Musical and aesthetic education of older preschoolers in a kindergarten. The role of the musical director of the dou in aesthetic education Aesthetic education through the means of musical art

Aesthetic education in kindergarten– creating the necessary conditions for the manifestation of the child’s aesthetic qualities and abilities, and the formation of a worldview. A process that results in the development of students’ abilities to notice and appreciate the beauty of the entire world around them. Learning to appreciate beauty, understand it, be personally involved in it, and create according to the laws of “beauty” are important parts of raising a child from a young age.

Cultivating a correct attitude towards beauty is not limited to artistic or musical perception. This is a complex system: attitude to work, life, everyday life, nature. Knowledge of art is a valuable, effective part of this system, capable of cultivating moral qualities, aesthetic feelings, and imagination.

Theoretical foundations: principles in aesthetic education

The organization of aesthetic education in kindergarten is carried out taking into account several principles:

Goals and objectives

The goal is to form an adequate aesthetic attitude towards the environment, teach a little person to see and understand beauty. Education shapes perception, imagination, develops memory, feelings, interests, inclinations, and abilities. Helps to develop an active positive attitude towards everyday life.

• to form an idea of ​​the values ​​of the beautiful, beautiful, graceful, harmonious;
• to form a perception of beauty in art and everyday life;
• influence emotional responsiveness, empathy skills, sense of “taste”;
• lay the foundations of creativity and artistic education.

The result of education is:

• general understanding of the good, the beautiful, the correct;
• perception of form, content;
• complicity, empathy;
• brightness of expression of emotions, impressions, imagination.

Cultivating an attitude towards beauty. When to start?

From an early age, young children are attracted to interesting, bright toys and objects. They evoke a feeling of joy, pronounced pleasure. The concept of “beautiful” begins to take shape. Playing, listening to fairy tales, looking at pictures of animals, children receive a lot of positive emotions. These emotions are the foundation for the formation of more complex qualities responsible for understanding “beauty.” The unconscious perception of beauty gradually moves to conscious harmonious taste, development creativity. The task of adults at this moment of development is to help the child and guide him in the right direction.

Any educational process is a joint activity of several people (teacher-child), aimed at creating conditions for the development of the necessary personality qualities, therefore the personality of the teacher plays one of the key roles.

Each preschool institution has the potential to develop all the most important personality qualities. A correctly constructed upbringing scheme with the assistance of the family guarantees the formation of a child as an aesthetically developed citizen of society.

Education of taste in preschoolers

The sense of taste is a complex personality quality, manifested in receiving spiritual pleasure from “communication” with the real beauty of art. This is understanding, enjoying works of art, understanding the beauty of nature, the peculiarities of life, clothing.

In the formation of taste, training and education with constant family support play a decisive role. Familiarization with the cultural values ​​of literature and music helps to recognize works of art accessible in childhood, to see or learn to see their beauty. Children begin to recognize works, favorite fairy tales and musical works appear, which for this period become aesthetic ideals for them. With the help of adults, they see the beauty and richness of words and music. This is the basis of artistic taste, which subsequently influences the formation of everyday taste.

The sense of taste determines the ability to feel the beauty of the surrounding world, protect and cherish it. The child must understand that a flower in a flowerbed is more beautiful than in a vase; that cleanliness is the key to comfort and beauty, and many other primitive rules.

Educational means

Means are objects specially used by teachers, environmental phenomena that can influence the formation of personality traits that are significant for society.

The main means to create a sense of “beauty”:

• works of art;
• cultural events;
• various organized types of activities (artistic, labor), independent activities of preschoolers;
• environment, nature;
• everyday aesthetics.

Aesthetics of everyday life is the first means of education

Cleanliness, order in preschool institution– this is not only maintaining sanitary and hygienic standards. This is an important part of education, helping the child himself to begin to realize the beauty of the world around him from an early age. There is a desire to take care of everything beautiful that he sees around him. Therefore, it is better to decorate all the premises of the institution in a stylistically consistent line. In the groups of any kindergarten and other premises there must be drawings of other children, crafts, and works of folk art.

When decorating premises, it is advisable to remember the following principles:

• Practical justification of the situation;
• Maintaining cleanliness;
• Colourfulness;
• Contrast in design, necessary for the child to quickly find the element he likes;
• Combining all elements as a single ensemble.

Works of art are the most important means of education

Art is an inexhaustible tool for the moral and aesthetic education of preschool children. It teaches you to appreciate beauty, be kind, and sympathetic. The result of communication with masterpieces of world and national art is the spiritual enrichment of the child. Children are already exposed to many forms of artistic art: literature, painting, architecture, sculpture, cinema and theater. It is mandatory to use them in the educational process.

Works of art can be used both during classes, independent activities, and when decorating premises in a preschool institution. Works appropriate to their age are selected for different children. Illustrations from fairy tales, still lifes and landscapes, small works of sculpture (figurines made of wood, plaster), and various forms of decorative art are suitable. All events must be accompanied by music.

Nature in aesthetic education

Nature is the most accessible means of developing a culture of understanding beauty at an early age. It allows you to teach to see the harmony, beauty of the world around you, the richness of its colors. Through nature, a child learns to reproduce his impressions of what he sees in the form of drawings and oral stories. Excursions and walks can leave a lasting impression.

Simply contemplating nature and paintings depicting nature are not enough. The use of excursions and observations must be accompanied by a story from the teacher. The teacher’s task is not just to show the beauty in a drop of dew on a leaf or interweaving of stems. It is important what words are spoken teaching staff during such events. Help will be provided by works of art that depict the beauty of nature, understandable to preschoolers.

Work as a means of education

The child periodically encounters difficulties in social life. Labor is one of the... The foundations of labor are formed in the game. The preschooler tries to create a beautiful building from cubes, arrange toys. Descriptions of the work of different professions not only introduce them to their characteristics, but also evoke a desire to imitate them. Children try on different roles (doctor, teacher, policeman).

Development of creativity

Artistic activities (drawing, designing, making appliqués, modeling and other activities) lay the foundation for the formation of the ability to express oneself and reveal one’s creative abilities. Music, songs, and dances contribute to the development of a sense of rhythm, visual and auditory perception, and encourage the development of new actions and movements. They force you to fantasize, be attentive and diligent. Such activities distract from sad events, help relieve nervous tension, and lift your spirits.

Artistic skills help to form artistic appreciation, experiences and tastes, and a general idea of ​​beauty.

Independent artistic activity allows preschoolers to realize their ideas and plans in artistic creativity. This is facilitated by:

Holidays and cultural events

Holidays and other cultural events in kindergarten contribute to the development of aesthetic experiences and the desire to test oneself in various genres of art. Anticipation of the holiday, preparation and its implementation creates a general pre-holiday mood. The participation of parents gives such events a special warmth.

Methods of education in preschool educational institutions

There are a huge number of methods for developing in children the right attitude towards beauty:

• General: persuasion, exercise, problem situations, use of emotional response;
• Depending on the direction of education - methods of introduction to a specific type of art;
• Methods of teaching artistic activity: introduction to techniques, sample, instructions, advice, self-assessment.
• Methods for developing creative abilities - problem-search methods.

Game in aesthetic education

Play is the main form of child activity. This is imitation, the application of various roles, a child’s perception of the life of adults. The game forms all the basic qualities of a child’s personality. It is she who most influences the formation of aesthetic culture in the early stages. Games develop imaginative thinking, memory, imagination, aesthetic and moral qualities.

The use of gaming techniques in the formation of a culture of beauty justifies itself. Game situations develop creative skills and abilities, contribute to the development of interest in creativity.

• game situations aimed at developing creative activity;
• songs, fairy tales, musical compositions;
• demonstration of episodes of performances, works of art;
• the use of stories, drawings, and search situations.

Aesthetic education of younger preschoolers

Aesthetic education in the younger group has its own characteristics. Junior preschool age is favorable period for the development of the child’s imagination. In this regard, it is important to create an environment that would facilitate search activities and help solve children’s issues in their own way. Don't give all the answers at once. Special games, tasks, and developmental activities help create conditions for the optimal development of creative abilities in the future.

When working with preschoolers of the younger group, a teacher needs to make the process of their stay in the institution as creative as possible. Creativity should quietly but organically enter a child’s life. It is important to organize an interesting and maximally rich life for children while in kindergarten: enriching it with vivid impressions, emotional orientation, and various forms of work. This is material for the development of a child’s imagination, memory, and aesthetic feelings. During this period, communication with art is important.

The child is still developing an understanding of beauty, and expressive means of display can play a role in their development.

The unified position of teachers and parents on understanding the development prospects of children of this age becomes important.

Features of aesthetic education of older preschoolers

At an older age, the main form of aesthetic education becomes familiarity with literature and art, including cartoons and films. Book heroes and cartoon characters become ideals, bearers of good or evil, beautiful or disgusting.

Aesthetic education in the preparatory group is influenced by changes in the motivational sphere. The attitude towards art becomes conscious, it is differentiated. Children begin to take art really seriously: they actually perceive it aesthetically, they enjoy reading, looking at paintings, drawing, and listening to music. Gradually, such a craving for certain forms of beauty becomes a need. The main task is to form a creative attitude towards reality.

This age is a special period of aesthetic education, in which the teacher plays a very important role. Skilled teachers are able not only to strengthen the foundation of the formation of a sense of beauty. They can lay down the real aesthetic worldview of a little person whose relationship to the world is developing.

The development of a sense of understanding of beauty is inextricably linked with the formation of all the most important facets of personality. Preschool age gives birth to a love of art; the creative abilities and inclinations that every child is endowed with begin to manifest themselves. To implement them, organized education and training are required, taking into account age and individual characteristics.


Ministry of Education and Science of the Republic of Tatarstan

GAPOU "Chistopol Multidisciplinary College"

Aesthetic education of secondary children preschool age through music

course work

Completed by a student

Abdukhanova Alina

Ilnurovna 311 groups

Specialty 440201

Preschool education

Form of study: correspondence

Scientific adviser:

Ph.D. Rumyantseva N.N.

RT Chistopol 2016

Content

Introduction………………………………………………………………………………………...3

Chapter 1. Theoretical foundations of aesthetic education of children of middle preschool age through music…………………………………….6

1.1 The essence of aesthetic education and its content………………………...6

1.2 Music as one of the means of aesthetic education of preschool children………...................................... ........................................................ .eleven

1 .3 The importance of music in the aesthetic education of children of middle preschool age……………………….................................... ...............................................15

conclusions ……………………………………………………………………………..24

Chapter 2. Improving the level of aesthetic education of children of middle preschool age through music....................................................25

2.1 Determining the level of aesthetic education of children of middle preschool age (ascertaining stage of the study)………………….25

2.2 Methods and techniques for increasing the level of aesthetic education through music (formative stage of research)………………………..30

2.3 Results of the study on the level of aesthetic education of children of middle preschool age using music (control stage of the study)…………………........................... ...........................................36

Conclusion…………………………………………………………………………………...37

References…………………………………………………………….38

Appendix…………………………………………………………………………………..41

Introduction

Aesthetic education is a purposeful, systematic influence on a person with the aim of his aesthetic development, that is, the formation of aesthetic perceptions, judgments, tastes, feelings, aesthetic consciousness, a correct understanding of beauty in reality and in art; development of aesthetic needs and interests, abilities for creative participation in transforming life according to the laws of beauty. Aesthetic education is a long process of formation and improvement of aesthetic consciousness, relationships and aesthetic activity of an individual. Music is one of the richest and most effective means of education; it has a great emotional impact, educates a person’s feelings, and shapes tastes.

Aesthetic education is a purposeful process of forming a creative personality capable of perceiving, feeling, appreciating beauty and creating artistic values.Aesthetic education is closely related to all aspects of education. It enhances the educational effect of other aspects of education through the formation of aesthetic feelings, aesthetic responsiveness, initial aesthetic and ethical concepts and assessments. All this provides an integrated approach to the harmonious development of children. Raising a person, a comprehensively developed person, is a complex and urgent task. In this regard, we define the research problem: what are the features of aesthetic education in a rural school; what methods, forms of work, means should a teacher use in the process of aesthetic education in order to instill in preschool children a love of art and form the foundations of aesthetic culture.

Purpose of the study: improve social and pedagogical conditions, determine the features of aesthetic education of preschoolers through music

Object of study: the process of aesthetic education of children of middle preschool age

Subject of study: methods and techniques of aesthetic education of children of middle preschool age through music

Research objectives:

To study and analyze scientific and methodological literature about the essence and content, social and pedagogical conditions of aesthetic education of children of middle preschool age through the means of music;

Conduct a study to increase the level of aesthetic education of children of middle preschool age through music;

To create scientific and methodological recommendations for educators and parents on the aesthetic education of preschoolers.

Research methods:

- theoretical (analysis, synthesis, comparison, juxtaposition, comparison, induction, deduction, etc.);

- empirical (observation, conversation, survey, pedagogical experiment);

- statistical (quantitative and qualitative analysis of research data).

Theoretical significance of the study:

Psychological and pedagogical literature on the problem under consideration has been studied and analyzed;

The socio-pedagogical conditions of aesthetic education, technologies, methods and techniques, aesthetic education of preschoolers through the means of music are determined.

Practical significance of the study:

- scientific and methodological recommendations have been created for preschool specialists educational institutions on aesthetic education through music for children of middle preschool age;

Scientific and methodological recommendations for parents on the problem under consideration have been created;

- the contents of a variety of musical outdoor games, musical-didactic games, fun games, notes on various types of activities are given in a complex music lessons.

Course work consists of: from the table of contents, introduction, two chapters, conclusions, conclusion, bibliography, appendices.

Chapter 1. Theoretical foundations of aesthetic education of children of middle preschool age through music

1.1 The essence of aesthetic education and its content

Aesthetic education is a purposeful, systematic influence on a person for the purpose of his aesthetic development, i.e. formation of creative activity of the individual, capable of perceiving and appreciating the beauty of the surrounding world, art and creating it. It starts from the first years of children's lives

Aesthetic education is a very broad concept. It includes the education of an aesthetic attitude towards nature, work, social life, everyday life, and art. However, the knowledge of art is so multifaceted and unique that it stands out from the general system of aesthetic education as a special part of it. Raising children through music is the subject of musical education. Acquaintance with beauty in life and art not only educates the child’s mind and feelings, but also contributes to the development of imagination and fantasy.

In the process of implementing aesthetic education, it is necessary to solve the following tasks: systematically develop aesthetic perception, aesthetic feelings and ideas of children, their artistic and creative abilities, and form the foundations of aesthetic taste.

From the first years of life, a child unconsciously reaches out to everything bright and attractive, rejoices in shiny toys, colorful flowers and objects. All this gives him a feeling of pleasure and interest. The word “beautiful” enters children’s lives early. From the first year of life, they hear a song, a fairy tale, look at pictures; simultaneously with reality, art becomes the source of their joyful experiences. In the process of aesthetic education, they undergo a transition from an unconscious response to everything bright and beautiful to a conscious perception of beauty. The concept of aesthetic education is organically connected with the term aesthetics, which denotes the science of beauty. The word aesthetics itself comes from the Greek aisthesis, which translated into Russian means sensation, feeling.

Since aesthetic education is carried out with the help of art, its content should cover the study and familiarization of students with various types and genres of art - music, literature, and fine arts. This is precisely the purpose of inclusion in the program schooling Russian language and literature, fine arts and music. An essential aspect of aesthetic education is also the knowledge of beauty in life, in nature, in the moral character and behavior of a person.

The content of aesthetic education includes the formation of knowledge, skills, education of aesthetic feelings, interests and needs, assessments and tastes. Children's knowledge about beauty is formed in the process of aesthetic development of the surrounding reality, in all its diversity, as well as art as the most concentrated reflection of beauty. The diversity of life gives rise to a variety of types and genres of art. Preschool children get acquainted with graphics, painting, sculpture, decorative and applied arts, each of which has its own genres.

An equally important aspect of the content of aesthetic education is its focus on the personal development of preschool children. First of all, it is necessary to form in children of middle preschool age aesthetic needs in the field of art, in comprehending the artistic values ​​of society.

The role of aesthetic education in the development of personality and its comprehensive formation is difficult to overestimate. Aesthetic perception of reality has its own characteristics. The main thing for him is the sensory form of things - their color, shape, sound. Therefore, its development requires a large sensory culture.

Beauty is perceived by a child as a unity of form and content. Form is expressed in a combination of sounds, colors, lines. However, perception becomes aesthetic only when it is emotionally colored and associated with a certain attitude towards it. Aesthetic perception is inextricably linked with feelings and experiences. A feature of aesthetic feelings is disinterested joy, a bright emotional excitement that arises from meeting the beautiful.

The teacher must lead the child from the perception of beauty and emotional response to it to understanding and the formation of aesthetic ideas, judgments, and evaluations. This is painstaking work, requiring the teacher to be able to systematically, unobtrusively permeate the child’s life with beauty, to ennoble his environment in every possible way. Preschoolers have access to almost all types of artistic activities - writing stories, inventing poems, singing, drawing, modeling. Naturally, they have great originality, which is expressed in a naive, direct reflection of reality, in extraordinary sincerity, in faith in the truthfulness of what is depicted, in a lack of concern for viewers and listeners. Already at this stage, the development of the artistic creative abilities of children occurs, which are manifested in the emergence of a plan, in its implementation in activity, in the ability to combine their knowledge and impressions, in great sincerity in expressing feelings and thoughts. The influence of art as the most important element of beauty and aesthetic is great and diverse. attitude to reality per person. First of all, it performs a great cognitive function and thereby contributes to the development of the consciousness and feelings of the individual, his views and beliefs. V.G. Belinsky noted that there are two ways to understand the world around us: the path of scientific knowledge and knowledge through the means of art. He pointed out that a scientist speaks with facts, syllogisms, concepts, and a writer, artist - with images, pictures, but they talk about the same thing. An economist, armed with statistical data, proves that the position of a particular class has worsened or improved due to such and such reasons. The poet shows these changes with the help of a figurative, artistic depiction of reality, influencing the fantasy and imagination of readers. In this regard, Belinsky emphasized that art contributes to the development of human consciousness and beliefs no less than science. Art and aesthetic education play a major role in the formation of morality. Aristotle also wrote that music is capable of influencing the ethical side of the soul, and since it has this property, it should be included in the number of subjects in the education of youth. Noting this side of the impact of art on personality, A.M. Gorky called aesthetics the ethics of the future. This impact is complex and is mediated by the strength and depth of its influence on a person’s consciousness, emotions and feelings.

Musical art develops a child’s aesthetic culture, teaches him to understand beauty and, as already noted, to build a life according to the “laws of beauty.” However, the influence of art on a person’s upbringing largely depends on his artistic and aesthetic development. Without knowledge of the laws of artistic reflection of reality, without understanding language and artistic means, art does not arouse either thoughts or deep feelings. It brings pleasure and enjoyment only to a person who has the appropriate training and is sufficiently aesthetically educated. To perceive the beauty of the art of opera, for example, it is necessary to know its features, to understand the language of music and vocals, with the help of which the composer and singers convey all shades of life and feelings and influence the thoughts and emotions of listeners. The perception of poetry and fine art also requires certain preparation and appropriate understanding. Even an interesting story will not captivate the reader if he has not developed the technique of expressive reading, if he spends all his energy on composing words from spoken sounds and does not experience their artistic and aesthetic impact. The task of the school is to provide the necessary aesthetic training for students, to introduce them to the big world of art, to make it an effective means of understanding the surrounding reality, developing thinking and moral perfection. An essential component of aesthetic education is the acquisition of knowledge related to the understanding of art and the ability to express one’s judgments (views) on issues of artistic reflection of reality. An important place in the content of aesthetic education is occupied by the formation of artistic taste in preschoolers, associated with the perception and experience of beauty. It is necessary to teach preschoolers to feel the beauty and harmony of a genuine work of musical art. The aesthetic properties of a person are not innate, but begin to develop from a very early age in the conditions of a social environment and active pedagogical guidance. In the process of aesthetic development, children gradually master aesthetic culture, form aesthetic perception, as well as ideas, concepts, judgments, interests, needs, feelings, artistic activity and creative abilities. Aesthetic taste is manifested in the fact that a person receives pleasure, spiritual pleasure from meeting true beauty in art, in life, in everyday life. Aesthetic taste is a broad concept; it includes not only understanding and enjoying deep, beautiful works of art, but also understanding the beauty of nature, work, life, clothing. In the formation of aesthetic taste in children of middle preschool age, education plays a large role. In classes, preschoolers are introduced to classic works of children's literature, music, and painting. Children learn to recognize and love true works of musical art that are accessible to their age. By instilling in children the basics of aesthetic taste, we teach them to see and feel the beauty of their surroundings, and to cherish it. It is better to keep a flower in a flowerbed, but in order for it to bloom and bring joy to others, it must be looked after. Cleanliness in the group, which creates comfort and beauty, must be maintained, not littering, and putting away toys and books. Thus, in the process of education and training, the tasks of aesthetic education in preschool age are carried out.

Aesthetic education is not only about broadening one’s horizons, the list of books read, movies seen, and pieces of music heard. This is the organization of human feelings, the spiritual growth of the individual, a regulator and correction of behavior. If an immoral act repels a person with its anti-aestheticity, if a child is able to feel the beauty of a positive act, the poetry of creative work, this indicates his high aesthetic development. Conversely, there are people who read novels and poems, attend exhibitions and concerts, are aware of the events of artistic life, but violate the norms of public morality. Such people are far from genuine aesthetic culture.

Thus, aesthetic education is aimed at developing the creative musical abilities of preschool children, nurturing the ability to perceive, feel and understand music, creatively independently act in various types of musical activities, thereby becoming familiar with various types of artistic activities.

1.2 Music as one of the means of aesthetic education of preschool children

A harmonious combination of mental and physical development, moral purity and aesthetic attitude to life and art are necessary conditions for the formation of an integral personality. The achievement of this lofty goal is greatly facilitated by the correct organization of musical education of children. Music plays a very important role in the aesthetic education of preschoolers. Music has a sound nature, a temporary nature, a generalization of images, being the “art of feelings,” as P.I. said. Chaikovsky. Music should be heard not only in music classes, but also in everyday life, in children’s games, be included in other activities, and serve as entertainment and relaxation.

Music begins to sound during morning exercises, creating a joyful, cheerful mood in children, activating and increasing their vitality. In the warm and dry season, the song should be performed on excursions, on walks, in round dance games, creating a commonality of experiences and elation.

Aesthetic education is aimed at developing the abilities of preschool children to perceive, feel and understand the beautiful, notice the good and the bad, act creatively independently, thereby becoming involved in various types of artistic activities. One of the brightest means of aesthetic education is music. In order for it to fulfill this important function, it is necessary to develop the child’s general musicality

The first sign of musicality is the ability to feel the character and mood of a piece of music, empathize with what is heard, show an emotional attitude, and understand the musical image. Music excites the little listener, evokes responses, introduces life phenomena, and gives rise to associations. The second sign of musicality is the ability to listen, compare, and evaluate the most striking and understandable musical phenomena. This requires elementary musical-auditory culture, voluntary auditory attention aimed at certain means of expression. The third sign of musicality is the manifestation of a creative attitude towards music. Listening to it, the child imagines the artistic image in his own way, conveying it in singing, playing, dancing.

With the development of general musicality, children develop an emotional attitude towards music, their hearing improves, and their creative imagination is born. Children's experiences acquire a unique aesthetic coloring.

One of the important tasks of aesthetic education of preschoolers is to develop in them an aesthetic attitude towards art, and through it - towards everything around them (nature, work, everyday life).

Musical art, like any other, helps children comprehend the beauty of the surrounding nature, helps enrich their life experience, and evokes a variety of emotional experiences. Children transfer impressions accumulated from the perception of natural phenomena, as well as musical impressions, into their artistic activities. On their basis, the child develops artistic interests, inclinations, abilities, and develops aesthetic taste.

In kindergarten, it is important to develop children’s aesthetic attitude towards the environment, towards nature. This is achieved by various means, including the means of musical art. Through the perception of musical images that evoke in children various emotional experiences, feelings of joy, sadness, tenderness, kindness, the teacher cultivates the same attitude towards images of real nature. The aesthetic attitude of children to the environment presupposes an emotional response to everything beautiful, the expression of good feelings, a caring attitude towards all living things, an appreciation of the beautiful in nature and in art (appreciation of beautiful, harmonious combinations, colors, sounds, etc.).

The formation in a child of the ability to emotionally perceive beauty in nature, music, and creatively transfer its elements into artistic activity largely depends on training. In this regard, a teacher plays an important role in helping the child to aesthetically perceive and appreciate the environment, to explore the natural world, comprehending its beauty and harmony through the beauty and harmony of musical sounds. By cultivating an emotional attitude towards artistic images of nature, embodied by means of music, the teacher thereby encourages the child to understand the aesthetic and moral value of nature for human life.

Forming the musical and aesthetic tastes of students is a complex process and requires the music teacher to be objective and broad in their own musical views.

When solving the problems of aesthetic education of preschool children, it is important to take into account the existing relationships between natural phenomena and their artistic embodiment in the art of music, in the practical musical activities of children, as well as the possibility of music influencing aesthetic qualities. First of all, children develop the ability to perceive and distinguish the emotional content and character of musical works. Music usually reflects the surrounding reality: expressive intonations of human speech, sounds that convey the features of natural phenomena (the sound of the sea, the murmur of a stream, birdsong, etc.), human experiences.

The aesthetic feeling that arises when perceiving or performing music is a sign of the formation of musical and aesthetic taste. Developed musical taste is the ability to enjoy artistically valuable music. The development of musical taste is indicated by the kind of music and how deeply a person perceives it.

It is possible to form a genuine musical and aesthetic taste only by removing enormous attention to listening and perceiving music. The development of the process of musical perception in students should begin with the sensory aspect, with the awakening of emotions, the formation of emotional responsiveness as part of musical and aesthetic culture. Students should gradually become familiar with various genres, styles, visualization and expressiveness of music, study the work of composers, and accumulate knowledge about types of performance and styles of folk music. The teacher gives the necessary musical and aesthetic ideas, systematically expanding the range of existing knowledge, thereby pursuing the goal of educating an aesthetically developed music listener who has a well-formed musical and aesthetic taste.

Thus, the child learns to think, search, try, and find a solution. Children's creative efforts are directed toward searching for new means, options, and combinations in artistic activities.

The methods used in music classes are in the nature of managing children’s activities.

1 .3 The importance of music in the aesthetic education of children of middle preschool age.

Musical art has long been recognized as an important and irreplaceable means of shaping a person’s personal qualities and his spiritual world. The way music influences is unique. She has her own “language”, her own “speech”. In comparison with painting, sculpture, and literature, music cannot specifically depict or describe life phenomena, although it has some visual capabilities.

Prominent psychologist B.M. Teplov wrote: “The most direct and immediate content of music is feelings, emotions, moods.” Due to the fact that music is a temporary art form, it conveys changes in moods, experiences, and the dynamics of emotional and psychological states.

What is the expressiveness of the language of music based on? What are the means of musical expression? These include tempo, dynamics, register, timbre, rhythm, harmony, melody, mode, intonation. A musical image is created by a combination of means of musical expression. For example, a menacing character is conveyed by a low register and loud dynamics, while a lower character is conveyed by a metered rhythm and soft dynamics.

At the beginning of the twentieth century, the system of rhythmic education, founded by the Swiss musician and teacher E. Jaco Dalcroze, became widespread in many countries. His method boils down to using specially selected training exercises to develop in children (starting from preschool age) an ear for music, memory, attention, rhythm and plastic expressiveness of movements. These provisions deserve attention and are taken into account by pedagogy, receiving further development based on scientific data from physiology, psychology, and musicology.

The development of musical abilities is carried out in the process of improving hearing and the ability to coordinate one’s movements with music. It is necessary to begin to develop these skills as early as possible in a form that is accessible and interesting for preschool children: rhythmic exercises, music games ah, dancing, round dances.

Music perceived by the auditory receptor affects the general condition of the entire human body, causing reactions associated with changes in blood circulation and breathing. V.M. Bekhterov, emphasizing this feature, proved that if you establish the mechanisms of the influence of music on the body, you can cause or weaken excitation. P.N. Anokhin, who studied the influence of the major mode on the state of the body, concludes that the skillful use of melodic, rhythmic and other components helps a person during work and rest. Scientific data on the physiological characteristics of musical perception provide a materialistic justification for the role of music in raising a child.

Psychology claims that the impact of music on a child’s general functional activity causes motor reactions in him. According to psychologist B.M. Teplov, the perception of music “is completely directly accompanied by certain motor reactions that more or less accurately convey the time course of musical movement.” By selecting appropriate pieces of music, you can evoke certain motor reactions, organize and influence their quality.

Various musical works evoke emotional experiences in children, give rise to certain moods, under the influence of which movements acquire a corresponding character. For example, the solemn sound of a festive sound pleases and invigorates. This is expressed by a smart posture, precise, emphasized movements of the arms and legs.

Working on reflecting the cheerful active nature of music in walking helps to develop good posture, rhythm, coordination of movements of the arms and legs, lightness of step, i.e. directly helps physical education work. Movement associated with music is always accompanied by an emotional upsurge, which is why it has a beneficial effect on the physical development of children. On the contrary, the calm, smooth nature of the dance allows you to make your posture freer, your movements leisurely, softer, and rounder.

The connection between music and movement is not limited to the consistency of their general character. The development of a musical image, the comparison of contrasting and similar musical structures, modal coloring, features of the rhythmic pattern, dynamic shades, tempo - all this can be reflected in movement.

The artistic image, developing over time, is conveyed through the combination and alternation of means of musical expression. The movement is also related to time: its character and direction change, the pattern of mood unfolds, its individual and group sequence alternates. The principle of contrast and repetition in music evokes, by analogy, the contrasting nature of movement and its repetition. Simple rhythms and accents are reproduced by clapping, stamping, dynamic, tempo designations by changing the tension, speed, amplitude and direction of movements. Movement helps to more fully perceive a piece of music, which, in turn, gives the movement special expressiveness. In this interaction, music takes a leading position, movements become a kind of means of expressing artistic images. For example, the movement of a train, which is conveyed by a light, somewhat “shuffling”, gradually accelerating run. The rapid nature of M. Raucherger’s work “Pilots, watch the weather!” requires appropriate expression in running.

Thus, in the conditions of interesting, exciting rhythmic activity, the musical and aesthetic development of the child takes place. Rhythmic classes contribute to the formation of the child’s personality, his cognitive, volitional and emotional spheres. Cognitive abilities develop due to the fact that children learn a lot thanks to the varied themes of musical games, round dances, and familiarization with artistic movements. By portraying, for example, speed skaters in a dance, children get the correct idea of ​​calm and important gliding on ice. However, cognitive processes during rhythm classes are activated if the child can focus on the features of musical means of expression. The more complex and voluminous a piece of music is, the more movements are used, the more intensely auditory attention develops. It, in turn, contributes to the development of musical memory, which is based on the auditory and motor analyzers. While performing movements to the music, children mentally imagine this or that image. It should be noted that each time the child reproduces the musical-game image in his own way and in new, unusual connections, combining dance elements, characteristic features of the character, modifying them into new, unfamiliar movements, conveying not only the appearance and character of the characters, but also the attitude towards him. This is how creative imagination is born. Thus, musical and rhythmic activity has a beneficial effect not only on the physical, but also on the psychological state of the child.

The system of music education, like any other pedagogical system, is a multi-component and structurally complex phenomenon. This system includes: the activity of a teacher who conveys musical experience to the pupil, the activity of a child who is actively mastering this experience, means of education, and, above all, musical art, forms of organizing the child’s musical activity. One of the components of this system is leading, determining, others are more derivative, and all of them are addressed to the holistic personality of the child, intersecting through the prism of his needs, interests, age and individual capabilities.

The most difficult problem in musical education is the relationship between the general direction and all other types of activity: singing, playing musical instruments, musical-rhythmic exercises. D.B. Kabalevsky rightly emphasizes that the general direction of musical education should be uniform. At the same time, each type of musical activity is independent.

Singing as a type of musical activity consists of singing and auditory exercises, chanting, as well as various tasks and distinguishing pitch and rhythmic relationships.

The idea of ​​using movement as a means of developing children's musicality was put forward by the Swiss scientist and composer E.Zh. Dalcroze. In his opinion, the rhythm of music and plasticity are combined in movement. He thought. That a rhythmic gymnastics lesson should bring joy to children, otherwise it loses its value.

By moving to music, children learn to perceive it more fully and thereby receive strong impressions from works of art. At the same time, their imagination develops, and their taste gradually develops.

In our country, the system of musical and rhythmic education was developed by M.A. Rumer, E.V. Konorova, V.A. Griner et al. In relation to preschool age, special studies were carried out by N.A. Vetlugina, A.V. Keneman and their students M.L. Palanddishvili, A.N. Zimina. T.S. participated in the development of the rhythmic content. Babajan, N.A. Metlov, Yu.A. Dvoskina. Somewhat later, A.N. took part in the work. Zakolpskaya, S.G. Govbina, E.N. Sokovnika, V.V. Tsivkina, E.P. Iova, I.V. Slepovich and others. Some proposals for improving this system were made by E.D. Rudneva, L.S. Generalova.

All musical and rhythmic movements (exercises, games, round dances, dances) fulfill the decisive task - to achieve the unity of the nature of movement and music.

At the early stages of musical development, children are involuntary in their actions. But a constantly arising situation - the need to act to the music - develops strong-willed qualities.

Musical-rhythmic movements make children experience what is expressed in music. And this, in turn, affects the quality of performance. Enjoying the music and feeling the beauty of his movements, the child becomes emotionally enriched and experiences a special uplift and cheerfulness.

The emotional responsiveness of children is expressed, first of all, in involuntary movements while listening to music: facial expressions change, arms, legs and torso move involuntarily. Older children show emotional responsiveness through voluntary movements during play. For example, at the moment of competition (after the end of the music), it is enough for the children to hear the first musical sounds, as they are organized again and fall into place. Rhythmics classes are an educational process and help the development of many aspects of a child’s personality: musical-aesthetic, emotional, volitional and cognitive.

Successes and achievements in the field of musical and rhythmic education, of course, depend on the general physical development of the child, but this is greatly facilitated by the correct organization and systematicity of classes.

In early childhood (in the first year of life), the baby’s musical-rhythmic activity is expressed in a purely impulsive reaction to the sounds of music and is characterized by great imitation. An adult, activating a child by performing, forces him to react with cheerful motor excitement to a dance melody and more calmly to a lullaby. The first manifestations of an emotional response to music through movement occur. Children of the second and third years of life are ready for independent musical and motor expressions. In games, displaying the external side of the characters' actions, their different nature. When performed individually, they can perform separate isolated actions, finding it difficult to connect them into a whole. The children feel the change in parts of the work (especially in 2-part form with contrasting structures) and accordingly change movements with the help of an adult. Feeling the metric pulsation, children try to mark it with clapping.

In the fourth year of life, children can speak out about the game, remembering its individual moments. They are able to independently change movements in accordance with a two-part piece of music, if the sound of each part is long enough (about * measures). However, these reactions are not yet perfect. Children easily master the metric pattern in clapping, it is more difficult when walking and it is completely difficult when running. Clear tempo and dynamic changes make them want to run.

Children of the fifth year of life can make brief comments about musical-rhythmic games, exercises, touching on the theme, plot, less to say about music, they are able to note two- and three-part forms in movements, arbitrarily changing their character and direction, and feel the expressiveness of musical game image, trying to express it with some characteristic movement. The guys can walk quite clearly in accordance with the metric pulsation. Some people do this while running. Correctly conveying the rhythmic pattern in dance makes them difficult. Sensing a change in tempo, they do not always reproduce it accurately.

Children of the sixth year of life try to note some connections between music and movement in their statements. While listening to a piece, they can recall in their memory the sequence of movements in games, round dances, and dances. Children feel and convey through movements repeated, contrasting parts of music, sentences, phrases, if they are clearly defined, symmetrical and long. Motor expressiveness in the transmission of musical and game images, accuracy and grace in dance appear. Children of this age are characterized by creative manifestations of the composition of familiar dance movements in new combinations. There is also a more developed sense of rhythm - the ability to reproduce a constant rhythm, highlight an accent, a strong beat, and change tempo.

Children of the seventh year of life, actively perceiving music, note its connection with movement, feel the expressive features of musical sound. They move independently in dances, round dances, exercises, distinguishing the form of the work: division into phrases, sentences, asymmetry of construction. A sense of rhythm allows children to accurately perform movements, dance expressively, gracefully, and express themselves much more clearly in games. They take great interest in creative tasks, show initiative and creativity in composing dances, and conveying musical and playful images.

Thus, various types of musical activities - perception of music, singing, musical rhythmic movements, musical and didactic games contribute to the musical education and development of children of middle preschool age.

conclusions

It is the power of emotional impact that is the way to penetrate a child’s consciousness and a means of forming the aesthetic qualities of a person. Indeed, the means of musical art used in the educational process are an effective means of aesthetic education of children of senior preschool age. Experienced teachers, knowing this, are able, through art, to cultivate the true aesthetic qualities of an individual: taste, the ability to appreciate, understand and create beauty. Often in practice we are faced with the fact that preschool teachers make little use of art for the purpose of aesthetic education of the child, devoting more time and effort to the development of practical skills. This is unacceptable, since without an orientation towards genuine spiritual and artistic values, aesthetic education and personal development will be incomplete. In our opinion, by implementing the full aesthetic education of a child in preschool age, especially in older age, the teacher ensures in the future the formation of a personality that will combine spiritual wealth, true aesthetic qualities, moral purity and high intellectual potential. By carrying out the work systematically, you can achieve great success in the musical and aesthetic education of children of middle preschool age, the main thing is to be able to interest them in skillfully selected material.

It can be argued that the musical and aesthetic education of children of senior preschool age can be achieved if the integrative potential of musical art in interaction with its other types, various types of human activity, and all the functional capabilities of music contributes to the artistic and aesthetic education of children of senior preschool age. It is the integration of music into all types of activities of children of middle preschool age that most effectively contributes to their aesthetic education.

Chapter 2. Improving the level of aesthetic education of children of middle preschool age through music

2.1 Determination of the level of aesthetic education of children of middle preschool age (ascertaining stage of the study)

The ascertaining stage of the study was carried out on the basis of MBDOU with the aim of increasing the level of musical and aesthetic education of children of middle preschool age.

20 people participated in the study, during which methods were used modified according to the purpose of the study: creative tasks; diagnostics of indicators of aesthetic education of children 4-5 years old;

The study was carried out in three stages: ascertaining, formative, control.

The study was preceded preparatory stage, in which pedagogical, musicological, psychological, aesthetic literature on the problem under study was studied and analyzed, the purpose, object, subject and objectives of the study were determined. Conversations with specialists and surveys of parents and teachers were conducted. The results of a survey of parents and teachers were processed and analyzed, consultations for educators, workshops, etc. were held. This work led to the following results.

The picture of children's general awareness of the art of music would be incomplete without clarifying the parents' position on the role of musical culture in the child's life. For this purpose, a survey of parents was conducted, which revealed what type of art they prefer in the families of their pupils, how they treat it in the family, and whether it attracts their attention at all. The results of the survey showed that many parents did not just indifferently respond with monosyllabic answers, but expressed their own opinion and their attitude towards art. Almost 60% of the parents surveyed expressed a desire to give their children a music education and believed that music lessons in kindergarten should be included in work with their children. It turns out that many families often organize joint visits to cultural institutions with their children, where there are enormous opportunities to satisfy cultural needs and preferences. In order to clarify the professional preparedness of teachers and their difficulties in organizing the process of artistic and aesthetic education of preschoolers, based on the integration of the arts, teachers of the secondary group and specialists were offered an introductory control questionnaire. Analysis of the questionnaires showed that although there are some difficulties, many teachers are quite well equipped with knowledge and skills in organizing the process of artistic and aesthetic education and apply them in working with children. Based on the results of the survey, a consultation was held for teachers of the middle group on the topic “Integration of subjects of the artistic and aesthetic cycle in various forms of artistic creative activity Preschool educational institution", where the types of musical creative activities and the integration of artistic and aesthetic cycle subjects with children of middle preschool age were considered.

A pedagogical council was also held on the research topic “The role of musical art in the aesthetic education of preschool children.” It was decided: to introduce integration into the system of specially organized classes in the middle group in the following types of activities: speech development and drawing; speech development - music - drawing; music and drawing; approve the composition creative group consisting of a musical director, a senior teacher, middle group teachers, and a choreographer.

For the effective use of various forms and methods of working with children in integrated classes and for the purpose of familiarization with technologies for modeling various types of activities, games, entertainment of the musical-aesthetic and artistic-creative cycle, the Business Game “Teacher Creativity in Music Classes” was organized with the participation of secondary school teachers groups. In each of the three tasks, the teachers showed activity, imagination and creativity. The completed homework justified its purpose and didactic value.

The children were offered creative tasks that involved determining the emotional and value attitude of middle preschool children to musical and aesthetic activities: showing interest in the art of music; children's preferences for certain genres; emotional reaction to the content; attitude towards types of musical activity; expression of one’s attitude to the surrounding reality.

Diagnosis of the musical and aesthetic development of children of middle preschool age involved the identification of three basic musical abilities, therefore, at the beginning and end of the study, diagnostics were carried out according to the following criteria: the development of a modal sense, musical-auditory concepts, and a sense of rhythm. The modal feeling manifests itself as the ability of emotional responsiveness to the general character of the work, the change of moods in it, as a feeling of gravity of sounds. Musical and auditory perceptions develop primarily in singing, playing high-pitched musical instruments by ear, and in the process of perception that precedes the playback of music. The sense of rhythm is formed in singing, playing musical instruments, and in musical-rhythmic movements.

When diagnosing modal feeling, tasks were performed to adequately determine the nature of music and differences in its moods, tasks to perform the endings of melodies that were interrupted by unstable sounds, etc.

In the course of diagnosing musical-auditory concepts, children were offered the following tasks: repeat a melody sung or performed on a musical instrument; note rhythmic or melodic changes in learned songs or melodies; pick a melody on musical instruments, etc.

Diagnostics of the sense of rhythm was also revealed in the process of performing tasks to isolate a rhythmic pattern from the entire texture of a musical work or in the process of various musical games.

The results were assessed according to a point system and level differentiation: high level, average level, low level and entered into a table. Criteria for evaluation:

low level - 0 points - refusal to complete the task or completing it with gross errors;

average level - 1 point - partial completion of the task with little help from the teacher, with a small number of shortcomings;

high level - 2 points - correct completion of the task without errors (1-2 inaccuracies are allowed, corrected independently).

At the ascertaining stage of the study, the starting level of musical and aesthetic education of children, their emotional and value attitude to musical and aesthetic activities was identified. Children with high rates of musical and aesthetic development are characterized by purposefulness, adequate aesthetic and active perception of music, unity of the emotional and intellectual, and differentiation of auditory sensations. Inner hearing and musical representations relate to the ability to hear and experience music silently. Children perceive and understand the expressive means of music, understand how the composer achieves the aesthetic effect of the musical image on the listener, and establish cause-and-effect relationships between the emotional content of the musical image and the means of expressiveness. So, for example, in the “Draw the music you heard” method, Anna L. absolutely accurately determined the minor mood of the work, almost correctly gave it a name, saying: “As if someone is in pain,” logically correctly selected the words to describe and conveyed what she heard in her drawing in colors that match the mood of the music. The names “Someone is crying” (Alexander B.), “Clouds in the sky and it’s raining” (Daria B.), “Autumn mood” (Dmitry B.), “Autumn” of music were invented. Kishko (Sofia P.). Thus, we can conclude that five children felt the work, saw its full depth, and conveyed their feelings in the drawing. Children with an average level of musical and aesthetic development were not so accurate in their answers, but after repeated listening to the name, most of the children spoke out, choosing suitable words for the description. Therefore, in the drawing they most closely conveyed the musical image. Only Maxim Ch. was touched by music superficially. He could not talk about the play he heard, and his drawing reflected only the scenes that he wanted to draw at the moment.

High level - 40% High level - 50%

Average level - 30% Average level - 40%

Low level - 30% Low level -10%

The result of this stage of the study (the number of children who showed a high level of musical and aesthetic development is not so large - 45% of the total, average level - 35%, low level - 20%) led to the search for effective ways to organize the musical and aesthetic education of children in the holistic pedagogical process of preschool educational institutions. In the experimental group, the results in terms of the level of aesthetic education were higher. Thus, based on the activities carried out, we can say that art as a means of aesthetic education in a preschool institution is implemented in art classes (music, drawing, speech development). Most children good performance musical and aesthetic education, but not all children have a developed artistic culture. Not everyone can show their creative abilities, they are not able to perceive aesthetic phenomena in the surrounding reality and art. An aesthetic assessment of phenomena and surrounding objects can be given with the help of leading questions. Therefore, it is necessary to conduct a formative experiment to introduce children to the basics of artistic knowledge and involve them in artistic and aesthetic activities, integrating different types of art in music classes.

2.2 Methods and techniques for increasing the level of aesthetic education through music (formative stage of research)

Based on the conclusion on the ascertaining stage of the study, a formative stage of the study was prepared with the aim of increasing the level of aesthetic education of children of middle preschool age through the means of musical arts, developing children’s understanding of the general means of expression for different types of art, the ability to notice the features of their integration in the depiction of various phenomena of the surrounding life, stimulation needs of middle preschool children for creative self-realization.

At this stage of the experiment, cultural activities based on the integration of the arts were developed and tested. In planning and organizing their work, they relied on the section of the comprehensive program of T.N. Doronova “From childhood to adolescence”, dedicated to the musical development of a child. Pupils from the experimental group regularly attended preschool from a young age, which means that in their middle preschool age the “Rainbow” program implemented the main tasks of the “Musical Development” section - it enriched children with musical impressions, developed emotional responsiveness, formed expressive and plastic skills, and educated them aesthetically. Based on this experience of children, it was possible to continue solving the problems of musical development according to the program “From Childhood to Adolescence,” which involves the technology of continuous education. All that remained was to supplement with our own developments of various forms of musical activity, based on the goals and objectives of the musical and aesthetic education of children of middle preschool age using the integration of the arts.

Having joined the study, we clearly understood that we act as an intermediary between the child and the vast, wonderful world of art and set ourselves specific goals: to achieve high productivity through age-appropriate effective methods, means and forms of musical and aesthetic education and training; combine innovative and traditional technologies in the field of music education; creatively participate in the transformation of the developmental environment, taking into account the characteristics of musical and aesthetic education and development of children; widely and creatively use integration in educational and musical activities and coordinate with other specialists working with children in groups; carry out educational work among parents and teachers of preschool educational institutions; systematize visual aids, technical means and use them in a methodologically justified manner, for their intended purpose, so that they meet didactic requirements - they are accessible and have an aesthetic appearance; make wide use of modern multimedia tools to develop various events of the musical and aesthetic cycle. At the formative stage of the study, a variety of work was carried out on the aesthetic education of children of middle preschool age through the means of musical art.

Developed and conducted classes, meetings, conversations, concerts, entertainment, matinees using the integration of arts helped children of middle preschool age become interested in various types of art and contributed to the accumulation of new knowledge and skills.

In order to attract children's attention to the diversity of sounds in the surrounding world, including musical ones, and the methods of its formation, an educational and research lesson “Where do sounds come from” was conducted. Children were involved in the study of sound formation and were able to draw their own conclusions and conclusions about the origin and propagation of sounds, that sound is vibrations that propagate in space. We cannot see them - we only hear them, but they can tell us a lot of interesting things. Children began to listen more carefully to the sounds around them and become convinced of their richness and diversity.

In order to further develop the musical and creative abilities of children of senior preschool age in the process of musical activity in kindergarten, a ritual holidays. conditions of regionalization of education, the tasks were set to promote knowledge of the culture of their people, to educate children in aesthetic taste, aesthetic consciousness. These holidays showed how much the children were able to feel the situation, the roles assigned to themselves and their partners

The open educational classes for children “Journey to the World of Beauty”, organized jointly with the group’s teachers, were of great educational importance.

The effectiveness of specially organized musical and aesthetic events is undeniable: the means of musical art can really have an impact on children of middle preschool age. A properly organized musical activity aimed at the child arouses genuine interest and response in every preschooler. Emotionally rich material leaves a deep imprint on the child’s soul, which in the future will become the basis for the formation of aesthetic taste, ideal, attitude, experience, and over time, the aesthetic feeling for the art of music will leave its mark on the attitude towards life and reality. Our study also used a number of activities to develop musical and aesthetic taste.

Target: determine how a piece heard for the first time affects a child, what feelings, emotions, and experiences it evokes. The researcher recalls with the children musical definitions that can be used to talk about music. Asks the children to characterize each aesthetic term used in the list.

Study Evaluation:

5 points if the child distinguishes the nature of the work, most closely conveys the musical image in the drawing, and logically correctly selects words for the description.

2 points are given to children if they made inaccuracies in distinguishing the mood of the work and its correlation with the musical image.

0 points - if the child does not understand the nature of the work, incorrectly determines its mood.

"Visiting a fairy tale."

Goal: to identify the level of musical and aesthetic taste through the composition of fairy tales by older preschoolers based on the work they listened to.

Evaluation of the research results:

A high score is given when the children’s “speech” is figurative, emotional, bright, if they most accurately conveyed the composer’s intention in the drawing, and were able to hear minor “details” of the work.

The average result is that if the children were not able to feel the work accurately enough, the drawing is not concrete, and their “speech” is not very emotional.

Low result - lack of personal opinion, the drawing does not reflect the essence, the “speech” is dry, unemotional, and short.

“The sea is agitated - once...”

Target: determine in children the ability to “get used to” the proposed image, penetrate and comprehend its emotional state.

Contents of the task: The researcher and the guys recall the familiar game “The sea is agitated - once...”. He says that this game will be more interesting to play if it is voiced. For this purpose, works from “Carnival of the Animals” by C. Saint-Saens are used. The guys come up with a small performance.

Grade:

A high mark is given if the children accurately conveyed the image conceived by the composer, demonstrated it expressively, and felt the mood and character of the work.

Average rating - if there were any inaccuracies in conveying the image, the child was less emotional and shy.

Low score - if the child did not correctly identify the character intended by the composer, and was constrained in showing emotions.

. “Drawing mental pictures”

Purpose: to study the emotional responsiveness and stability of preschool children’s interest in the perception of music.

Grade:

A high score is given if the child is creatively active, independent, and proactive; quickly comprehends the task, performs it accurately and expressively without the help of an adult; He has a pronounced emotionality.

Average rating - if he shows emotional responsiveness, interest, and a desire to get involved in musical activities. However, it is difficult to complete the task. Requires teacher help, additional explanation, demonstration, repetitions.

Low score - if the child is low-emotional; “even”, has a calm attitude towards music, musical activity, no active interest, indifferent. Not capable of independence.

The positive changes that occurred during the formative stage of the experiment allow us to recognize the experimental work as quite successful. There are significant changes in the aesthetic education of children of senior preschool age. Children began to develop aesthetic needs, aspirations and aesthetic abilities in the field of musical art, as the main characteristics of aesthetic education.

Thus, the formative stage of the experiment confirmed the effectiveness of the activities we developed for the further aesthetic education of children of senior preschool age, implemented in the process of music classes based on the integration of the arts. Means of art at proper organization and serving them to a preschooler really contributes to his intellectual and spiritual development and aesthetic education. The theme of the event, the format of the event “Where do sounds come from”, the educational and research lesson “Playing Wedding”, the role-playing game “Journey to the Sea”, an open educational lesson for children “The relationship of musical art with other types of art”, a pedagogical council “Creativity” was held teacher in music classes”, business game “Draw the music you heard”, “Visiting a fairy tale”, “The sea is worried - once ...”, “Drawing mental pictures to the accompaniment of music”, various creative musical tasks for children of middle preschool age.

2.3 Results of the study on the level of aesthetic education of children of middle preschool age using music (control stage of the study)

The purpose of the control stage of the study is to identify the level of musical and aesthetic education of children of middle preschool age in the process of using various approaches in organizing music classes that contribute to the aesthetic education of children of middle preschool age.

To achieve this goal, a variety of creative tasks were used, similar to the ascertaining stage of the study.

During the control experiment, it was revealed that the formative stage of the experiment influenced the development of musical taste. Using a series of integrated activities, where various types of art are intertwined, united by one theme, you can improve the musical and aesthetic culture of preschoolers. This can be seen from the fact that children began to speak out more actively about music; they became interested in various types of art, in which all elements are interconnected. Children began to see the world as a single whole and perceive their surroundings through the prism of music, painting, literary expression and dance. They have developed the ability to use their accumulated experience to act in a certain situation.

Results at the control stage of the study:

Based on the indicators, children were given similar tasks, which were also assessed and recorded, and the results were entered into a table.

Control group: Experimental group:

High level - 60% High level - 70%

Average level - 30% Average level - 30%

Low level - 10% Low level - 0%

Thus, the analysis of descriptive and statistical results made it possible to summarize the study: in the conditions of a unified musical and aesthetic environment, qualitatively new, higher educational and social results were achieved in the joint activities of the teaching and children's team of a preschool educational institution, indicators were improved in all diagnostic parameters, the level of aesthetic education has become much more significant. This indicates the success of the study.

Conclusion

Today, in an era of crisis of spiritual and aesthetic culture, in times of decline of humanistic ideals and judgments, which is due to many negative factors, including socio-economic ones; it is important to revive the tendency of society’s value-based attitude towards the human personality and interest in its harmonious development. It is necessary to create a holistic system of aesthetic education of the younger generation, the focus of which should be the school, where children’s introduction to art and the treasures of universal human culture is systematically and purposefully carried out in the lessons of the aesthetic cycle.

Work on aesthetic education in kindergarten is closely connected with all aspects of the educational process, its forms of organization are very diverse, and the results are manifested in various types of activities. Nurturing an aesthetic attitude towards the environment contributes to the formation of many qualities of a child’s personality. This is a complex and lengthy process. In order to learn to understand beauty in art and in life, it is necessary to go a long way to accumulate elementary aesthetic impressions, visual and auditory sensations, and a certain development of emotional and cognitive processes is necessary.

Full mental and physical development, moral purity and an active attitude towards life and musical art characterize a holistic, harmonious developed personality, the moral improvement of which largely depends on aesthetic education.

Our research has shown that cognitive interest in art among children of senior preschool age is quite high, and the presence of interest is the first condition for successful upbringing. In addition, art material has great emotional potential, be it a piece of music, literature or art.

Bibliography

1. Bekina S.I. Music and movement. - M.: Education - 2008.

2. Boguslavskaya E. Musical education in kindergarten. - M.: Education, 2005. - 284 p.

Developmental and educational psychology: texts / comp. and comment. Shuare Marta O. - M.: Moscow publishing house. University, 2007. - 272 p.

4. Age and educational psychology: textbook. allowance. M.V. Gamezo. - M.: Education, 2006. - 256 p.

5. Age and educational psychology: textbook. allowance / M.V. Matyukhina, T.S. Mikhalchik, N.F. Prokina et al.; under. ed. M.V. Gamezo. - M.: Education, 2005. - 256 p.

6. Gavrilovets K.V. Moral and aesthetic education of schoolchildren. - Minsk, 2004.

7. Gogoberidze A.G., Derkunskaya V.A. Theory and methods of musical education of preschool children. 2nd ed. - M.: Academy, 2007. - 320 p.

8. Dubrovina I.V. Psychology: textbook. - 2nd ed., erased. - M.: Academy, 2001. - 464 p.

9.Zenkovsky V.V. Psychology of childhood. - M.: Academy, 2005. - 346 p.

10. Kabalevsky D.B. Education of the mind and heart. - M., 2005.

11. Kovalchuk Ya.I. Individual approach to raising a child. - M., 2006.

Kodzhaspirova G.M., Kodzhaspirov A.Yu. Pedagogical encyclopedic dictionary. - M.: Academy, 2001. - 76 p.

12.Kozlova S.A. “Preschool pedagogy” by S.A. Kozlova - M.: Academy, 2009.-162 p.

13. Kulagina I.Yu. Age-related psychology. - M., 2008.

14. Likhachev B.T., Lisina M.I. Communication, personality and psyche of the child. - M.: Voronezh, 2007.

15. Maklakov A.G. General psychology. - St. Petersburg: Peter, 2005. - 592 p.

16.Matyukhina M.V. Motivation for teaching of younger schoolchildren. - M., 2005.

17. Metlov N.A. Music for children. - M.: Education - 2005.

18. Obukhova L.F. Child (age) psychology. - M., 2006.

19. Matveeva R.A. Review of general aesthetic and musical education programs. // Musical director. - 2009. - No. 2 - 2 p.

20. Mukhina V.S. Age-related psychology. - M., 2008. - 456 p.

21. Mukhina V.S. Child psychology / under. ed. L.A. Wenger. - M., 2008.

22. Nemensky B.M. The wisdom of beauty. - M., 2005.

23. Fundamentals of aesthetic education / sub. ed. M.A. Kushveava. - M., 2005. 24. 24. Pedagogical dictionary edited by B.M. Bim - Bad. - M.: Great Russian Encyclopedia. Education, 2003. - 312 p.

25. Radynova O.P. Musical education of preschool children. - M.: Education, 2005. - 322 p.

26.Workbook of a school psychologist / I.V. Dubrovina, M.K. Akimova, E.M. Borisova and others; under. ed. I.V. Dubrovina. - M.: Education, 2006. - 303 p.

27. Rubinshtein S.L. Fundamentals of general psychology. - St. Petersburg: Peter, 2002. - 720 p.

28. System of aesthetic education of schoolchildren / pod. Ed. S.A. Gerasimova. - M., 2009.

29.Ulashenko N.B. "Music. Senior group. Non-standard classes" - Volgograd. ITD "Corypheus". 2008. - 128 p.

30. Teach children to sing / Comp. Orova T.M., Bekina S.I. - M.: Education, 2009. - 144 p.

31. Shainurova V.M. Functions class teacher// Classroom teacher. - 2005. - No. 6.

32. Shapovalenko I.V. Age-related psychology. - M.: Gardariki, 2005. - 349 p.

33. Kharlamov I.F. Pedagogy. - M., 2007. - 507 p.

34. Shumakova V.R. Handbook for the class teacher // Classroom hand

Annex 1. Recommendations for teachers for improvement

aesthetic education of preschool children through art

Having visited music classes in kindergartens, it can be noted that most classes are monotonous and very little use is made of game forms of learning.

Taking advantage of the freedom to create a lesson plan, teachers often devote most of their class time to singing. Thus, learning a song lasts 10-15 minutes, children begin to get distracted and quickly get tired. K.F. Ushinsky wrote: “The basic law of children’s nature can be expressed this way: a child needs activity incessantly and is tired not by duration, but by its monotony and one-sidedness.” Based on this statement and from my own practice of working with preschoolers in children's music schools, I recommend organizing all types of children's musical activities in game form. Play is the main activity of a child, and in no other activity does a child manifest himself as fully as in play. A lot is said and written about this, but in practice the use of game forms in the classroom is exceptional. In my practice, at every lesson, I “go” with the guys to visit a music house, a forest, a toy store, a zoo, etc. All tasks in the lesson are in the form of a game. For example, we learn songs by phrases, like an echo, and don’t just repeat 1 verse three times, to perform rhythmic exercises we turn into radio operators, etc. Each lesson is permeated with a line of end-to-end development, one event (task) follows from another. The classes are very informative and interesting. This is important for remembering educational material. A child's memory is his interest. Feelings such as surprise, admiration, satisfaction from the discovery made help maintain interest in the activity, thereby ensuring memorization.

At the same time, it should be remembered that in preschoolers the processes of excitation prevail over the processes of inhibition. Therefore, it is important not to oversaturate classes, since excessively emotional material leaves vague, vague memories in the memory, emotional overload leads to unbalanced behavior, which affects the quality of attention and memorization. As we saw from the previous chapter, in music classes, flashcards and visual aids provided in all music education programs for preschoolers are practically not used. This negatively affects the acquisition of knowledge and skills. In children at this age, involuntary attention still predominates, so it is necessary to support it through visual aids and the actions of the children themselves with didactic materials. The teacher’s interest in the lessons is also important. It is known that an adult can interest children in something only when he is passionate about it himself. If a child feels such an attitude from an adult, admiration for the beauty of music, he gradually also recognizes musical values. If an adult shows indifference, it is passed on to children. In practice, I observed this in the example of movements to music: in one kindergarten the music director loves and knows how to dance, she once did choreography, and the children in her classes dance as if they were attending special choreography classes. In another kindergarten, the music director is indifferent to dancing and the children in his classes perform dance movements vaguely and inexpressively.

Appendix 2.

Scientific and methodological recommendations for educators and parents on learning to play musical instruments

Playing musical instruments- Thisone of the types of children's performance. The use of children's musical instruments and toys enriches the musical experiences of preschoolers and develops their musical abilities. In music classes and in everyday life, I offer children noise, percussion, keyboards, strings, and wind musical instruments. I introduce them to their origin, sound, their expressive capabilities - all this is necessary for children for subsequent instrumental creativity. It is important that the child plays even the simplest song on one sound expressively, conveying the mood that he felt and wants to express. Thus, musical responsiveness to music develops - the basis of musicality. When teaching children to play musical instruments, I take into account the individual capabilities of each child. Some children cope with the task quite easily, while others require more lengthy preparatory work.

In older preschool age, children already realize that with the help of every musical instrument, even one that does not have a scale, it is possible to convey a certain mood. I give the children the opportunity to choose an instrument to play on their own. Fascinating stories about music and musical instruments, accompanied by the display of illustrations, presentations, and reproductions of paintings, interest children, create a mindset for the perception of music, deepen feelings and emotional reactions to music.

I begin learning to play musical instruments with a group of drums that do not have a scale. Rattles, tambourines, bells, musical sticks, wooden spoons. At first, the sound of these instruments accompanies the movement of children - walking, running, dancing. As children begin to feel and reproduce, for example, the rhythm of music in clapping, I invite them to play these instruments themselves. First I help them get in time with the music, then their actions become more and more independent.

During classes, children enjoy playing non-traditional noise instruments. Children are attracted not only by the sound of instruments, but also by the fact that they can extract sounds from them themselves, without anyone’s help. Preschoolers love fun, laughter, movement,

they are attracted to unusual-looking musical instruments, they want to play and create, they have their own interest in music.

Therefore, in my work I widely use playing non-traditional noise instruments.Performing songs, listening to music, dancing improvisations, creatively voicing poems is accompanied by playing noise instruments.

During classes, children take turns becoming either dancers, improvising the movement, or musicians, accompanying the movement. Even very young children are able to improvise their music. Born of their imagination, it is simple and wonderful, like the country of childhood itself. Boxes of cereals tell how leaves rustle sadly underfoot in autumn, jars of peas represent thunder, walnut shells represent the song of a woodpecker, and magical music is born from the clink of a crystal glass.

Children are transformed in such a musical lesson: they open their hearts, able to see music and “dance” poetry.

To ensure that education and training are creative and developmental in nature, I carefully think through and select visual and practical material. During classes I use the display of illustrations, reproductions of paintings, and portraits of composers.

When preparing for classes, I select techniques with which I propose to solve the assigned tasks. However, I use them very flexibly. As the lesson progresses, I monitor the children’s activities, evaluate their reaction and level of interest. If the use of a technique does not achieve the goal, I replace it with another in time.

One of the effective techniques in developing creative abilities is the game technique.. For example, during a lesson I play the pipe, I suggest: “Do you want to learn to play like this?” And then I’ll clarify:-

“Each of you has your own pipe, and therefore the song should also be your own, not like the others.” From the very beginning, I encourage children to critically evaluate what they are doing.

INmiddle group I complicate the tasks. In addition to the mentioned techniques, I introduce

more complex ones, for example, musical questions and answers, greetings. “Hello, Natasha!” - "Hello!"

For one lesson I bring the doll Parsley (be-ba-bo) and say: “Children, we have Parsley as our guest. He wants to be friends with you, but doesn't know anyone by name. Let's get to know him." At the same time, I remind you: Since your names are all different and so that he remembers each of you better, try to make your name sound special, not like the other.” And each child tries to come up with, compose his own song, perform it, and Petrushka says whose name he remembers best.

INsenior group I invite children to come up with a rhythmic pattern using non-traditional noise and musical instruments. Children enjoy performing the following creative tasks:

Knock with different wooden blocks or walnuts;

Shake the noise boxes and tap them with your fingers;

Play the music of thunder and rain on a noise instrument with keys;

Come up with your own rhythmic pattern on the tambourine.

In order to develop song creativity, I conduct a creative game “Echo” in class, when one child sings invented phrases, and the rest repeat in chorus. Then I invite the children to finish the melody they know (“get into their house”) and end the song with a short phrase. For example, I sing: “Geese, geese, where is your home?”, and the child comes up with an answer to the words “near the river under the bridge.”

INschool preparatory group preschoolers play musical games such as composing a melody to a given text in a given genre. When offering a creative task, I talk about the childhood of P. I. Tchaikovsky, drawing attention to the fact that the composer began composing music at the age of 5. Children of senior preschool age are also 5–6 years old, and they can try their hand. To do this, I use this gaming technique. I call a subgroup of children and tell them: “Imagine that you have become real composers. Guests came to you and asked you to compose a polka. They came up with a beginning, but they just can’t figure out the end. Help them! Then the guest children sing the beginning of the song, and the child composers compose the end. In this way, all children participate in the creative process.

Improvisation attracts the attention of children by embodying their own ideas and imagination, and increases the emotional level of perception of music. The use of improvisation is promisingreception to cultivate interest in music, accumulate musical and creative experience, since the child immediately comes into direct contact with music. In my work I use vocal and instrumental improvisations and mini-stories. Here are two examples of mini-stories that include improvisation.

Appendix 3.

For specialists of preschool educational institutions. Notes of various musical classes.

Combining elements of well-known techniques, I conduct different types of classes.

Complex classes:

“Musical drawings” - for children 5-6 years old, “Fairytale bird” - for children 6-7 years old, were carried out in a playful way. Children listened to music with their eyes closed, then conveyed in color (paints) their feelings that arose while listening to music. In conclusion, she invited the preschoolers to come up with their own dance to the music they drew;

play non-traditional noise instruments.

The combination of painting, living words and elementary music-making introduced an element of surprise and play into the lessons and allowed children's imagination to manifest itself in many ways.

Frontal classes:

“The White Book of Winter” - for children 5-6 years old, “We are painted toys” - for children 6-7 years old, I consider the most effective for the development of the musical and creative abilities of preschoolers.

Thematic classes:

“Visiting Domovoy” - for children 6-7 years old, “Sunny Bunnies” - for children 3-4 years old, “How Masha was looking for notes” - for children 5-6 years old, “Brother Major and Brother Minor” - for children 6 years old -7 years, “Music of the Forest” - for children 5-6 years old, introduces children to musical and non-musical sounds, stimulates sound fantasy and imagination.

To increase creative activity I spendcycle of thematic lessons on familiarization with rustling (paper), wooden and metal sounds.

Integrated classes:

“Magic Clock for the Puppet Theater” (with origami elements) – for children 6-7 years old, “Naughty Shoes” (a musical and movement fairy tale with elements of pantomime) – for children 5-6 years old, unusual in form and content. Such options, a departure from the stereotypical structure, give classes liveliness and spontaneity.

In addition to unusual activities, I use other non-traditional forms of work. I conduct games “Two Grand Pianos”, “Lucky Chance”, “Guess the Melody”, in which children consolidate the knowledge acquired in music classes in the “Funny Voices” club classes.

To ensure effectiveness in my work, I use such teaching tools as music, speech, movement, pantomime and theatrical play in their syncretic unity.

driver. - 2009. - No. 1.

Olga Kuchkina
Musical and aesthetic education of older preschoolers in a kindergarten

Russian and Soviet philosopher, teacher and psychologist P. P. Bolonsky believed that the task of aesthetic education is not so much about education of a contemplative, judges of aesthetic values, as much as the creator.

One of the most important means raising a child is music. Harmony musical development is important for children of all ages. But children especially need it preschool age. This age is a time of intensive development and musical sensitivity. The impressions they received from music perception, remain in the child’s memory for a long time. That is why great attention is paid to pedagogy musical education children from a very early age.

Work on aesthetics educating preschoolers through music closely connected with all parties educational process, its forms of organization are very diverse, and the results are manifested in various types of activities.

Essential condition successful inclusion preschoolers to aesthetic values ​​is the guidance of this process on the part of the teacher. The main form of educational work with children is music lessons including listening music, teaching singing, rhythm, elements musical literacy, game on children's instruments.

When planning musical classes, the teacher needs to take into account the load of children (mental, physical and emotional, consistent in the distribution of activities, repertoire, continuity in development musical abilities, mastering skills, knowledge, unlearning musical repertoire, normativity and compliance with the age capabilities of children.

Musical and aesthetic education solves a number of important tasks:

1. Development of emotional responsiveness to music.

2. Enrichment musical impressions.

3. Introduction to different species musical activity: listening (perception) music, performance (singing, dancing, dramatization, playing children's musical instruments, musically-educational knowledge, musical creativity.

4. General development musicality, individual abilities, singing voice and expressiveness of movements.

5. Development musical taste.

6. Development of a creative attitude towards music and musical activities.

Music excites the child, shows life phenomena, creates associations. The march with its rhythmic sound evokes a feeling of joy, and the play about a sick doll evokes sadness.

Ability to listen, compare and evaluate musical essays require the child to have auditory experience. For example, the guys compare elementary properties musical sounds(high and low, timbre characteristics of the sound of the bassoon and harpsichord, mark the expressiveness of contrasting artistic images (affectionate, drawn-out nature of the chorus and energetic, moving nature of the chorus). Over time, children develop a collection of favorite works, i.e., the foundations are laid musical taste. In addition, some of them prefer to sing or dance, others play the musical instruments or listen music, which indicates the variety of tastes of the child.

Listening music, the little listener represents the artistic image in his own way, conveying it in singing, playing, dancing, thereby showing a creative attitude towards music. For example, everyone is looking for expressive movements characteristic of cackling geese, a heavily walking bear, a slinking fox, etc.

With the development of general musicality children develop an emotional attitude towards music, hearing improves, creative imagination is born. Children's experiences acquire a unique aesthetic coloring.

Applying musical games using fragments musical classics, we form a broad aesthetic taste in children.

As personal experience suggests, listen better music when the child is in a good mood and ready to communicate. This is the shared experience of emotions associated with perception of music. You need to listen musical fragment, while the child maintains attention. Give pauses, talk with him, share impressions. The listening time should be adjusted based on the individual characteristics of the child. You need to start with a few musical phrases, gradually increasing the listening time. In games you can use this music like: I. Strauss, A. Dvorzhik, A. K. Lyadov, S. V. Rachmaninov, P. I. Tchaikovsky "Seasons", "Snowdrop".

Thus, joining music introduces the child into the world of exciting, joyful experiences, opens for him the path to the aesthetic development of life within the framework accessible to his age.

Kuchkina Olga Mikhailovna.

Musical Head of MDBOU d/s No. 3

Kursk region Oboyan.

Publications on the topic:

Musical and aesthetic development of preschool children 1 slide “Musical and aesthetic development of preschool children” 2 slide Aesthetic education is a targeted, systematic influence.

Khasanova G. A, teacher senior group(MBDOU No. 8 “Berezka”, Almetyevsk) Article on the topic “Education of physical qualities of preschool children.

Education of physical qualities of preschool children in the interaction of kindergarten and family Physical development is the process of formation and subsequent change throughout individual life of natural morphofunctional ones.

Artistic and aesthetic education and development of preschool children. The use of non-traditional drawing techniques in GCD. The leading role in the formation of the personality of a preschool child and the formation of his spiritual world belongs to the emotional sphere. Exactly with this.

Consultation for educators on the topic: “Patriotic education of preschoolers in a kindergarten” As K. D. Ushinsky wrote: “Yes.

Improving the health of children in the context of interaction between kindergarten and family Over the past few years, we have all been struck by the sad statistics on the incidence of diseases in preschool children. Every third person has a deviation.

One of the most pressing problems facing modern society is the threat of spiritual impoverishment of the individual, the danger of loss of moral guidelines. In society, there is a need to confront immorality, lack of spirituality, consumerism towards life, and to revive in children the desire and need for active intellectual and emotional activity. Aesthetic education makes an invaluable contribution to the search for new forms of organizing leisure time for preschool children.

Great reserves for introducing children to the world of spiritual beauty are hidden in children's musical and play activities with their joyful emotionality, imagery, motor activity, collective participation, development of creative initiative, and various educational and educational opportunities.

In order for the process of aesthetic education in a preschool educational institution to be professional and balanced, it is necessary that the music director be highly qualified

Forms and methods of aesthetic education in preschool educational institutions.

The formation of aesthetic feelings begins in early childhood. Preschool age is the period of initial actual development of personality. Children of preschool and school age eagerly build castles and fortresses from snow, wet sand or cubes, hammer nails, and draw with equal diligence with pencils, paints or chalk. Parents should always support, and not inhibit, these natural needs of children.

Preschool age is the most important stage of personality development and education. This is the period of the child’s familiarization with the knowledge of the world around him, the period of his initial socialization. It is at this age that independent thinking is activated, children’s cognitive interest and curiosity develops.

Psychologists identify 3 main areas mental development preschool children:

1. Personality formation.

1. the child begins to realize his “I”, his activity, activity, begins to objectively evaluate himself;

2. the child’s emotional life becomes more complicated, the content of emotions is enriched, and higher feelings are formed;

2. Expanding the scope of the child’s activities.

1. the child masters the goals and motives of his various activities;

2. certain skills, abilities, abilities and personal qualities(perseverance, organization, sociability, initiative, hard work, etc.);

3.Intensive cognitive development.

1. the sensory culture of the language is acquired;

2. perception of color, shape, size, space, time occurs;

3. types and properties of memory, attention, imagination develop;

4. the formation of visual forms of thinking and the development of sign-symbolic functions of consciousness occur.

In order for an adult to become spiritually rich, it is necessary to pay special attention to the aesthetic education of children of preschool and primary school age. B.T. Likhachev writes: “The period of preschool and primary school childhood is perhaps the most decisive from the point of view of aesthetic education and the formation of an artistic and aesthetic attitude to life.” The author emphasizes that it is at this age that the most intensive formation of attitudes towards the world takes place, which gradually turn into personality traits

For a long time, the view was held that aesthetic perception is a completely passive experience, surrendering oneself to the impression, the cessation of all activity of the organism. Psychologists have pointed out that disinterest, disinterested admiration, complete suppression of the will and the absence of any personal relationship to an aesthetic object constitute a necessary condition for the possibility of an aesthetic reaction.

If the purpose of painting were only to caress our eyes, and music to bring pleasant experiences to our ear, then the perception of these arts would not present any difficulty, and everyone, except the blind and deaf, would be equally called upon to perceive these arts. Meanwhile, moments of sensory perception of stimuli are only necessary initial impulses for the awakening of more complex activity and in themselves are devoid of any aesthetic meaning. “To entertain our senses,” says Christiansen, “is not the ultimate goal of artistic design. The main thing in music is the inaudible, in plastic art the invisible and intangible.”

This invisible and intangible should be understood simply as placing the main emphasis in the aesthetic process on the response moments of reaction to sensory impressions coming from the outside. In this sense, we can fully say that aesthetic experience is built according to a completely precise model of an ordinary reaction, which necessarily presupposes the presence of three moments - irritation, processing and response. The moment of sensory perception of form, the work performed by the eye and ear, constitutes only the first and initial moment of aesthetic experience. There are two more left to consider. A work of art is a specially organized system of external impressions or sensory influences on the body. However, these sensory influences are organized and constructed in such a way that they excite in the body a different kind of reaction than usual, and this special activity associated with aesthetic stimuli constitutes the nature of aesthetic experience.

Aesthetic education is the process of introducing a person to everything beautiful that exists in the surrounding life, nature, and art. This is the formation of elevated feelings and behavior in a person. Aesthetic education is closely related to moral education, but it also has its own specifics - this is an introduction to art.

Aesthetic education includes:

1. knowledge of the laws by which works of art are created;

2. nurturing in a person the desire to experience the world of beauty;

3. development of creative abilities.

The tasks of aesthetic education of preschoolers, based on its goal, can be presented in two groups.

The first group of tasks is aimed at developing children’s aesthetic attitude towards their surroundings. The following is provided: to develop the ability to see and feel beauty in nature, actions, art, to understand beauty; cultivate artistic taste, the need for knowledge of beauty.

The second group of tasks is aimed at developing artistic skills in the field of various arts: teaching children to draw, sculpt, design; singing, moving to music; development of verbal creativity.

The named groups of tasks will give a positive result only if they are closely interconnected in the implementation process.

To implement the tasks of aesthetic education of preschool children, certain conditions are necessary.

Fig. 1 Conditions and means of aesthetic education

Aesthetic education of children in a preschool institution is carried out in different forms, depending on the principle of guiding their activities, the method of uniting preschoolers, and the type of activity. Children love artistic activities and often engage in them on their own initiative. It cannot be said that independent artistic activity is completely carried out without the guidance of an adult. It’s just that the nature of this guide is indirect, indirect. The teacher takes care of the child’s accumulation of experience and impressions, which will later be reflected in independent drawing, modeling, and musical activities; teaches visual arts and techniques. Independent artistic activity is independent because it arises on the initiative of children, to satisfy their individual needs. The teacher’s task is, without violating the child’s plans, to help him if such a need arises. But the main thing is to create conditions for independent activity: children must know where to get the necessary materials, where exactly they can draw, build, and play music without disturbing others.

Methods of aesthetic education are: explanation, analysis of works of art, objects and phenomena, solving aesthetic problems (determining the genre of art, etc.), exercises in art (listening to music, playing musical instruments, drawing, etc.), positive example, encouragement and etc. Forms of aesthetic education are conversations and lectures on aesthetic topics, film lectures, poetry evenings, round table meetings, discos, etc.

In the varied aesthetic activities of students, led by teachers, a complex of artistic and aesthetic means is used. The main ones are: knowledge, work, play, communication, nature, art, literature, everyday life. These means are organically included in the system of aesthetic education. Let us briefly consider their features and significance for the aesthetic development of schoolchildren.

The scientific and cognitive process has great potential for the aesthetic education of schoolchildren. Penetrating with thought into the essence of cognizable objects, processes and phenomena, the student at the same time perceives their inherent aesthetic properties. The very process of cognition of objective reality, according to the well-known formula of V.I. Lenin, begins with sensory perception (living contemplation). The search for truth is always colored by emotional experiences. K. D. Ushinsky wrote: “In every science there is more or less an aesthetic element, the transfer of which to students should be kept in mind by the teacher.”

Thinking deepens aesthetic experiences. The writer K. Paustovsky said that those who know will see the beauty of the earth where an uneducated person will never see it. Beauty is one of the criteria for the truth of knowledge. The famous French physicist Paul Dirac argued that axioms may not be simple, but they are always mathematically elegant and beautiful.

Labor - mental and physical - actively influences the aesthetic development of students in the following ways: the labor process itself, the content of the work, the results of labor, and relationships in work.

The aesthetic sense of schoolchildren is evoked by such elements of work as rhythm, tempo, symmetry, proportion, harmony. Properly organized work is always accompanied by a feeling of satisfaction and even pleasure. Materials, drawings and tools have an aesthetic origin (technical aesthetics).

Man is pleased with the products of his labor. Coherence in work and the beauty of relationships among schoolchildren in joint work are of great educational importance. A. S. Makarenko argued that in the matter of communist education, the aesthetics of a suit, room, staircase, machine is no less important than the aesthetics of behavior. The above fully applies to sports and role-playing games. However, the aesthetic and educational possibilities of games are much richer. The harmony of movements is more clearly manifested in them, the setting, and the rituals of the games allow the use of art.

One of the main conditions for the full aesthetic development of children and the formation of their artistic abilities is attention to children's creative activities: play, visual, theatrical, constructive, musical. If organized correctly, you can ensure the artistic, aesthetic, all-round development of the child and prepare him for school, create an environment of emotional well-being, and fill the child’s life with interesting content.

The role of the music director in the implementation of aesthetic education in preschool educational institutions

Music has the potential to influence not only adults, but also very young children. Moreover, and this has been proven, even the prenatal period is extremely important for the subsequent development of a person: the music that the expectant mother listens to has a positive effect on the well-being of the developing child (maybe it shapes his tastes and preferences). From the above, we can conclude how important it is to create conditions for the formation of the foundations of the musical culture of preschool children.

The main objectives of music education can be considered:

Develop musical and creative abilities (taking into account the capabilities of each) through various types of musical activities;

To form the beginning of musical culture, to contribute to the formation of a common spiritual culture.

The successful solution of the listed tasks depends on the content of musical education, primarily on the importance of the repertoire used, methods and techniques of teaching, forms of organizing musical activity, etc.

It is important to develop in a child all the best that is inherent in him by nature; taking into account the propensity for certain types of musical activity, on the basis of various natural inclinations, to form special musical abilities, to promote general development.

Each child's musical abilities manifest themselves differently. For some, already in the first year of life, all three basic abilities - modal sense, musical-auditory perception and sense of rhythm - are expressed quite clearly, develop quickly and easily, this indicates musicality; For others it’s later, more difficult. The most difficult to develop are musical and auditory concepts - the ability to reproduce the melody of a voice, accurately, intoning it, or selecting it by ear on a musical instrument. In most children, this ability does not appear until the age of five. But the absence of early manifestation of abilities, emphasizes musician-psychologist B.M. Teplov, is not an indicator of weakness, or even less a lack of abilities. The environment in which a child grows up (especially in the first years of life) is of great importance. Early manifestation musical abilities are observed, as a rule, in children who receive fairly rich musical impressions.

The main form of musical activity in kindergarten are classes that involve not only listening to musical works that children can understand, teaching them to sing, move in musical games and dances, but also teaching them to play the musical instrument. There was great interest in the orchestra of children's musical instruments as a means of musical education. Outstanding musicians and educators B. Asafiev, B. Yavorsky, and the Austrian K. Orff emphasized the importance of active forms of musical activity in a children's orchestra as the basis for elementary music-making and the development of children. The creators of our current system of musical education for preschool children also attached great importance to the orchestra of children's instruments.

Back in the 20s, N. Metlov and L. Mikhailov spoke about the need to organize a children's orchestra as an effective means of developing musical perception and hearing in children. In the 30s and 40s, N. Metlov organized orchestras in kindergartens and created new sound-pitch musical instruments. Having started in the 20s with teaching children to play percussion instruments (tambourine, triangle, bells, castanets, etc.), N.A. Metlov soon reserved for them the right only to accompany, giving a certain coloring to the work. He searches, constructs and improves melodic instruments on which children could perform any melodies and play music independently. The first instruments for children were the xylophone and metallophone. When teaching children to play these instruments, they used a system of notation. In alliance with master craftsmen V. Rachmaninov, V. Bodrov and others, N. Metlov in 1941-1942 created a metallophone with precise and stable tuning and a clear, pleasant sound. Modern xylophones and metallophones depict the names of sounds and their location on the staff. By playing such instruments, children practically master the elements of musical literacy. Metlov introduced a children's zither, button accordion, flute, and oboe into the group of melodic instruments. He organized an orchestra in the kindergarten consisting of 30-40 children playing musical instruments. For each work, N.A. Metlov created instrumentation taking into account the genre and structure of the work, and the specifics of the instrument. He assigned a special role in the instrumentation to the piano part, which was performed by the music director. He decorated the piano part with additional harmonic and variational means of expression. The instrumentation of pieces for the percussion orchestra was considered very important. Based on folk melodies and songs, Metlov created a repertoire for a children's orchestra, convenient for performance on children's instruments; later the repertoire included works by Soviet composers.

In connection with the increasing requirements for the upbringing and training of the younger generation, the work of preschool teachers is improving. They must not only form in children a certain amount of knowledge and skills, but also fully develop their cognitive activity, interest in the surrounding reality, independence and creative activity in artistic and speech, visual, musical, theatrical and gaming activities.

The activities of a music director in a preschool institution are varied. A musician-teacher, first of all, must be able to organize and conduct classes, evenings of leisure and entertainment, musical and didactic games, accompany in morning gymnastics and physical education classes, and work with parents.

Professionalism in the work of a music director is unthinkable without self-education, constant improvement of performing skills, acquisition of new knowledge, creative search, and analytical perception of one’s own activities.

Improving the education system at the present stage involves variable forms of organizing children's musical activities. The principles of variability make it possible to demonstrate creative activity and creative ideas in guiding the varied musical activities of preschoolers.

Also, the responsibilities of the music director of the preschool educational institution include control over the organization of the developmental environment in the music hall, control over the content of “musical corners” in groups. The music director is required to use pianos, tape recorders, as well as children's musical instruments:

1. metallophones,

2. wooden spoons,

3. drums,

5. bells,

6. rattles,

7. pipes, etc.

In addition, the “Program...” involves a targeted solution to the problem of developing children’s creative initiative in an independent search for singing intonation.

Therefore, music directors in their work with children must systematically use exercises to develop musical ear and voice. The exercise songs given in this book contribute to the development of individual automated actions of the vocal apparatus, since they are built on short, repeating melodies and chants. By mastering the exercises, children learn to correctly reproduce in singing various types of melodic movement and the most characteristic intonation patterns found in the song repertoire for children of this age. And this, in turn, will make it easier for children to learn more complex songs in the future.

Taking into account the peculiarities of perception of preschool children, you need to focus on exercises in the form of short songs with playful content. Such exercises are small songs selected by teachers V.K. Kolosova, N.Ya. Frenkel, N.A. Metlov. Among the exercises there are many songs written by composers E. Tilicheeva, V. Karaseva, folk songs...

The exercises are distinguished by a variety of mode-harmonic colors, melodic turns, and bright musical images.

Aesthetic education of children through art.

We can distinguish two groups of subjective manifestations of a child in musical activity: emotional-subjective and activity-subjective.

Emotional-subjective manifestations are expressed in the child’s interest in music and preference for this type of activity. The child loves to listen to music, he likes to participate in different types of musical activities. Another equally important manifestation of subjectivity is a selective attitude towards music, i.e. the child’s preference for one or another opportunity to interact with music (listen, sing, play, etc.).

At first glance, it may seem that selectivity is characteristic only of children of senior preschool age. Already at an early age, a child can choose, for example, one or another instrument of a noise orchestra; may become bored while singing, but becomes enlivened during musical games. The sooner teachers notice a child’s preferences, the more successful his musical development can be!

Activity-subjective manifestations are associated with the child’s activity and initiative in choosing musical activities. His subjectivity is determined by his creative attitude to the choice of the content of musical activity. The child begins to independently offer options for interpreting a particular piece of music, making his first attempts at analysis and self-analysis of the “products” of musical activity.

The simplest way to determine the manifestations of a child as a subject of musical activity is the following. Observe your child in moments of free activity. If he wants and can make music himself, outside of specially organized forms of musical education, then these are manifestations of him as a subject of musical activity. And if in practice pedagogical process Kindergarten such a picture is extremely rare, then think about why this happens? What do you think a child can do independently in music?

Thus, the child as a subject of musical activity exhibits the following qualities:

1. interest in music;

2. selective attitude towards music and different types of musical activities;

3. initiative, desire to engage in musical activities;

4. independence in choosing and carrying out musical activities;

5. creativity in the interpretation of musical works.

The development of a child as a subject of musical activity, the transition from stage to stage is ensured in the process of accumulating experience in this activity.

Table 1 The orientation of the attitude and the nature of the child’s musical activity in preschool childhood

	Direction of relationships	Problems solved by a child	Leading activity	The nature of musical activity
1 – 3 years	Object world	Active knowledge of objects, their properties and qualities; mastering the means and methods of orientation in the conditions of objective activity; development of independence in manipulating objects	Subject-based, subject-manipulative	Musical subject
	The world of social relations	Orientation towards another person; socialization in the immediate environment of adults and peers; "trying on" social roles and relationships		Musical and gaming
	The result of activity as a way of socialization	Self-expression, creativity in accessible and interesting activities; self-presentation of “I” in a peer group; desire for relationships and interaction	Complex integrative activities, transition to educational activities	Musical and artistic

In older preschool age, the source of musical impressions becomes not only the teacher, but also the big world of music itself. Children can already establish connections between music and literature, painting, and theater. With the help of a teacher, art becomes for a six-year-old child a holistic way of understanding the world and self-realization. An integrative approach to organizing children’s interaction with art helps the child express his emotions and feelings using means close to him: sounds, colors, movements, words.

Depth emotional experience is expressed in the ability to interpret not so much a visual musical series, but rather the nuances of moods and characters expressed in music.

The patterns and features of the development of mental processes of an older preschooler allow the formation of his artistic taste and musical erudition. He not only feels, but also learns music, the variety of musical genres, forms, and composer intonations. The natural basis and prerequisite for acquiring knowledge is the emotional and practical experience of communicating with music accumulated in primary and secondary preschool age.

In the preschool years of a child’s development, the first connections and relationships are established that lead to the formation of a “unity of personality” (A.I. Leontiev), therefore scientists highlight the problem of forming attitudes towards reality and art as the most significant in education (M.S. Kagan, I Y. Lerner, V. N. Myasishchev, S. L. Rubinstein, etc.).

The works of teachers and psychologists show that senior preschool age is the most optimal for the formation of conscious processes when comprehending the world around us (E.A. Arkin, L.I. Bozhovich, L.A. Venger, L.S. Vygotsky, I.M. Gordeeva, O.M. Dyachenko, A.V. Zaporozhets, A.D. Kosheleva, T.S. Komarova, A.E. Olshannikova, etc.). We rely on this provision when forming a conscious attitude of preschoolers to their musical needs and preferences.

The process of developing an evaluative attitude towards music begins at an early age and goes through various stages of development. In children of primary preschool age, music assessments are more intuitive and emotional. Older preschoolers are able to consciously approach the assessment of their musical impressions, preferences, and experiences; express them adequately at an accessible level. A conscious positive evaluative attitude towards musical classics in older preschool age is formed as a prerequisite for the development of musical and aesthetic consciousness (emotions, feelings, interests, assessments, thinking, imagination, memory), which is important in the context of the study of new approaches to aesthetic, value-based and culturally appropriate development personality.

It is important to remember that music classes in senior groups at preschool educational institutions are designed to educate and develop children’s aesthetic feelings, a correct idea of ​​beauty, expand their knowledge, and cultivate high artistic taste. Musical lessons are the impetus for achieving these goals. But the creative leader should be the music director.

A musical lesson aims the teacher at nurturing a musical culture in older preschoolers as part of their general spiritual culture.

Possession of choral singing skills in preschool educational institutions

Perhaps the most favorite type of musical activity for a child is singing. You can refute this opinion by saying that the child likes to move more.

Observe a child of any age. An age-related feature of a child is that his desire to rhythmize his speech leads to melodic recitation... If a child is sure that no one is watching him, he will definitely hum something...

Singing is one of the most favorite types of musical activity for children. Thanks to the words, the song is more accessible to children in content than any other musical genre. Choral singing unites children and creates conditions for their emotional musical communication. The lyrics help the child better understand the musical image. The very performance of the song is a kind of emotional reaction of the child to the environment, an expression of his mood. Children sing with pleasure, completely devoting themselves to this activity.

The characteristics of children's singing activity are determined primarily by the specific development of the child's singing voice. The child's vocal apparatus is delicate and fragile. The diameter of his windpipe is equal to the diameter of a pencil. The vocal cords are very thin and easily overstrained. The strength of sound (when singing loudly) is achieved not by breathing, as in an adult, but by tension in the vocal cords, which can lead to hemorrhage and the formation of nodes on the ligaments.

Unlike the breathing of adults - lower costal, voluntary and deep - the breathing of a preschooler is upper costal, superficial, automatic, vital.

A child of preschool age has a more developed head resonator, so the sound when singing cannot be bright and rich, but is characterized by lightness and flight.

The easy, expressive singing of a preschooler is ensured by the development of a group of special singing skills.

Choral singing is one of the types of collective performing activities. It contributes to the development of children's singing culture, their general and musical development, the education of the spiritual world, the formation of their worldview, and the formation of a future personality. Solving the problems of musical education is possible only if children achieve artistic performance of a musical work.

Choral singing is a nature-conforming pedagogical technology for the formation in children of a harmonious structure of the soul as the construction in a person of his human essence - his moral consciousness. His Personality.

Expressive performance of works should be emotional, it should convey a depth of understanding of musical education. Therefore, expressive performance requires mastery of vocal and choral skills and abilities.

Working on a song is not boring cramming or mechanical imitation of a teacher, it is an exciting process, reminiscent of a persistent and gradual ascent to heights. The teacher brings to the awareness of the children that they should work hard on every song, even the simplest one.

Choral singing is the most accessible performing activity for preschoolers. Correct singing development, taking into account age-related characteristics and patterns of voice development, contributes to the development of a healthy vocal apparatus.

The range in which the voice sounds best is small: mi1 - sol1, fa1 - la1. Therefore, as material for singing in the first lessons, you should use simple miniatures, very limited in range, but bright in musical material.

Gradually, the range of song miniatures expands, the work includes songs, chants built on the sounds of the tonic triad, separate fragments okay.

In each song, children master the pitch movement of the melody with the help of motor, visual techniques, which promotes coordination of hearing and voice, and accurate reproduction of sounds in pitch.

Therefore, during classes you should strive for a relaxed, light and bright sound.

It should be noted that introducing preschool children to singing activities is an important condition for the formation of their musical culture.

Of particular importance is the highly artistic repertoire, which is mastered in a certain system and sequence.

The success of the work depends on the teacher’s skills, knowledge and consideration of the age-related characteristics of the child’s voice, a differentiated approach to children in the formation of their singing skills, and the development of musical and creative abilities.

When working with children, it is very important to maintain the pace of classes. You should work quickly enough, but without fuss, so that young singers have no time to get distracted and bored. Sections of the rehearsal should be closely interconnected and flow into each other without pauses. It’s good if by the end of the classes the children feel better, their fatigue goes away, their voices sound bright and joyful. If they do not leave immediately after the end of the rehearsal, and their eyes are burning, the main problem is solved. They will love choral singing.

To summarize what has been said, I would like to emphasize that an important feature of children's choral singing, as a component of education, is its simplicity and accessibility, and the absence of insurmountable financial barriers to its implementation in every school and every kindergarten. This requires understanding, desire and good will.

conclusions

Methods of aesthetic education are very diverse. They depend on many conditions: the volume and quality of artistic information, forms of organization and types of activities, and the age of the child. The level of training, skill and abilities of the teacher play a significant role.

Musical education in preschool educational institutions is carried out by educators and music directors. The music director is responsible for musical education. He organizes and conducts music classes, literary and musical matinees, and evenings. Among other things, the music director identifies musically gifted children and works with them individually and in a group. He participates in morning exercises, physical education and entertainment, provides musical accompaniment for children’s organized games in the 2nd half of the day, and conducts musical-didactic, theatrical and rhythmic games.

The process of introducing older preschoolers to beauty requires regular diagnosis and adjustment of aesthetic education methods.

Singing is also a powerful means of balancing the nervous system and psyche for both children and adults. This is why it is very important to teach preschoolers choral singing.

Literature

1. Astafieva N.E. Problems of music education in preschool educational institutions - M.: Prospekt 2008

2. Babansky Yu. K. Pedagogy M.: Education 1983

3. Wenger N. Yu. The path to the development of creativity. // Preschool education. – 1982. – No. 11.

4. Vygotsky L.S., Pedagogical psychology, M.: Enlightenment 2004.

5. Gogoberidze A.G. Theory and methods of musical education of preschool children: Textbook. aid for students higher textbook Establishments - M.: Publishing Center "Academy", 2005.

6. Preschool pedagogy \ ed. IN AND. Loginova. – M.: Enlightenment 1988. p. 22

7. Kostina, E. P. Modernization of music education for early and preschool children // Vestn. MGUKI. – 2006. – No. 1

8. Kuzmina N.V., Essays on the psychology of teacher work, - M.: Progress 2004.

9. Leontyeva O.T. Music education and personality concept. (From the history of discussions of the 1970s) // Modern Western art of the twentieth century. – M.: Nauka, 1988

10. Likhachev B.T. Methodological foundations of pedagogy / B.T. Likhachev. – Samara: Bakhrakh, 1998.

11. Repyuk O.N. Aesthetic education of children //http://festival.1september.ru/articles/528376/ Free access article

12. A system for teaching children to play musical instruments in kindergarten. From the experience of preschool teachers // www.ivalex.vistcom.ru/metod1_1.htm

13. Tarasova K.V. On the question of the level of development of musicality in preschool children. Message 1. About the level of development of musicality in younger preschoolers(who have not studied music) // New research in psychology. 1979. No. 1

14. Teach children to sing: Songs and exercises for voice development in children 5-6 years old: Book. for educators and music. Head of Det. garden / Comp. T.M. Orlova, etc. - M.: Education, 1990

15. Reader on the methods of musical education / Comp. O.O. Apraksina. - M.: Education, 1987

16. Elkonin D.B. Child psychology. M., 1960.

Musical education is not the education of a musician, but first of all the education of a person.

V.A. Sukhomlinsky.

Download:

Preview:

Musical director, MBDOU "Kindergarten No. 39", Biysk, Altai Territory

Musical and aesthetic education of children in a modern preschool educational institution.

Musical education is not the education of a musician,

and above all the education of a person.

V.A. Sukhomlinsky.

Different kinds arts have specific means of influencing a person. Music has the ability to influence a child at the earliest stages. It has been proven that even the prenatal period is extremely important for the subsequent development of a person: the music that the expectant mother listens to has an impact on the child’s well-being.

Music is one of the richest and most effective means of aesthetic education; it has a great emotional impact, educates a person’s feelings, and shapes tastes.

Modern scientific research indicates that the development of musical abilities, the formation of the foundations of musical culture - i.e. Musical education should begin in preschool age. The lack of full-fledged musical impressions in childhood is difficult to make up for later. Music has an intonation nature similar to speech. Similar to the process of mastering speech, which requires a speech environment, in order to fall in love with music, a child must have experience in perceiving musical works of different eras and styles, get used to its intonations, and empathize with the mood.Musical development has an irreplaceable impact on overall development: the emotional sphere is formed, thinking is improved, sensitivity to beauty in art and life is cultivated. . The famous folklorist G.M. Naumenko wrote:“Only by developing a child’s emotions, interests, and tastes can he be introduced to musical culture and lay its foundations. Preschool age is extremely important for further mastery of musical culture. If in the process of musical activity a musical-aesthetic consciousness is formed, this will not pass without leaving a mark on the subsequent development of a person, his general spiritual formation.”

When engaging in musical education, it is important to remember about the general development of children. Preschoolers have little experience in understanding human feelings that exist in real life. Music that conveys the full range of feelings and their shades can expand these ideas. In addition to the moral aspect, musical education is of great importance for the formation of aesthetic feelings in children: by becoming familiar with the cultural musical heritage, the child learns the standards of beauty and assimilates the valuable cultural experience of generations. Music develops a child mentally as well. In addition to various information about music that has cognitive significance, a conversation about it includes a description of the emotional and figurative content, therefore, the children’s vocabulary is enriched with figurative words and expressions that characterize the feelings conveyed in music.

The ability to imagine and reproduce the pitch of sounds in a melody also involves mental operations: comparison, analysis, juxtaposition, memorization, which also affects not only the musical, but also the general development of the child.

The development of musical abilities is one of the main tasks of musical education of children. A cardinal issue for pedagogy is the question of the nature of musical abilities: whether they are innate human properties or develop as a result of exposure to the environment, upbringing and training. B.M. Teplov in his works gave a deep, comprehensive analysis of the problem of developing musical abilities. He recognizes certain characteristics, predispositions, and inclinations of a person as innate. “The abilities themselves are always the result of development. Ability by its very essence is a dynamic concept. It exists only in movement, only in development.” Abilities depend on innate inclinations, but develop in the process of education and training. All musical abilities arise and develop in the child’s musical activity. “The point,” writes the scientist, “is not that abilities are manifested in activity, but that they are created in this activity.” This statement has become generally accepted in pedagogy and psychology.

To develop musical abilities, children need certain knowledge. The development of modal feeling (distinguishing the emotional coloring of music - the character of the entire work) presupposes knowledge that the content of music is feelings, moods, their changes, that the image in music of any phenomena of the surrounding world always has a specific emotional coloring, that the means of musical expressiveness (major or minor scale, different timbre, dynamics, etc.) create a certain mood, gentle or menacing, cheerful or solemn, that the musical form (the number of parts in the work) is determined by a change in the emotional coloring of the music, a change in the nature of intonation in individual parts, etc. .

For the formation of musical-auditory concepts, it is important to know that musical sounds have different pitches, that a melody is made up of sounds that move up, down, or repeat at the same pitch. The development of a sense of rhythm requires knowledge that musical sounds have different lengths - they can be long and short, that they move, and their alternation can be measured or more active, that rhythm affects the character of the music, its emotional coloring, and makes various genres more recognizable . The formation of a motivated assessment of musical works, in addition to the accumulation of auditory experience, requires certain knowledge about music, its types, composers, musical instruments, means of musical expression, musical genres, forms, mastery of certain musical terms (register, tempo, phrase, part, etc.)

Musical educational activities do not exist in isolation from other types. Knowledge and information about music are not given to children on their own, but in the process of perceiving music, performing, creativity, along the way, in place. Each type of musical activity requires certain knowledge. To develop performance and creativity, special knowledge about the methods, techniques of performance, and means of expression is needed. By learning to sing, children acquire the knowledge necessary to master singing skills (sound production, breathing, diction, etc.). In musical and rhythmic activities, preschoolers master various movements and methods of their execution, which also requires special knowledge: about the unity of the nature of music and movements, about the expressiveness of the playing image and its dependence on the nature of the music, on the means of musical expressiveness (tempo, dynamics, accents, register , pauses). Children learn the names of dance steps, learn the names of dances and round dances. While learning to play musical instruments, children also gain certain knowledge about the timbres, methods, and techniques of playing different instruments.

Children show inclinations towards certain types of musical activities. It is important to notice and develop in every child the desire to communicate with music in the type of musical activity in which he shows the greatest interest, in which his abilities are most fully realized. This does not mean that other types of musical activity should not be mastered by him. However, one cannot ignore the position of psychology on the leading types of activities that influence the development of personality. If these leading types of activity appear in preschool childhood, it is necessary to take into account the characteristics of each child and, accordingly, orient the process of musical education towards the development of his abilities, inclinations, and interests. Otherwise, the learning process comes down to “coaching.” If training is carried out without an individually differentiated approach, it ceases to be developmental.

Childhood is the time for the most optimal introduction of a child to the world of beauty. The goal of musical and moral education is justified by the social requirements of the development of modern society and is aimed at maximizing the satisfaction of the musical and moral interests of the child. “The fundamental restructuring of the life of our society on the basis of modern economic, social and political factors, which are undergoing fundamental changes, necessarily determines the increasing role of musical education of children as an important element of the self-development of their personal artistic culture.” In kindergarten, the foundation of education is laid, leading to the formation of a worldview, ideals, tastes, and needs.

LIST OF REFERENCES USED

1.Barinova M.N. On the development of creative abilities - L: 1961;

2. Aliev Yu B. Methods of musical education of children from kindergarten to elementary school. M.: Pedagogika, 1998;

3. Philosophical Dictionary M.: Nauka, 1983;

5. Gogoberidze A.G. Theory and methodology of musical education of preschool children / A.G. Gogoberidze, V.A. Derkunskaya. - M.: Publishing Center "Academy", 2005.

6. How to determine and develop a child’s abilities? / Comp. V.M. Voskoboynikov. – St. Petersburg: Rispex, 1996;

7. Radynova O.P. Methods of music education in kindergarten. -M., 1994;

8. Tarasov G.S. Pedagogy in the system of music education - M., 1986;

9. Teplov B.M. Psychology of musical abilities - M., Leningrad, 1977;

10. Methods of music education in kindergarten / pod. Ed. N.A. Vetlugina. – M, 1982.

Preview:

Pobezhimova Lyudmila Vasilievna,

Musical director, MBDOU "Kindergarten No. 39", Biysk, Altai region

The use of information and communication technologies in the professional activities of a music director in a preschool educational institution.

"Every participant in the educational process

decides to keep up with the future

or walk your heels backwards"

Anatoly Gin. Head of international

Educational Technology Laboratories

"Education for a New Era"

Modern pedagogical technologies in preschool education are aimed at implementing the Federal State Educational Standard for Preschool Education.

A fundamentally important aspect in pedagogical technology is the child’s position in the educational process, the attitude of adults towards the child. When communicating with children, an adult adheres to the position: “Not next to him, not above him, but together!” Its goal is to promote the development of the child as an individual.

Technology - this is a set of techniques used in any business, skill, art (explanatory dictionary).

Pedagogical technology- this is a set of psychological and pedagogical attitudes that determine a special set and arrangement of forms, methods, methods, teaching techniques, educational means; it is an organizational and methodological toolkit of the pedagogical process (B. T. Likhachev).

Modern educational technologies include:

• health-saving technologies;

• technology of project activities;

• research technology;

• information and communication technologies;

• person-oriented technologies;

• portfolio technology for preschoolers and teachers;

• gaming technology;

• TRIZ technology, etc.

A kindergarten is part of society, and it, like a drop of water, reflects the same problems as throughout the country. Therefore, it is very important to organize the learning process so that the child actively engages in class with enthusiasm and interest. A combination of traditional teaching methods and modern information technologies, including computers, can help a teacher solve this difficult problem.

Informatization today is considered as one of the main ways to modernize the education system. This is due not only to the development of technology and technology, but also, first of all, to the changes caused by the development of the information society, in which the main value is information and the ability to work with it, the development of projects and programs that contribute to the formation of a person in modern society. The world in which a modern child develops is fundamentally different from the world in which his parents grew up. This places qualitatively new demands on preschool education as the first link of lifelong education: education using modern information technologies (computer, interactive whiteboard, tablet, etc.).

Informatization of society poses challenges for preschool teachers tasks:

• to keep up with the times,
• become a guide for a child to the world of new technologies,
• mentor in choosing computer programs,
• to form the basis of the information culture of his personality,
• improve the professional level of teachers and the competence of parents.

Solving these problems is impossible without updating and revising all areas of the kindergarten’s work in the context of informatization.

The main goal of teaching teams is to create conditions for identifying and developing the abilities of each child, forming an individual who has solid basic knowledge and is able to adapt to the conditions of modern life. Informatization of education should be considered as one of important means achieving the set goal. This means solving a number of sequential problems: technical equipment, creation didactic means, development of new teaching technologies, etc., defining the stages of the process of modernization of the education system.

The informatization of society has significantly changed the practice of everyday life.

Computer (new information) teaching technologies are the process of preparing and transmitting information to the learner, the means of which is the computer.

Computer functions in teaching activities

musical director.

1. Source of (educational, musical) information.
2. Visual material.
3. A means of preparing texts, musical material, and storing them.
4. Speech preparation tool.

Information technologies, for example in music classes, help solve a number of problems:

• make the material accessible to perception not only through auditory analyzers, but also through visual ones. As the great teacher K.D. Ushinsky wrote: “If you enter a class from which it is difficult to get a word, start showing pictures, and the class will speak, and most importantly, speak freely...” Yes, and you and I can say that a lesson that includes presentation slides and electronic encyclopedia data evokes an emotional response in children. The screen attracts attention and arouses the great interest of every child. Thus, the music director can put into practice the idea of ​​​​individualizing children's education;

• the use of a computer significantly expands the conceptual range of musical topics, makes the specifics of the sound of musical instruments accessible and understandable to children, etc.;

• become the basis for the formation of musical taste, the development of the child’s creative potential and the harmonious development of the personality as a whole.

To form and develop a stable cognitive interest in music lessons in children, the music director faces the following task: to make the lesson interesting, rich and entertaining. The material should contain elements of the extraordinary, surprising, unexpected, arousing interest in preschoolers in the educational process and contributing to the creation of a positive emotional learning environment, as well as the development of musical and creative abilities. After all, it is the process of surprise that leads to the process of understanding.

Possibilities of using ICT in music education of preschool children.

A music director can use various educational ICT tools both in preparation for a music lesson, in class (when explaining new material, learning songs, dances, repetition, to consolidate acquired knowledge), and during entertainment and celebrations. The Microsoft package provides teachers with great assistance in preparing and conducting music classes, which includes, in addition to the well-known Word text editor, also electronic Power Point presentations.

Using the power of Power Point, you can create multimedia presentations.

Multimedia presentations - electronic filmstrips, including animation, audio and video fragments, elements of interactivity (reaction to user actions) - the most common type of presentation of demonstration materials. It is advisable to use multimedia presentations both using a computer and a multimedia projection screen.

The use of presentation tools allows you to bring a visual effect to classes and helps the child learn the material faster, focusing on the significant points of the information presented; create visual, effective images in the form of diagrams, diagrams, drawings, and graphic compositions. In a sense, a presentation is a booklet or catalog come to life. Therefore, multimedia presentations are becoming more and more popular and effective form of teaching from year to year. For a teacher, this program opens up a wide range of opportunities, as it is easy to use, requires almost no special skills, and allows you to create not only illustrative illustrations, but also interactive games, tests, and even cartoons. When explaining new material, creating slides makes it possible to use animation, which helps to present it step by step. educational material. Selecting objects and moving them along the slide focuses children’s attention on the main thing in the material being studied. Using a computer, children can virtually wander through the halls of museums (for example, the Museum of Musical Instruments), get acquainted with the work of composers, and even study musical notation. Children's audiovisual perception is actively developing under the influence of the screen. In this case, musical and artistic images are perceived deeper, more fully, brighter, because the sound of music is complemented by pictures, movements, development, and the image of pictures and images is complemented by sounds. The rapid development of multimedia presentations and the scale of their application in the field of education is explained primarily by the numerous advantages of use.

These include:

1. Information capacity - the main difference between presentations and other methods of presenting information is their special richness in content, the ability to place a sufficiently large amount of graphic, text and audio information in one multimedia presentation;
2. Compactness - can be used as media for multimedia presentations Various types disks, USB cards, but regardless of shape and capacity, all these types of media are compact and easy to store;
3. Accessibility - the advantages of a presentation are that it is easy to make;
4. Visibility and emotional appeal - multimedia presentations make it possible to present information not only in a sequence convenient for perception, but also to effectively combine sound and visual images, select dominant colors and color combinations that will create a positive attitude in preschoolers towards the information presented, will contribute to a comprehensive perception and better memorization of material;
5. Portable - all you need to demonstrate is a media and a computer;
6. Multifunctionality - the ability to reuse one multimedia presentation, supplement it with new text and graphic materials, and modify it.

The use of such information technology makes it possible to more effectively develop all types of perception in children: visual, auditory, sensory. Use all types of memory in class: visual, auditory, figurative, associative, etc.

Presentation preparation - serious creative process, each element of which must be thought out and meaningful from the point of view of children’s perception.

Using the capabilities of the Power Point program, you can develop and use presentations on all types of musical activities:

• perception of music - while getting acquainted with the work of a particular composer, use of portraits, video sequences of illustrations for musical works, familiarity with genres of music, etc.;
• musical - rhythmic movements and dances - the use of mnemonic tables (schemes that contain certain information), with the help of which children can perform various formations or learn dance elements;
• singing - using graphic images to learn various chants, exercises for the development of the vocal apparatus, using picture prompts to recognize and learn songs;
• musical and didactic games that develop musical and auditory perceptions, a sense of harmony and a sense of rhythm (presentations “Fun and Sad”, “Three Genres of Music”, “Determine the Rhythm”, etc.);
• playing children's musical instruments: using patterns to learn parts in an orchestra.

At entertainment and celebrations, you can also use slides as an illustrative, animated background for events. With the help of multimedia, such holidays look spectacular and impressive. The following computer programs can be used when designing events:

• Vegas Pro 11.0 (program for creating videos, editing videos, adding music, transitions, animations and various effects);
• Format Factoru (multifunctional multimedia file converter);
• PM Nero 7 (program for recording on electronic media).

Creating multimedia presentations requires the music director to have the ability to use computer technology and a lot of time, which is ultimately justified by increasing the cognitive interest of children in musical activities.

In everyday work, the teacher uses ICT when preparing documentation in electronic format (plans, monitoring, drawing up scenarios and entertainment, various musical and educational games, consultations on the musical education of preschoolers, etc.).

So, the use of information technology will make the process of learning and development of a child quite effective and will open up new educational opportunities not only for the child himself, but also for the teacher. Compared to traditional forms of learning, multimedia has a number of advantages:

• presenting information on the screen in a playful way arouses great interest in children;
• carries a figurative type of information;
• movements, sound, animation and illustrations attract the child's attention for a long time.

Multimedia presentations allow you to present educational material as a system of vivid supporting images. When using ICT tools, children use various channels of perception.

Mistakes when using information and communication technologies:

• insufficient methodological preparedness of the teacher;
• incorrect definition of the didactic role and place of ICT in the classroom;
• unplanned, random use of ICT;
• overload of demonstration classes.

For modern teacher should be commonplace: searching for the necessary information, working with e-mail, using information networks. Information culture becomes part of the general pedagogical culture. The professionalism of a teacher includes various competencies, including computer ones. The teacher must use local and global computer networks in everyday and further professional activities: be able to analyze the information received, independently find new friends and colleagues in different countries of the world, correspond, even hear and see them.

Literature.

Internet resources:

1. Petelina N.V. “The use of information and communication technologies in music lessons in primary school.

2.Afanasyeva O.V. “Use of ICT in the educational process”

3.Belyakov E.V. “The concept of ICT and their role in the educational process”

4. Kruglova L. “Information technologies as part of the cultural and information environment of preschool children.”

5. Knyazeva Yu. N. The use of information and communication technologies in the professional activities of a music director in a preschool educational institution [Text] / Yu. N. Knyazeva, T. V. Gaus // Pedagogy: traditions and innovations: materials of the III international. scientific conf. (Chelyabinsk, April 2013). - Chelyabinsk: Two Komsomol members, 2013. - P. 52-54.

6.Barinova M.N. On the development of creative abilities - L: 1961;

7. Aliev Yu B. Methods of musical education of children from kindergarten to elementary school. M.: Pedagogika, 1998;

8. Philosophical Dictionary M.: Nauka, 1983;

10. Gogoberidze A.G. Theory and methods of musical education of preschool children / A.G. Gogoberidze, V.A. Derkunskaya. - M.: Publishing Center "Academy", 2005.

11. How to determine and develop a child’s abilities? / Comp. V.M. Voskoboynikov. – St. Petersburg: Rispex, 1996;

12.. Radynova O.P. Methods of music education in kindergarten. -M., 1994;

13. Tarasov G.S. Pedagogy in the system of music education - M., 1986;

14. Teplov B.M. Psychology of musical abilities - M., Leningrad, 1977;

15. Methods of music education in kindergarten / pod. Ed. N.A. Vetlugina. – M, 1982.