Relevance of musical rhythmic movements. Coursework on the topic: "The influence of musical and rhythmic movements on the development of musical abilities of preschool children"

Natalia Kvitka

Project in artistic and aesthetic development« Developing a sense of musical rhythm in children preschool age in musical and rhythmic movements».

Relevance. Modern preschool is unique educational institution a new type, completely different from the kindergarten ten years ago. In the conditions of modernization of education, variability of programs and types preschool institutions, the need to solve the problem of a holistic child development. A necessary condition for harmonious development the child is complete musically- aesthetic education, development of the basics of music perception. About it testifies compulsory artistic and aesthetic education and child development, prescribed in the Federal State Educational Standard preschool education(FGOS DO).

preschool age- one of the most crucial periods in the life of every person. It is during these years that the foundations of health, harmonious mental, moral and physical health are laid. child development, a person's personality is formed.

Musical education for preschool children is important for both intellectual development as well as for the physical. For development of musical abilities need not only singing or listening music, but also musical rhythmic movements.

Musical-rhythmic movements serve the cause of the child's knowledge of the surrounding reality and, at the same time, are a means of expression musical images, character musical works. Outstanding music teacher a. D. Artobolevskaya, in the book "The first meeting with music" States that musical abilities of children are manifested and developed, primarily through movement with music.

Across music and movement the child develops not only artistic taste and creative imagination, but also the inner spiritual world of the child is formed.

Speaking of development of musical abilities in musical and rhythmic activities mean, first of all, the ability to feel rhythmic originality in music and pass it on to your movements. Therefore, the teacher is faced with the task of teaching to perceive development of musical images and coordinate with them your movements.

Seeing beauty movement in games, dancing, round dances, trying to fulfill movement as beautiful as possible, more elegant, match it with music, child develops aesthetically learns to see and create beauty.

Meaning musical and rhythmic movements in the life of a child is they:

1. enrich the emotional world children and develop musical abilities;

2. develop cognitive abilities;

So the topic musical- rhythmic development children in musical and rhythmic movements is relevant in preschool pedagogical process.

Purpose of the study: select guidelines for the development of a sense of musical rhythm in musical and rhythmic movements in children of primary preschool age.

Object of study: the content and organization of educational activities at the level preschool education.

Subject of study: a sense of musical rhythm and its development in children of primary preschool age in musical and rhythmic movements.

Research hypothesis: if using .

Considering the object, subject and purpose of the study, we focused on solving the following tasks:

1. Analyze the psychological, pedagogical and methodological literature on this issue.

2. Develop research diagnostics;

3. Develop a methodology.

4. Conduct a pedagogical experiment in three stages.

Research methods:

Theoretical:

1. Analysis of scientific, methodological, pedagogical literature.

empirical:

1. Observation.

2. Conversation.

3. Pedagogical experiment in three stages.

Research Base: MDOU kindergarten of combined type No. 2 "Star" Lyubertsy municipal district of the Moscow region.

Project calculated for 3 months.

Project involves holding one lesson per week of circle work, as part of the traditional musical- rhythmic activity , individual work, as well as work in free time and work in the afternoon.

The duration of the lesson is 15-20 minutes

Stage 1 - preparatory (Week 1)

Analysis of scientific-methodical, pedagogical literature.

Scientific research in the field musical pedagogy and the experience of many preschool institutions as well as historical experience testify to, what musical upbringing has an impact on personal development. The founder of modern theory rhythmic upbringing appeared Swiss musician, teacher, pianist and conductor Jacques-Emile Dalcroze (1865-1950), who believed that the child must first experience what he must subsequently learn.

In our country the system rhythmic education was developed by N. G. Alexandrova, E. V. Kononova. Special studies were carried out by N. A. Vetlugina, A. V. Keneman, B. M. Teplov.

B. M. Teplov at work "Psychology musical ability» defined the concept « sense of rhythm» . Musical-rhythmic sense- perception and reproduction of temporary relations in music. It is the ability to actively experience music, feel emotional expressiveness musical rhythm and accurately reproduce it. Rhythm- one of the means of expression music The with which the content is passed.

Sense of rhythm develops, first of all, in musical and rhythmic movements, corresponding in nature to the emotional coloring music. Consistency rhythm of movement and music also one of the conditions for development of this ability. Classes rhythms allow you to feel and express in movements the change of moods in a piece of music, improve sense of rhythm through coordination movements and music.

Musical and rhythmic education(rhythm) is a special item that aims to activate musical perception of children through movement to instill in them the habit of being aware of music helps to identify them. musical Creative skills. Pursuing rhythmic, children are actively involved in the transfer of character music, its pace, dynamics, rhythm, forms. Developing a sense of rhythm is the main task rhythmics.

Working with parents

It is difficult to achieve the desired result only by the efforts of the educator in the classroom without the support of parents.

Purpose of working with parents: family involvement in the formation of positive emotions and child's feelings, maintaining the interest, initiative of parents in life kindergarten.

Musical education and development child in the family depends on the conditions

which are determined by innate musical inclinations, the way of life of the family, its traditions, attitude to music, common culture. Questioning parents at the beginning helps to study these conditions. project activities

Parent survey "My child and music» :

Questions Results

1. What is the place in your child’s life? music?

2. Does he like to listen to her? What prefers music?

3. What is your child's favorite work? And yours?

4. Does he like this music move, dance? 5. Does he understand the content music?

6. Does it transmit to motion character music, her rhythm?

7. How emotional is the child

responds to music?

8. How does it express itself?

10. What is your participation in musical development of the child:

Is there a children's music library at home

music? Do you attend children's performances? Do you watch on TV musical programs with your child?

Do you discuss them?

Output: most parents are not interested musical education of children don't know their loved ones musical works don't see them musical ability.

Solution to the problem: Organize the work properly musical

upbringing in the family, conduct conversations, consultations about music, joint holidays and leisure activities, to involve parents in active participation in the life of the preschool educational institution and the group in particular. Based on the results of the survey, forms of cooperation are selected.

A plan of work with parents is being drawn up, the successful implementation of which depends on the activity and initiative on the part of the parents, the focus and differentiated approach to cooperation with the family on the part of the preschool educational institution.

Forms of work with parents:

Individual conversations; Leisure and entertainment;

Design of visual material, didactic games;

Parent meetings and consultations;

Open days;

Hometasks;

Blogging on the MDOU website.

Stage 2 - research stage (2.5 months)

16 pupils of the junior group of MDOU No. 2 for children took part in the pilot study "Star". The research work was carried out in three stage: stating, forming and control.

The purpose of the experimental work: entry level detection development of a sense of musical rhythm in children of primary preschool age and development and approbation of a methodology for developing a sense of musical rhythm in children of a given age through musical and rhythmic movements.

Level detection (stating experiment)

Target: Entry level definition development of a sense of musical rhythm in children of primary preschool age.

Tasks:

1. Develop diagnostic tasks;

2. Carry out level diagnostics development of musical and rhythmic feeling;

3. Draw up criteria for assessing the level developing a sense of rhythm;

4. Process the result.

To determine the level developing a sense of musical rhythm we used the diagnostic technique of O. P. Radynova and carried out two diagnostic tasks: first - for execution rhythmic drawing with the help of clapping, and the second - dancing under music.

Diagnostics sense of rhythm

1 task. Playback in claps rhythmic "Oh you canopy" (audio recording).

The teacher invites children to listen to the melody of a Russian folk song "Oh you canopy", then slams rhythmic sequence. After that, the teacher invites the children to clap themselves melody rhythm.

(in points):

3 points - accurate execution rhythmic pattern.

2 points - allows for minor inaccuracies.

1 point - rhythmic The picture does not match the melody.

2 task. Conformity movements to the nature of the music, conformity the rhythm of the movements the rhythm of the music.

Fragments from three works sound.

1) T. Lomova "Melody",

2) M. Zhurbin "March",

3) A. Grechaninov "My horse".

The child is given a task - to dance to music. Children must submit to movements nature of music, rhythm.

Criteria and evaluation of the assignment (in points):

3 points - expressive movements, change movements in accordance with the nature music and rhythm.

2 points - there is a desire to move under music, but movements do not always fit the character music.

1 point - the child begins to do movement to music, but they do not convey the character and rhythm of music.

In accordance with the criteria, we have identified three levels developing a sense of rhythm: high, medium and below average.

High - 6 points

Medium - 4-5 points

Below average - 3-1 points

Analysis of the results of ascertaining diagnostics is presented in Table 1.

Table 1.

1 Varvara B. 2 2 4

2 Daniel B. 1 2 3

3 Varvara V. 2 2 4

4 Anastasia E. 2 2 4

5 Semyon K. 2 2 4

6 Grigory K. 1 2 3

7 Ivan K. 2 2 4

8 Uliana P. 1 2 3

9 Roman S. 1 2 3

10 Natalia S. 2 2 4

11 Sofia S. 2 2 4

12 Evelina S. 2 2 4

13 Artem S. 1 2 3

14 Taisiya T. 1 1 2

15 Anna T. 1 2 3

16 Denis L. 2 2 4

Based on the results of the tasks performed, taking into account the total score, we distributed and received the following results, presented in Table 2.

Table 2.

№ Name, surname of the child Total score Levels

1 Varvara B. 4 C

2 Daniel B. 3 NS

3 Varvara V. 4 S

4 Anastasia E. 4 S

5 Semyon K. 4 S

6 Grigory K. 3 NS

7 Ivan K. 4 S

8 Uliana P. 3 NS

9 Roman S. 4 C

10 Natalia S. 4 S

11 Sofia S. 3 NS

12 Evelina S. 4 S

13 Artem S. 3 NS

14 Taisiya T. 2 NS

15 Anna T. 3 NS

16 Denis L. 4 S

The diagnostic results in percentage terms are presented in the diagram Figure 1.

As can be seen from table 2 and figure 1, 9 children(56%) are at the middle level, 7 children(44%) no children.

Analyzing each indicator separately, it can be stated that the greatest difficulty for children triggered the first task. Rhythmic pattern, albeit with minor inaccuracies, performed 9 children(56%, and the rest 44% rhythmic the picture didn't match the rhythm of a given melody.

With pleasure and desire they danced under music 15 children but they didn't have a change movements depending on the nature piece of music, his rhythm. One child could not reproduce in clapping rhythmic melody drawing and perform movements corresponding to the character music.

Development of a sense of musical rhythm in children of primary preschool age in musical and rhythmic movements (formative experiment)

Based on the results of the ascertaining experiment, we outlined further work on developing a sense of musical rhythm.

For further research activities, we divided this group children into two groups, 8 people each (experimental and control).

At the beginning of the formative experiment, we formulated and set the goal of further work.

The purpose of the formative stage of experimental work is to develop a sense of musical rhythm in children of primary preschool age in musical and rhythmic movements.

To achieve this goal, it is necessary to solve the following tasks:

1. Develop tasks for developing a sense of musical rhythm.

2. Conduct an experimental study.

An important role in developing a sense of rhythm, first of all, perform musical and rhythmic exercises, as well as music games. In them, children reflect and transmit to motion rhythmic pattern of sounding music. Also in music games ah evolving speed of motor reaction, ability to change quickly movements in accordance with the nature music.

In our work, we used the following tasks for developing a sense of musical rhythm:

"Legs and Feet" music V. Agafonnikova

Audio recording used "Legs and Feet" music V. Agafonnikova.

Methodology: The teacher invites the children to take a walk, but draws attention to the fact that it has rained and puddles have formed on the ground. In order not to get your feet wet, you need to step over puddles. Children walk with the teacher "big feet". Then the teacher informs that there is a path ahead and it is necessary to run along it. Children run "little feet". Then movements are performed to the music accompanied by the singing of the teacher. (Text songs: "Big feet walked on road: top-top-top top-top-top. Little feet run track: top-top-top-top-top, top-top-top-top-top.) When the children master singing movements, the exercise is carried out only under the instrumental music.

"Feet thumping merrily" music G. F. Vikhareva.

"Feet thumping merrily" music G. F. Vikhareva.

Methodology: the teacher gives the children to listen to a new song called "Feet thumping merrily", together with the children determines that the song is fun. Then he invites the children to dance. The teacher shows movements according to the lyrics of the song, and the children repeat. Pays attention children on the rhythm of music saying what to perform movement is needed together, all together. In the first verse ( "How our guys' legs are merrily knocking") - they stomp with one foot; in the second ( “And the legs are tired, they clap in palms» ) - clap their hands; in third ( “And then the children dance side by side in a squat”) – perform "spring"; and in the fourth ( “And when they start running, no one can catch up with them”) - run "flock" round. In the choruses the children are spinning "stomp". At the end of the dance, the teacher praises everyone children.

"Matryoshka" ed. L. E. Kazantseva.

The audio recording of the song was used "Matryoshka" ed. L. E. Kazantseva, a roly-poly doll.

Methodology: The teacher tells the children that a doll came to visit us - a tumbler. The children watch her swing. The teacher then asks children wiggle too like a doll. Children perform movements, alternately lifting your legs off the floor (transmit metric pulse). After that, the teacher invites the children to dance to music. Children dance according to the teacher's show, rhythmic movements, according to the text songs: “We are nesting dolls, these are the crumbs, and we have, and we have clean palms'– show palms; "We are nesting dolls, that's what crumbs, And we have, and we have new boots"- put the foot on the heel; "We are nesting dolls, that's what crumbs, We want to dance, we want to dance a little"- perform "spring"; “Oh, we are tired of dancing, now we will rest”- shake their heads. At the beginning of each verse, the children sway from foot to foot, depicting matryoshkas.

"Pink cheeks" music G. F. Vikhareva

The audio recording of the song was used "Pink cheeks" music G. F. Vikhareva.

Methodology: the teacher invites the children to listen to the song "Pink cheeks" and define character music. The melody is very funny. The teacher then invites children to dance. Children move rhythmically in accordance with the text of the song as shown by the teacher. In the first verse (text songs: “Kids, kids - rosy cheeks. And we have, and we have voiced palms") - children rhythmically clapping their hands, in the second ( text: “Kids, kids - rosy cheeks. And our fists are like hammers ") – rhythmically hit the fist on the fist, in the third ( text: “Kids, kids - rosy cheeks. And with us, and with us - fun in the garden!) – perform "spring", and in the fourth verse ( text: “Kids, kids - rosy cheeks. And we, and we have a mouth with a lock!) - forefinger rhythmically applied to lips.

Music game"Sun and Rain" music M. Rauchverger.

The audio recording of the melody was used "Sun and Rain" music M. Rauchverger.

Methodology: The teacher talks about what children do on a walk when the sun is shining (walk, play). What will they do if it suddenly rains (will hide under an umbrella or under a roof). Then the children listen music"Sun and Rain". After that, the teacher invites children to take a walk. Music sounds calm, for sure. Poyo teacher T: the sun looks out the window, shines into our room, and the children calmly walk in different directions, passing the metric pulsation in steps. Next teacher sings: we clap in palms, very happy with the sun. Children, along with the teacher, clap their hands, passing melody rhythm. To the sounds of the metallophone, the teacher opens the umbrella, singing along "It is raining" and all the children hide under an umbrella. And the teacher asks: “The rain didn’t soak anyone, did everyone manage to hide?” As a result, this game can be used for a walk.

Checking the effectiveness of the work done at the formative stage of the experiment (control experiment)

In order to determine the effectiveness of the developed methodology for development of a sense of musical rhythm in musical and rhythmic movements A control experiment was conducted, which was conducted with the experimental and control groups.

Tasks of the control experiment:

1. Reveal dynamics development of a sense of musical rhythm in children of primary preschool age.

2. To determine the effectiveness of the developed methodology for developing a sense of musical rhythm in children of primary preschool age in musical and rhythmic movements.

At this stage, the same diagnostic material and evaluation criteria were used as at the ascertaining stage of the experiment.

The results of control diagnostics in the experimental and control groups are shown in Table 4 and Table 5.

№ Name, surname of the child Task 1 Task 2 Total score

1 Varvara B. 3 2 5

2 Daniel B. 2 2 4

3 Varvara V. 3 3 6

4 Anastasia E. 3 2 5

5 Semyon K. 3 3 6

6 Grigory K. 2 2 4

7 Ivan K. 3 2 5

8 Uliana P. 2 2 4

№ Name, surname of the child Task 1 Task 2 Total score

1 Roman S. 1 2 3

2 Natalia S. 2 2 4

3 Sofia S. 2 2 4

4 Evelina S. 2 2 4

5 Artem S. 1 2 3

6 Taisiya T. 1 1 2

7 Anna T. 1 2 3

8 Denis L. 2 2 4

The individual dynamics of the effectiveness of control diagnostics in the control and experimental groups is shown in the diagram in Figure 2 and in the diagram in Figure 3.

Figure 2. Individual dynamics of control diagnostics results children experimental group.

Figure 3. Individual dynamics of the results of control diagnostics in control group children.

As can be seen from the histograms, there have been changes in the experimental group. The results were especially improved for two children. According to the results of the diagnostics, their overall score increased by two points. The rest children score improved by one point.

Analyzing individual changes in the control group, we can conclude that changes in the results at the control stage of the experiment in children this group did not occur.

The overall picture of the distribution children control and experimental groups by levels developing a sense of musical rhythm can be seen in Table 6 and Table 7.

Table 6

The results of control diagnostics in the experimental group.

1 Varvara B. 5 S

2 Daniel B. 4 S

3 Varvara V. 6 V

4 Anastasia E. 5 C

5 Semyon K. 6 V

6 Grigory K. 4 S

7 Ivan K. 5 S

8 Uliana P. 4 S

Table 7

The results of control diagnostics in the control group.

№ Surname, name of the child Number of points Level

1 Roman S. 3 NS

2 Natalia S. 4 S

3 Sofia S. 4 S

4 Evelina S. 4 S

5 Artem S. 3 NS

6 Taisiya T. 2 NS

7 Anna T. 3 NS

8 Denis L. 4 S

In the experimental group, two children moved to a high level, three improved their results to an average level. And three children remained at the average level, but they had changes in the results of individual indicators.

In the control group, children no change in level developing a sense of musical rhythm.

Distribution children according to the levels of development of a sense of musical rhythm According to the results of the control diagnostics in the experimental group, you can see Figure 4 in the diagram.

Figure 4. Distribution children experimental group by levels developing a sense of musical rhythm

From the foregoing, we can conclude about the effectiveness of the work we have done at the formative stage of the experiment.

Stage 3 is the final stage.

Summing up the implementation project

In the process of experimental research work we watched the children, had a conversation about the nature of the listening music and conducted a pedagogical experiment in three stages.

At the ascertaining stage of the experiment, we revealed the level development of a sense of musical rhythm in preschool children. Two diagnostic tasks were used for diagnostics. First task to play in claps rhythmic drawing of a melody of a Russian folk song "Oh you canopy", and the second is the correspondence movements to the nature of the music, conformity the rhythm of the movements the rhythm of the music.

As a result, we found that 56% children are at the average level, 44% children below average level. FROM high level no children.

In the course of a formative experiment, we developed and carried out purposeful work to develop a sense of musical rhythm in children of primary preschool age in the process of musical and rhythmic movements. At this stage, the hypothesis “If we use musical-rhythmic movements in musical games, then this will help developing a sense of musical rhythm».

The purpose of the control experiment is to reveal the dynamics development of a sense of musical rhythm in children of primary preschool age control and experimental groups. Diagnostic results testified about the effectiveness of the methodology developed and carried out at the formative stage.

Thus, comparing the data of the ascertaining and control experiment, we found out that the use of musical-rhythmic movements in musical games contributes to the development of a sense of musical rhythm in children of primary preschool age.

As a result, the goal set at the beginning of the research work “to select methodological recommendations for developing a sense of musical rhythm in musical rhythmic movements in children of primary preschool age” has been achieved. Hypothesis Proven research: if use musical-rhythmic movements in musical games, then this will help developing a sense of musical rhythm. The assigned tasks have been solved.

Musical and rhythmic activity of preschoolers in the classroom at the preschool educational institution.

“Perhaps the best, most perfect and joyful,

what is in life is free movement to the music.

And you can learn this from the child and with him.

A.I. Burenina

It has long been known in pedagogy what great opportunities for educating the soul and body lie in the synthesis of music and movement, the integration of various types of artistic activity. According to Plato, “It is difficult to imagine a better method of education than the one that has been discovered and tested by the experience of centuries; it can be expressed in two positions: gymnastics for the body and music for the soul ... In view of this, education in music should be considered the most important: thanks to him, Rhythm and Harmony penetrate deeply into the soul, take possession of it, fill it with beauty and make a person perfectly thinking ... He will revel and admire the beautiful, perceive it with joy, be saturated with it and coordinate his life with it.

At the present stage of pedagogical theory and practice, Special attention development of a creative personality. Creativity is inherent in every child, but how important it is to create the necessary conditions for its manifestation in a timely manner. Many psychologists (Dubrovina I.V., Petrovsky A.V., Teplov B.M.) gave their own definitions of creativity, but they all came down to the same idea that creativity is a human activity that creates something new, original. L.S. Vygotsky emphasized that the basic law of children's creativity is that its value should be seen not in the result, but in the process itself. Musicologist and composer B.V. Astafiev spoke about musical and creative skills, i.e. thought that creativity should be taught. The issues of musical creativity of preschool children in our country were of concern to many scientists and researchers. ON THE. Vetlugina proves that the musical creativity of children is an effective and active way of forming a child's aesthetic attitude to everything around him, the way of artistic mastery of life. It activates the child's imagination, encourages them to achieve their own goals, to search for the realization of their ideas in different forms, promotes learning. Consequently, the musical creativity of children is the most important issue of aesthetic education.

Children's musical creativity is an important factor in the development of a child's personality. It can manifest itself in all types of musical activities: singing, dancing, playing children's musical instruments. Children usually improvise spontaneously, in various games. They sing a lullaby to the dolls, sing a march for the soldiers, willingly compose songs, come up with melodies for a given text. Children love to stage songs, come up with movements for round dances. In this they are helped by the literary text and the character of the music. If an adult does not show ready-made movements during performances, then children can create original, original images expressed in movements. Creative manifestations of children in movements to music are an important indicator of musical development. The child begins to improvise, create "his own" musical-playing image, dance, if he has a subtle perception of music, its character, expressive means, and if he has the necessary motor skills. Musical and rhythmic movements (rhythm) is one of the types of musical activity in which the content of music, its character, images are transmitted in movements. The basis is music, and a variety of physical exercises, dances, plot-figurative movements are used as a means of deeper perception and understanding.

In order for the movements to the music to be natural, logically arising from the music itself, we must, when conducting this kind of classes, leave the children only to the action of the music itself.

For preschool education, the issues of developing a creatively active personality, its spiritual potential are especially relevant. That is why it is important to include various types of artistic creative activity in the life of children and in the pedagogical process of the kindergarten. It is in them that every child can express himself most fully and realize his creative activity. It is music and movement that form the child's freedom in creative thinking, give the opportunity to improvise, giving the child emotional reactions in return - joy, pleasure.

Music and movement help to educate children, provide an opportunity to know the world. Through music and movement, the child develops not only artistic taste and creative imagination, but also love for life, man, nature, the inner spiritual world of the child is formed.

Musical - rhythmic and dance movements perform the function of mental and somatic relaxation, restore the vital energy of a person and his sense of self as an individual.

Outstanding teachers L.S. Vygotsky and N.A. Vetlugina believed that children should be encouraged to perform creative tasks as early as possible.

One of the types of musical activity that contributes to the development of creativity to a greater extent is the musical movement.An analysis of the history of the formation of musical art convincingly shows that in the course of the development of human society, due to objective reasons (ceremonies, religion, etc.), the development of rhythmic motor activity was primarily going on. The sound design of the movement gradually turned into singing, that is, it was a secondary act. Even in ancient Egypt, the term "sing" meant "to make music with your hands" (E. Dalkroz, I. T. Aleksandrova, S. S. Averintsev, V. P. Shestakov, E. A. Bodina). The child's need for various kinds of movements influenced the methods of folk pedagogy (sickness, round dances, games with movements, etc.). These provisions also give grounds to consider a change in attitude to such a direction of musical activity as musical-rhythmic movements as relevant.

1. The concept of musical - rhythmic activity in psychological - pedagogical and special literature

According to the definition of Vygotsky L.S. activity is an active process of mastering social experience, cultural achievements. Throughout his life, a person masters various types of activities, as a result of which his mental qualities and personality traits are formed. Some of them acquire special significance and proceed most successfully. In electoral relations, inclinations to certain types of activity, personal qualities of a person are manifested. In activity, perception, memory, thinking, imagination, sensations are improved. In the process of any activity, the child masters certain actions that lead to a certain external result, and internal, mental actions that form the basis of the content. mental development(perception, thinking, imagination, memory). Likewise, musical activity consists of numerous actions. For example, when mastering musical and rhythmic skills, a child carefully listens to music, tries to correctly perform a movement, start it and finish it in accordance with the music, catches a given tempo, and reflects simple shades during performance. If an action is repeated many times, it is gradually acquired and becomes a skill. The combination of these skills allows the child to then cope with new, more complex actions.

The musical activity of preschoolers, according to N.A. Vetlugina, is a variety of ways, means of children learning musical art (and through it, the life around them, and themselves), with the help of which general development is also carried out.

In the musical education of children, the following types of musical activity are distinguished: perception, performance, creativity, musical educational activities. All of them have their own varieties. Thus, the perception of music can exist as an independent type of activity, or it can precede and accompany other types. Performance and creativity

is carried out in singing, musical-rhythmic movements and playing musical instruments. Music Educational activities include general information in music as an art form, musical genres, composers, musical instruments, etc., as well as special knowledge about the methods of performance. Each type of musical activity, having its own characteristics, involves the mastery of children by those methods of activity, without which it is not feasible, and has a specific influence on musical development preschoolers. That is why it is so important to use all kinds of musical activities. A special place in musical activity in a preschool institution is given to such an activity as musical and rhythmic activity, with the help of which musical and rhythmic skills are formed in children. The formation of musical and rhythmic skills is carried out in such forms of musical activity as musical classes, holidays and entertainment, leisure.

The main form of musical activity of children senior group where the formation of musical and rhythmic skills is carried out are classes. On holidays, entertainment and leisure activities, the acquired skills are consolidated in the classroom.

The possibilities of musical activity in children of the older group in terms of the formation of musical and rhythmic skills increase significantly, because in the fifth year of life, children already have the experience of listening to music, they can recognize familiar melodies, determine the nature of music and certain means of musical expression (dynamics - loud, quiet ; registers - high, low; pace - fast, moderate). They show the skill of expressive and rhythmic movement. Auditory attention develops, individual abilities of children are more clearly manifested. They can convey with movements the diverse nature of music, dynamics, tempo, a simple rhythmic pattern, change movements in connection with the introduction, with the change of parts of a musical work. Children can master a variety of movements (from rhythmic running with

high leg raises and jumps from foot to foot to the polka step, half squat, etc.).

They show in movement dexterity, speed, the ability to move in space, to orient themselves in a team, because physical development is improved in various directions and, first of all, is expressed in mastering the main types of movements, in their coordination. There is an even greater opportunity to use movement as a means and way of developing musical perception. Using the movement, the child is able to express himself creatively, quickly navigate in search activities. The performance of dances and games sometimes becomes quite expressive and testifies to attempts to convey one's attitude to music.

Musical activity in the formation of musical and rhythmic skills is built on certain pedagogical principles. Systematic, gradual and consistent. The system of exercises is built according to the principle "from simple to complex", taking into account all the necessary musical and rhythmic skills.

Musical activity for the formation of musical and rhythmic skills in children of the older group in a preschool institution includes musical and rhythmic exercises, musical games, round dances, dances, musical and dance creativity.

Exercises designed for the development of gymnastic, dance movements, games, dances and round dances are built on these elements.

Music games- the leading form of organization of rhythmic movements. During the game, children transform into different characters, and the music gives them a special emotional mood.

round dances - most often held under folk songs. Children stage them in accordance with the development of the plot, performing various roles.

Dancing - built on fixed movements in a certain

sequences and formations, consist of familiar elements of movement.Musical and gaming creativity- in the process of musical and rhythmic creativity, which involves the composition and performance by children of combinations of movements, exercises, etudes, games, dance scenes and small performances in collaboration with the "teacher", there is an active formation of both special components of abilities for this type of activity, and general components in the structure of artistic and creative abilities, such as: emotional responsiveness, intellectual initiative, creative activity, perseverance and endurance in achieving the intended goal, the ability to change learned stereotypes and search for non-standard ways of conveying ideas, etc.

First of all, when learning musical and rhythmic movements, children are taught a holistic perception of musical works. A holistic perception acquires a special meaning if the child is able to capture and retain in his mind the individual components of the work: the nature of the development of musical images, tempo, dynamic changes and use the means of their expression in motion. Therefore, in the musical activity for the formation of musical and rhythmic skills, one should choose such a musical repertoire that will help the child feel the richness of the "language of music" and convey it in movements. The performance of musical works must be accurate and artistic.

Thus, the use of pedagogical principles, taking into account the peculiarities of the development of children in the older group, the correct selection of the musical repertoire, all this together ensure successful musical activity in the formation of musical and rhythmic skills.

"Rhythm, as a vital, all-encompassing and all-penetrating force, can be and therefore must become an instrument of education," N.G. Alexandrova wrote.

Teachers believed that due to the universal meaning of rhythm, in musical and rhythmic movements converge: medicine, pedagogy, psychology, plasticity, and music with their divisions and varieties. Rhythm, according to the definition of N.G. Alexandrova, is that common point where the paths of a painter, sculptor, musician, conductor, mime artist, dancer, and actor diverge. This division into specialties was the first step towards the use of rhythm in various areas of human activity.

Describing musical and rhythmic education as one of the means of biosocial education, N.G. Aleksandrova placed rhythmic, carried out according to the Dalcroze system, at the center of the area of ​​contact between pedagogy, psychophysiology, the scientific organization of labor, and physical education, while pointing out that rhythmicity draws together in a condensed form the rhythmic moments of each of these areas.

“Rhythmic education,” she emphasized, “is one of the means of biosocial education and is a self-sufficient discipline.”

Members of the Moscow Association of Rhythmists (N.G. Aleksandrova, M.A. Rumer, V.A. Griner, Yu.A. Dvoskina, N.P. Zbrueva, E.V. Konorova, E.V. Chayanova, etc.) it was believed that no matter who the child grows up, he should practice musical and rhythmic exercises in order to acquire a number of skills and ideas that will positively affect both his psychophysical apparatus and his professional skills.

Teachers singled out the following general developmental tasks for the formation of musical and rhythmic skills: to identify rhythmic reflexes, to adapt the body to respond to certain stimuli (auditory and visual), to establish a balance in activity nervous system, to promote the training of the mobility of nervous processes, to cultivate volitional qualities - activity, self-control, endurance.

The system of rhythmic education in the 1920s was based on the principle of accessibility to a wide range of people and the professional expediency of using musical rhythmic exercises. "This system that we are developing is available to the masses." - wrote N.G. Alexandrova.

This work experience helped to formulate a number of valuable conclusions regarding teaching methods.

Age and psychological characteristics were taken into account (degree of susceptibility, motor skills, intellectual gifts, etc.), which made it possible to conclude that it is necessary to separate preschool and school age into separate sections, to develop program content and methodological techniques to determine the specifics of the selection of pedagogical material.

Over time, the formation of rhythmic skills acquired an aesthetic orientation. More attention began to be paid to music, its content and the totality of musical and expressive means, because the basis of music is rhythm, which has a motor nature. In the musical-rhythmic movement, rhythm is understood in the broadest sense of the word. It includes the development and change of musical images, the structure of the work, tempo and dynamic, register, metro-rhythmic ratios. Therefore, in the process of practicing rhythmicity, emotional responsiveness to music develops especially successfully, the skill of perception, reproduction of the musical-rhythmic basis of the work is acquired.

N.G. Alexandrova emphasized that acquaintance with musical rhythm, by reproducing the rhythm with movements, inevitably causes

children's interest, love, consciously inquisitive attitude towards music itself. At the same time, giving the movements spirituality and expressiveness, music imperceptibly introduces children into the realm of another art: dramatic plasticity, theater, pantomime, dance.

Thus, the synthetic nature of musical-rhythmic activity was noted, in which movements of various types are united by music, which gives them expressiveness and richness. The importance of music as a fundamental means for developing a sense of rhythm was emphasized by V. A. Griner. With regard to preschool age, special studies were carried out by N.A. Vetlugina, A.V. Keneman, K.V. Tarasova by their students: A.N. Zimina, M.A. and E.V.-Gorshkova.S.B.Babadzhan, A.G.Zakolpskaya, M.A.Metlov, M.A.Rumer, Yu.A.Dvoskina, S.T.Tovbina, E A. Sokovnina, V. V. Tsyvkina, E. P. Iova, I. V. Slepovich and others.

Experts believe that, first of all, the formation of musical and rhythmic skills is an educational process that helps the development of many aspects of the personality of a preschool child: musical, aesthetic, physical, emotional, volitional, and cognitive. Cognitive abilities develop due to the fact that children learn a lot, thanks to the diverse themes of musical works, familiarization with artistic movements and techniques for their performance. Cognitive processes during rhythm lessons are activated if the child can focus on the features musical means expressiveness, in the presence of auditory attention, its stability. Auditory attention develops musical memory, which is based on auditory and motor analyzers. Children listen to the sound, compare sounds similar and different, get acquainted with their expressive meaning, note the characteristic semantic features of artistic images, learn to understand the structure of the work - all this activates their sensory development. A conversation about the music you listened to teaches you to make the first generalizations and comparisons, which contributes to the development of the mental abilities of children.

Classes improve the physical strength of the child. In the process of classes, children learn to control their bodies, they develop a muscular sense, the ability to distinguish between tense and relaxed states of muscles, a sense of their posture and direction of movement is brought up. As a result of the reproduction of musical and rhythmic patterns, children develop the ability to control their muscular apparatus.

The need to act to music, coordinating movements and music, develops volitional qualities. Musical-rhythmic movements require a timely, conscious reaction to an external stimulus, timely switching from one movement to another, the ability to quickly and accurately slow it down. The main method of rhythmic training is the transfer of rhythmic movement of alternating musical themes, which contributes to the training of the mobility of nervous processes, which leads to the development of volitional self-regulation. The ability to act in a team forms such strong-willed qualities as endurance, determination, courage, perseverance in achieving the goal.

With a conscious perception of music and its motor expression, the influence of music and movement on the emotional sphere of a person is great. Emotions are influenced by the content of a musical work, its melody and harmony. Awaken emotions, they create the basis for their motor rhythmic expression. Most children, moving to the music, experience a great emotional uplift associated with the impact of the expressive means of music on the body. Movements contribute to "a fuller, more intense perception of music, a more active experience of the nature of a musical work. Musical images are always emotionally saturated, therefore they excite a person, cause him a feeling of joy, sadness, an infinite number of aesthetic emotions and their shades. Enjoying the music, feeling the beauty of their movements children are emotionally enriched.

Performing movements to music, children mentally imagine this or that image, reproduce it in their own way, in new, unusual connections, combining elements of dance, characteristic movements of the character. When performing, they try to convey not only the character and appearance of the characters, but also the attitude towards them, which contributes to the development of the imagination and artistic abilities of children.

Considering rhythm in the context of general musical and aesthetic education and development, the researchers believe that at preschool age, musical and rhythmic activity is one of the most optimal types of children's artistic activity for the development of the creative qualities of the individual and the formation of artistic and creative abilities. First of all, this is due to the motor nature of children's imagination. In the words of L.S. Vygotsky, "the effectiveness of recreating his images by children, through their own bodies." As well as a special emotional impact musical movement that encourages children to be active, which creates the prerequisites for the formation of creativity.

ON THE. Vetlugina emphasized that the strength and advantage of musical-rhythmic activity for the formation of creativity in preschool age lies in the fact that it arises and relies on game activities that are familiar and exciting for children, during which the child’s creative imagination develops especially brightly, his initiative, invention is manifested. , joyful enthusiasm is excited. The source is the free activity of children in role-playing game, where, when conveying the actions of characters, children are looking for characteristic features, which is typical for creating an artistic image. Consequently, there is a deliberate creative construction based on existing ideas, which is an integral part of artistic creativity.

Noting the close connection between musical and rhythmic activity and gaming, N.A. Vetlugin was introduced to preschool musical education the term "musical-playing image", considering it as the initial form of the emergence of an artistic image in the field of musically dramatized choreography. For preschoolers, she considered the most acceptable form of dance and game creativity, during which, under the guidance of a teacher, children learn ways of creative actions, such as: the ability to compose a plot, distribute roles, choose characteristic movements, expressively perform their composition.

Communication with play activity ensures the effectiveness of the formation of interest both in the subject and in the process of activity, which is an important prerequisite for the development of children's artistic creativity.

Preschool age is one of the most crucial periods in the life of every person. It is during these years that the foundations of health, the harmonious mental, moral and physical development of the child are laid, the personality of a person is formed.

At the beginning of the 20th century, the Swiss musician and teacher Emile Jacques-Dalcroze was convinced that it was necessary to teach rhythm to all children. The special value and vitality of his system of musical and rhythmic education is in its humane nature. . He developed in them a deep “feeling”, penetration into music, creative imagination, formed the ability to express himself in movements. E. Jacques-Dalcroze created a system of rhythmic exercises, according to which he taught his students for decades; in it, musical and rhythmic tasks were combined with rhythmic exercises (with a ball, ribbon) and games. "The merit of E. Dalcroze, first of all, is that he saw musical rhythmic exercises as a universal means of developing children's ear for music, memory, attention, expressiveness of movements, and creative imagination."

The unity of music and movement was actively preached by Isadora Duncan, the famous American dancer. In 1921, she visited Soviet Russia with the aim of creating a ballet school in which performers were to be taught spontaneity, sincerity, grace and ease.

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

Scientific research in the field of preschool musical and rhythmic education was carried out by A.V. Keneman, N.A. Vetlugina and their students - A.N. Zimina, M.L. Palavandashvili. T.S. Babajan, N.A. Metlov, Yu.A. Dvoskina, S.D. Rudneva, L.S. Generalova, E.N. Sokovnina, V.V. Tsivkina, E.P. Iova, I.V. Lifits, T.P. Lomov and others.

Already in the 20s. in our country, systems of rhythmic education began to be developed, specific for kindergartens, music schools, theater schools and institutes. conservatories, as well as medical institutions, etc.

In modern kindergartens, various methods are used, for example:E.V. Gorshkov’s program “From Gesture to Dance”, O.P. Radynova’s program “Musical Masterpieces”, A.I. Burenin program "Rhythmic Mosaic", and many others.

All modern rhythmic and plastic programs are united by one common goal - the harmonious development of the personality, the unity of the spiritual and the physical.

Along with other types of activity, musical and rhythmic movements provide a versatile musical development: they develop musicality, creativity, form skills The educational value of movements to music is also manifested in the fact that they activate the sense of rhythm, contribute to an in-depth assimilation of musical material. With the help of movements, the characteristic features of the work are conveyed. In the classroom for preschoolers, a significant place is given to musical and rhythmic movements.

The basis of the musical and rhythmic activity is the motor-plastic processing of the musical material. It contributes to the strengthening of the emotional impact of music, the development of ideas about the means of musical expressiveness, the elements of musical speech; movements to the music help to trace the development of the musical image. All this is achieved thanks to the acquired skills and abilities to coordinate movements with music, its character, mood.

The musical and rhythmic activity of children hasthree interrelated directions:

First provides musical development and includes the development of musical hearing, the formation of skills to subordinate movements to music, the acquisition of musical knowledge.

Second gives the correct motor skills: walking (marching, vigorous, sporty, solemn, calm, smooth, springy); step (high, on toes, soft, wide, sharp, springy, variable, fractional, round-breeding); jumps (light, energetic); circling (on socks, a combination of jumping with a springing step); hand movements (soft, energetic); clapping (in the palms - quietly, loudly, with a swing, holding hands close to one another, sliding "plates"); building and rebuilding; movements with objects (with a ball, ribbons, flags); elementov tantsa (riche - xopovodny, dpobny, pepemenny shag, shag c ppitopom, polyppicyadka, ppipadanie "kovypyalochka"; ykpainckogo "golybets" ppipadanie bokovoe, kpyzhenie; belopycckogo - ocnovnoy xod in tantsax "Bylba" and "Yanka"; balnogo- side gallop, polka step, waltz movements, elements of typical modern children's ballroom dance)

Third direction provides the formation of the ability to control body movements: quickly and accurately stop, change movement, etc.

In musical-rhythmic movements, music plays a leading role, while movement plays a secondary role. At the same time, the experts made an important conclusion: only the organic connection between music and movement provides a full-fledged musical-rhythmic education of children.

Musical games and dances help to develop emotionality and figurative perception of music, a sense of rhythm, melodic and harmonic hearing, a sense of musical form, and memory.

Plots, images of musical games and dances specify the content of a musical work for children, help to experience it more deeply. Movements, organically connected with music, its character (content), contribute to its holistic perception. Responding with their movements to the features of melody, rhythm, dynamics, the structure of a musical work, children begin to feel the expressive meaning of the elements of musical speech.

In order for a musical game, dance to fulfill its educational tasks, it is necessary to teach children to control their bodies, to coordinate movements, to coordinate them with the content of music.

If ye ne deti dvigatelno podgotovleny, they not cmogyt vypazitelno and neppinyzhdenno pepedavat in dvizheniyax paznoobpazny xapaktep etix myzykalnyx obpazov, GAMING ne will be played cpocobctvovat pazvitiyu myzykalnogo vocppiyatiya and voobpazheniya detey, ne will be played THEIR padovat.

Most of the movements that music games and dances are based on are basic movements (walking, running, jumping, jumping); So, for example, without teaching children the correct step and run, without strengthening the muscles of the legs and body in physical education classes, children will not be able to move well and expressively with the tongue, the tongue. Work on reflecting the brisk, active character of music in walking will help develop good posture, rhythm, coordination of movements of arms and legs, ease of step, i.e. directly helps physical culture work. The movement associated with music is always accompanied by an emotional upsurge, so it also has a beneficial effect on the physical development of children.

Myzykalno-pitmicheckie yppazhneniya, pomogayut ppivit detyam dvigatelnye navyki and ymeniya, neobxodimye VARIATIONS pepedache in dvizheniyax myzykalnyx vpechatleny in zhe verily On Time cpocobctvyyut yglybleniyu and ytochneniyu myzykalnogo vocppiyatiya detey. Each exercise has not only motor, but also musical tasks.

Musical-rhythmic movements are a type of musical activity built on the relationship between music and movements, where rhythm is the basis.

Their goal is to deepen and differentiate the perception of music (allocation of means of expression, form), its images and the formation of expressive movement skills on this basis.

The purpose of musical and rhythmic education of a preschooler- the development of the child, the formation by means of music and rhythmic movements of various skills, abilities, personality traits. How earlier child perceives a range of diverse impressions, sensory experience, especially in such an activity as moving to music - the more harmonious, natural, successful the further development of the child will be, and perhaps our children will have fewer problems with the development of speech, attention, memory, thinking , the formation of a beautiful posture. It has been proven that movement exercises to music for children with developmental delays or pathologies are of particular importance. Motor exercises train primarily the brain, the mobility of nervous processes (studies by N.A. M. Fildenkrais and others). At the same time, movement to music is one of the most attractive activities for a child, playful, an opportunity to express their emotions, show their energy.

In connection with the interdependence of music and movement, the followingtasks of teaching and educating children:

Development of musicality:

Development of the ability to perceive music, that is, to feel its mood and character, to understand its content;

Development of ear for music (melodic, harmonic, timbre), sense of rhythm;

Development of musical outlook and cognitive interest in the art of sounds;

The development of musical memory.

Development of motor qualities and skills:

Development of dexterity, accuracy, coordination of movements;

Development of flexibility and plasticity;

Education of endurance, development of strength;

Formation of correct posture, beautiful gait;

Development of the ability to navigate in space;

Enrichment of motor experience, various types of movements.

Development of creative imagination and fantasy:

Development of the ability to improvise: in movement, in fine arts and words.

Development of mental processes:

The development of the emotional sphere and the ability to express emotions in facial expressions.

Development of perception, attention, will, memory, thinking.

Development of moral and communicative qualities of a person:

Education of the ability to empathize with other people and animals;

Education of the ability to behave in a group while moving, the formation of a sense of tact and cultural habits in the process of group communication with children and adults.

Many musician-teachers (J. Dalcroze, C. Orff, N. G. Alexandrova, N. A. Vetlugina, E. V. Konorova, etc.) noted the important role of musical and rhythmic activity - synthetic in nature - for the formation of artistic creativity in preschoolers during the period of rapid development of imagination, fantasy, figurative thinking - the main mental processes that ensure the successful formation of artistic and creative abilities in various types of musical activity.It is very important to understand what musical and rhythmic activity should represent at preschool age.The main, primary tasksthis activity, as one of the types of musical activity in general, are:

• education of love and interest in music,

• enriching children's musical experiences through exposure to a variety of musical works,
• introducing children to the simplest musical concepts, developing skills in the field of musical and rhythmic movement,
• development of emotional responsiveness, sensory abilities and musical ear, a sense of rhythm, the formation of expressiveness of movement,
• teaching elementary motor skills, achieving simplicity, naturalness and expressiveness of the performance of musical works,
• to promote the emergence and initial manifestation of musical taste based on the impressions and ideas about music received, to develop creative activity, independence and initiative in the musical-rhythmic movement
• cherish physical health children, ensuring their emotional and mental well-being.

Developing a child harmoniously, solving these and other tasks, it is necessary to understand exactly what we want from this particular child now and in the expected future.

It is at preschool age that children do not experience a feeling of inconvenience, embarrassment associated with the fact that something may not work out. Freedom of movement is ease and joy. A very good motto of G.P. Fedorova: “To dance is to develop the mind.” It is at preschool age that the foundations of harmonious mental, moral, physical development are laid, the personality of the child is formed.

Types of musical - rhythmic activityare closely related to the area of ​​movements from which they are borrowed. The sources of movements are considered to be physical exercises, dance and plot-shaped movements. From physical exercises, basic movements are used (walking, running, bouncing, jumping), general developmental (without objects and with objects) and drill exercises (building, rebuilding and movement). Also, simple elements of folk dances, round dances, ballroom dances are used, which form the basis of modern children's compositions. Plot-figurative movements include imitation of the habits of animals and birds, the movement of various vehicles, actions characteristic of any profession, etc. The most common types of musical and rhythmic activities include games, dances and exercises.

The main place in the section of musical and rhythmic movements is occupied by games . A musical game is an active activity aimed at performing musical and rhythmic tasks. It causes a cheerful, cheerful mood in children, affects the activity of the process of development of movements, and forms musical abilities. A.S. Makarenko said: “The game is important in the life of a child, it has the same meaning that an adult has an activity, work, service. What a child is in the game, such is in many ways he will be in work when he grows up. While playing, the child exercises in movement, masters it, during the game the positive qualities of the child's personality develop, through the game he learns life.

All the activity of the child in the process of musical games is an active listening to music, requiring a direct reaction, a heightened musical perception associated with experiencing, distinguishing and recognizing a musical image. Performing musical tasks in the game involves determining the nature of music, tempo, distinguishing dynamics, separate parts works. Interest in the game and emotional elation in the process of its performance, the availability of game images contribute to the development of the child's creative initiative.

Musical games are divided into plot and non-plot depending on whether children play a certain plot or perform game tasks.

In story games, images are revealed, actions are shown, for example, in the games “Trip out of town” (music by V. Gerchik), “Trappers and animals” (music by E. Tilicheeva). There are also round dance games with singing, for example, such as “Raven” (Russian folk melody), “Like thin ice” (folk song arranged by M. Iordansky). In these games, poetic texts are plotted, and movements, as it were, comment on them. IN plot In the games of children of younger groups, the simplest imitation of movements takes place (a sparrow flaps its wings, a bunny jumps). In the middle group, the requirements for similarity with the image, the experience of it, increase. In the preparatory group for school, children are required to have emotional expressiveness of movements, a conscious attitude to their role and a higher quality of its performance. In the process of experiencing his role, the child develops an attitude towards the image. Of course, the emotional expressiveness of children's movements and their creative activity are not the same due to various properties of the nervous system, but they are manifested to varying degrees in all children.

We list the main types of games:

1. The initial form of the game is playing with singing and movements to the piano conclusion. For example, "Horse", music by A. Filippenko. The text is the content, and the piano conclusion is the development of the image.
2. The next in terms of difficulty is playing to instrumental music, for example, “Pilots, watch the weather”, music by M. Rauchverger.
3. More complex are staged games. They can be taken out for holidays, leisure evenings. It is desirable that the participants of the game act in costumes. For example, the dramatization game "Teremok", music by M. Krasev, words by S. Marshak.

In games, it is necessary in every possible way to promote the manifestation of children's creative initiative, to celebrate a new movement successfully found by the child in the game image.

The development of creative initiative in musical and gaming activities is also facilitated by the staging of a song, close to plot musical games, not learned by children, but performed by a teacher. (The teacher sings, and the children depict in movements everything that is sung about.) It is useful to perform non-plot and plot etudes with children. Dramatization of songs can already be done with children younger age etudes are carried out with children of older preschool age, because in them children must reflect with movements the character, form and individual means of musical expression of a previously unfamiliar piece of music. And this requires a certain experience of musical perception, life experience, the ability to perform a variety of movements. An example is the plot sketches "The Bear and the Bee", music by F. Gershova, "Counting", music by T. Lomova.

Non-plot games do not have a specific theme. They contain various game tasks, dance elements, competitions, various constructions and rebuildings. Examples are the games “Be smart”, music by N. Ladukhin, “Search”, music by T. Lomova, “Musical moments, music by F. Gershova.

An important type of musical and rhythmic movement are dancing . They activate the child's hearing, develop clear beautiful movements and contribute to the development of creative activity. And in dancing, children distinguish between the nature of music, the form of a musical work, and the means of musical expression.

Various dances are held in kindergarten:

1. Dances with fixed movements, i.e. copyright, which include:

• dancing with the participation of an adult; this type of dance is created by the author, taking into account the obligatory performance by the teacher of the same or different movements as the children;
• contemporary children's dance;
• folk dances, which use authentic elements of folk dance;
• round dances with singing, the movements of which are not connected with the text;
• characteristic dance, in the movements of which this character is depicted;
• children's ballroom dance.

2. Improvisation dancesbased on learned movements. They are used to develop children's creativity. These include:

Dance type "mirror";

Dance, where children compose movements for its first part, and for the second part of the movement the teacher shows;

Dance, where children compose movements for its first and second parts.

From dances - improvisations, in which the teacher teaches children productive creative activity, should be distinguishedfree dance,where, on the instructions of the teacher - to reflect the nature of music in movements - children are engaged in performing dance activities based on previously learned movements.

3. Exercise - repeated performance of the same movement for learning purposes. The purpose of the exercises is different:

exercises used to improve basic

• movements (walking, running, jumping, jumping);
• preparatory exercises, during which movements for games and dances are learned (alternating step, circling, step on the entire foot, passing the flag in a circle, etc.);
• figurative exercises that clarify various game images, the movements of the characters in plot games (the tread of a bear, the jumping of a hare, the running of a horse); figurative exercises give children the opportunity to master the movements to perform individual roles;
• exercises as certain completed compositions; usually they are created by the authors.

In the exercises, tasks are set for the precise fulfillment of musical and motor tasks, to a certain extent, the technique of movements is developed. Games, dances and exercises are closely interconnected and are aimed at the implementation of a common task - the development of musical perception and the rhythm of movements.

4. Musical and rhythmic activity includes: music, dramatization, pantomime, plasticity and dance. This activity arises and relies on play activities that are familiar and exciting for children, during which the child’s creative imagination develops especially brightly.
-rhythmic activity for the formation of children's artistic creativity lies in the fact that it is a synthesis of several types of arts: music, dramatization, plasticity, pantomime and choreography, combined into a single artistic whole through the creation of a musical and plastic image. The basis is the musical movement, dance in its various forms (folk, characteristic, classical, historical and everyday, ballroom, modern). Dance expresses various emotional states, feelings, experiences, where music, emotions and movements are closely interconnected and interact.
Dramatization provides for the development of the plot, the action of dance compositions and performances. The development of the action takes place in mimic stories, in various pantomimes - expressive movements and postures of the body, with the help of which a person creates an artistic image and expresses his emotions. Revealing the meaning of the actions of the characters, the character of the characters is conveyed through music and the plasticity of the human body.

Plastic intonation is the movement of the human body caused by music and expressing its image. It is associated with all kinds of performing arts - the movements of a musician sometimes “tell” the secret meaning of the music, which only this musician hears. Sometimes plastic intonation arises spontaneously (from an “overabundance” of feelings), but, knowing the inseparability of musical and plastic expressiveness, the music director should encourage children to perceive music not only by ear, but also with the help of musical-rhythmic movement.

Movements can be different - from a flexible downward movement of the hand to imitation of playing musical instruments in the nature of music from shaking the body to a joyful dance (its chorus); from a light step to a round dance.

Children are more likely to wait for a ready-made version of plastic expression to be shown than to invent it themselves. Therefore, it is better to limit yourself only to hints and tips that can help the child. The important thing is the freedom of creativity.

The process of musical-rhythmic creativity includeschildren composing and performing their own musical movements, y exercises, sketches, dance scenes, performances, games. A distinctive feature of musical and rhythmic creativity is that it contains a synthesis of two principles - executive and productive: children invent their own dances, etudes, games and perform them at the same time, the product coincides with the process, performance is a product of creativity, which determines the effectiveness of interest formation both to the subject and to the process of activity.
Due to its synthetic nature, the process of musical-rhythmic creativity is deployed in time. It has the main phases of the artistic and creative process - preparatory, search and executive.
Preparatory phaseincludes pre-thinking, reflection. Children actively listen to music. The variety of musical colors stimulates the imagination of children, helps to imagine a certain plot, distribute roles.
Search phase provides for the characters to search for expressive and visual means, which are various types of musical movements.
Executive phaseincludes expressive performance by children of their own compositions.
Practice shows that traditional education does not fully use all the rich possibilities of musical and rhythmic activity for the formation of artistic creativity and artistic and creative abilities. It is known that the language of art is the means of communicating with the viewer, conveying to him one's thoughts, feelings and experiences. Knowledge of the language of art is included in the structure of special abilities for a certain type of artistic activity. In musical-rhythmic activity, such a language is various types of plastic, dance and pantomime movements.
In the traditional practice of musical education, various types of musical and rhythmic creativity are not fully used, such as the individual and collective composition of games, exercises, plastic-pantomimic studies, dances and dance scenes, small performances in collaboration with a teacher, etc. , all these types of musical and rhythmic activities have great developmental opportunities. In the process of this work, children actively learn the ways of creative actions: script writing, distribution of roles, compositional construction techniques, search for means of translating the idea, figurative reincarnation, role-playing interaction of partners, and others.
All these shortcomings are due to the low degree of study of the problem. In this regard, the purpose of our study was to develop an evidence-based pedagogical system formation of artistic and creative abilities in children of senior preschool age in the process of musical and rhythmic activity.

preschool age- one of the most crucial periods in the life of every person. It is during these years that the foundations of health, the harmonious mental, moral and physical development of the child are laid, the personality of a person is formed.

The significance of musical-rhythmic movements in the life of a child lies in the fact that they:

Enrich the emotional world of children and develop musical abilities;

Develop cognitive abilities;

They bring up activity, discipline, a sense of collectivism;

• contribute to the physical improvement of the body

For preschool education, the issues of developing a creatively active personality, its spiritual potential are especially relevant. That is why it is important to include various types of artistic creative activity in the life of children and in the pedagogical process of the kindergarten. It is in them that every child can express himself most fully and realize his creative activity. However, the development of the development of creative activity of preschool children is possible only on the basis of studying the characteristics and capabilities of a given age.

An outstanding music teacher A.D. Artobolevskaya, in the book "The First Encounter with Music", states that the musical abilities of children are manifested and developed primarily through movement with music. In addition, during preschool childhood, the child grows and develops intensively, movements become his need, therefore physical education especially important in this age period. And musical-rhythmic movements combine both emotional and creative development and physical development.

The mention of the healing and corrective-developing effects of music goes back to ancient times. The most prominent scientists Pythagoras, Aristotle, Plato pointed to the therapeutic and preventive effects of music. They believed that music establishes a proportional order and harmony in the Universe, including those disturbed in the human body. It was noticed that music, first of all, its main components - melody and rhythm, changes the mood of a person, rebuilds his internal state.

In Clacciscic, the MYZYKA GPEIKA CAUS TPEEDINCTVO "MyCCCICKIX ICCCTV" - POEZI, TANTCA and CONFLECTLY MYZICS, CONTACT WITH WILL ON THE CAMAX MOGYTVEFTVE CPEDCTVs, which use it.

In ancient sources there are many testimonies that speak of miracles that occurred from the influence of music. The most prominent physician of antiquity, Avicenna, thousands of years ago, treated mental illness with music. And the doctor Acclepid, with the sounds of music, pacified discord and restored hearing with the sounds of a trumpet. The perception of music, according to the ancient Greeks and Romans, contributed to the process of digestion. The healing effects of the sound of certain musical instruments were noted by Democritus and recommended listening to the flute for healing in case of fatal infections.

Dutch composer and theorist of the 15th century. I. Tinctopris in the famous first musical dictionary attributed to music the ability to drive out sadness, soften cruelty, overcome evil will, please people, heal the sick, “make souls”.

But, music and movement occupy a special place in the development and correction of deviations in the development of children with various problems.

Ppedmetom metodiki myzykalnogo pazvitiya yavlyayutcya teopiya and ppaktika myzykalnogo vocpitaniya detey c ppoblemami, vklyuchayuschie in cebya izychenie ocobennoctey, texnologii, yclovy, obecpechivayuschix koppektsionno pazvivayuschy-and-myzykalno tepapevtichecky At Process icpolzovaniya myzykalnogo in ickycctva ACTIVITY REPORT c detmi dannoy kategopii.

The method of musical education as a part of art pedagogy has a common goal with it - the formation of a harmonious socially adapted personality of a child with problems by means of art. Achieving this goal becomes possible when the following specific tasks of upbringing and education, correction of deviations in the development of children of this category are solved by means of music.

Foreign educators and psychologists of the past (E. Seguin, J. Demore, O. Decroly) and domestic scientists (L. S. Vygotsky, V. P. Kashchenko, A. I. Graborov, etc.) on the important role of art, music in the development of children.

The practical use of music, movements as a means of development, correction and treatment of children with developmental disabilities in our country began at the beginning of the 20th century. During the formation of domestic defectology. At this time, the musical-rhythmic direction, developed by the Swiss teacher, musician Jacques Dalkrose, was widely introduced into the system of musical education. The formative beginning of rhythm was due to the combination of rhythm, music and movement. Ideya "vocpitaniya pitma VARIATIONS pomoschi myzyki" pealizovaloc pocpedctvom icpolzovaniya cpetsialno podobpannyx yppazhneny, kotopye pazvivali y vzpoclyx and detey, nachinaya c doshkolnogo vozpacta, myzykalny clyx, memory is, vnimanie, pitmichnoct, placticheckyyu vypazitelnoct dvizheny. At the same time, J. Dalcroze considered music to be the core of musical and rhythmic development, noting that in the rhythm of music it acquires bodily forms and transforms our bodies.

The implemented system of rhythmic education by J. Dalcroze in Russia N.A. Alexandrova expanded the scope of rhythmic application; she noted that rhythm is the point from which the paths of a painter, sculptor, musician, conductor, mimic, dancer, actor diverge. This division according to specialties was the first step towards the use of rhythm in various areas of human activity, including the allocation of a whole area - therapeutic rhythm. At the same time, N. A. Aleksandrova emphasized the importance of the differentiated use of rhythm, depending on the age and nature of the disorder in both children and adults. Pitmika in icpolzyetcya ACTIVITY REPORT c nopmalno pazvivayuschimicya detmi and mozhet vypolnyat myzykalno-pedagogicheckie fynktsii, a eo ppimenenie for paboty c detmi ppoblemami c (c napysheniyami pechi, clyxa, zpeniya, zadepzhkoy pcixicheckogo pazvitiya, ymctvennoy otctaloctyu) oppedelyaet escho and koppektsionnye zadachi.

The first steps in the use of rhythm in the system of treatment of the nervously ill were taken by Professor V. A. Gilyarovskii. Under his leadership in 1926 in the neuro-psychiatric hospital named after. Solovyov, a special system was created and implemented by the rhythmist V. A. Griner. Rhythm as an organizing element of music was put at the basis of the motor system, the purpose of which is to regulate the movements and behavior of the patient. In the 1930s Therapeutic rhythm begins to be used in speech therapy institutions, the foundations are laid for a whole area of ​​rehabilitative work with children who have speech disorders, - speech pathology.

By the way, the study of the influence of music and movement on children with problems, carried out in the 1960-1980s. gpyppoy iccledovateley (G. A. Volkov, V. A. Epkman, BI Shoctak, N. A. Tygova, OC Ctepnik et al.) pokazalo vozmozhnocti myzykalno-pitmicheckix dvizheny HOW peabilitatsionnoy metodiki in cicteme vocpitaniya and obycheniya detey c napysheniyami development of speech, vision, musculoskeletal system, with mental retardation.

In music lessons with children, it is necessary to use healing elements during exercises, dances, and games. At the beginning and end of classes, use elements that allow you to set the child in the right way (cheer up or calm down). To systematize the conduct of physical education sessions in class during sedentary activities - singing, listening to music.

Mastering general developmental exercises and a variety of dance movements, children improve motor skills. They develop a muscular sense, coordination, posture improves, vitality increases, and this is very important for the recovery of children.

I would especially like to note the use of such types of rehabilitation as:

logorhythmics is a method of overcoming speech disorders by developing the motor sphere in combination with words and music

Finger gymnastics- development of fine motor skills

Psycho-gymnastics- studies, games and exercises aimed at developing and correcting various aspects of the child's psyche, both cognitive and emotional-personal. Psychogymnastics includes facial exercises, relaxation, communicative games and dances, studies for the development of expressiveness of movements, dramatization, music therapy.

Respiratory and articulation gymnastics - breathing affects sound pronunciation, articulation and voice development.

The complete fusion of music and movement stimulates the work of all body systems. The metrorhythmic organization of a piece of music helps the proper functioning of the respiratory and cardiac systems, causes a coordinated reaction of the entire body of the child, has a positive effect on neuropsychic activity, improves metabolism, blood circulation. Singing songs of various nature in combination with exercise doctors consider it the best form of breathing exercises.

Performing various movements with musical accompaniment, the child seeks to coordinate the nature of movement and music, while expressiveness of movements is acquired, posture improves, the muscles of the musculoskeletal system and the foot are strengthened, preventing the formation of flat feet, movements acquire dexterity and completeness.

Music should be present next to the child, not only in music classes, but also in Everyday life. During games, the child can listen to music, dance with other children, and sing songs during walks. It will also be good to invite the children to sing one of the songs together. Drawing classes, when children look at illustrations, can also be enriched with musical inclusions (listen to a piece of music or sing a theme song). On walks, during which the teacher tells the children about nature, you can stop and sing some well-known song about nature.

Morning exercises are also inextricably linked with music. The initial, walking, warm-up exercises, basic exercises and final walking are almost always accompanied by provocative marching music. Musical accompaniment during gymnastic exercises, it helps to maintain the rhythm, does not allow a decrease in pace, and contributes to the development of clear, rhythmic movements.

Children are known to be particularly receptive to music and rhythm when they are highly aroused. Therefore, during quiet hours, lyrical music, calm melodic images, and music of nature are used to relieve children of excessive excitability, tension and nervousness.

Accounting age features preschoolers in the process of musical and rhythmic activity

The method of teaching musical-rhythmic movements is variable. The development of musical-rhythmic movements at each age stage occurs in different ways.

At the first stage of work - younger groups, it is necessary to draw the attention of children to music, to lead to the ability to respond to music with movement. Already at a young age, the child emotionally responds to music, which is expressed in facial expressions and gestures. But his movements are inaccurate and sometimes not coordinated with the music. Education for children of this age is based onimitate the actions of an adult. The teacher needs, using a personal example and relying on the emotional responsiveness of the child, to develop the ability to listen to music, memorize and perform simple movements, small roles, and accurately complete tasks. It is necessary to draw the attention of children to the fact that it is necessary to move only when the music sounds, to teach them to react to the change of contrasting parts, marking them with a change of movements, to stop movements with the end of the music.

Showing the teacher as a technique is needed at the initial stages of learning the game, dance, exercise. In the future, the music teacher gives instructions in the course of performance, corrects the actions of individual children. During the school year, a music teacher teaches children various dance and figurative movements, which are then used in games, dances, round dances.

To activate children, awaken interest in movements to music, a variety of game techniques are widely used, toys are used. For example, a bear comes to visit the children, who “watches” how the kids move, “dances” with them and for them. Game actions with objects are used: to the music, children wave flags, march with them, ring rattles, hide and find them, dance with handkerchiefs.
Learning the dance, the teacher performs it (once or twice) and invites those who wish to dance with him, encourages the most active to move independently.
Showing the game, the teacher immediately invites the children to participate in it. For example, in the game “Hide and Seek”, when the first calm part of the music is played, he says: “The children hid, they are sitting quietly, I can’t find them” (the guys are sitting on chairs at this time). With the beginning of the second moving part of the music, the teacher “finds” the children, calls: “Come dance with me!”
A slightly different character acquires musical education by means of movements in work.with kids middle group . In the fourth year of life, children feel the change of contrasting parts of music, they can perform and assimilate small musical tasks, but they are still poorly oriented in space. Therefore, the task of the teacher is to teach to move in accordance with the bright contrasting nature of the music, at a slow and fast pace, to respond to the beginning and end of the sound of music, to perform the simplest movements, to convey simple imitation movements of game images (“birds fly”, “horses jump”, “ bunnies are jumping”, etc.).
Games accompanied by instrumental music make it possible to expressively convey the game image using accessible means (“kittens” run quietly, “hares” jump merrily, “sparrows” fly easily, flap their wings, etc.). Usually, games are accompanied by a two-part piece of music, the form of which the guys mark with movements, for example, they walk around the room in different directions and run away to the “house” (“Good and bad weather”, music by I. Kishko); they rock the doll and dance with it (“Playing with a Doll”, music by V. Karaseva).
The dances also become more difficult, are accompanied by two-part music and require appropriate movements. The use of text helps the teacher in teaching. Consider, for example, the dance "Squat".
Exercises include one or two movements (more active and calm), which gradually become more difficult depending on the age of the children. For example, to the music of E. Parlov "March", three-year-old children learn to walk rhythmically; four-year-olds - march with flags and, with the end of the music, make “gates” out of them (the teacher and one of the guys). Then the music of T. Lomova “Running” is performed, and all the kids run one after another into these “gates”.

In the fifth year of lifechildren are taught to distinguish, feel and realize the simplest elements of musical expressiveness, perceiving music as a whole, feeling its mood, general character. Attention is drawn to the fact that, for example, with the help of tempo, dynamics and register, it is possible to convey in the play the character of the slow tread of a bear, the fast movements of bunnies. In round dances, games, the need for deliberate actions is emphasized in accordance with the characteristics of expressive musical means. Children learn to quickly and easily change the nature of the movement: calm walking for a run, a strong energetic step for a quiet tread, etc. Constant work is underway to develop rhythm: a clear walk in accordance with the metric pulsation, the exact beginning and end of movements along with the music.
Here is the volume of musical and rhythmic skills and abilities that should be mastered by children of 5 years old: move in accordance with the nature of the music: dynamics (loud, quiet), registers (high, low), move at a moderate and fast pace; start and end the movement simultaneously with the music; independently change the movement in accordance with the two-part form; walk to the music calmly, cheerfully; run easily; bounce with a little forward movement; move in a straight gallop, perform movements with flags, handkerchiefs (up, side to the right, side to the left, down); it is easy to spring your legs, squatting slightly; be able to disperse from the circle in different directions and back; move in pairs in a circle in dances and round dances; perform dance movements: put your foot on your heel, stamp with one foot, clap your hands on your knees, rotate your hands, spin around alone, in pairs (step, soft run); perform simple dances, independently using elements of familiar movements; try to expressively convey the characteristic features of musical and game images.
Playing to music, the children learn plot and non-plot musical games. In non-plot games, the main place is occupied by the moment of competition, catching ("Blind Man's Bluff" by F. Flotov, "Find Your Pair" by T. Lomova). The plot game has a bright musical and game image. Various characters act here, interesting events take place, friendships and conflicts arise. Children, listening to music, acquire the ability to expressively convey the image of hurried chickens, an important rooster (“Hen and Cockerel” by G. Frid), affectionate cats and playful kittens (“Cat and Kittens” by M. Rauchverger), etc.
In round dance games (especially folk games), children act out actions dictated by the nature of the music and poetic text (“Who is good with us?” An. Aleksandrova, “Vanya is walking” - a Russian folk song, etc.).
Dances and exercises, mainly of a game nature, are simple in construction, develop children's motor skills: running and circling children with “sultans” in their hands (“Dance with sultans” is a Ukrainian folk melody processed by M. Rauchverger), running in pairs, stomping , clapping, whirling (“Dance in pairs” - a Latvian folk melody arranged by T. Pomatenko), etc. Bringing joy to children, these dances require the ability to convey the light, mobile nature of the music, change the movement in a timely manner in accordance with the two-part form, catch, convey metric pulsation in clapping, stamping.
Musical-rhythmic movements are determined by the nature of the music, the development of its musical images.Children of the sixth year of lifecan perceive the work as a whole and, moving, convey its character, mood. They easily feel changes in tempo, dynamic shades, the two-part form of the piece (especially set out in contrast), but the movement can become more expressive if the child understands the meaning of various musical means. Suppose the melody of the piece is distinguished by a restrained character, the overall sound is quiet, “mysterious”, the tempo is not fast, gradually slowing down; feeling and realizing this, the guys very expressively convey the image of careful hunters looking out for animals
Musical and rhythmic skills are improved in unity with those movements that are needed to perform musical games, dances, round dances (whether gymnastic, choreographic) and help expressive performance of musical and game images, characteristic movements in a round dance, etc.

Developing a sense of rhythm, the children are taught to emphasize the strong beat of the beat, using various gymnastic movements (hands up, hands down, etc.) in exercises with objects (handkerchiefs, ribbons, flags, sticks, etc.). Depending on the nature of the music (smooth or clear), movements are selected (soft or underlined). Children smoothly, exactly on a strong beat, pass the handkerchief to the person standing next to them, accompanying the movement with a slight bow.
Children are taught to transmit metric pulsation in claps and balls (uniform alternation of strong and weak musical beats). Not everyone copes with this task, so it is necessary to systematically exercise them in this. Tempo changes are well absorbed in movements, especially in connection with the musical and playful image, when the guys walk rhythmically, imitating, for example, infantrymen, or quickly jump, imitating cavalrymen, etc. Introducing children to registers (low, medium, high), the teacher usually performs plays in which the register feature is perceived in combination with other expressive means. This is well emphasized in the “Game with Bells” to the music of Y. Rozhavskaya: the sound in the high register depicts, as it were, the play of bells.
Children 5 - 6 years old must have the following musical skills: move rhythmically in accordance with the different nature of the music, dynamics (loud, moderate, quiet, louder, quieter), registers (high, medium, low); mark with movements the tempo (moderate, fast or slow, as well as meter (strong beat, metric pulsation) and a simple rhythmic pattern (claps). Change movements in accordance with two, three-part form, musical phrases.

Games, dances, exercises recommended in the program are more clearly distributed according to their types, forms, topics. The themes of the games are varied and are sometimes determined by the name: "Traps", "Be smart", "Don't be late", etc. In these games there are many movements with objects, elements of competition. Along with various images of animals, birds (especially characteristic of Russian folk songs, such as “Raven”, “Vaska-cat”), social themes are more clearly identified in the games; “Pilots, watch the weather!”, “We are military.” "Riders and Harnesses". The possibility of fostering friendly relationships is also emphasized; "Friendly triplets", "Find yourself a mate."

The forms of constructing games and dances are distinguished by more characteristic features: elements of competition are included, the plot unfolds more interestingly, and the relationships of the characters are revealed. This requires a certain musical arrangement, the use of works that are diverse in character and structure. In the dances, the different nature of the movements is clearly manifested: calm in the "Invitation" to the Ukrainian folk melody; mischievous, cheerful in Y. Slonov's "Matryoshkas"; elegant in "Friendly Threes" by I. Strauss.

Pedagogical conditions and methods and techniques of musical and rhythmic activity

Plastic intonation is any movement of the human body caused by music and expressing its image. Sometimes plastic intonation occurs spontaneously, but, knowing the inseparability of musical and plastic expressiveness, the teacher should encourage children to perceive music not only by ear, but also with the help of musical-rhythmic movement.

Freedom, naturalness, the absence of any tension - this is what should be characteristic when children perform musical and rhythmic movements. To accomplish this task, the following general pedagogical principles should be taken into account:

The principle of nurturing education.We bring up love for beauty in life and art, enrich the spiritual world of the child, develop attention, imagination, thinking, speech.
The principle of accessibility.It lies in the fact that the content and volume of knowledge about music, methods and techniques of teaching and assimilation by children correspond to the level of age and individual development of the child.
The principle of gradualness, consistency and systematicity.
Gradually we move from the learned, familiar to the new, unfamiliar. Compliance with this principle makes it easier for children to assimilate knowledge
and the acquisition of skills, gives them confidence in their abilities and contributes to an increase in interest in classes.
The principle of visibility.A combination of auditory and visual perception. The main technique is a sample of the performance of a piece of music. Visualization in learning increases the interest of children in music lessons, the ease and strength of assimilation of musical material.
The principle of consciousness, concentricity.Skills are considered acquired consciously if they are well understood by children, and they can convey them in words.
The principle of strength.Consolidation of knowledge about music should be not just a mechanical repetition, but its conscious reproduction. The strength of assimilation also depends on the conscious repetition of familiar material.
The principle of adaptability, flexibility.These principles make it easier to plan work for the near and far perspectives, help the logic of complicating the repertoire, select and change the age limits of the repertoire at your own discretion, and allow you to apply the developed notes in a variant, flexible, creative way.
The principle of integration.Connection into a single educational space of an educator, musical director of an instructor in physical education, a psychologist

systematic, gradual, consistentb - basic pedagogical principles. Free and beautiful performance of dances, games by children is possible only if they are preceded by preparatory exercises aimed at mastering the necessary motor, dance skills. At the same time, the system of exercises should be built according to the principle “from simple to complex” and subject to repeated repetition of tasks. I would like to note that if the repetition is variable, that is, some changes are made to the repetition and various methods and techniques are assumed to complete tasks, then the effectiveness of the classes increases, since they arouse the interest of children, create positive emotions.

On the example of the musical-rhythmic movement “Passing a handkerchief”, we can consider the basic pedagogical principles. This movement can be used in working with children of both the middle group and the older, and preparatory groups. But in each age group the tasks assigned to the children become more complicated: from a simple bow of the head to a curtsey; from a simple dance element to a more complex one. One more example. Creative task - staging "The Goat and the Kids" to the music of Y. Chichkov. For children of the older group, when telling a fairy tale, a specific setting is given about actions: the goat gives instructions to the kids and leaves; goats are naughty and hiding; the goat comes looking for the kids and finds them. Then it is discussed with the children what plastic movements can convey the actions of a fairy tale. IN preparatory group The teacher gives the task to come up with movements to the music.

The principle of accessibility and individualizationprovides for taking into account the age characteristics and capabilities of the child, that is, the definition of feasible tasks for him. Accessibility should not mean the absence of difficulties, but should be aimed at the possibility of successfully overcoming these difficulties through the physical and mental efforts of the practitioner. In this regard, it is necessary to know the norm of permissible loads for each age and for each individual child. Otherwise, you can adversely affect the health of the baby.

In order to teach a child to move beautifully and consciously to music, the teacher needs to include simple, interesting exercises which do not cause special difficulties for children for their perception and execution. March - this musical form, the movement is most accessible to children's perception and most desirable for beginners.

Another principle in teaching isvisibility principle.This principle is understood as a broad interaction of all external and internal analyzers that directly connect the child with the surrounding reality. When learning new movements, visualization is an impeccable practical demonstration of movements by the teacher. But, it should be noted that initial stage learning movements is dominated by the visual analyzer, and at the final - motor. Visualization should be accompanied by a figurative word that will help to evoke the necessary motor representations from previous motor experience. For example, autumn leaves fall quietly to the ground in calm weather, and whirl in the air in windy weather, falling off the branches of swaying trees. Children easily convey this image if, during a walk, they pay attention to leaf fall, to talk about a light summer breeze that says goodbye to the leaves, or about an evil autumn wind that whirls autumn leaves. Depending on the image, children move either with a light run, or perform a swift run on their toes.

All of the above principles reflect certain aspects and regularities of the same process, which is, in essence, one, and are only conditionally considered separately. They can only be successfully implemented in conjunction.

For each exercise, game, dance, the teacher chooses the most effective way to explain this musical-motor task.

When teaching children musical and rhythmic movements, dances, games, exercises, music directors use various methods:

display method. Before starting to learn a new movement, the posture teacher shows it. In the performance of the teacher, the movement appears before the children in a finished version, and the children see the artistic embodiment of the image, which awakens their imagination. This method is widely used in classes with young children, since at this age the development of the child occurs mainly due to the imitation by children of the actions of an adult. In some cases, most often when working with older children, it is allowed to perform the teacher's exercise together with the children in order to enhance the emotional-motor response to music. At this age, taking into account their motor experience, children are already able to perform elementary movements on their own.

verbal method.A methodical demonstration cannot do without verbal explanations. In the process of learning the game, dancing and other types of musical-motor exercises, one should widely use the artistic word: conversation, explanation, poem. Verbal explanations should be short, precise, figurative and specific. In the verbal method, both intonation and the force with which the word is spoken are very important. Expressive colloquial speech, closely related to movement, gesture and musical intonation, is the very bridge that connects movement and music. Just verbal method helps older children complete the task without showing it first.

Musical accompaniment.Music encourages the child to move. The perception of music and understanding of the musical image and, ultimately, the quality of the movements performed depend on how the musical work is performed by the teacher. Properly chosen music carries all the emotions that little performers then show in the dance. For musical movement in the classroom, the choice of repertoire is very important. The child responds with movement to various music, but only if it is understandable to his body. Therefore, you need to be very careful with the use of classic masterpieces. Music can be of any genre, the main thing is that it be melodic, beautiful, in an arrangement that is understandable to children. Children should be introduced to music that conveys diverse images. The juxtaposition of contrasting musical images enriches the emotional world of the child. Since childhood is associated with games, fairy tales, toys, the music associated with them will be close and understandable to the child.

improvisational method.The teacher is often faced with the muscular stiffness of children, shyness. And only through various exercises, sketches, games, he can help children to liberate themselves, gain inner and outer freedom and confidence. Starting from the age of four, children should be taught to stage songs, musical fairy tales, and improvise dances. At first, these are easy tasks. For example, independently perform movements to the music in accordance with the lyrics of the song. Such tasks develop figurativeness, expressiveness of movements in children, contribute to the accumulation of musical impressions, musical and motor experience. The presence of hats, ribbons and other bright paraphernalia causes creative activity in children. In classes with older children, more complex tasks are used: perform movements with an imaginary object, convey the emotional state of the character, come up with a game, dance. improvisational method. Allows you to lead children to the possibility of free, unconstrained movement, such as the music suggests. It allows children to be liberated, to gain inner and outer freedom and confidence. This method does not involve pre-listening to music and blind copying. The teacher should tactfully direct the child's attention to the true nature of the music, to the search for their own colors and shades of performance.

game method. It is the leading method of teaching preschoolers. The essence of the game method is that the teacher selects a game for children that meets the objectives and content of the lesson. The mentality of the child, especially in early age, is designed in such a way that it is practically impossible to force him to purposefully perform any exercises. The child should be interested in doing this, not because it is “necessary” and “useful”, but because he likes it. The game is always fun for kids. And their interest does not decrease, even if during the game the teacher makes certain changes, complicating or facilitating the task. It is in the game that it is easiest to correct the behavior of preschoolers. The essence of the game method is that the teacher selects for children a game that meets the objectives and content of the lesson, the age and preparedness of the students. This method contributes to the organic penetration of the child into the artistic concept, sets him up for the emotional development of movements and helps to coordinate movement with music. The following tasks can serve as an example: “Let's jump like bunnies”, “Let's run easily and quietly like mice”, “We spin easily, squat slowly like snowflakes”. Each lesson can become an exciting game. For example, such thematic classes the teacher uses in his work: "A walk in the forest", "In the toy store", "In the village yard" and others.

Relaxation method. Allows the child to relax the muscles of the face, body, get rid of negative emotions, recharge with positive energy.

Sound gesture method(according to Carl Orff). Effectively used in metro - rhythmic and speech games. This method, using gestures of their own body, allows children to deeply experience the pulsation of music and its rhythmic pattern.

concentric method.This method consists in the fact that the teacher returns to the material that has been passed and learned, but complicates it more. An example is the above musical-rhythmic movement “Passing a handkerchief”.

If these methods are correctly selected, they will help the child to more deeply and consciously assimilate the content and nature of the work.

The organization of the pedagogical process should be aimed at creating comfortable conditions for classes for both children and the teacher. Thanks to a variety of topics of author's programs and methods, music teachers can design various forms work with children: classes, morning performances and entertainment, complexes of general developmental exercises, logorhythmics, plastic improvisation, etc.

Using any program, the teacher must remember that the technique will only be effective when it is comprehended and analyzed, tested in practice in working with children.

We should not forget about creating an atmosphere of interest in the classroom. You also need to remember that rhythm and plastic lessons will be useful and interesting only if music plays a dominant role. Music should not be the background for the movements performed.

Knowing the dance technique, moving easily, naturally, expressively, children are able to compose simple rhythmic-plastic performances on their own. The creative potential of children is so high that the teacher should only direct their fantasies in the right direction, as well as create a favorable atmosphere in the classroom, remembering that only friendly communication with children frees them from emotional and physical tightness, stiffness.

Introducing children to creativity is one of the most important tasks of rhythmoplasty. The main thing is to develop in the child his potential, so that there is more joy in his life.

At the end of the last century, scientists found that music lessons in childhood have a positive effect on the formation of brain structures. The processes of perception, recognition, thinking, decision-making are possible only through the interaction of the two hemispheres, each of which has its own specialization. Thanks to music and movement, there is an accelerated exchange of information between the left and right hemispheres. Musical-rhythmic activity activates and develops the musical abilities of the child, musical-auditory representations, modal and musical-rhythmic feeling.

In my work with children, I include rhythmic compositions to classical music in my classes, which require listening to music and talking about it, looking at illustrations, drawing on this topic, as well as plastic sketches, improvisations of children and a teacher to music. I offer these compositions to children in a variety of ways; as an introductory part of the lesson, or the final part (game), in the process of listening to music and determining its genre, etc. The main thing is to activate the attention of children, awaken and maintain their interest in music, creativity, and the development of creative imagination.

Of great importance in musical and rhythmic education ischildren's folkloreis music, inextricably linked with speech and movement. The melodies of the songs themselves are very close to speech intonations. They naturally arise from expressive speech and also naturally alternate with it, therefore they do not require careful learning, accuracy, purity of musical intonation and special efforts to memorize. Texts of nursery rhymes, jokes, rhymes, teasers are game models on the basis of which an exciting game can unfold. Words associated with motor, visual, auditory sensations suggest facial expressions, intonation, movements, involving the child in a play action.

An important point in the pedagogy of K. Orff is the combination of such activities as singing, movement, listening with playing, classes in the orchestra. As a rule, all these activities take place simultaneously, without interfering, but complementing each other.

Imaginative imitative movements are of great importance for the development of imagination and motor skills of children. Impressions caused by observations of surrounding phenomena make children need to express them in play activities. Therefore, this type of movement is widely used in the musical and rhythmic education of children. Dance movements are also used, especially folk dances.

figurative exercisesform the basis of musical-rhythmic compositions, plot games and allow expressing various emotional states, plots, images and moods of musical works in movements. This type of exercise allows children to develop creative imagination, fantasy, expressive plasticity, and the ability to improvise in movements.

feature exercises-compositions is their sports orientation.Such exercises help the child to master a large range of various movements, develop a sense of rhythm, coordination, accuracy of movements, memory, voluntary attention and speed of reaction. It is recommended to include them in musical-rhythmic, physical education classes, sports holidays and leisure activities.

Drama gamesare a kind of the main type of musical and rhythmic activity - games. Such games are aimed at developing children's imagination, creative imagination, and the ability to improvise. Children try to convey various game images in motion through the nature of the music, learn to change movements in time. When conducting such games, the teacher uses elements of costumes, hats, masks.

IN composition gamesinstallation on game images is required, where a specific situation offered to children is played out. Composition games contribute to the development of children's ability to improvise, creative imagination.

No less interesting and informative for children areplastic studiesthat can be performed with attributes (ribbons, balls). This type of musical and rhythmic activity, on the one hand, requires a clear, correct execution of movements that are mainly of a sports orientation (“cycling”, half-turns of the body to the right and left, waving arms, etc.) and contribute to the development of children's coordination of movements , flexibility and plasticity. On the other hand, it is aimed at the realization of the child's own understanding of music.