture makes it difficult to work internal organs... Poor posture (stoop, excessive deflection of the spine forward - lordosis or kyphosis, flat back) and lateral curvature of the spine - scoliosis are very common among children. The most common postural disorders are stooped back (lowered back, shoulders brought together in front, chest flattened, round back, round shoulder blades). The characteristic signs of correct posture are: straight position of the head and spine; symmetrical scapula: almost horizontal line of the clavicle; symmetrical position of the buttocks; smooth lines with the wings of the pelvis; same length lower limbs and the correct position of the feet (their inner surfaces touch from the heels to the tips of the toes). Correctly selected exercises in the process of musical and rhythmic activity allow, to some extent, correct figure flaws, help children acquire stability. The habit of keeping the body taut becomes in the future a performing skill that determines creative discipline, both in dance and in life.

Prevention of flat feet is also present in the classroom for musical and rhythmic activities. Flat feet is a deformation of the foot, characterized by the simplification of its arches. There are transverse and longitudinal flat feet, a combination of both forms is possible. Flat feet is in direct proportion to body weight: the greater the body weight and, therefore, the load on the feet, the more pronounced the longitudinal flat feet. The main symptoms of longitudinal flat feet are pain and rapid fatigue of the feet. With mild flat feet after physical exertion, a feeling of fatigue appears in the legs, and when pressing on the foot, painful sensations arise. The gait becomes less plastic, often in the evening the foot swells. Flat feet refers to the disease that, having arisen, progresses quickly enough.

For the prevention of flat feet are of great importance special exercises and techniques: walking barefoot on an uneven surface, walking on half-toes, jumping, outdoor games.

The most important function of the hands is considered - the plastic expression of emotions, the meaning of the dance performed, and the harmonious form that the hands give to the whole figure. A wide, free and expressive gesture largely depends on the correct technical and artistic movement of the hands in positions. Having studied the positions of the hands, the children are not "pinched", they feel free and harmonious, performing all the movements and compositions. Hands do not interfere with them, but on the contrary help in the performance of dances and dance compositions.

Using in the classroom musical and rhythmic activities of various images, copying and imitating them, brings children closer to life (animal habits, distinctive features of cartoon characters and fairy-tale heroes).

Musical-rhythmic activity is inextricably linked with dance, and dance, in turn, like other types of art, develops an aesthetic taste, brings up elevated feelings, teaches you to a culture of communication and a dance culture? in particular.

When you look at the dancer, it seems how easy and simple everything is performed, behind this ease there is a lot of hard work, both for the child and the teacher.

The development of musicality is facilitated by conducting for the first time years of training various music and dance games in the classroom. The games are often accompanied by singing or poetry. This develops in the child not only musicality, but also expands their horizons, memory, imagination.

The most favorite for children are musical rhythmic and speech games. They organize children, develop attention, ingenuity, quick reaction, hard work.

If games are correctly selected in which children are given creative tasks - think, compose, improvise, find, compose - then they develop search activity in children, make them think, create and fantasize. Therefore, in the classroom, it is necessary to maintain a playful mood in them, so that the child perceives the classes as an interesting game-task.

Much attention was paid to the purposeful development of a sense of musical rhythm through playing in children by the German music teacher Kar Orff, who is the creator of a system of timbre-rhythmic education based on sounding gestures: taps, slaps, slaps, knocks, clicks. The author considered these sounding gestures not only as carriers of certain timbres, but also as one of the means of mastering rhythm in movement. This allowed the development of coordination of movements, education of quick reactions in children.

The German teacher made extensive use of musical play as one of the main types of musical rhythmic movements. In addition, to achieve a greater effect in the development of timbre-rhythmic feeling in preschoolers. K. Orff recommended the most frequent inclusion of speech in this process (namely, the voices of children (in order to create different timbres. As the main form of this type of activity, he proposed using speech games with movement, in which the text and the nature of the movements were reproduced depending on the rhythmic the content of a piece of music, or a piece of music.

Thus, all of the above once again proves the need for the development of musical abilities in preschool age, since it is this period that is the most sensitive and if you do not direct the child's development, then these spontaneous manifestations will remain unrealized.

It is necessary to create conditions from an early age for the development of the foundations of children's musical culture. Some children are able to achieve a high level of musical development, others, possibly more modest. It is important that from early childhood children learn to treat music not only as a means of entertainment, but also as an important phenomenon in spiritual culture. Let this understanding be primitive, but it is significant for the individual.

Only by developing the needs, interests, emotions, feelings, tastes of children (musical and aesthetic consciousness), it is possible to introduce them to the musical culture, to lay its foundations.

Preschool age is extremely important for a person's subsequent mastery of musical culture. If in the process of musical activity the musical and aesthetic consciousness of children is developed, this will not pass without a trace for their subsequent development, spiritual formation.

Acquiring in the process of musical activity certain knowledge about music, skills and abilities, children get involved in the art of music.

It is important that in the process of musical education the acquisition of knowledge, skills and abilities is not an end in itself, but promotes the development of musical and general abilities, the formation of the foundations of musical and general spiritual culture.

Musical-rhythmic activity for children is an additional type of development of the motor analyzer, forms the culture of the body, which is a necessary condition for their harmonious development; helps the child learn to control his body, coordinate movements, coordinating them with the movement of other children, and also develops a sense of rhythm.

Chapter 2. Studying the peculiarities of musical abilities and sense of rhythm in older preschool children

1 Purpose and objectives of the ascertaining experiment

Purpose of the study: to determine the level of development of musical abilities and sense of rhythm in older preschool children.

Research objectives:

Choose a diagnostic toolkit aimed at studying the level of development of musical abilities and sense of rhythm in older preschool children.

The ascertaining experiment was carried out on the basis of the Municipal Autonomous educational institution School No. 5 "Kindergarten No. 12" for senior preschool children with visual impairments and musculoskeletal system

2.2 Methods of conducting the ascertaining experiment

As part of the ascertaining experiment, the following techniques were used:

1.Methodology for the diagnosis of musical abilities O.P. Radynova (Appendix 2).

2.A modified version of diagnostics of the level of formation of the sense of rhythm for older preschoolers, using music and movement, compiled on the basis of A.I. Burenina and A.N. Zimina (Appendix 3).

2.3 Analysis of the results of the ascertaining experiment

During the diagnostics of musical abilities (O.P. Radynova), the following data were obtained (Appendix 5):

A freaky feeling (Diagram 1).

Assignment number 1: Listen and distinguish three pieces of different genre: march, polka, lullaby. Choose a card according to the genre.

% - children listened attentively to musical fragments, determined the genre (march, polka, lullaby) and performed tasks without prompting;

% - listened inattentively, got distracted, determined the genre of a piece of music, laid out cards.

% - the task was performed correctly, there is no interest.

Task number 2: Listen to an unfamiliar song, determine its character and content (T. Popatenko "Leaf Fall"; M. Krasev "The Merry Fool").

% - listens attentively, can determine the character, tell what the song is about.

% - they listen inattentively, they cannot tell about the content, but they can determine the character.

% - no interest, almost do not react to the song.

Task number 3: With the help of the didactic game "Bear, fox and sparrow", determine the register, lay out the appropriate card.

% - attentively listen to musical fragments, determine the register, correctly perform the task.

% - listen inattentively, get distracted, but can complete the task.

% - no interest, do not perform tasks or perform incorrectly.

Diagram 1

Musical and auditory performance (Diagram 2).

Task number 1:

% - they sing the whole phrase, the diction is clear, the intonation is close to correct.

% - singing along with individual words, diction is not legible.

Task number 2:

Sing an unfamiliar song, with the support of a teacher with accompaniment (Russian folk song "Like at our gates"; M. Alexandrov "They came to visit us").

% - chanting the entire phrase, with the correct execution of the task.

% - singing along with individual words or word endings.

% - no intonation, emotional reaction without singing along.

Assignments number 3:

Name the proposed instruments (metallophone, tambourine, drum, triangle, maracas), show the techniques of playing various instruments.

% - they are called correctly, they know the techniques of the game.

% - they are not named correctly or not all the instruments are named, they know how to play.

% - cannot name the tools, has a poor command of the game techniques.

Task number 1:

To clap a rhythmic pattern (Russian folk song "Cornflower"; music by Karaseva "The sun is a bucket").

% - exact execution of the rhythmic pattern.

% is not entirely accurate.

% - failure to complete the task, no interest.

Assignments number 2:

The child is offered a task - to move in accordance with the three-part form of a piece of music. The child's ability to react in time to a change in a musical phrase, to move correctly performing the movement, emotionally, clearly, is assessed.

% - change of movements to music, movements are performed correctly, there is a sense of the pulse.

% - there is a desire to move to music, no emotional movements, no change of movements to music.

% - small motor reaction to music.

Task number 3:

To stage a song on your own (Song "About me and the ant"; Russian folk song "And I walked in the meadow"). The variety of selected movements is assessed, not imitating each other, changing movements in accordance with the lyrics.

% - expressively performs movements, feels the change of movements to the music, performs various elements.

% - there is a desire to move to the music, there is no variety of performed elements, there is no change of movement in accordance with the lyrics.

% - little motor reaction to music, no desire to complete the task.

Task number 4:

Invite the child to dance to the Russian dance hall, performing familiar dance movements (alternately throwing the legs forward in a jump, half-squats with the feet on the heel, step in place, moving forward and circling). The correct execution of all elements, the variety of selected movements, improvisation to music are assessed.

% - expressively performs movements, correctly performs all the elements, can come up with his own.

% - there is a desire to move to the music, not all movements are performed correctly, cannot come up with their own.

% - small motor reaction to music, no desire to complete the task.

Sense of rhythm (Diagram 3)

As a result of the diagnostics of the level of musical abilities, the following levels of development of children were identified: 2 children have a low level of development, 8 - average. This group does not have a high level of development of musical abilities (Appendix 4). Frequently ill children who rarely attend kindergarten have a low level of development.

Based on the theoretical analysis of the available options for diagnosing the spatial representations of preschoolers, we tried to develop a modified version of diagnosing the level of formation of the sense of rhythm for older preschool children, using music and movement, based on the author's works of A.I. Burenina, A.N. Zimina.

The diagnostic material contains three series of tasks. Evaluation criteria from 1 to 3 points are defined for each task. (Appendix 3):

In the first series (Diagram 4), we revealed the formation of movements in accordance with the rhythm. It contains the following tasks: 1.1. "Transfer of the character of a familiar piece of music in motion"; 1.2. "Transmission in motion of the character of an unfamiliar piece of music (fragment) after preliminary listening"; 1.3. "Correspondence of the rhythm of movements to the rhythm of music"; 1.4. "Coordination of movements and attention" ("rhythmic echo with sounding gestures").

Diagram 4

Based on the results of diagnostics in Series 1 (Appendix 5), it can be concluded that 75% of children, when studying the formation of movements in accordance with the rhythm, when transmitting the character of a familiar piece of music in movement, change movements with a delay (as shown by other children), but the movements correspond to the character music.

% of children transmitting, in movement, the character of an unfamiliar piece of music, movements are not emotional enough, but correspond to the character of the music, and only 5% perform the task emotionally and correspond to the character of the music. 30% clearly perform movements to the rhythm, 20% perform movements with errors, and 50% perform movements not rhythmically. When completing the last task in this series, children were not found at a high level, 50% make 1-2 mistakes, and 50% do not cope with the task.

The second series (Diagram 5) was aimed at studying rhythm reproduction. The following tasks are offered here: 2.1. "Playing the rhythm of a familiar song while singing"; 2.2. "Reproduction of the rhythm of a melody played by a teacher on an instrument"; 2.3. "Playing the rhythm of a song in steps"; 2.4. "Playing rhythmic patterns in claps or drums" ("rhythmic echo").

Diagram 5

Based on the results of the Series 2 diagnostics (Appendix 5), it can be concluded that 70% of children reproduce the rhythm of a familiar song with errors, 30% without. 70% of children make mistakes when determining the rhythm of a song played by a teacher, 20% cope faultlessly. 80% reproduce the rhythm only with steps, while standing still, 10% can beat the rhythm in motion and in place. 10% did not complete the task. 70% make 1-2 mistakes when playing a rhythm in claps (percussion instruments), 20% can do it accurately.

The third series (Diagram 6) is aimed at identifying the level of creativity in musical-rhythmic activity. It presents the same tasks: 3.1. "Composing rhythmic patterns"; 3.2. "Dance creativity"

Diagram 6

In the course of this series, the following data were obtained (Appendix 5). 3.1. 40% of children use standard schemes when composing rhythmic patterns, 30% - children compose original rhythmic patterns and the remaining 30% - cannot cope with the task.

% of children feel the general rhythm of the music, repeat movements after others, movements correspond to the nature of the music; 40% - cannot complete tasks without the help of an adult, do not feel the character of the music, movements do not correspond to the music.

A similar table of tasks performed by each child is presented in Appendix 5.

As a result of diagnostics of the level of formation of the sense of rhythm of older preschool children with the help of music and movement, we obtained the following data: 2 children have a low level of development, 8 - average. Children do not have a high level of development of a sense of rhythm.

When comparing the results of the diagnostics, we saw that the same children have a low level of development of both musical abilities and sense of rhythm.

During the ascertaining experiment, the following tasks were solved:

1.A diagnostic toolkit was selected, aimed at studying musical abilities in older preschool children.

2.Based on the theoretical analysis of the available diagnostic options for the sense of rhythm in preschoolers, we tried to disassemble a modified version of diagnostics of the level of formation of the sense of rhythm for older preschoolers using music and movement, compiled on the basis of A.I. Burenina 6 and A.N. Zimina. 17

.The data obtained in the course of diagnostics of musical abilities (features of modal feeling, musical and auditory representations, sense of rhythm) and the peculiarities of the development of sense of rhythm in older preschool children are analyzed.

.As a result of the obtained data, we considered it necessary to carry out a special selection of musical and outdoor games, rhythmic and dance movements and develop a developmental program aimed at developing a sense of rhythm in musical rhythmic activity.

Chapter 3. The program for the development of a sense of rhythm in older preschool children in musical and rhythmic activity

3.1 Explanatory note

Formation of musical and motor movement in preschoolers, including a sense of rhythm, is one of the programmatic tasks of upbringing in kindergarten.

The practice of musical perception of preschoolers has long been orienting children to reflect in their movements not only the rhythm of the music, but also its intonation, character, and figurative content.

Dance (rhythmic) movement is one of the most productive types of musical activity from the point of view of the formation of musical creativity and creative personality traits in preschoolers, a sense of rhythm.

The main task of dance for preschoolers is to familiarize children with the art of dancing, educate children to have a deeper perception of music, develop musical abilities, and form aesthetic taste and interests.

The combination of music and movement helps to overcome the shortcomings of the psychomotor, motor, cognitive and emotional-volitional spheres of children. With the help of musical rhythmic movements, you can compensate for motor and emotional deficits, teach children to control their bodies, form the ability to differentiate movements in space, control the pace of movement and subordinate their movements to music, giving them expressiveness and confidence. The ability to convey your feelings and experiences with the help of beautiful gestures, movements, postures, facial expressions without undue stress and make up the human motor culture. Its main purpose is muscular feeling, which is developed in the course of practicing musical rhythm.

The relevance of the development of this topic is due to the lack of knowledge of the problem of using musical-rhythmic activity as a means of developing a sense of rhythm in older preschool children, as well as the data obtained during the ascertaining experiment.

Based on the results of the ascertaining experiment, we compiled a program, carried out a special selection of musical and outdoor games, rhythmic movements, dance movements, in which variability is provided depending on the individual characteristics of children.

The purpose of the program: the development of a sense of rhythm in older preschoolers in musical and rhythmic activity.

Develop a sense of rhythm, tempo, dynamics, shape, character of a piece of music, coordination and freedom of movement;

Learn to understand and actively use the direction of your movement in speech.

Learn to perform actions in accordance with the instructions of the teacher.

Develop fine motor skills, coordination of movement and speech.

The program includes the following sections (Appendix to the program):

section - "Warm-up" - is aimed at warming up the muscles, preparing children for movement.

section - "Greetings" - is aimed at creating a favorable environment in the classroom, is a condition for children to enjoy the process of communication, help children to overcome the fear of communicating with peers, coming into contact with adults.

section - "Finger games" - serve as the main one for manual skill, hand coordination. Exercises, turned into an exciting game, not only enrich the child's inner world, but also have a positive effect on improving memory, thinking, and develop imagination; develop a sense of rhythm, the ability to verbal expression of spatial relationships.

section - "Dance composition" - develops an ear for music, a sense of rhythm, the ability to use gestures, facial expressions, pantomime, to convey a musical image in dance.

section - "Musical outdoor games" - are the leading activity in the lesson. It uses the technique of imitation, imitation, figurative comparisons, role situations, musical rhythmic exercises; games according to verbal instructions.

section - "Rhythm in verses" - "Musical instruments" - the development of rhythmic hearing, memory activation and consolidation of rhythm in the transmission of movement.

section - "Musical-motor fantasies" - motor improvisation to music, is carried out at the end of the lesson and instills in children a love for music, the desire to listen to it, develops the ability to move freely and beautifully to music.

Work on developing a sense of rhythm is presented in each section of the program. For this, the following games and exercises are used to develop a sense of rhythm:

The musical material is designed for the active participation of the child, who is not a passive performer of the teacher's instructions, but an accomplice in the pedagogical process.

We assumed work with the obligatory inclusion of a music director, educator and psychologist (Table 1):

Table 1

Musical director Educator Psychologist Conducting classes in musical and rhythmic activity. Accompanying children in classes in musical and rhythmic activity, following the instructions of the musical director. Carrying out games with children in their free time. Acquaintance with the methods and results of diagnostics. She includes musical games as repetition and reinforcement in her classes, observes the emotional state of children. Greeting. Finger gymnastics... Dance composition. Musical outdoor games. Rhythm in verse. Musical and motor fantasies. Finger gymnastics. Musical outdoor games. Verbal instruction games. Finger gymnastics. Musical outdoor games. Musical and motor fantasies.

Classes in musical and rhythmic activities were conducted by the music director together with the teacher. Classes were held in the form group lessons in a music hall equipped with the necessary equipment. The individual form of classes was conducted with children who missed classes or could not cope with the proposed tasks. Classes were built taking into account the age and individual characteristics of children.

Developmental work was carried out not only in specially organized classes, but was also included in the regime moments.

In the course of the classes, such conditions were created so that the children developed a mindset for success, for accepting the help of an adult. The direct participation of the teacher in games and exercises was of exceptional importance, allowing not only to guide the activities of children, to maintain their activity and independence, but also to establish trusting relationships with each child.

When developing the content of the program, we relied on the following principles:

1.The principle of accessibility and individuality: taking into account age characteristics, child's capabilities, an individual approach to everyone.

2.The principle of a gradual increase in requirements: the child's fulfillment of more difficult, new tasks.

.The principle of systematicity: continuity, regularity of classes.

.Play principle: is the leading activity in preschool age.

.The principle of repeatability of the material: repetition of the developed motor skills.

.The principle of visibility: illustrations, pictures, practical demonstration of movements.

The program was tested at the base in the preparatory group for 3 months, the classes were held once a week.

The duration of the lesson is 30-35 minutes.

In Appendix 7 there are lecture notes.

3 Results of work on the development of a sense of rhythm in musical and rhythmic activity of older children

To check the effectiveness of our work, a control experiment was carried out.

The purpose of the control experiment: to determine the effectiveness of the program and to confirm the hypothesis.

Control experiment tasks:

To reveal the dynamics of the level of development of the sense of rhythm in older preschoolers in comparison with the initial level of development and musical abilities.

Analyze the effectiveness of the developmental program.

To identify the dynamics of the development of the sense of rhythm and musical abilities, we used the same diagnostic tasks as in the ascertaining experiment. The study was conducted with children in April 2014 (see the results in Appendices 6, 7).

Comparative analysis average score of diagnostics of the level of sense of rhythm before and after developmental work showed positive dynamics in each task.

"Correspondence of the rhythm of movements to the rhythm of music" showed good dynamics: 60% of children began to move more rhythmically, to perform movements clearly; children tried to complete the task "Coordination of movements and attention", a high level was shown by 20% after the development work. Children began to more accurately reproduce the rhythmic patterns, became relaxed in their movements. In assignments with music, children listened and moved in accordance with the music. They began to perform tasks more freely and more confidently (Appendix 6).

Diagram 7

After the developmental work, the following changes took place: children with high level development of a sense of rhythm - 6 (60%), an average level - 3 (30%) and a low level - 1 (10%).

Nastya Antsygina moved to a medium level of development, and Valera Kopytov remained at a low level of development. For a detailed table of results, see Appendix 6.

Indicators of the comparative analysis of the average score of the ascertaining and control diagnostics of the level of musical abilities of senior preschoolers (according to O.P. Radynova).

Average score before development work

.Fret feeling

Genre - 2.2 points

Character - 1.8 points

Register - 2.4 points

.

Sing a familiar melody - 2.2 points

Musical instruments - 2.4 points

.Sense of rhythm

Swap rhythmic pattern 1.9 points

Movements in accordance with 3 hours. Form - 2.2 points

Staging a song on your own - 1.8 points

Dance to the Russian dance - 1.7 points

Average mark after development work

.Fret feeling

Genre - 2.2 points

Character - 1.8 points

Register - 3 points

.Musical and auditory performances

Sing a familiar melody - 2.3 points

Sing an unfamiliar melody - 1.5 points

Musical instruments - 2.8 points

.Sense of rhythm

Movements in accordance with 3 hours. shape - 2.6 points

Perform a song on your own - 2.1 points

Dance to the Russian dance - 1.9 points

According to the indicators of the average score of this diagnosis, it is possible to trace changes in the positive direction after the developmental work. When comparing the indicators for determining the register, it is clear that all the children have completed the task correctly. The indicator "Musical Instruments" has grown - 80% of the children completed the tasks correctly, named musical instruments and showed the techniques of playing them. The indicator "Movement in accordance with the three-part form" has changed after the development work, it has doubled - 60% instead of 30%. The indicator "independently staging a song" also showed positive changes, namely, children became more free in their movements and emotional (Appendix 7).

Comparative analysis of the average score for musical ability;

Before - 20, 1 point After - 22.3 points

After the developmental work, significant changes took place: in this group there were children with a high level of development of musical abilities - 3 (30%), an average level - 6 (60%) and a low level - 1 (10%). During the ascertaining experiment, we found out that children with a low level of development were often sick and rarely attended kindergarten. Nastya Antsygina moved to a medium level of development, and Valera Kopytov remained at a low level of development. This is due to the fact that the child is often sick and therefore does not attend kindergarten, but if you look at the tables of results before and after correctional work, then you can see a positive trend in development. The boy correctly identifies the register, tried to complete the tasks, and he had a desire to move to the music, became more mobile.

A comparative analysis of the changes in the levels of development of children after carrying out developmental work is presented in Table 2.

Comparative analysis of changes in levels of development.

Musical ability Spatial predstavleniyaDo After Before After Levels Antsygina NastyaNizkiySredniyNizky Middle Yeremeev KolyaSredniySredniySredniyVysokiyZadornova AlisaSredniyVysokiySredny VysokiyIgoshin IvanSredniySredniySredniySredniyKopytov ValeraNizkiyNizky Low NizkiyKudrina LeraSredniySredniySredniyVysokiyKulchikov TimaSredniySredniySredniySredniySmirnov VityaSredniySredniySredniyVysokiyTrapizon VanyaSredniySredniySredniyVysokiyShestakov VovaSredniySredniySredniyVysoky High 0306Sredniy8683Nizkiy2121

Comparative analysis of the ascertaining and control experiment showed a positive dynamics of changes in the development of the sense of rhythm in older preschool children.

Thus, the data obtained after the control experiment indicate that musical-rhythmic activity has a positive effect on the development of a sense of rhythm in older preschool children. The use of music in conjunction with movements contributes to the development of a rhythmic feeling, promotes the development of coordination of movements, the habit of moving more freely and naturally.

The program developed and tested by us gave positive shifts in musical-rhythmic activity, in the transmission of movements in accordance with the rhythm of the music, reflection of the rhythm of musical works, both familiar and unfamiliar, understanding of verbal instructions and performing actions based on verbal instructions.

Conclusion

In the process of studying this topic, the goal was achieved: a theoretical and experimental study of the process of developing a sense of rhythm in older preschool children in musical-rhythmic activity was carried out.

The following tasks were solved:

The literature on the problem of developing the sense of rhythm in children is analyzed; the use of musical and rhythmic activity in working with older preschool children.

A diagnostic toolkit was selected, aimed at studying the level of development of musical abilities. Based on the theoretical analysis of the available options for diagnosing the sense of rhythm in preschoolers, we tried to develop a modified version of diagnosing the level of formation of the sense of rhythm for older preschoolers, using music and movement, based on A.I. Burenina and A.N. Zimina.

The features of the formation of the sense of rhythm and musical abilities in the course of the diagnostic tasks were highlighted.

A developmental program for the development of feeling and rhythm in musical-rhythmic activity has been developed and tested, which includes an explanatory note, purpose, tasks, sections, forms of work. The program can be recommended for implementation by a music director, together with an educator and a psychologist in preschool institutions. AT research work through approbation, we were able to identify positive results in the development of a sense of rhythm in older preschool children, namely, when transmitting musical rhythm in movements, on musical instruments, reproducing rhythmic patterns of songs, musical works, understanding verbal instructions and performing actions based on verbal instructions. The use of music in conjunction with movements contributes to the development of coordination of movements, the habit of moving more freely and naturally.

The research hypothesis has been proved: the sense of rhythm is the main ability in the structure of musicality; musical rhythmic activity is the main means of developing a sense of rhythm; selection of special forms, productive methods and techniques of musical-rhythmic activity, contributed to the effective development of a sense of rhythm.

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