Perception as the leading type of musical activity of preschoolers. III. The perception of music is the leading type of musical activity. Meaning, tasks, features of music perception by children of different age groups

Answer: Perception- this is a reflection in the cerebral cortex of objects and phenomena that affect human analyzers. Perception is not just a mechanical, mirror reflection by the human brain of what is in front of his eyes or what his ear hears. Perception is always an active process, an active activity. It is the first stage of the thought process, therefore, precedes and accompanies all types of musical activity.

The definition of musical perception includes the ability to experience the mood and feelings expressed by the composer in a piece of music, and receive aesthetic pleasure from this. The perception of music is carried out already when the child is still small and cannot be involved in other types of musical activity, when he is not yet able to perceive other types of art. The perception of music is the leading type of musical activity in all age periods preschool childhood.

Age features of musical perception of preschoolers
The development of musical perception occurs in each year of a preschooler's life. TO two years the child actively develops an emotional response to music. At this age, children are able to emotionally respond to the perception of contrasting mood music, so you can observe a cheerful revival when a child perceives cheerful dance music or a calm reaction when perceiving music of a calm nature, such as a lullaby. Children develop auditory sensations: the child can distinguish between high and low sounds, quiet and loud sounds. Children at this age are characterized imitation: they actively imitate the actions of an adult, which contributes to the initial development of methods of performing activity. At this age, there is still no clear division of the types of musical activity, but nevertheless, it can be noted that children have the first successes in singing and in the development of movements. Movements begin to develop to the music, walking becomes more coordinated. The child is able to master the simplest movements, such as, for example, clapping, stomping, springs, whirling, rocking from foot to foot, can perform elementary movements with attributes (handkerchiefs, rattles, etc.).
TO third year life accumulates a certain supply of musical impressions, the child can recognize well-known pieces of music and emotionally react to them, shows interest in new pieces. However, the stability of attention, due to age characteristics, is insignificant: children are able to listen to music continuously for 3-4 minutes, so a quick change in activities, game actions allows you to keep the child's attention, directing him in the right direction. Researchers note that children have prerequisites for creative manifestations in musical activity based on imitation of an adult. Most often, these manifestations can be observed in dances and music games where children independently use familiar movements.
On the fourth year of life, the development of the fundamentals of the child's musicality continues. There is an active emotional response to music of a contrasting nature. Children lively and directly react to musical works, expressing a variety of feelings - revival, joy, delight, tenderness, calmness. They develop musical thinking and memory, speech is actively developing. She becomes more connected. There is a desire to express themselves in different types of musical activity. Children listen to music with pleasure and move to it, remember and recognize familiar pieces of music, ask them to repeat them; they are more actively involved in the singing of an adult: they sing along the ends of phrases, they can sing short songs together with an adult, built on repetitive intonational turns. At the heart of children's activity is imitation of an adult. The movements to the music gradually improve: they become more natural and more confident, but not coordinated enough with the music. In the process of music lessons, children master simple dance movements, learn to coordinate movements with the nature of the music. Children love to participate in musical story games, performing certain roles (chickens, bunnies, kittens, etc.) and learn to associate their movements with the changes that occur in the music (they move quietly if the music sounds soft, faster if the tempo of the music becomes mobile). At this age, the creative manifestations of children become more noticeable. They develop an interest in the knowledge of musical and non-musical sounds, they enjoy playing noise musical instruments (spoons, sticks, etc.). Children's ideas about other musical instruments and the possibilities of playing them are gradually expanding: a drum, a tambourine, a rattle, a bell, a metallophone, etc. They distinguish them by appearance, sound timbre, can independently voice them using in games.
Children of the fifth year of life show emotional responsiveness to music, distinguish the contrasting mood of music, learn to understand the content of a piece of music. They accumulate, albeit small, listening experience, musical preferences are observed, and the foundations of a musical listening culture are laid. In the process of perception, children can, without distraction, listen to a piece of music from beginning to end. Differentiation of perception develops: children distinguish separate expressive means (tempo, dynamics, registers), begin to distinguish between the simplest genres - march, dance, lullaby. In the process of musical activity, the basic musical abilities are actively developing (modal feeling, the manifestation of which is emotional responsiveness to music, a sense of rhythm). The development of musical-sensory abilities continues: children distinguish contrasting sounds in terms of height, dynamics, duration, timbre (when comparing familiar musical instruments). The experience of performing musical activity is accumulating. All types of musical performance begin to develop more actively. Children gradually master the skills of performing in singing, rhythm, playing elementary musical instruments. The vocal and respiratory apparatus grows and improves. Children listen with interest to songs performed by adults and with a desire to sing songs together with an adult and on their own, conveying their own emotional attitude. They develop and become more stable singing skills, favorite songs appear. Thanks to the development of the musculoskeletal system, movements to music become more rhythmic and coordinated. Children better navigate in space, move to the music more confidently and more expressively, adequately to the nature and expressive features of the musical work. With the help of movements, children are able to convey changes in dynamics, tempo, and registers. Children's ideas about dance genres are expanding, the stock of dance movements is increasing. The figurative-game movements used in story games and when playing songs become more expressive and plastic. There are also creative manifestations of children in singing, games, free dances. Interest in playing children's musical instruments is becoming more stable. The stock of ideas about elementary musical instruments is increasing, the skills of playing them are being improved. Children are happy to participate in various types and forms of musical activities (in independent musical activities, holidays, entertainment).
Children of the elder before school age they can distinguish not only the general emotional coloring of music, but also expressive intonations, if compared with speech intonations: interrogative, affirmative, asking, formidable, etc. Children can determine expressive accents, the nature of the melody, accompaniment. They have an idea that the nature of music is conveyed by a certain combination of expressive means: a gentle, light, calm melody, as a rule, sounds leisurely, in the middle or upper register, quietly, smoothly; joyful, cheerful character of music is often created by bright sonority, fast tempo, impetuous or spasmodic melody; anxiety is conveyed with the help of a low, gloomy register, jerky sound. Children embody in movement not only the mood of music, but also the features of melody, rhythm, timbre, the process of developing a musical image. In the sixth or seventh year of life, they can generalize their impressions, operate with such terms as introduction, verse, sing-along, part, tempo, etc. They perceive the nature and means of expressiveness of a musical work even without relying on game images and teaching methods.
Thus, we can draw the following conclusion: the development of musical perception of preschoolers goes on at all stages of physical and mental development child. But a child's musical perception will not develop and improve to the full extent if it is based only on listening to musical works. It is important for the development of musical perception to use all types of musical performance.

Program "Musical Masterpieces" by O. P. Radynova

Designed for children ages three to seven. We'll take a closer look at it because it's currently the only music listening software available. The purpose of the program is to form the foundations of the musical culture of preschool children. The program contains a scientifically based and methodically built system for the formation of the foundations of the musical culture of preschool children (from three to seven years old), taking into account the individual and psychophysiological characteristics of children and interconnected with all educational work kindergarten. The program is aimed at two age groups: from three to five years old and from six to seven years old. The repertoire is based on the use of works of "high art", authentic examples of world musical classics.

Perception is a reflection in the cerebral cortex of objects and phenomena that affect human analyzers.Perception is not just a mechanical, mirror reflection by the human brain of what is in front of his eyes or what his ear hears. Perception is always an active process, an active activity. It is the first stage of the thought process, therefore it precedes and accompanies all types of musical activity.

The perception of music is carried out already when the child cannot be included in other types of musical activity, when he is not yet able to perceive other types of art. The perception of music is the leading type of musical activity in all age periods of preschool childhood.To hear, to perceive music means to distinguish its character, to follow the development of the image: a change in intonation, moods. The well-known musician-psychologist E.V. Nazaykinsky proposes to distinguish between two terms: the perception of music and musical perception, depending on whether it took place. Musical perception he calls the perception that has taken place - felt and meaningful. "Musical perception is a perception aimed at comprehending and comprehending the meanings that music has as an art, as a special form of reflection of reality, as an aesthetic artistic phenomenon." In the opposite case, music is perceived as sound signals, as something audible and acting on the organ of hearing. It is important to form a musical perception.

The perception of a child and an adult, due to different musical and life experiences, is not the same. Perception of music by children early age characterized by an involuntary character, emotionality. 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. In children of older preschool age, with the enrichment of their life experience, the experience of listening to music, the perception of music gives rise to more diverse impressions.

The perception of music by an adult differs from that of a child in that music is able to evoke richer life associations, feelings, as well as the ability to comprehend the heard music on a different level than children.

However, the quality of perception of music is not associated only with age. Undeveloped perception is superficial. It can also be in an adult. 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 accustomed to empathize with the feelings expressed in it from childhood. N.A. Vetlugina writes: “The development of musical susceptibility is not a consequence of a person’s age-related maturation, but is a consequence of purposeful education.”

Thus, perception depends on the level of musical and general development person, from purposeful education.

Both emotions and thinking are involved in the perception of works of art. When listening to music, the role of the emotional component is especially great. If a person has a developed perception, then he comprehends the meaning of a piece of music even with one listening. With repeated listening, the perceived musical image deepens, the work opens up with new facets. Therefore, in childhood, when the experience of perceiving music is still small, as a rule, several listenings are required in order for the perception of the work to become more meaningful, felt. Therefore, it is so necessary to develop the musical perception of preschoolers, to train it.

The difference in the nuances of music develops in children from an early age. At each age stage, the child distinguishes the most vivid expressive means with the help of the possibilities that he possesses - movement, word, game, etc. Therefore, the development of musical perception should be carried out through all types of activities. Listening to music comes first. Before performing a song or dance, the child listens to music. Receiving various musical impressions from childhood, the child gets used to the intonation language of folk classical and modern music, accumulates experience in perceiving music that is different in style, comprehends the “intonation dictionary” of different eras. The famous violinist S. Stadler once remarked: “In order 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 the ancient music of 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 beginnings of musical taste and musical culture as a whole are formed.

The perception of music is carried out not only through listening, but also through musical performance - singing, musical and rhythmic movements, playing musical instruments.

Visual visualization should be used to enhance children's impressions of the music they listen to, to conjure up visual images that are close to music, or to illustrate unfamiliar phenomena.

The use of musical and didactic games to determine the genres of music ("Three whales", "Amazing traffic light"), to develop musical and figurative memory ("Ballet in Pictures", "Magic Pipe") will help children in the analysis of musical works. In addition to the generally accepted methods and techniques (visual, verbal, playful, practical) in the classroom, you can use the methods of forming musical and aesthetic consciousness and the foundations of musical culture, considered in the program of O.P. Radynova "Musical masterpieces":

1. Method of contrasting comparison of works and images;
2. The method of assimilation to the nature of the sound of music (motor-motor assimilation, tactile assimilation, verbal assimilation, mimic assimilation, timbre-instrumental assimilation).

At first, children will be able to distinguish between individual expressive means of music (tempo, dynamics, register) with sufficient ease, but it is necessary to ensure that they not only state the expressive means, but reveal their role in creating a musical image. Characterization of the emotional-figurative content of music is the most vulnerable moment in working with preschoolers. Children easily determine the moments of pictorialism (“as if the leaves are falling”, “A brook is murmuring”, “It is dripping rain”), they single out individual means of expression (tempo, dynamics, register, form). However, their statements about the nature of the musical work, feelings, moods expressed in it, do not differ in variety. Love for music, the need for it is formed in a child primarily in the process of listening to it, thanks to which children develop musical perception, the foundations of musical culture are laid. And figurative characteristics (epithets, comparisons, metaphors) evoke an emotional and aesthetic response, which is the beginning of musical and aesthetic consciousness. Therefore, in the process of talking about the work, it is necessary to activate the statements of children, which contributes to a deeper and more conscious perception. It is also possible to use "Mood color". It will allow children to apply new words and speak in a playful way about the nature of music. Its essence is to associate a certain color with the mood of the music: pastel, light colors - with the gentle, calm nature of the music; dark, thick tones - with a gloomy, disturbing character; intense, bright colors - with a decisive solemn. With the help of this technique, children will get acquainted with new words-characteristics, as well as learn how to transfer them from one piece of music to another, similar in mood. Each time a new word - characteristic can be recorded in the musical dictionary. This will greatly help children in compiling an aesthetic assessment of a piece of music. Aesthetic evaluation is an artistic form of reflection designed to determine the value properties of things and phenomena, their usefulness, beauty from the point of view of art. In this case - a conscious attitude to their musical needs, experiences, attitudes, taste, reasoning.

As already mentioned, all types of musical activity interact with each other. A child's musical perception will not fully develop and improve if it is based only on listening to music. It is important for the development of musical perception to use all types of musical performance.

Selection of musical compositions for listening.

Musical works for children should be artistic, melodic, and delight in their beauty. In addition, they must convey feelings, moods, thoughts that are accessible to children.

The scope of children's attention is small. Therefore, for listening, they select works of small volume with a bright melody, simple harmony, clear form, low sound strength and slow tempo. Loud sound excites children, and too fast a pace makes it difficult to perceive the melody.

To listen to vocal music, more difficult songs are selected than those performed by the children themselves. After listening to these songs, children often begin to sing them, and they convey the melody incorrectly. This destroys the skill of correctly conveying the melody, which is instilled in singing. In this case, you should not allow children to sing, but invite them only to listen. Songs performed by preschoolers tend to have a piano introduction and conclusion, which reveal the content of the work and lead children to the perception of more complex instrumental music.

The most accessible of the works of instrumental program music are the pieces from "Children's Albums" by A. Grechaninov, P. Tchaikovsky, S. Maykapar.

Children also listen to dance music that is not used in movement, for example, P. Tchaikovsky's Kamarinskaya, A. Grechaninov's Waltz, S. Maykapar's Polka.

There are few simple works of art created for kids. Therefore, listening to instrumental music by children aged 3-4 is mainly used as a methodological technique.

When listening again, sometimes you can take a larger fragment, depending on the reactions of the children, their interest. At the same time, one should try to observe a sense of proportion, focus on the desire of children and the manifestation of their interest. In the classroom, you can use audio recordings (in symphonic performance), which will greatly enrich the perception of music. They will be especially effective in combination with a “live” performance, children can listen to a piece of music in a piano performance and compare it with an audio recording. A familiar melody will be transformed, will interest children, encourage them to compare and celebrate different performances. Children will be able to note the changes in the nature of the music, the difference in sound. Meeting with "live music" will cause a vivid emotional response, and listening to a symphony performance will introduce children to the instruments of a symphony orchestra, the role of which in creating a musical image is most significant.

1. Any piece of music must be listened to without being distracted by anything else.The main thing, of course, is to want to listen! One must try very hard to closely follow what happens in music, from the very beginning to its very end, embracing sound after sound with one's ear, without losing sight of anything! Music will always reward the listener for this, giving him a new feeling, a new mood, perhaps never experienced before in his life.

2. Choose to listen to small works.At first, you should not listen to large musical compositions, as you can fail. After all, the skill of tracking sounds by ear has not yet been developed and attention is not disciplined enough.

3. Listen to the sounds, try to hear and distinguish the dynamic shades of musical speech.It can be vocal music (music for the voice) or instrumental (which is performed on various musical instruments)., determine whether they make the performance of a musical work expressive.

the musical play “Riding a Horse”, and “An Unusual Journey”, perhaps even scare someone a little. And the works of the composer S. Maykapar "In the garden", "Shepherd boy", "Little Commander" will be close and understandable even to the smallest.

5. From time to time it is necessary to return to listening to the same pieces.You can mentally imagine their sound in order to easily and quickly recognize them. The more often you listen to already familiar works, the more and more you like them each time. But always listen to music attentively, without being distracted, thoughtfully. It is important to monitor not only the change in dynamic shades, but also the pitch of sounds, the speed of their change. One must learn to enjoy the colorful musical waterfall and be able to subtly distinguish each crystal stream. Learn to compare them, admire them. Feel what kind of order exists in music: sounds cannot sound “anyhow, as they please.”

7. It is very useful to listen to the same compositions performed by different soloists and groups, to watch performances with different composition of performers.. All this will help to expand knowledge about music, will allow not only to think more clearly, but also to feel deeper.

Excerpt from work

Course work

According to the methodology of preschool education

"Development of musical perception in the process of listening to classical music in children of senior preschool age"

Introduction

Chapter 1. Theoretical foundations for the development of musical perception of older preschool children in the process of listening to classical music

1.1 Musical perception as the main type of children's musical activity

1.2 Features of musical perception in children of senior preschool age

1.3 The role of classical music in the development of musical perception of older preschool children

Chapter 2

2.1 Identification of musical perception skills in educational process preschool

2.2 Methods and techniques of work on the development of musical perception with children of senior preschool age in a preschool institution

2.3 Comparative analysis results of the ascertaining and control stages of the study

Conclusion

Bibliography

Applications

Introduction

Musical art is of great educational importance for the formation of the spiritual sphere of a person, his aesthetic tastes and needs. The outstanding teacher V. A. Sukhomlinsky in his book “I give my heart to children” notes on this occasion: “Music, melody, the beauty of musical sounds is an important means of moral and mental education of a person, a source of nobility of heart and purity of soul. Music opens people's eyes to the beauty of nature, moral relations, labor. Thanks to music, a person awakens the idea of ​​the sublime, majestic, beautiful not only in the surrounding world, but also in himself.

In terms of its emotional impact, music surpasses any kind of art. The depth of this impact depends on the listener's readiness to communicate with real art, on how close the music is to him. Music has the greatest power of influencing a person, directly addressing his soul, the world of his experiences, moods. It is called the language of feelings, a model of human emotions. Musical art plays a huge role in the process of educating spirituality, the culture of feelings, the development of the emotional and cognitive aspects of a person's personality. Sukhomlinsky called music a powerful means of aesthetic education. “The ability to listen and perceive music is one of the elementary signs of aesthetic culture, without which it is impossible to imagine a full-fledged education,” he wrote. When organizing the musical education of a child, it is important to develop in him the need to communicate with music, the ability to feel its beauty, intonation originality and deep personal meaning. Therefore, the problem of educating a listener from preschool age is so acute in our time, since it is this age that is the time of intensive development of musical susceptibility.

The perception of music - a complex multi-level phenomenon - is more difficult for preschoolers than the perception of works of other types of art, which is associated, on the one hand, with the specifics and complexity of the musical artistic image, on the other hand, with age characteristics preschool child. In this regard, in preschool childhood, on initial stage development of musical perception, the child needs to be helped to hear and understand music, to enter the world of its images. This explains relevance selected topic.

The problem of music perception is one of the most difficult due to the subjectivity of this process, and, despite the significant number of people covering it (observations, special studies), has not yet been solved in many respects.

The problem of developing the perception of music at the current stage is becoming increasingly important. Unfortunately, a significant part of today's youth has no interest in the so-called "serious music". One of the reasons for this circumstance is the undeveloped musical perception, and as a result, the unformed musical culture of young people. The reason for this is the shortcomings in the upbringing of the musical culture of children, serious omissions in the formation of the perception of music, primarily in kindergarten and elementary school.

The problem of the development of musical perception is one of the most complex and insufficiently studied in pedagogy. B. V. Asafiev, B. M. Teplov, B. L. Yavorsky, V. N. Shatskaya, N. L. Groznenskaya, D. B. Kabalevsky, V. D. Ostromensky, V. V. Medushevsky, E. V. Nazaykinsky, N. A. Vetlugina. In the works of these authors, a large amount of scientific, theoretical material has been collected concerning various facets of musical perception, its psychological mechanisms and pedagogical methods for its development in children.

V last years A great contribution to the study of the problem of the development of musical perception in children of preschool and school age was made by Belarusian scientists L. S. Khodonovich, V. P. Reva, G. A. Nikashina, B. O. Goleshevich, G. V. Savelyev. In the scientific and methodological developments of these authors, various pedagogical ways of forming the ability to perceive music in preschool children are revealed. music lessons in kindergarten.

Due to the urgency of the problem, the topic of my term paper is the development of musical perception in children of senior preschool age in the process of listening to classical music in the classroom.

Objective: to determine the optimal conditions for the development of musical perception in children of senior preschool age when listening to classical music in the classroom preschool.

Tasks:

1. Study the psychological and pedagogical literature on the topic.

2. To identify how listening to classical works affects the development of musical perception in children of older preschool age.

3. Contribute to the development of musical and aesthetic education of children.

Object of study: musical education of children of senior preschool age.

Subject of research: development of musical perception in children of senior preschool age in the classroom in a preschool institution.

Research methods:

· theoretical: analysis of scientific and methodical literature on the research problem;

· Empirical: purposeful observations of the development of children, experimental research, statistical processing of research results.

Research base: State Educational Institution "J/s No. 98" in Minsk.

Chapter 1. Theoretical foundations for the development of musical perception of children of senior preschool age in the process all classical music hearings

1. 1 Musical perception as the main viewchildren's musical activities

The development of musical perception is the most important task musical education children. Introducing the child to the art of music, we must solve an important pedagogical problem, according to V. A. Sukhomlinsky, "not who the child will grow up, but how the child will grow up." Thus, music is a kind of bridge to the child's soul, helping the moral development of the individual.

Knowing the patterns of development of musical perception, the teacher can manage the process of musical education of children, form their aesthetic tastes and needs. Considering this issue, one must keep in mind that any perception is a complex process in which many sense organs participate, various complex conditioned reflex connections are formed. In psychology, the concept of "perception" is understood as "the reflection in the mind of a person of objects or phenomena with their direct impact on the senses, during which there is an ordering and integration of individual sensations into integral images of things and events." In other words, it is a reflection of objects or phenomena of reality in the totality of their individual properties (shapes, sizes, colors, etc.) acting at a given moment on the sense organs.Perception cannot be identified with sensation.Sensation is a reflection of individual properties of objects and phenomena of the surrounding world that act on our analyzers.

Summarizing what has been said, we can conclude that perception is a type of active activity associated with other psychological processes, thinking, imagination, memory, and including previous experience.

The perception of art is based on a real-life aesthetic object - a work of art (sculpture, painting, piece of music), which awakens aesthetic feelings. Aesthetic perception can be defined as a special ability of a person to feel the beauty of the objects around him (the harmony of their forms, the range of light, the beauty of musical sounds, etc.), the ability to distinguish between the sublime and the base, the beautiful and the ugly, the perfect and the primitive. B. M. Teplov noted that for aesthetic perception, it is not so much the value of this or that perceived object that is important, but its appearance - pleasant or unpleasant, that is, the sensual side prevails in aesthetic perception.

musical perception- a kind of aesthetic perception, its particular form. It has properties inherent in the perception of art in general, but at the same time it has its own characteristics, which are due to the specifics of musical art. Perceiving music, a person should feel its beauty and perfection.

Many researchers, such as V. V. Medushevsky, V. K. Beloborodova, V. D. Ostromensky, note the following main features of musical perception, knowledge of which is necessary for its development in children: integrity, emotionality, awareness, imagery. Based on these features of musical perception, it is possible to define this concept.

musical perception (perception of music) is a process holistic, emotional, conscious, figurative knowledge of a piece of music. Let us briefly characterize each of the four most important properties of this type of perception (see Appendix 1).

Integrity. This is a characteristic property of any perception. A person perceives any object - a house, a tree, a table, a closet, etc. - as something unified, inseparable. Each such whole is characterized by the perception of individual properties of the given Object: shape, volume, color. Musical perception is also characterized by integrity. A musical work is also perceived by a person primarily as a whole, but this is carried out on the basis of the perception of the expressiveness of individual elements of musical speech: melody, harmony, rhythm, timbre.

Emotionality. The main property of a full-fledged musical perception is its aesthetic emotionality, which is understood as an experience of the beauty of the musical image, feelings and moods awakened by music. The aesthetic perception of music is always emotional. Everyone is well aware of the power of music to influence emotional sphere person. Preschool children already perfectly feel and understand that different musical modes have a special effect on a person’s mood. Music written in major is usually cheerful, joyful, perky, and in minor - sad, sad, gloomy. Thus, emotionality is a property of musical perception. Often the aesthetic experience of music is so strong and vivid that a person experiences genuine happiness at the same time. The outstanding composer D. D. Shostakovich noted that “this feeling arises because a person, under the influence of music, awakens the dormant forces of the soul and he cognizes them.” Music is really capable of awakening lofty thoughts and feelings in people, bringing up the beauty of human relationships.

Awareness. Perception is closely related to thinking. According to the definition of S. L. Rubinshtein, "thinking is an increasingly complete and multilateral mental restoration of an object, reality, reality, based on sensory data arising as a result of the impact of an object."

Perception is impossible without awareness and understanding of what is being perceived. The well-known musicologist and teacher V. N. Shatskaya noted that “active perception of a musical work means perception associated with its aesthetic assessment and awareness of the content of music, its ideas, the nature of experiences and all the expressive means that form a musical image.” Many prominent composers and musicologists spoke about the need to understand the semantic content of perceived music. N. A. Rimsky-Korsakov believed that love for music can be different: love “without understanding”, which he called “tickling of the ear”, love “low, spontaneous”, and love “understanding”, which implies an assessment of the expressive means of music: rhythm, melody, harmony, timbre, etc. The unity of the emotional and conscious in the perception of music is one of the basic principles music pedagogy. B. V. Asafiev noted: “Many listen to music, but few hear it, especially instrumental music ... It is pleasant to dream to instrumental music. To hear in such a way as to appreciate art is already intense attention, and therefore mental labor.

Imagery. Musical perception is characterized by figurativeness. The musical image is a combination of various means of musical expression used by the composer to convey the content of the work. Perceiving a piece of music, the listener creates its image on the basis of his ideas about music as a whole and about its individual means of expression. The depth and subtlety of perception of music depends on the clarity and richness of the emerging image. According to B. V. Asafiev, “the process of perception of music is the process of the formation of a musical image.” It is difficult for an unprepared listener, including a preschooler, to perceive the entire System of means that create a musical image in the way that a trained listener is able to do. Developing the musical perception of preschoolers, you can teach them to perceive a holistic image of a musical work - mood, character, means of expression.

Based on the characteristics of each of the features, we can conclude that musical perception is a complex process, which is based on the ability to hear, experience a piece of music as an artistic and figurative reflection of reality. The need for the development of different aspects of perception was repeatedly drawn to the attention of musicologists-methodologists who worked with children.

Based on experimental studies and practical observations, five structural components of musical perception are distinguished:

Emotional responsiveness to music

· ear for music

thinking

ability to be creative

All of them, along with the very concept of perception, represent separate independent sections of general psychology. At the same time, as already noted, emotions, thinking and other components are included in the concept of musical perception as necessary components.

Creativity plays the role of a leading component in the psychological mechanism of musical perception. A trained listener perceives music creatively. This is understood as empathy and recreation by the listener of the content of a musical work, which is enriched by the activity of the imagination, feelings and life associations. As a result of the creative perception of a musical work, the listener receives aesthetic pleasure.

Each of the above components is a necessary active part of musical perception, and none can be excluded from it without damaging the whole process.

The type of higher nervous activity of a person has a great influence on the quality of musical perception. After all, even adults, formed listeners are distinguished by types of perception. The outstanding conductor L. Stokowski argued that “music can be perceived in different ways. Some people just enjoy the physical beauty of the sound, others only react emotionally to the music. Others react mainly to the intellectual side of music and consciously follow the unfolding of the musical form.

As already noted, the development of musical perception is of paramount importance in the musical development of children and is the basis for the formation of their musical culture. Back in the 1970s, D. B. Kabalevsky most accurately and comprehensively defined the meaning of music perception in his concept of musical education of children. “An active perception of music is the basis of musical education in general, of all its links,” he pointed out. “Only then can music fulfill its aesthetic, cognitive and educational role, when children learn to really hear and think about it ... A real, felt and thoughtful perception of music is one of the most active forms of familiarization with music, because this activates the inner spiritual the world of students, their feelings and thoughts. Outside of hearing, music as an art does not exist at all. It makes no sense to talk about any impact of music on the spiritual world of children and adolescents if they have not learned to hear music as a meaningful art that carries the feelings and thoughts of a person, life ideas and images. Thus, the essence of the perception of music lies in the ability to listen to it, experience it or respond emotionally.

Musical perception develops in all types of musical activity of children: singing, musical and rhythmic movements, playing musical instruments, etc. At the same time, it is also an independent type of musical activity, which is organized through listening to music in class at a preschool. Usually in methodical literature this type of activity is defined as “listening to music”, during which children get acquainted with a piece of music.

Hearing music- one of the most effective and developing types of musical activity, during which children learn listen and hear music, emotionally perceive and analyze it. Listening to music, they get much more impressions than in other types of musical activities. A prominent scientist and musicologist V. V. Medushevsky noted that in the process of listening “musical perception-thinking develops” – a universal musical ability necessary for any kind of music-making. Methodically correctly organized listening to music in a preschool institution, various methods of activating musical perception contribute to the development of interests, musical abilities and creative manifestations of children, which ultimately educates their musical culture.

Outstanding musicians - educators, theorists of musical education B. V. Asafiev, B. L. Yavorsky, B. M. Teplov considered listening to music as the basis of the system of musical education. B. V. Asafiev spoke about the need for general education of children in listening to music and the pedagogical guidance of this activity, B. L. Yavorsky emphasized the need for wide familiarization of children with classical music, educating them in good taste and love for genuine art. He rejected the idea that "children will not understand adult music", linking the solution to this problem with the accessibility of a piece of music and the strength of its emotional impact.

The outstanding composer of the 20th century D. D. Shostakovich, noting the importance of listening to music for the musical development of children and its beneficial effect on the formation of high moral qualities and the spiritual sphere of the child, emphasized: “Music lovers and connoisseurs are not born, but become ... above all to listen to it... Love music and study the great art of music. It will open to you a whole world of high feelings, passions, thoughts. It will make spiritually richer, cleaner, more perfect. Thanks to music, you will find new, previously unknown strengths in yourself. You will see life in new colors and colors.”

The process of forming a full-fledged musical perception of each musical work, which is single in its psychophysical basis, can be conditionally divided into several stages that are qualitatively different from each other. These stages are especially clearly revealed in the musical perception of unprepared listeners, in particular in children, but their presence is also characteristic of the perception of music by a sufficiently trained listener.

First stage musical perception occurs at the first (and sometimes subsequent) listening to a piece of music and differs wholeness, vagueness, undividedness impressions. An unprepared listener, including a preschooler, gets only a general impression of the musical image, captures individual bright details of the music. In children of this age, at the first acquaintance with a piece of music, there is a direct emotional response to music. Quite often the emotional reaction is positive. Music excites the little listener, gives rise to certain associations. For example, the rhythmic "March of the Wooden Soldiers", from the "Children's Album" by P. I. Tchaikovsky, causes joy in children, good mood, emotional upsurge, and the play "The Doll's Disease", from the same album, makes you sad, worried, sorry. However, it also happens that due to an inferior first perception, the child remains indifferent to a piece of music.

The image that arises in preschoolers at the first listening may be different in its depth. The main thing is that children feel the character and mood of music, show an emotional attitude towards it, understand the musical image. At this stage of musical perception, children can quite accurately express the nature of the music they listened to in gestures, facial expressions, motor-motor manifestations, as well as in verbal assessments. A lesson on listening to music should be structured in such a way that children can hear a given piece of music at least twice, which allows them to deepen their perception. In some cases, it is possible to build a lesson in such a way that this music sounds more times. The depth of perception of music at the first stage depends on various reasons: the attractiveness of a piece of music for children, their general development and individual features. The task of the teacher here is to help the child find his attitude to the piece of music, to understand what feelings this music evokes in him.

Second stage is a process of deepening into the content of a work, which is characterized by the ability to listen, to highlight its most striking and interesting features, to realize the expressiveness of individual elements of musical speech. This process can occur during the repeated perception of a piece of music. At the same time, previously received and accumulated new positive impressions from music are consolidated. Repeated listening usually causes preschoolers to “get used to” a piece of music and sometimes changes their attitude towards what they hear in a positive way. This circumstance should be taken into account by teachers when organizing listening to music by preschoolers, for example, one or two more classes can be devoted to a piece of music that children have already listened to.

At the second stage, a holistic perception, characteristic of the first stage, gives way to a differentiated and meaningful one. Teachers can invite children to find the answer to the question: “What means of expression does the composer use to convey the content of the work?” Children note the contrast of musical images (affectionate, soft or solemn, energetic sound of music), distinguish the simplest structure of the work (the sing of a song and the chorus, two or three parts of an instrumental work, the timbre sound of musical instruments: piano, button accordion, violin, flute, clarinet, etc. d.). Gradually accumulates a stock of favorite pieces of music that children listen to with great pleasure. All this lays the prerequisites for the further formation of the musical! taste.

Third stage- this is the subsequent perception of an already well-studied and assimilated musical work, enriched with new musical and auditory representations. At this stage of perception, a holistic emotional impression of a musical work and its meaningful perception associated with the analysis of musical expressiveness come into interaction. This creates a special and very valuable opportunity creative perception music. Listening to an already familiar work, the child imagines the musical image in his own way, conveying it in the game, singing, dancing. For example, everyone is looking for expressive movements that characterize a heavily walking bear, a cunning fox, moving hares, etc. In this regard, it is advisable for teachers to conduct final music listening classes using the works that children listened to throughout the entire year). In such classes, children should be given the opportunity to show elements of creativity in the process of listening to already familiar musical works. One of the effective forms of repetition of the past is musical quizzes, games like "musical riddles", etc.

So, the perception of musical images occurs as a result of a certain creative activity of the listener, since it includes his musical, auditory and life experience. Based on this, musicologists argue that listening to music in such a way as to really hear it is hard work of the mind and heart and special creativity. By influencing the listener, music can cause joy and sadness, hope and disappointment, happiness and suffering. All this gamut of human feelings that music conveys, the teacher must help children hear, understand and experience. He creates the proper conditions for the manifestation of the child's emotional response to her. Then he leads to an awareness of the content of the musical work, which has a strong impact on the feelings and thoughts of children. They develop the skill of listening to music (concentrated from beginning to end, in complete silence), the ability to talk about it, giving an emotional assessment of its content.

The proposed division of the process of musical perception into stages is a certain scheme for the formation of an image of perception. Children with different individual characteristics may have different schemes. However, this sequence is the most common.

The formation of an image in the process of perception of a work is based on music recognition. It can take place at any of the three stages of perception. A child can recognize a piece of music that he had heard only once before. Recognition of music is a qualitatively new process, when not a new, but already familiar work is perceived. The main element by which it is usually recognized is its melody. In addition to it, for the full perception of a musical work, the following are also important: harmony, the characteristic features of the accompaniment, the location of the voices and the general nature of their movement, the way of performance. Music affects children through a whole range of expressive means. This harmonic warehouse, timbre, tempo, dynamics, rhythm, which convey the mood, the main character of the work, evoke associations with the experiences of the child.

1. 2 Features of musical perception in older children preschool age

The development of musical perception of preschool children, especially in the period from the beginning of the 4th to the end of the 7th year of life, occurs in the unity and interaction of two main lines: the actual intonation perception and awareness of music and its individual interpretation, mediated by the life and musical experience of the child.

In the middle and especially at the older preschool age, as the life and musical experience is enriched, the child’s psyche develops, he develops voluntary attention in the process of perceiving music, the ability to focus on comprehending the features of musical intonation and its changes is formed, and the ability to individually interpret music develops. mediated by past experience, images of previously experienced psychological situations. The interpretation of extra-musical images and associations can be based on vivid pictures and plot stories, including images-memories and images-fantasies. At this age, the child perceives music more meaningfully, and the unity of the emotional and intellectual components in the process of perceiving music manifests itself much brighter.

The perception of music is a complex multifaceted process: sensory sensations of musical sounds (pitch, timbre, strength, etc.), comprehension of previous experience, associations with what is happening at the present time, following the development of musical images, their experience and evaluation are intertwined in it.

It is necessary to pay attention to the fact that the quality of musical perception depends not only on the age of the child, but also on the level of his musical and general development, determined by the social environment. If a child grows up in a “non-musical” environment from childhood, he may develop a negative attitude towards “serious” music, which will later negatively affect his musical preferences, musical taste, and a felt, meaningful perception of music may give way to its superficial listening.

Musical perception, being a complex, multifaceted psychological process, largely depends on the individual characteristics of the child, primarily on the type of nervous system, general and musical abilities. Children with pronounced general and musical ability, display skill with unusual intensity long time concentrate on the perception of musical works, showing stability of attention and liveliness of emotional response.

The studies of B. M. Teplov showed that the quality of musical perception is associated with the natural properties of the nervous organization and is not limited to the emotional response to music, but manifests itself in more general characteristics of a person’s personality, among which an important place is occupied by the subtlety of emotional experiences, creative imagination, fantasy, artistic perception of the world.

At the senior preschool age, children amaze us with their discoveries, inventions, and fantasy. They are the oldest in kindergarten. During this period, there is an active anatomical and physiological restructuring of the whole organism. The functional capabilities of the body at this age create conditions for more intensive health promotion compared to the younger preschool age. Older preschoolers want to be strong and healthy, their physical activity increases. At the same time, the psychological readiness to study at school is formed, there is a desire to enter this new step. The behavior of our pupils is noticeably changing. They want to do educational tasks. The game still occupies a leading position, but its content is changing. This is not so much a reproduction of actions with objects as relationships with people, compliance with the rules arising from the role played by the child in the game. At this age, the visual activity of preschoolers is intensively developing.

At the senior preschool age, children love to listen to classical music of different eras and directions. Music listening skills continue to develop (listen to the end, in complete silence). With the consistent development of musical perception, the children form a steady interest in music, an artistic taste is laid.

By the first grade, children should have a sufficiently developed and conscious musical perception. Versatile educated musician and famous scientist B. J1. Yavorsky noted that "the basis of the perception of music is the ability to think, to perceive music as articulate speech." In this regard, the ability to give a verbal assessment of music is very important. Already by the age of six, children develop the ability to motivately evaluate a piece of music. At this age, the vocabulary of children is large enough, so they can reasonably tell what emotions and moods the sounds of music evoke in them. Children can not only distinguish the general emotional coloring of the melody, but also determine means of expression(intonation, character, tempo, timbre, dynamics), contrasting images (sad - fun, fast - slow, loud - quiet).

In the perception of music, the leading role is assigned to emotional responsiveness to it, which can become an indicator of the entire aesthetic culture of the child. Exploring the artistic abilities of children, B. M. Teplov noted that “the basis of the perception of all arts is the aesthetic experience of the content of the work. In order to understand a piece of music, it is important to experience it emotionally and reflect on it on this basis.”

By the time they start school, children should be familiar with the basic musical terms(composer, conductor, choir, orchestra, etc.), be able to explain their meaning, name two or three names of the most famous classical composers and their musical works, distinguish between vocal and instrumental music. Great importance in the period preparatory to school is given to the development of the singing skills of older preschoolers. They develop performing skills: the purity of the intonation of the song melody and articulation, singing breathing improves. Children have already accumulated a lot of experience in musical-rhythmic movements, they can convey in movement the general character of music, tempo, dynamics, rhythmic pattern. They also mastered the basic techniques of playing musical instruments. Creativity occupies an increasingly prominent place in the musical activities of older preschoolers. It manifests itself in song, instrumental and dance improvisations and becomes an important means of musical education of children and the development of their personal qualities.

1. 3 Role classical music in the development of musical perceptions of older preschool childrenold age

musical perception classical composer

In a preschool institution, children should not only learn practical musical skills, including listening to music, but also receive the necessary knowledge about music, interesting information about the life and work of outstanding composers of the past and present, as well as the most striking features of musical works offered to preschoolers for hearing. One of the important directions in the development of musical perception is associated with introducing children to classical music.

Children have an intuitive sense of music. This lies in the positive response of the child to its sound from an early age. Very early they begin to perceive classical music.

Classics (from lat. classikus - "exemplary") - exemplary classical works, the golden fund of the national musical art of each nation and world musical culture as a whole. The musical classics include the works of outstanding composers of the past centuries. Classical music harmoniously combines truthful and emotional content with the perfection of form, the greatest skill with simplicity and accessibility. It covers not only the professional work of classical composers, but also exemplary works of folk art.

Developing the art of music, advanced composers reflect, creatively develop and enrich the musical traditions of their predecessors. For example, in the outstanding works of the greatest in the history of Western European music, the composer-symphonist L. Van Beethoven, the continuity of the symphonic principles of J. Haydn and W. L. Mozart is palpable. And in the early Beethoven symphonies one feels the intonations characteristic of the Viennese music of the 18th century.

The traditions of the founder of Russian classical music, M. I. Glinka, were continued not only by the composers of The Mighty Handful, but also in the work of their contemporary, P. I. Tchaikovsky.

The work of D. D. Shostakovich is largely associated with the traditions of Russian classics, which primarily include a close interest in his era, the human personality, and these features were largely inherent in the luminaries of Russian musical culture of the 19th century: P. I. Tchaikovsky and M. P. Mussorgsky.

For the formation of a child's good musical taste, it is very important to create a system for the development of cognitive interest and love for musical classics. After all, classical music is truly the standard Beauty, Harmony and Perfection. That is why introducing children to classical music should be the leading direction of their musical development.

The musical and aesthetic education of children will be much fuller and more multifaceted if they are consistently introduced to both folk musical art and high examples of classical music. The perception of classical music has a beneficial effect on the development of high moral qualities and creative abilities of the child.

V. A. Sukhomlinsky attached great importance to classical music in matters of moral education of children. In his book “Pavlyshskaya Secondary School”, Vasily Aleksandrovich reveals a whole system of introducing children to the world of classical music, which is based on the fact that “from year to year, the world of great ideas reflected in music is gradually opened to students: the ideas of brotherhood and friendship of people (Ninth Beethoven's symphony), the ideas of man's struggle against ruthless fate (Tchaikovsky's Sixth Symphony), the struggle of the forces of progress and reason against the dark forces of fascism (Shostakovich's Seventh Symphony). At first glance, it may seem that some of the major symphonic works included in the repertoire for listening in kindergarten are difficult for older preschool children to perceive. However, if a systematic, purposeful and consistent work is organized in a preschool institution to develop children's musical perception by listening to music, starting from an early age, children at the age of five will be sufficiently prepared to listen to rather difficult-to-perceive works of musical classics. Moreover, they are already able to give an emotional and verbal assessment of these works.

To make children's communication with music joyful and exciting, you need to be selective in the selection of the musical repertoire for listening. This music should attract children and evoke an emotional response from them. Given the different levels of musical and general development of children, their natural abilities, the teacher Special attention should pay attention to the selection of material for working with children - music for listening. Individual work through the game, a fabulous game image should constantly carry a preschooler with a charge of joyful, kind emotions and energy for his normal development and active creative activity. Only under this condition can the maximum pedagogical effect in the development of children's musical perception be achieved.

So for successful development musical perception of preschoolers is of paramount importance musical repertoire. At present, there is an urgent need for its renewal, the development of new pedagogical methods and technologies for the development of musical perception, based on the achievements of modern musical psychology and musicology.

The listening repertoire must satisfy two important requirements − artistry and accessibility. A serious and thoughtful approach to the use of highly artistic musical works allows children to form intonation musical experience, creating standards of beauty in the child's mind. The well-known musicologist V. N. Shatskaya spoke about the importance of the high artistry of the repertoire offered to children: “From the very beginning, when working with children, we must deal with art, and not with its miserable surrogates.”

"Musical activity" of the "Praleska" program allows you to identify areas in the use of the repertoire for the development of the child's musical perception, which must meet the requirement of artistry.

The direction that can be considered the leading principle for the development of children's musical perception is the familiarization of preschoolers with the world of classical music. In the old traditional kindergarten music development programs, the world of classical music was extremely narrow. On the whole, the children found themselves immersed in a peculiar subculture characterized by a certain primitivism and simplification. It is very important to form the musical perception of children, relying on highly artistic samples of world musical classics, expanding their knowledge of the musical styles of different eras. Observations show that children listen with pleasure to the early music of J. S. Bach, A. Vivaldi, the wonderful works of composers of the Viennese classical school - J. Haydn, W. A. ​​Mozart, L. Van Beethoven, music major representatives romanticism - F. Schubert, R. Schumann, F. Chopin, etc.

Developing musical perception, forming standards of beauty, it is important to listen with children to the works of Russian classical composers of the 19th century - M. I. Glinka, P. 1 I. Tchaikovsky, M. P. Mussorgsky, N. A. Rimsky-Korsakov, the largest composers of the XX century - S. S. Prokofiev, D. D. Shostakovich, A. I. Khachaturian, D. B. Kabalevsky, G. V. Sviridov and others.

There is an opinion that the musical education of preschoolers is easier to focus on folk music. This opinion is not justified. Indeed, folk music is an excellent material for the formation of the aesthetic tastes of children, but we are significantly impoverishing musical development child, if from an early age we do not introduce him to the musical classics. Musical and aesthetic education will be much fuller and more multifaceted if children are consistently introduced to folk musical art and the best examples of classical music. The perception of classical music has a beneficial effect on the development of high moral qualities and creative abilities of the child. In accordance with the Praleska program, children should listen to highly artistic samples that have been tested by time and are of great educational value.

The second requirement for the musical repertoire for children is accessibility. It can be viewed from two perspectives: content accessibility musical works and their availability for children to perform.

An important criterion for accessibility are musical genres familiar to children. When comprehending the genre features of music, one should rely on the "three pillars" - song, dance and march, using the concept of musical education of children by D. B. Kabalevsky. Preschoolers define these genres without much difficulty. Giving examples of various musical genres, the teacher should strive to ensure that children not only feel their character, but also realize the features of each genre.

Dance and marching music is easily accessible to preschoolers. These genres can be used to listen to children, constantly associating them with movements. The idea of ​​using movements to develop musical perception and a sense of rhythm was put forward and confirmed in practice by the Swiss composer and teacher E. Jacques-Dalcroze. In order to expressively convey the musical image in dance, play, pantomime, children must learn musical and rhythmic skills and dance moves. For this purpose, a repertoire of classical music is selected (see Annex 2).

The main goal of musical-rhythmic movements in working with children is the development of musical perception, a sense of rhythm and their familiarization with musical culture. In this type of activity, there are great opportunities for using highly artistic works of classical music of all eras. In working with children on the development of musical and rhythmic movements, you can include the most diverse dance music classics: dance pieces by J. G. Bach and W. A. ​​Mozart (gavottes, minuets, bure, ecossaises, polonaises), waltzes by F. Schubert, F. Chopin, I. Strauss, ballet music by P. I. Tchaikovsky.

It must be emphasized again that by giving examples of marching music, teachers should strive to ensure that children not only feel the character, but also realize the features of each of the marches. For example, you can offer to listen to the "Turkish March" from the overture "The Ruins of Athens" by L. Van Beethoven, "Military March" by F. Schubert, "Soldier's March" by R. Schumann, "March" from the opera "Aida" by G> Verdi, " March of Chernomor" from the opera "Ruslan and Lyudmila" by M. I. Glinka, "March" from the ballet "The Nutcracker" by P. I. Tchaikovsky, "March" from the opera "Love for Three Oranges" by S. S. Prokofiev. It is important that children understand that although all of the listed marches differ in their mood and are associated with different genres of musical art (overture, opera, ballet), they all equally convey a clear rhythmic pulsation and measured step movement. When offering marching music to preschoolers to deepen its perception, it is necessary to associate it with movement. Children should be able to walk to the music of the march, listening to the pattern of the melody, rhythm and conveying the nature of the work. In kindergarten classes, the rhythm of the march can also be shown with clapping or stomping.

Consider the following criterion for the accessibility of music for perception by preschoolers, which is based on the use of program-graphic images that are close to children (images of nature, fairy-tale characters, images of animals and birds, etc.). Program-graphic music "draws" specific images that are especially close to the real life that surrounds children. In this regard, this type of music is very attractive to children and accessible for perception. Preschoolers understand music that embodies images of nature. The very title of the plays reveals their content. Listening to such music, children perfectly feel what the composer wanted to express in it, draw in their imagination paintings nature (concert cycle by A. Vivaldi "The Seasons", "Morning" from the suite "Peer Gynt" by E. Grieg, "Snowdrop" (April), "White Nights" (May), "Barcarole" (June), "Autumn Song ”(October) from the piano cycle of P. I. Tchaikovsky “The Seasons”, “The Ocean-Sea is Blue” - an introduction to the opera “Sadko” by N. A. Rimsky-Korsakov, etc.).

Children perfectly perceive musical works that draw fabulous characters (“In the Cave of the Mountain King” and “Procession of the Dwarves” from the suite “Peer Gynt” by E. Grieg, the musical characteristics of the squirrel, thirty-three heroes and the Swan Princess from the opera “The Tale of the Tsar Sultan” by N. A. Rimsky-Korsakov, "Gnome" and "Hut on chicken legs" "Baba Yaga" from the cycle "Pictures at an Exhibition" by M. P. Mussorgsky, "Kikimora" by A. K. Lyadov, etc.).

Children easily perceive music that draws images of animals and birds(pieces from the Carnival of the Animals cycle by C. Saint-Saens, Song and Dance of Birds from the opera The Snow Maiden and Flight of the Bumblebee from the opera The Tale of Tsar Sultan, Song of the Lark (March) from the piano cycle P I. Tchaikovsky "The Seasons", etc.). It is important that children, listening to program music, learn to reveal its expressive possibilities, to distinguish between the emotions and moods expressed in the work. At the same time, the emotional experience of preschoolers is very important - the ability to empathize with the feelings that are expressed in the work. Children can perceive music that expresses the mood, for example, cheerful (“Merry Peasant” by R. Schumann, “Polka” by M. I. Glinka), sad (“The First Loss” by R. Schumann, “Complaint” by A. T. Grechaninov) , solemn (“Wedding March” by F. Mendelssohn, “Song of the Motherland” by I. O. Dunayevsky).

The accessibility of the musical repertoire is directly related to the age characteristics of children and the volume of their auditory attention. At older preschool age, the repertoire for listening to music can include bright works of classical music - fragments from operas and ballets, famous piano and symphonic works. With proper preparation of children, fragments from works of classical music of large forms can also be recommended. Music playing time - from one to three minutes. When listening again, you can increase the duration of the sound of musical works. At the same time, it is necessary to focus on the desire of children, their interest, to observe a sense of proportion. Children of this age category should be introduced to the sound of various musical instruments - representatives different types orchestras (symphony, brass, orchestra of folk instruments). It is also important to draw children's attention to the expressive possibilities of each musical instrument.

Chapter 2

2. 1 Identification of musical perception skills in the educational process of a preschool institution

In order to identify musical perception in children of senior preschool age, I conducted a study on the basis of kindergarten No. 98.

Children were divided into 2 groups: group 1 - control (which was engaged in the kindergarten program) - 11 children; group 2 - experimental (with which the formative work was carried out) - 11 children. A total of 22 children took part in the study.

During the experimental work, the following tasks were solved:

· To reveal the level of musical perception in children in two groups when listening to classical music;

· To form musical thinking, memory, imagination, meaningful perception of music in the experimental group.

· Observation, comparison and analysis of data in two groups.

The experimental work was composed of three stages:

1. ascertaining stage

2. formative stage

3. control stage.

Research methods were used: observation, conversation, experiment, analysis of research results.

At the first ascertaining stage of the pedagogical experiment in the control and experimental groups, I offered the children to perform certain tasks (listening to classical music, answering questions, etc.), as a result of which the level of musical perception in children in two groups was revealed.

At the initial stage, I determined the attention of children to various intonations of music. Determined whether children are able to distinguish between the means of musical expression: tempo, dynamics, register, harmonization. Are children able to convey the emotional coloring of music through expressive means of performance: sad, lyrical - affectionately, melodiously, at a moderate pace; cheerful, fervent - with a light sound, at a lively pace. To do this, the children were asked to listen to Pyotr Ilyich Tchaikovsky's play "The Doll's Disease" from the "Children's Album" (see Appendix 3).