Ministry of Education of the Ryazan Region
OGOI SPO Ryazan Pedagogical College
COURSE WORK
DEVELOPMENT OF MUSICAL AND SENSORY ABILITIES IN SENIOR PRESCHOOL CHILDREN BY MEANS OF MUSICAL AND DIDACTICAL GAMES
Work completed:
Blinova N.P.
Speciality:
050704 Preschool education
extramural studies
Course:V
Group:5D
Head: Kopylova I.B.
Work received:________ ______2011
Work verified:________ ______2011
Grade:__________________ ________
Manager's signature:___________
Ryazan 2011
TABLE OF CONTENTS
Introduction______________________________ ______________________________ _____3
Chapter 1. Musical-sensory education and development of children in preschool pedagogy
1.1 Sensory abilities in ontogenesis____________________ _____6
1.2 The structure of musical abilities, their characteristics______10
Chapter 2. Development of musical-sensory abilities in children of senior preschool age through musical and didactic games
2.2 Musically didactic game- as a means of developing musical abilities_________________ __________________16
2.1 Methodology for using musical and didactic games in various types musical activity_________________ ________19
Conclusion____________________ ______________________________ ____25
References____________________ ______________________________ _____26
Introduction.
The influence of music in the development of children's creative activity is very great. Music, like any other art, is capable of influencing the comprehensive development of a child, inducing moral and aesthetic experiences, leading to a transformation of the environment, and to active thinking. Along with fiction, theater, and fine arts, it performs an important social function.
Musical art in its creative process contributes to the accumulation of musical experience. Through familiarization with the art of music, a person’s creative potential is activated, the intellectual and sensory principles develop, and the earlier these components are laid down, the more active their manifestation will be in familiarization with the artistic values of world culture.
Understanding musical art as an integral spiritual world that gives the child an idea of reality, its laws, and himself, is possible through the formation of musical-sensory abilities, the development of which remains relevant in modern musical education.
According to experts, preschool age is a synthetic period for the formation of musical abilities. All children are naturally musical. Every adult needs to know and remember this. It depends on him and only on him what the child will become in the future, how he will be able to use his natural gift. “Childhood music is a good educator and a reliable friend for life.”
Early manifestation of musical abilities indicates the need to begin the musical education of a child as early as possible. Time lost as an opportunity for the formation of intelligence,
the child’s creative and musical-sensory abilities will be irreplaceably lost.
Currently, insufficient attention is paid to the formation of children's musical and sensory abilities. Meanwhile, research by such famous scientists and teachers as L.S. Vygotsky, B.M. Teplov, O.P. Radynova proves the possibility and necessity of forming memory, imagination, thinking, and abilities in all children without exception. The subject of their research was specially organized music classes, in which musical and didactic games were the leading activity, and the use of visual-auditory and visual-visual methods in combination with verbal ones became the main condition for the effectiveness of the musical-sensory development of preschool children.
Of course, the very organization of the use of musical-didactic games requires the teacher to understand the significance and value of children’s musical-sensory development, great creativity and skill.
This course work is theoretical in nature.
Target The work is to prove the importance of the development of musical-sensory abilities in children of senior preschool age with the help of musical and didactic games. The purpose of the work identified and set the following tasks:
1. Study and analyze scientific and methodological literature on the problem of using musical and didactic games in the domestic musical education of preschool children.
2. To determine the psychological and pedagogical impact of musical and didactic games on the development of musical and sensory abilities of preschool children.
3. Reveal the significance of musical-didactic games, examine the methods of their influence on the development of musical-sensory abilities.
4. Identify the conditions of musical sensory education in a preschool institution.
5.Analyze and draw conclusions.
Subject of study– the process of developing musical-sensory abilities in children of senior preschool age through musical didactic games.
Object of study– conditions necessary for the development of musical and sensory abilities in children of senior preschool age.
Research hypothesis- the development of musical and sensory abilities in senior preschool children will be effective if:
- the concepts and criteria of the musical-sensory abilities of a preschooler are defined;
a system for developing the musical and sensory abilities of children of senior preschool age has been developed;
the concept of musical-didactic game and its role in the development of musical-sensory abilities is defined.
During this work, the following research methods were used:
- method of comparative analysis of psychological and pedagogical literature;
- observation of the pedagogical activities of the teacher, conversations with children, experimental work;
- processing of results using quantitative and qualitative analysis.
Practical (social) significance of the results obtained.
CHAPTER 1. MUSICAL-SENSORY EDUCATION AND CHILDREN'S DEVELOPMENT IN PRESCHOOL PEDAGOGY
- Sensory abilities in ontogenesis
Abilities for a certain type of activity develop on the basis of natural inclinations associated with such features of the nervous system as the sensitivity of analyzers, strength, mobility and balance of nervous processes. In order for abilities to manifest themselves, their bearer has to put in a lot of work. In the process of engaging in specific activities, the work of analyzers is improved. Abilities develop only through activity, and one cannot say that a person lacks any abilities until he tries himself in this area. Often, interests in a particular type of activity indicate abilities that may manifest themselves in the future. As Goethe said, “our desires are premonitions of the abilities hidden in us, harbingers of what we will be able to accomplish.”
Abilities are individual psychological characteristics of a person that meet the requirements of a given activity and are a condition for its successful implementation. They develop from a person’s inclinations, natural predispositions, which are in a latent, potential form until he begins to engage in any specific activity. A person is not born capable of this or that activity; his abilities are formed, formed, and developed in properly organized appropriate activities. They develop throughout his life, under the influence of training and upbringing. In other words, abilities are a lifetime, not an innate formation.
Anatomical and physiological data indicate that children are not the same from birth, that they differ in the structure of the brain, sensory organs, movement, etc. The structure of their auditory analyzer is different,
on which depend the acuity of hearing, the ability to distinguish sounds by height, duration, timbre, etc. These innate anatomical and physiological characteristics that underlie the development of musical abilities are called inclinations.
Teachers and musicians have come to the conclusion that everyone has the makings of musical activity. They form the basis of musical abilities. It should be taken into account that, based on the same inclinations, musical abilities may or may not develop. Here, a lot depends on the child’s environment, on the conditions of musical training and upbringing, and on the daily care of parents. If a child, even if musically gifted, is not introduced to the art of music, if he does not listen to music, does not sing, does not play instruments, then his inclinations do not develop into abilities. So, inclinations are innate anatomical and physiological characteristics that underlie the development of abilities, and the abilities themselves, according to Professor B. Teplov, “are always the result of their development.”
According to experts, preschool age is a synthetic period for the formation of musical abilities. All children are naturally musical. Every adult needs to know and remember this. This determines what the child will become in the future, how he will be able to use his natural gift. The development of musical taste and emotional responsiveness in childhood creates the foundation musical culture man as part of his general spiritual culture in the future. Early manifestation of musical abilities indicates the need to begin the musical education of a child as early as possible. Time lost as an opportunity for the formation of intelligence,
the child’s creative and musical abilities will be irreplaceably lost. There is data that confirms the influence of music on the emerging
the period of pregnancy of a woman and the fetus and its positive effect on the entire human body in the future.
It should be noted the general trends in the age development of children.
First year of life. Psychologists note that children develop hearing sensitivity early. According to A.A. Lyublinskaya, on the 10th – 12th day of life, a baby develops reactions to sounds. In the second month, the child stops moving and becomes quiet, listening to the voice, to the sound of the violin. At 4–5 months, there is a tendency towards some differentiation of musical sounds: the child begins to react to the source from which the sounds are heard, to listen to the intonation of the singing voice. From the first months, a normally developing child responds to the nature of music with the so-called revival complex, rejoicing or calming down. By the end of the first year of life, the baby, listening to the singing of an adult, adapts to his intonation by humming and babbling.
Manifestations of emotional responsiveness to music and the development of auditory sensations make it possible to carry out musical education from a very early age.
Second year of life. When perceiving music, children show brightly contrasting emotions: cheerful animation or a calm mood. Auditory sensations are more differentiated: the child distinguishes between high and low sounds, loud and quiet sounds, and even timbre coloring (a metallophone or drum is playing). The first, consciously reproduced singing intonations are born; singing along with the adult, the child repeats after him
endings of musical phrases of a song. He masters the simplest movements: clapping, stamping, spinning to the sound of music.
Third and fourth years of life.
Children have increased sensitivity and the ability to more accurately distinguish the properties of objects and phenomena, including musical ones. There are also individual differences in
auditory sensitivity. For example, some kids can accurately reproduce a simple melody.
This period of development is characterized by the desire for independence. There is a transition from situational speech to coherent speech, from visual-effective thinking to visual-figurative thinking, and the muscular-motor system is noticeably strengthened. The child develops a desire to play music and be active. By the age of 4, children can sing a little song on their own, with a little help from an adult. They master many movements that allow them to dance and play independently to a certain extent.
Fifth year of life. It is characterized by the active curiosity of children. This period of questions “why?”, “why?”. The child begins to comprehend the connection between phenomena and events. Can make simple generalizations. He is observant, able to determine: the music is cheerful, joyful, calm; sounds high, low, loud, quiet; in the piece there are parts (one fast and the other slow), on what instrument the melody is played (piano, violin, button accordion). The child understands the requirements: how to sing a song, how to move in a calm round dance and how to move in a moving dance.
The voice at this age acquires ringing and mobility. Singing intonations become more stable, but require constant support from an adult. Vocal-auditory coordination is improved.
Mastering the basic types of movement - walking, running, jumping - enables children to use them more widely in games and dancing. Some strive, without imitating each other, to play the role in their own way (for example, in a plot
game), others show interest in only one type of activity, depending on the individual inclinations and abilities of each.
Sixth and seventh years of life .
This is the period of preparation of children for school. Based on the acquired knowledge and impressions about music, they can not only answer the question, but also independently characterize the musical
work, understand its means of expression, feel the various shades of mood conveyed by music. (5, pp. 11-12)
The child is capable of a holistic perception of a musical image, which is very important for the perception of an aesthetic attitude towards the environment. But does this mean that analytical activity can harm holistic perception? Research conducted in the field of sensory abilities and musical perception of children has shown an interesting pattern. The holistic perception of music is not reduced if the task is to listen attentively, highlight, and distinguish the most striking means of “musical language.” The child can identify these means and, taking them into account, act in accordance with a certain way when listening to music, performing songs and dance movements. This promotes musical and auditory development, mastering the necessary skills to prepare for singing from notes.
In children 6-7 years old, the vocal apparatus is further strengthened, the range expands and equalizes, and greater melodiousness and sonority appear. Songs, dances, and games are performed independently, expressively and to some extent creatively. Individual musical interests and abilities are revealed more clearly.
1.2 The structure of musical abilities, their characteristics.
Musical abilities have been studied by psychologists for more than 150 years. However, there is still no single point of view on their nature, structure,
the content of the basic concepts with which psychologists describe musical abilities and talent.
For example, some musical abilities are usually designated in terms associated with the names of the sides and elements of the musical language (pitch, timbre hearing, modal sense, harmonic and melodic hearing, etc.). Sometimes they are also referred to in terms
mental processes and phenomena (auditory abilities, mnemonic, motor, affective, etc.). In different countries, researchers and music teachers name different properties of hearing and different mental functions among musical abilities. For example, N.A. Rimsky-Korsakov classified musical abilities as rhythmic and harmonic ear, ear for mode and ear for scale, architectural ear, sense of tempo and sense of size, sense of tonality, etc. B.M. Teplov noted the modal sense, the ability to auditory representation, and the sense of rhythm. The German psychologist G. Revesh included in musical abilities relative hearing, chord sensation (playing a chord in the main position and with inversions, a sense of degree
consonance of consonance and a sense of tonality), the ability to perform familiar or given melodies by heart, creative imagination. And these are just some examples of differences in views on
musical abilities. In addition, different languages have their own terms to describe musical abilities and personality traits that cannot be unambiguously translated into other languages (for example, modal feeling, or tonal memory).
Each variant of the structure of musical abilities, identified by musicians or psychologists, contains a grain of truth and reflects, to a certain extent, the objective state of affairs. There are several reasons for the discrepancies. One of them is that musical activity requires many different abilities, and these can be combined in different ways. different people and in various types of musical activities. Another reason is that the structure of musical abilities changes with age, depending on the nature of musical training and the accumulation of musical experience of a person: in different age groups there is a different ratio of supporting, leading and “background” components of the structure of musical abilities.
Musical abilities can be special (performing, composing) and general - necessary for carrying out any musical activity. Modal sense (musical ear), musical-auditory perception (musical memory) and musical-rhythmic sense constitute three basic musical abilities that form the core of musicality.
Fret feeling.
Modal feeling is an emotional experience, an emotional ability. In addition, the modal feeling reveals the unity of the emotional and auditory sides of musicality. They have their own color
only the mode as a whole, but also individual sounds of the mode. Of the seven degrees of the scale, some sound stable, others - unstable. From this we can conclude that modal feeling is a distinction not only of the general nature of music,
moods expressed in it, but also certain relationships between sounds - stable, completed and requiring completion. The modal feeling manifests itself in the perception of music as an emotional experience, “felt perception.” Teplov B.M. calls it “the perceptual, emotional component of musical hearing.” It can be detected when recognizing a melody and determining the modal coloring of sounds. In preschool age, indicators of the development of modal sense are love and interest in music. This means that modal feeling is one of the foundations of emotional responsiveness to music.
The modal sense can develop during singing, when children listen to themselves and to each other, and control the correctness of intonation with their ears.
Musical-rhythmic feeling- this is the perception and reproduction of temporary relationships in music.
As evidenced by observations and numerous experiments, during the perception of music a person makes noticeable or imperceptible
movements corresponding to its rhythm and accents. These are movements of the head, arms, legs, as well as invisible movements of the speech and respiratory apparatus. Often they arise unconsciously, involuntarily. A person’s attempts to stop these movements lead to them either appearing in a different capacity, or the experience of rhythm stops altogether. This indicates the presence of a deep connection between motor reactions and the perception of rhythm, the motor nature of musical rhythm. But the feeling of musical rhythm is not only motor, but also emotional in nature. The content of the music is emotional. Rhythm is one of the expressive means of music, with
through which the content is conveyed. Therefore, the sense of rhythm, like the sense of modality, forms the basis of emotional responsiveness to music. The sense of rhythm is the ability to actively (motorly) experience music,
feel the emotional expressiveness of a musical rhythm and accurately reproduce it.
The sense of rhythm develops, first of all, in musical-rhythmic movements, corresponding in nature to the emotional coloring of the music.
Musical and auditory performances.
To reproduce a melody with a voice or on a musical instrument, it is necessary to have auditory representations of how the sounds of the melody move - up, down, smoothly, in jumps, that is, to have musical-auditory representations of pitch movement. These musical-auditory representations involve memory and imagination.
Musical and auditory representations differ in the degree of their arbitrariness. Voluntary musical-auditory representations are associated with the development of internal hearing. Inner hearing is not just the ability to mentally imagine musical sounds, but to voluntarily operate with musical auditory ideas. Experimental observations prove that to arbitrarily represent a melody, many people resort to internal singing, and
Students learning to play the piano accompany the presentation of the melody with finger movements that imitate its playback on the keyboard. This proves the connection between musical and auditory ideas and motor skills; this connection is especially close when a person needs to voluntarily remember a melody and retain it in memory. “Active memorization of auditory ideas makes the participation of motor moments especially significant,” notes B.M. Teplov.
Based on these observations, we can conclude that it is advisable to involve vocal motor skills (singing) or playing musical instruments.
tools for developing the ability of musical and auditory perceptions in children.
Thus, musical-auditory perception is an ability that manifests itself in reproducing a melody by ear. It is called the auditory or reproductive component of musical hearing.
Musical-auditory concepts develop in activities that require distinguishing and reproducing melody by ear. This ability develops primarily in singing and playing high-pitched musical instruments.
Timbre and dynamic hearing.
Timbre and dynamic hearing are types of musical hearing that allow you to hear music in the fullness of its expressive, colorful means. The main quality of musical hearing is the discrimination of sounds by height. Timbre and dynamic hearing are formed on the basis of pitch hearing. The development of timbre and dynamic hearing contributes to the expressiveness of children's performance and the fullness of their perception of music. Children recognize the timbres of musical instruments and distinguish dynamics as an expressive means of music. With the help of musical didactic games, the pitch, timbre and dynamic properties of musical sounds are modeled.
Creative skills.
The development of special musical abilities is influenced by creative abilities. Children's musical creativity is understood as the ability to express themselves in all types of musical activities, including productive ones. The latter is characterized by such effectiveness as composing melodies, rhythms, free expression of mood in movement under the influence of music, orchestration of plays, etc. The child’s creativity in musical activity gives it
special attractiveness, enhances his experiences. Creative ability is called the ability of self-expression. This is an innate ability that can be developed. Theoretical basis
The interpretation of the concept of children's creativity is based on the recognition of the presence of innate inclinations in children, which are independently and spontaneously revealed in the activities of children. In many cases, the sources of creativity are considered to be life phenomena, music itself, and the musical experience that the child has mastered. It is necessary to create conditions for the formation of the abilities of all children for musical creativity. Methodologically appropriate and useful methods of creative tasks aimed at developing musical abilities.
Musical abilities manifest differently in all children. For some, already in the first year of life, all three basic abilities manifest themselves quite clearly and develop quickly and easily. This indicates the musicality of children. For others, abilities are discovered later and are more difficult to develop. The most difficult thing for children to develop is musical-auditory understanding - the ability to reproduce a melody with a voice, accurately intoning it, or select it by ear on a musical instrument. Most preschoolers develop this ability only by the age of five. But this is not, according to B.M. Teplov, an indicator of weakness or lack of abilities. It happens that if
etc.................
Research by famous scientists and teachers proves the possibility and necessity of developing a child’s memory, thinking, and imagination from a very early age.
The possibility is no exception early development children have musical abilities. There is data that confirms the influence of music on the developing fetus during a woman’s pregnancy and its positive impact on the entire human body in the future.
Music has always claimed a special role in society. In ancient times, music and medical centers treated people from melancholy, nervous disorders, and diseases of the cardiovascular system. Music influenced intellectual development, accelerating the growth of cells responsible for human intelligence. Music can influence a person's emotional well-being.
The emotional impact of harmonious sound combinations is enhanced many times over if a person has fine hearing sensitivity. A developed ear for music places higher demands on what is offered to it. Heightened auditory perception colors emotional experiences in bright and deep colors. It is difficult to imagine a more favorable period for the development of musical abilities than childhood. The development of musical taste and emotional responsiveness in childhood creates “the foundation of a person’s musical culture, as part of his general spiritual culture in the future.” (15; p. 200)
Teachers and musicians have come to the conclusion that everyone has the makings of musical activity. They form the basis of musical abilities. The concept of “non-developing ability,” according to scientists and specialists in the field of studying problems of musicality, is in itself absurd.
It is considered proven that if the necessary conditions are created for the musical development of a child from birth, then this gives a more significant effect in the formation of his musicality. Nature has generously rewarded man. She gave him everything to see, feel, feel the world around him.
Everyone is naturally musical. Every adult needs to know and remember this, since it depends on him what his child will become in the future, how he will be able to use his natural gift. Childhood music is a good educator and a reliable friend for life. Early manifestation of musical abilities indicates the need to start musical development child as early as possible. The time lost as an opportunity to develop the child’s intelligence, creative, and musical abilities will be irreplaceable.
Special or basic abilities include: pitch hearing, modal sense, sense of rhythm. It is the presence of them that fills the music a person hears with new content; it is they that allow one to rise to “the heights of a deeper knowledge of the secrets of musical art.”
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 of learning and upbringing.
At different historical stages of the formation of musical psychology and pedagogy, and at present, in the development of theoretical, and, consequently, practical aspects of the problem of the development of musical abilities, there are different approaches.
B. M. Teplov in his works gave a deep, comprehensive analysis of the problem of developing musical abilities. He clearly defined his position on the issue of innate musical abilities. The musical abilities necessary for the successful implementation of musical activity, according to Teplov, are combined into the concept of “musicality.” And musicality is “a complex of abilities required for practicing musical activity, as opposed to any other, but at the same time associated with any type of musical activity.”
A person also has general abilities that manifest themselves in different types of activities. The qualitative combination of general and special abilities forms the concept of musical talent, which is broader than musicality.
Each person has an original combination of abilities that determine the success of a particular activity.
Music is the movement of sounds, different in height, timbre, dynamics, duration, organized in a certain way in musical modes (major, minor), having a certain emotional coloring and expressive capabilities. In order to deeply perceive musical content, a person must have the ability to differentiate moving sounds by ear, distinguish and perceive the expressiveness of rhythm.
Musical sounds have different properties: they have pitch, timbre, dynamics, and duration. Their discrimination in individual sounds forms the basis of the simplest sensory musical abilities.
The duration of sound is the basis of musical rhythm. The sense of emotional expressiveness, musical rhythm and its reproduction form one of the musical abilities of a person - the musical-rhythmic sense. Pitch, timbre and dynamics form the basis of pitch, timbre and dynamic hearing, respectively.
Modal sense, musical-auditory perception and sense of rhythm constitute the three basic musical abilities that form the core of musicality.
Fret feeling. Musical sounds are organized in a certain mode.
Modal feeling is an emotional experience, an emotional ability. In addition, the modal feeling reveals the unity of the emotional and auditory sides of musicality. Not only the mode as a whole has its own color, but also the individual sounds of the mode. Of the seven degrees of the scale, some sound stable, others - unstable. From this we can conclude that the modal feeling is the distinction not only of the general nature of music, the moods expressed in it, but also of certain relationships between sounds - stable, completed and requiring completion. The modal feeling manifests itself in the perception of music as an emotional experience, “felt perception.” Teplov B.M. calls it "the perceptual, emotional component of musical hearing." It can be detected when recognizing a melody and determining the modal coloring of sounds. IN preschool age indicators of the development of modal feeling are love and interest in music. And that means modal feeling is one of the foundations of emotional responsiveness to music.
Musical and auditory performances.
To reproduce a melody with a voice or on a musical instrument, it is necessary to have auditory representations of how the sounds of the melody move - up, down, smoothly, in jumps, that is, to have musical-auditory representations of pitch movement.
To reproduce a melody by ear, you need to remember it. Therefore, musical-auditory representations include memory and imagination.
Musical and auditory representations differ in the degree of their arbitrariness. Voluntary musical-auditory representations are associated with the development of internal hearing. Inner hearing is not just the ability to mentally imagine musical sounds, but to voluntarily operate with musical auditory ideas. Experimental observations prove that to arbitrarily imagine a melody, many people resort to internal singing, and students learning to play the piano accompany the presentation of the melody with finger movements that imitate its playback on the keyboard. This proves the connection between musical and auditory ideas and motor skills; this connection is especially close when a person needs to voluntarily remember a melody and retain it in memory.
“Active memorization of auditory ideas,” notes B. M. Teplov, “makes the participation of motor elements especially significant.”
The pedagogical conclusion that follows from these observations is the ability to involve vocal motor skills (singing) or playing musical instruments to develop the ability of musical-auditory performances.
Thus, musical-auditory perception is an ability that manifests itself in reproducing a melody by ear. It is called the auditory or reproductive component of musical hearing.
The sense of rhythm is the perception and reproduction of temporal relationships in music.
As evidenced by observations and numerous experiments, during the perception of music a person makes noticeable or imperceptible movements that correspond to its rhythm and accents. These are movements of the head, arms, legs, as well as invisible movements of the speech and respiratory apparatus.
Often they arise unconsciously, involuntarily. Attempts by a person to stop these movements lead to the fact that either they arise in a different capacity, or the experience of rhythm stops altogether. This indicates the presence of a deep connection between motor reactions and the perception of rhythm, the motor nature of musical rhythm. But the feeling of musical rhythm is not only motor, but also emotional in nature. The content of the music is emotional. Rhythm is one of the expressive means of music, with the help of which the content is conveyed. Therefore, the sense of rhythm, like the sense of modality, forms the basis of emotional responsiveness to music.
The sense of rhythm is the ability to actively (motorly) experience music, feel the emotional expressiveness of the musical rhythm and accurately reproduce it.
So, Teplov B.M. identifies three main musical abilities that form the core of musicality: modal sense, musical-auditory perception and sense of rhythm.
ON THE. Vetlugina names two main musical abilities: pitch hearing and a sense of rhythm. This approach emphasizes the inextricable connection between the emotional (modal feeling) and auditory (musical-auditory perceptions) components of musical hearing. The combination of two abilities (two components of musical ear) into one (pitch hearing) indicates the need to develop musical ear in the interrelation of its emotional and auditory bases.
Researchers often face the question: in what types of activities do musical-sensory abilities develop?
For example, emotional responsiveness to music can be developed in all types of musical activity: perception, performance, creativity, since it is necessary for feeling and understanding the musical content, and, consequently, its expression.
Emotional responsiveness to music can appear in children very early, in the first months of life. The child is able to react animatedly to the sounds of cheerful music - with involuntary movements and exclamations, and to perceive calm music with concentration and attention. Gradually, motor reactions become more voluntary, consistent with music, and rhythmically organized.
The modal sense can develop during singing, when children listen to themselves and to each other, and control the correctness of intonation with their ears.
Musical-auditory concepts develop in activities that require distinguishing and reproducing melody by ear. This ability develops primarily in singing and playing high-pitched musical instruments.
The sense of rhythm develops, first of all, in musical-rhythmic movements, corresponding in nature to the emotional coloring of the music.
Timbre and dynamic hearing, performing and creative abilities.
Timbre and dynamic hearing are types of musical hearing that allow you to hear music in the fullness of its expressive, colorful means. The main quality of musical hearing is the discrimination of sounds by height. Timbre and dynamic hearing are formed on the basis of pitch hearing. The development of timbre and dynamic hearing contributes to the expressiveness of children's performance and the fullness of their perception of music. Children recognize the timbres of musical instruments and distinguish dynamics as an expressive means of music. With the help of musical didactic games, the pitch, timbre and dynamic properties of musical sounds are modeled.
Musical abilities manifest differently in all children. For some, already in the first year of life, all three basic abilities manifest themselves quite clearly and develop quickly and easily. This indicates the musicality of children. For others, abilities are discovered later and are more difficult to develop. The most difficult thing for children to develop is musical-auditory understanding - the ability to reproduce a melody with a voice, accurately intoning it, or select it by ear on a musical instrument.
Most preschoolers develop this ability only by the age of five. But this is not, according to B.M. Teplov, an indicator of weakness or lack of abilities.
The environment in which a child grows up (especially in the first years of life) is of great importance. The early manifestation of musical abilities is observed, as a rule, in children who receive sufficiently rich musical impressions.
It happens that if any ability lags behind in development, then this can inhibit the development of other abilities. Therefore, recognizing the dynamism and developability of musical abilities, it makes no sense to conduct any one-time tests and, based on their results, predict the child’s musical future. According to L. S. Vygotsky, constant observations of children with diagnostic cross-sections of development are needed. Diagnostics of musical abilities, carried out 1-2 times a year, makes it possible to judge the qualitative uniqueness of the development of each child and adjust the content of classes accordingly.
Planning and recording work on music education, as a rule, only includes monitoring the program skills and abilities acquired by children. In order for training to be developmental in nature, it is important to control not only the development of skills and abilities, but first of all the musical abilities of children.
Development of musical and sensory abilities of children of senior preschool age in the process of musical and didactic games
(from work experience)
Musical director
Introduction........................................................ ........................................................ ...............3
Theoretical justification of the generalized experience
1.1. Development of musical and sensory abilities in preschool children.................................................. ........................................................ ...................6
1.2. Main types of musical and didactic games and aids
in the musical and sensory development of preschool children....................................................10
2. Practice of developing musical-sensory abilities in children of senior preschool age with the help of musical and didactic games
2.1. Features of the methodology for using musical and didactic games and aids in various types of children's activities.................................................... 12
2.2. Experience of using musical-didactic games and aids in the process of listening to music.................................................... ..........................................14
2.3. Experience in using musical and didactic games and aids in the process of singing.................................................... ........................................................ ..............15
2.4. Experience in using musical and didactic games and aids in the process of rhythmic movements.................................................... ..................................19
2.5. Diagnostic tasks for determining the level of musical abilities of preschool children in the context of the use of musical and didactic games.................................................... ........................................22
Conclusion................................................. ........................................................ ..........27
Literature................................................. ........................................................ ..........29
Applications
INTRODUCTION
IN aesthetic education For preschool children, a large place is given to musical education in the totality of its means: listening to music, singing and musical-rhythmic movements. Through familiarization with the art of music, the child’s creative potential is activated, the intellectual and sensory principles develop, and the earlier these components are laid down, the more active their manifestation will be in familiarization with the artistic values of world culture.
According to experts, preschool age is a synthetic period for the formation of musical abilities. All children are naturally musical. Every adult needs to know and remember this. It depends on him and only on him what the child will become in the future, how he will be able to use his natural gift.
Early manifestation of musical abilities indicates the need to begin the musical education of a child as early as possible. The time lost as an opportunity to develop the child’s intelligence, creative and musical-sensory abilities will be irreplaceable.
Having analyzed the program of K.V. Tarasova, T.G. Ruban "Harmony", according to which we implement musical development in our kindergarten, we saw that it did not offer musical and didactic games. And effective musical-sensory education in preschool age is facilitated by the clarity of learning, the emergence in the minds of children of natural associations of musical sounds with the sounds of the environment.
Observations and diagnostic results of the development of musical abilities revealed that some preschool children have a low, average level.
The desire to instill interest and love for music in children prompted the search for more effective means of developing musical abilities.
Understanding musical art as an integral spiritual world that gives the child an idea of reality, its patterns, and himself, is possible through the formation of musical-sensory abilities, the development of which remains relevant in modern musical education.
Abilities develop in the process of education and training. During music classes, children develop musical perception, but this is not enough; they also need an environment in which the child could deepen the learned methods of action, practice them independently, and develop the ability to control their actions. In addition, as B.M. Teplov noted, “abilities arise and develop in activity,” and the main activity of preschool children is play. The musical and didactic game is a play activity, so it is significant for preschool children. Through didactic play, you can develop sensory abilities: pitch, rhythmic, timbre and dynamic hearing.
Research by such famous scientists and teachers as L.S. Vygotsky, B.M. Teplov, O.P. Radynov, prove the possibility and necessity of forming memory, imagination, thinking, and abilities in all children without exception. Based on this, we came to the conclusion that the use of visual-auditory and visual-visual methods in combination with verbal ones is the most effective in the musical-sensory development of preschoolers.
Thus,
Object of work experience: development of musical and sensory abilities in children of senior preschool age.
Subject of work experience: musical and didactic games as a means of developing the musical and sensory abilities of children of senior preschool age.
Contingent: children of senior preschool age.
Target:
Formation of musical-sensory abilities in children, development of pitch, dynamic, timbre hearing, sense of rhythm in the process of musical and didactic games.
Tasks:
1. Study and analyze scientific and methodological literature on the problem of using musical and didactic games and aids in the domestic musical education of preschool children.
2. To determine the psychological and pedagogical impact of musical and didactic games and aids on the development of musical and sensory abilities of preschool children.
3. Improve forms and methods that develop independence and creative musical activity.
4. Compile a card index of musical and didactic games for the development of pitch, dynamic, timbre hearing, and a sense of rhythm.
5. Develop and test diagnostic tools to identify the level of development of musical and sensory abilities in the context of the use of musical and didactic games.
1. THEORETICAL BASIS OF THE GENERAL EXPERIENCE
1.1. Development of musical and sensory abilities in preschool children.
Sensory musical education is distinguished by its social orientation. Its results are a certain level of sensory development of children, allowing them to relate more emotionally and consciously to music that reflects life phenomena, to feel the beauty of its sound in unity with the thoughts and feelings expressed in it. This occurs through meaningful and varied activities, during which sensory processes and abilities are formed.
Without musical-sensory development, general sensory perception is incomplete; the processes of musical experience are highly original.
Sensory musical development means a certain level of auditory sensations, perceptions, and ideas associated with the expressive means of music in their simplest combinations. The presence of sensory abilities is also assumed: listening, discrimination, recognition, comparison, examination, combination of pitch and rhythmic, timbre and dynamic relationships in the conditions of various musical practices.
Sensory musical development occurs most successfully with specially organized upbringing and training.
Sensory education involves the following tasks: form auditory attention children; teach them to listen to various, harmonious sound combinations; catch the change in contrasting and similar sound relationships; teach methods of examining musical sound; develop musical and sensory abilities.
Solving sensory problems is possible in all types of children's musical practice, but each of them, having its specifics, is a more favorable environment for the development of certain sensory abilities.
In foreign and domestic literature, sensory musical abilities are understood as the quality of distinguishing the basic properties of musical sounds. But B.M. Teplov said that they cannot even be called basic musical abilities.
Many psychologists and teachers understand musical sensory abilities as the quality of perception that allows a child to distinguish individual components of musical sounds: pitch, timbre, duration, strength; the quality of active listening, playing music, children’s examination of musical sounds in their expressive relationships, visually effective familiarization with musical standards.
ON THE. Vetlugina included the following components in the structure of musical sensory abilities: distinguishing the properties of musical sounds, their expressive relationships and the quality of examination of musical phenomena.
O.P. Radynova, A.I. Katinene, M.L. Palavandishvili noted that each child has a unique combination of abilities and personal qualities. It is important to notice and develop all the best that is inherent in nature, using methods and techniques of an individually differentiated approach, tasks of varying degrees of complexity, it is necessary to take into account the interests, aptitudes of children for different types of musical activities, general and musical development, the age of the children, their activity .
In music classes, children develop musical perception. However, it is hardly possible to limit ourselves to this. We also need an environment in which the child could deepen the learned methods of action, practice them independently, and develop the ability to control his actions. We need special didactic games. Didactic games, as it were, express and complete the process of comparison and separation of sensory experience a child’s perception of the properties and qualities of phenomena from socially accepted standards. During the games, these standards become familiar, which are easily acquired by children, since they are based on their experience. Didactic games open up a way for the child to apply the acquired knowledge in life practice.
The main purpose of musical and didactic games is to develop musical abilities, deepen children’s understanding of the means of musical expression, in an accessible way. game form help them understand the relationship of sounds in pitch, develop their sense of rhythm, timbre and dynamic hearing, encourage them to take independent actions using knowledge. Musical and didactic games enrich children with new impressions, develop their initiative, independence, ability to perceive, and distinguish the basic properties of musical sound. The pedagogical value of musical and didactic games is that they open up a way for the child to apply the acquired knowledge in life practice.
Musical-didactic games differ from manuals in that they require the presence of certain rules, game actions and plot, and may not use visual clarity. A special feature of musical and didactic games is that they can be used by children independently outside of music classes.
O.P. Radynova, A.I. Katinene noted that the didactic game contains great opportunities in teaching and educating preschoolers. It can be successfully used as a form of education, as an independent play activity, and as a means of educating various aspects of a child’s personality.
A.L. Arismendi believes that if a child is interested in the games offered by the teacher, important changes little by little occur in the structure of his activities. Play, while continuing to be the leading activity, is complemented by volitional efforts: the child himself becomes proactive and active, he strives to do what he can, what he has already learned, he wants to succeed - and he needs to be helped in this, encouraged.
In his works on the theory of sensory education A.P. Usova calls didactic games the leading didactic means.
These general provisions should be taken into account when developing the content and structure of musical and didactic games; in addition, they must meet certain aesthetic requirements.
The development of musical sensory abilities is a means of activating children's auditory attention and accumulating initial orientations in the language of music. Children easily acquire ideas about timbre and dynamics of sounds, and more difficult - about pitch and rhythm. Since basic musical abilities underlie the experience of the expressive content of sound and rhythmic movements, one should primarily use musical-didactic games that model the pitch and rhythmic relationships of the melody.
Visual clarity helps children form ideas about the properties of musical sounds and figuratively models the relationships of sounds in pitch and duration.
ON THE. Vetlugina believes that in the musical education of children it is necessary to use auxiliary visual aids that explain the content of music.
The use of visual aids in the musical education of children allows, in a simple, playful form accessible to children, to give an idea of music and its expressive capabilities; teach to distinguish a diverse range of feelings and moods conveyed by music. Thanks to the use of visual aids, children more actively develop musical-sensory abilities, as well as general musical abilities - modal hearing, sense of rhythm. They develop an interest in music.
1.2. Main types of musical and didactic games and aids
in the musical and sensory development of preschool children
In their free time from classes, children organize singing games, play children's musical instruments independently, and organize theatrical performances. One of the most important means of developing children’s independent musical activity is musical-didactic games and manuals.
Depending on the didactic task and the deployment of game actions, musical and didactic games are usually divided into three types:
1. Calm music playing (these games are often played with aids);
2. Games of the active type, where the element of competition in evasiveness and dexterity is delayed in time from the moment of performing musical tasks (the game is similar to the active one);
3. Games built like round dances.
All manuals for musical and didactic games are also divided into groups:
Manuals, the purpose of which is to give children an idea of the nature of music (cheerful, sad), musical genres (song, dance, march): “Sun and Cloud”, “Pick up the Music”, “Whose March Is This?”, “Three Dances”.
Manuals that give an idea of the content of music, of musical images: “Find out a fairy tale”, “Pick up a picture”.
Guides that form children’s understanding of the means of musical expression: “Musical House”, “Whom the Gingerbread Man Met”.
Benefits that develop a sense of rhythm in children: “Walk”, “Rhythmic Lotto”, “Identify by Rhythm”.
As practice has shown, the systematic use of manuals arouses in children an active interest in music and tasks and contributes to the rapid mastery of the musical repertoire by children.
Musical didactic aids contribute to a more active perception of music by preschoolers and allow them to familiarize them with the basics of musical art in an accessible form. And this, according to L.N. Komissarova is very " important aspect development of musical culture in children."
Musical and didactic games should be simple and accessible, interesting and attractive. Only in this case do they become a kind of stimulator of children’s desire to sing, listen, play, and dance.
In the process of playing, children not only acquire special musical knowledge, they develop the necessary personality traits, primarily a sense of camaraderie and responsibility.
2. PRACTICE OF DEVELOPMENT OF MUSICAL AND SENSORY ABILITIES IN SENIOR PRESCHOOL CHILDREN WITH THE HELP OF MUSICAL AND DIDACTICAL GAMES
2.1. Features of the methodology for using musical and didactic games and aids in various types of children's activities
In the musical education of preschoolers, the use of visual aids is of particular importance. The complexity and originality of music, the peculiarity of its perception, requires the use of auxiliary, “extra-musical” means.
It is known that in games children quickly master the requirements of the program for the development of singing and musical-rhythmic movements and in the field of listening to music. The use of musical and didactic games and aids in the lesson makes it possible to conduct it in the most meaningful and interesting way.
Our kindergarten operates according to the K.V. program. Tarasova "Harmony". Developed long-term plan taking into account the tasks of musical and aesthetic education of children. At the same time, taking into account that the content and structure of classes should be varied and interesting, we supplemented them with musical and didactic games.
Classes are held twice a week in subgroups - 25 - 30 minutes. All classes are structured with a constant change of activity. Every week a new musical and didactic game is learned. In the first lesson, introduction and unlearning, in the second - “repeat and play”, in the third lesson - we consolidate and the game is brought into the group for independent play activity. We conduct workshops for educators to teach methods of conducting musical and didactic games. (Appendix 4)
For each type of musical activity, we have selected the most interesting musical and didactic games for children. The repertoire in the “Harmony” program is organized according to topics that are accessible and interesting to preschool children. These are themes related to the seasons and corresponding holidays (“Autumn contrasts”, “Merry winter”, “Coming soon” New Year”, “Come, spring!”), games and toys, animals, family (“Who lives next to us”, “World of toys”, “A joke in music”, “What we are like”, “Mercy”, “Fairy tale in music").
Starting to work on the topic of developing musical and sensory abilities, we tried to select musical and didactic games also by topic. But it turned out that in this way we complicated the work. Musical and didactic games that are in tune with the theme of the month do not coincide with the objectives of this musical material of this theme. Therefore, again, taking the “Harmony” program and reviewing all the musical material, we selected musical and didactic games for each piece of music specifically, using well-known games by N.G. Kononova and L.N. Komisarova. But these games were not always suitable for the content of the lessons. We had to change the name of the musical didactic games or add the necessary illustrations. The musical and didactic game “Find out what instrument sounds”, where only children’s musical instruments are offered, was supplemented with illustrations of musical instruments of a symphony orchestra: harp, violin, flute, clarinet, oboe, piano. The name of the musical and didactic game “Sunshine and Rain” was changed, and the illustrations for it were changed accordingly: “Cheerful duckling and sad duckling”, “Cheerful and sad fairy tale”. The musical and didactic game “Compose a song” was called “What did the music sound like?” or “Lay out the rondo pattern,” but the tasks and the principle of the playing method remained the same.
At the end school year to consolidate the material covered in senior group conducted a lesson “In the Land of Musical Mysteries”, and in the preparatory school group a “Musical Quiz” using musical and didactic games. (Appendix 3)
As mentioned above, the development of musical-sensory abilities is possible in all types of musical activities, but each of them has specificity, which is a more favorable environment for the development of certain sensory abilities.
2.2. Experience in using musical-didactic games and aids in the process of listening to music
Listening to music is a universal activity. In music programs for preschoolers, it is highlighted as a separate section, but without listening it is impossible to imagine other types of musical activities: before learning a song, dance, orchestral piece or starting work on a dramatization game, you must listen to them.
In order for the child to better understand a piece of music and be able to compare musical images and words, we turn to musical didactic games. The use of musical and didactic games allows children to listen to the same piece several times in an unobtrusive form. Children love the game “Wonderful Bag”, where toys can talk and move with the kids, which contributes to better perception of the material, its comprehension and memorization. Thanks to the games “In the Forest”, “Find the Right Illustration”, “Music Box”, children consolidate the material they have covered, knowledge about various musical instruments, and acquire the ability to distinguish and recognize dance, lullaby, march and their parts. For each piece of music in the section on listening to music for older and older children preparatory group We selected musical and didactic games. (Annex 1)
Having gained some experience, children themselves organize musical and didactic games in a group.
2.3. Experience in using musical and didactic games and aids in the process of singing
The development of singing skills is one of the tasks of musical education of children in kindergartens.
The song is heard at matinees and entertainment, musical evenings and puppet theater performances; it accompanies many games, dances, and round dances. While playing, the child hums his own simple melody.
Musical and didactic games that we conduct during the singing process help teach children to sing expressively, at ease; they teach them to take their breath between musical phrases and hold it until the end of the phrase.
For pure intonation, we often use the game “Musical Phone,” which helps children expressively perform a particular song.
To consolidate familiar songs, we play the game “Magic Spinning Top”: children identify the song by the introduction, chorus, which is performed on the piano, by a musical phrase sung by everyone or individually, played on children’s musical instruments.
When children perform any song, we teach them how to correctly convey dynamic shades, which help them feel the beauty of the sound of the melody. In our free time we also play musical and didactic games related to singing, for example “Music Store”.
Children really love games that help them determine the movement of a melody: this is the “Wonderful Ladder” and a magnetic board, on which, by laying out notes in circles, children learn to correctly convey a melody and determine sounds by pitch.
Considering the capabilities of a child’s voice, I never sing with children without preparing and tuning the vocal apparatus. Before we start singing, we always give chants, one or two small songs that are easily transposed and do not have a wide range ("Two Grouse" Russian folk melody, "We sang a song" music by Rustamov, "Sparrow" music by Gerchik). Their performance makes it possible to warm up the voice, develop hearing, and singing in transport promotes rapid auditory restructuring (a semitone - a tone higher or lower).
After getting acquainted with the song, listening to it and discussing the content and character, first of all, before learning the melody, we clap the rhythm of the song, and lay out the rhythmically difficult parts on a magnetic board, using musical and didactic games: “Let’s teach the nesting dolls to dance,” "Rhythmic Lotto"
We work on the use of musical and didactic games and aids in the process of singing in stages.
We begin work by consolidating knowledge of high, medium and low sounds. We practice pure singing of these steps on sounds (si - sol#-mi). Children sing, naming the sounds; if the melody sounds with an upward movement, then they sing “low - medium - high”, if with a downward movement, respectively, “high - medium - low”. They are transmitted graphically, laid out in circles on a magnetic board (colored circles).
In older preschool age, children should already be able to determine by ear the direction of a melody, its jumps, lay out a drawing of a melody on a magnetic board (in circles), singing songs: “The steam locomotive is coming, the locomotive is coming,” “Bunny,” “Ivanushka,” “Frog,” “Fly”, “Rainbow”, “Taxi”, “Apple”; music E. Gorbina, V. Gaidukova, sl.E. Lavrentyeva “Goat”, “Ball”.
By forming stable modal tonal hearing in children, we reinforce the concept of steps and teach them to sing them in different sequences.
We learn to graphically convey the melody of the song “Shadow, shadow, shadow”, and practice singing these sounds clearly.
We continue to form palm-tonal hearing (sensing and finding the tonic). To do this, we use the Russian folk song “Like ours at the gate”, playing the musical and didactic game “Scientific Grasshopper”.
We train children in pure singing of one sound, develop the ability of children to independently determine long, short sounds and convey their alternation in familiar chants graphically on a magnetic board: “The Blue Sky” by E. Tilicheeva, “Aty-Bati”, “Sparrow”, “Don- Don”, “Kisa”, “Hat”. We also sing tongue twisters, proverbs, and jokes in one sound, accompanied by children’s musical instruments:
Stomp-stomp on the ground
After all, the land is ours!
And for us they grow on it
Pies and porridge!
Oblique, oblique, don't go barefoot,
Go with your shoes on and wrap up your little paws.
The sun whispers to a leaf:
Don't be timid, my dear!
And takes it from the kidney
For a green forelock.
We teach children to recognize familiar songs by their rhythmic patterns, and practice pure intonation: “The Blue Sky”, “The Month of May” by E. Tilicheeva.
We develop children’s ability to independently navigate the timbre and rhythmic relationships of sounds. We develop the ability to accurately reproduce the rhythmic pattern on a children's musical instrument: “Musical echo” (Sing the tonic triad up and down), “Come up with your own rhythm and recognize the instrument.”
We strengthen children’s ability to independently determine sounds in pitch and find them on a musical ladder. We practice the ability to accurately convey a given rhythmic pattern, playing it on a metallophone and laying it out on a magnetic board: “Wonderful Ladder”, “Merry Matryoshkas”, “Rhythmic Lotto”.
We train children in pure singing of all the sounds of the scale in ascending and descending order with and without musical accompaniment. We consolidate the ability to graphically convey sounds of a certain pitch:
“We hurry up the steps,
Then we run back down.”
We strengthen children’s understanding of the possibility of graphically conveying the movement of a melody by playing the musical and didactic game “Birds on a Wire.”
We consolidate children’s ideas about the pitch relationships of the I, III, V, I degrees of the mode, develop harmonic hearing, the ability to identify two or three played degrees of a tonic triad: musical and didactic games “How many of us are singing?” (matryoshka dolls), “How many sounds are played?”, “How many birds are singing?”.
We develop active auditory attention in children using the musical and didactic game “Be Attentive.”
We continue to develop in children long-term rhythmic memory and the ability to recognize a song by a rhythmic pattern (in the graphic representation of the song “Andrew the Sparrow”, “Rain”), clap the rhythm, sing clearly: “Guess the song”, “Identify by the rhythm”, “Recognize the song” "
We improve children’s rhythmic perception, teach them to lay out the rhythmic pattern of songs: the musical and didactic game “Lay out the rhythmic pattern of the song.”
We introduce children to quiet and loud sounds: “Let’s sing a loud and quiet song” (music by M. Starokadomsky, lyrics by S. Mikhailov “Merry Travelers”).
We develop a sense of meter and rhythm “Sing with me” (music by A. Ostrovsky, lyrics by Z. Petrova “Tick-tock”. Using the words of the song, play along with the metrical pulse on musical percussion instruments).
We rhythmize the names in accordance with the simplest rhythmic formulas: “Sing your name” (Ka - cha, Ka - tenka, Katen - ka). We learn to find words for rhythms: “Guess the name.” Developing rhythmic memory: “Repeat the rhythm.”
We depict the simultaneous movement of large and small clocks, the ringing of bells in speech, then in two-voice singing. The first group sings the words “Bom, bom, bom...” or “Ding-dong, ding-dong, bell ringing” in one low sound in quarter notes, the other group sings in a high voice, in eighths the words “Ti-ki, ti-ki... ", or "Tee-li, ti-li, ti-li, ti-li, the bell is ringing."
We form in children an auditory-visual idea of major and minor:
“Major-minor chants”, music. E. Golubeva.
“Sing major songs”: music. A. Filippenko, lyrics. N. Berendhof “These are the miracles”, music. A. Filippenko, lyrics. T. Volgina “About frogs and mosquitoes.”
“Let’s recolor the song in a minor key”: “Cornflower”, “A bunny is walking”.
2.4. Experience in using musical and didactic games and aids in the process of rhythmic movements
Another type of musical activity for children is rhythmic movements. In the process of systematic movement lessons, children develop musical and auditory perception. Children have to constantly listen to the music in order to perform movements accurately.
During classes we devote a significant part of the time to learning various movements to music. We teach children to speed up and slow down their movements, to move freely in accordance with musical images, varied character, and dynamics of music. In order for children’s musical and rhythmic activities to be more successful, we teach the elements of dance movements in combination with musical and didactic games and performing creative tasks. From the first lessons, we encourage children to develop their desire to move expressively to music independently with creative elements.
In musical and didactic games we use toys that children willingly imitate. A playful form of learning movements helps the child correctly perform a rhythmic pattern. When learning dances, round dances, dances, we also use voiced toys and musical instruments.
We actively develop and enrich the motor response of children. Game moments are of great help in this. For example: in the game “Who Came Out of the Forest?”, children not only determine who came out of the forest: a bear, a fox, a bunny and others, but also convey in the movement a clumsy, slowly walking bear, a fast cowardly bunny. Each child applies their skills and knowledge in this game in their own way. We achieve the effectiveness of learning in a musical didactic game by actively participating in the game ourselves, becoming a full participant in it. Play is an excellent form of activity that helps instill the ability to bring closer and win over all children, including those who are inactive. Organizing music games We give children more independence. Practice shows that the more you trust children, the more conscientious and conscientious they are about the assigned task.
We conduct interesting playful creative tasks after listening to a new piece of music again. For example: the melody of an unfamiliar polka sounds. Children determine the cheerful, upbeat, danceable nature of the music. The child says: “This is dance music, it’s fun and you should dance it easily and cheerfully,” and begins to do jumping jacks. Seryozha came up with an interesting rhythmic pattern with clapping. And now we see the already familiar look of polka in the movements of other children. One by one the children join in the dance. As a result, the whole group dances.
For older children we often use a tape recorder. The colorful sound of orchestral performances of familiar works has an emotional impact on children. The use of recordings in free time from classes allows children to independently improvise movements and compose simple compositions of dances, round dances, and games. And this is the content of such musical and didactic games as “Let's dance”, “My favorite melody”, “Define the dance”, “Three dances”, “Whose march is this?”
Game techniques in music classes contribute to a more active perception of music by preschoolers, allowing them to familiarize them with the basics of musical art in an accessible form.
2.5. Diagnostic tasks for determining the level of musical abilities of preschool children in the context of the use of musical and didactic games
The problem of diagnosing musical abilities is one of the most pressing in music pedagogy and psychology.
Foreign researchers determine musical abilities through testing (founder K. Stumpf).
One of the fundamental principles in Soviet psychology was the position that abilities as a mental phenomenon not only develop in the learning process, in the corresponding activity, but are also formed in it and represent a process, an in-life formation. In this regard, Vygotsky believed that psychological diagnostics - diagnostics of development, which has a hierarchical structure - should also be a process consisting of interconnected stages of cognition, and that only based on the results of repeated studies and systematic observations can one judge the qualitative uniqueness of the process mental development child. K.V. Tarasova also shared the same opinion. She developed diagnostic sessions that were conducted in annual cycles. Their goal was to determine levels of development of general musical abilities.
Diagnostics of musical abilities differ in what abilities in the structure of musicality are considered basic. K.V. Tarasova takes as a basis the structure of general musical abilities, which includes two substructures:
1) emotional responsiveness to music and
2) cognitive musical abilities - sensory, intellectual and musical memory.
Thus, the composition of the general musical abilities necessary for the formation of a musical and artistic image in all types of musical activities, along with emotional responsiveness to music and sensory abilities, includes intellectual abilities and musical memory.
General sensory musical abilities include, in addition to the sense of rhythm and pitch hearing, such types of musical hearing as timbre, dynamic and harmonic, without which a full-fledged musical image cannot arise.
Observing children, taking into account the quality of learning software requirements With each child, we try to ensure the right direction of musical development.
To determine the level of development of musical and sensory abilities of children of senior preschool age, we have developed diagnostic tasks, the musical repertoire must be unfamiliar , new for the child , but similar to those they met during the school year :
1. Perception of music
Listen to and distinguish three plays of different nature, of the same genre (“Three Dances”), show cards with the corresponding image (waltz, polka, folk dance).
While listening to a three-part play, lay out squares different color, determining the beginning of the sound of each part (“Butterflies in the meadow”).
Listen and distinguish three plays, different in character and genre (march, dance and lullaby), cover the corresponding picture with a chip (“Song-dance-march”).
High level– listens carefully to the music, adequately determines the nature of the work, the genre (lays out the appropriate cards), the form of the musical work (the number of parts in the play).
Average level – listens to music, sometimes gets distracted, adequately determines the nature of a musical work, and, with little help, determines the genre and form of the work.
Low level– listens to music without interest, is often distracted, cannot determine the nature of the work, makes mistakes in determining the genre or form of the work, or refuses to complete the task.
2. Pitch hearing
Using the musical and didactic game “Wonderful Ladder”, listen to an excerpt of a scale and determine the completeness of the melody ( salt1 – up to 1) – the doll came down from the ladder; incompleteness ( salt1 – re1) – the doll remains on the step.
Distinguish between high, medium and low sounds within (do1-mi1-sol1). Game "Jingle Bells".
High level– accurately determines the direction of the melody (up or down), hears the completeness or incompleteness of the melody, accurately distinguishes sounds (high, medium, low) within (do1-mi1-sol1).
Average level– with a slight hint, determines the direction of the melody, completeness and incompleteness, distinguishes sounds by pitch.
Low level– performs the task inaccurately or refuses completely.
3. Sense of rhythm
Listen to the melody and clap a rhythmic pattern consisting of quarter and eighth beats in a four-bar structure (S. Rachmaninov “Italian Polka”).
Clap the rhythmic pattern of the chant and lay out a rhythmic pattern from the blocks (the principle of the game “Rhythmic Cubes”). (Single songs that are simple in rhythm are used)
High level– the child adequately reproduces the rhythmic pattern of a given musical fragment (8 bars) and lays out the rhythmic pattern of the song he listened to.
Average level– with small mistakes and hints, the child completes the tasks.
Low level– makes mistakes many times, reproduces only metric pulsation.
4. Timbre hearing
Listen to and identify the sound of seven different musical instruments: drum, tambourine, metallophone, triplet, etc. (based on the principle of the game “Guess what I’m playing” or “Music Store”).
High level– accurately shows the image of the musical instrument you listened to and names it.
Average level– with a little prompting, recognizes and shows a musical instrument.
Low level– makes mistakes, does not know the names of musical instruments, refuses to complete the task.
CONCLUSION
In the practical part of the work being carried out, we were once again convinced that if in the process of musical activity the musical-sensory abilities of all children, without exception, develop, this will not pass without leaving a mark on their subsequent musical development.
The proposed musical and didactic games and fragments of classes were not an end in themselves, but only contributed to the development of not only musical and sensory abilities, but also creative ones.
The selected visual auxiliary musical material made it possible, in a simple, accessible playful form, to give children an idea of the properties of musical sound, the expressive capabilities of music, and taught them to distinguish the range of feelings and moods conveyed by it.
We came to the conclusion that musical tasks performed with the help of musical-didactic games and manuals arouse interest and activity in children, develop independence in musical activity, which acquires a creative character.
The proposed generalized, systematized experience with older preschoolers on the development of their musical and sensory abilities is available for mastery by any teacher, musical director, and can be recommended for use in children's preschool educational institutions, both in music lessons and in individual work on musical education.
Having studied this topic, we came to the following conclusions:
preschool age is sensitive for the development of musical abilities;
for the development of musical-sensory abilities it is necessary to create a musical development environment;
musical-didactic game is a means of developing pitch and rhythmic hearing;
special structure and selection of content for individual lessons Taking into account the child’s development, it allows for more successful development of children’s musical abilities and increases interest in musical and didactic games.
In the course of work on this topic, a card index was compiled musical and didactic games, which is used in working with children of senior preschool age. (Appendix 5)
Unfortunately, work on musical-sensory education in preschool institutions is not always organized at the proper level. This is explained by the lack of material resources and the lack of ready-made musical and didactic aids in the trading network.
As practice has shown, the systematic use of manuals and games arouses an active interest in music in children and contributes to the rapid mastery of the musical repertoire by children.
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Preschooler: learning and development. Yaroslavl, "Academy of Development", 1998.
Dubrovskaya E.A. Theory and methodology of music education. – M., 1991.
Dubrovskaya E.A. Steps of musical development. – M., 2003.
Dubrovskaya E.A. Steps of musical development. – M., 2006.
Zimina A.N. Theory and methods of musical education of preschool children. – Shuya, 1995.
Zimina A.N. Fundamentals of musical education and development of children younger age. M. "Vlados", 2000.
Zimina A.N. Musical and didactic games and exercises in small preschool educational institutions. – M., 1999.
Komissarova L.N., Kostina E.P. Visual aids in the musical education of preschool children. – M., 1986.
Kononova N.G. Musical and didactic games for preschoolers. – M., 1982.
Mikhailova M.A. Development of children's musical abilities. – Yaroslavl, 1997.
Methods of music education in kindergarten. Edited by N.A. Vetlugina. – M. 1989.
Radynova O.P., Katinene A.I., Palavandishvili M.L. Musical education of preschool children. M. "Academy", 1998.
Tarasova K.V. Ontogenesis of musical abilities. -M., 1988.
Tarasova K.V., Nesterenko T.V., Ruban T.G. “Harmony” Program for the development of musicality in children of the 6th year of life. – Moscow, 1995
Tarasova K.V., Ruban T.G. “Harmony” Program for the development of musicality in children of the 7th year of life. – Moscow, 2004
Teplov B.M. Psychology of musical abilities. - M., 1961.
Teplov B.M. Psychology of individual differences.// Selected. works: in 2 vols. - M., 1985.
Usova A.P. Teaching in kindergarten. M. "Enlightenment", 1981.
Research by famous scientists and teachers proves the possibility and necessity of developing a child’s memory, thinking, and imagination from a very early age.
The possibility of early development of musical abilities in children is no exception. There is data that confirms the influence of music on the developing fetus during a woman’s pregnancy and its positive impact on the entire human body in the future.
Music has always claimed a special role in society. In ancient times, music and medical centers treated people from melancholy, nervous disorders, and diseases of the cardiovascular system. Music influenced intellectual development, accelerating the growth of cells responsible for human intelligence. Music can influence a person's emotional well-being.
The emotional impact of harmonious sound combinations is enhanced many times over if a person has fine hearing sensitivity. A developed ear for music places higher demands on what is offered to it. Heightened auditory perception colors emotional experiences in bright and deep colors. It is difficult to imagine a more favorable period for the development of musical abilities than childhood. The development of musical taste and emotional responsiveness in childhood creates “the foundation of a person’s musical culture, as part of his general spiritual culture in the future.” (15; p. 200)
Teachers and musicians have come to the conclusion that everyone has the makings of musical activity. They form the basis of musical abilities. The concept of “non-developing ability,” according to scientists and specialists in the field of studying problems of musicality, is in itself absurd.
It is considered proven that if the necessary conditions are created for the musical development of a child from birth, then this gives a more significant effect in the formation of his musicality. Nature has generously rewarded man. She gave him everything to see, feel, feel the world around him.
Everyone is naturally musical. Every adult needs to know and remember this, since it depends on him what his child will become in the future, how he will be able to use his natural gift. Childhood music is a good educator and a reliable friend for life. Early manifestation of musical abilities indicates the need to begin the child’s musical development as early as possible. The time lost as an opportunity to develop the child’s intelligence, creative, and musical abilities will be irreplaceable.
Special or basic abilities include: pitch hearing, modal sense, sense of rhythm. It is the presence of them that fills the music a person hears with new content; it is they that allow one to rise to “the heights of a deeper knowledge of the secrets of musical art.”
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 of learning and upbringing.
At different historical stages of the formation of musical psychology and pedagogy, and at present, in the development of theoretical, and, consequently, practical aspects of the problem of the development of musical abilities, there are different approaches.
B. M. Teplov in his works gave a deep, comprehensive analysis of the problem of developing musical abilities. He clearly defined his position on the issue of innate musical abilities. The musical abilities necessary for the successful implementation of musical activity, according to Teplov, are combined into the concept of “musicality.” And musicality is “a complex of abilities required for practicing musical activity, as opposed to any other, but at the same time associated with any type of musical activity.”
A person also has general abilities that manifest themselves in different types of activities. The qualitative combination of general and special abilities forms the concept of musical talent, which is broader than musicality.
Each person has an original combination of abilities that determine the success of a particular activity.
Music is the movement of sounds, different in height, timbre, dynamics, duration, organized in a certain way in musical modes (major, minor), having a certain emotional coloring and expressive capabilities. In order to deeply perceive musical content, a person must have the ability to differentiate moving sounds by ear, distinguish and perceive the expressiveness of rhythm.
Musical sounds have different properties: they have pitch, timbre, dynamics, and duration. Their discrimination in individual sounds forms the basis of the simplest sensory musical abilities.
The duration of sound is the basis of musical rhythm. The feeling of emotional expressiveness, musical rhythm and its reproduction form one of the musical abilities of a person - the musical-rhythmic feeling. Pitch, timbre and dynamics form the basis of pitch, timbre and dynamic hearing, respectively.
Modal sense, musical-auditory perception and sense of rhythm constitute the three basic musical abilities that form the core of musicality.
Fret feeling. Musical sounds are organized in a certain mode.
Modal feeling is an emotional experience, an emotional ability. In addition, the modal feeling reveals the unity of the emotional and auditory sides of musicality. Not only the mode as a whole has its own color, but also the individual sounds of the mode. Of the seven degrees of the scale, some sound stable, others - unstable. From this we can conclude that modal feeling is the distinction not only of the general nature of music, the moods expressed in it, but also of certain relationships between sounds - stable, complete and requiring completion. The modal feeling manifests itself in the perception of music as an emotional experience, “felt perception.” Teplov B.M. calls it "the perceptual, emotional component of musical hearing." It can be detected when recognizing a melody and determining the modal coloring of sounds. In preschool age, indicators of the development of modal sense are love and interest in music. And that means modal feeling is one of the foundations of emotional responsiveness to music.
Musical and auditory performances.
To reproduce a melody with a voice or on a musical instrument, it is necessary to have auditory representations of how the sounds of the melody move - up, down, smoothly, in jumps, that is, to have musical-auditory representations of pitch movement.
To reproduce a melody by ear, you need to remember it. Therefore, musical-auditory representations include memory and imagination.
Musical and auditory representations differ in the degree of their arbitrariness. Voluntary musical-auditory representations are associated with the development of internal hearing. Inner hearing is not just the ability to mentally imagine musical sounds, but to voluntarily operate with musical auditory ideas. Experimental observations prove that to arbitrarily imagine a melody, many people resort to internal singing, and students learning to play the piano accompany the presentation of the melody with finger movements that imitate its playback on the keyboard. This proves the connection between musical and auditory ideas and motor skills; this connection is especially close when a person needs to voluntarily remember a melody and retain it in memory.
“Active memorization of auditory ideas,” notes B. M. Teplov, “makes the participation of motor elements especially significant.”
The pedagogical conclusion that follows from these observations is the ability to involve vocal motor skills (singing) or playing musical instruments to develop the ability of musical-auditory performances.
Thus, musical-auditory perception is an ability that manifests itself in reproducing a melody by ear. It is called the auditory or reproductive component of musical hearing.
The sense of rhythm is the perception and reproduction of temporal relationships in music.
As evidenced by observations and numerous experiments, during the perception of music a person makes noticeable or imperceptible movements that correspond to its rhythm and accents. These are movements of the head, arms, legs, as well as invisible movements of the speech and respiratory apparatus.
Often they arise unconsciously, involuntarily. Attempts by a person to stop these movements lead to the fact that either they arise in a different capacity, or the experience of rhythm stops altogether. This indicates the presence of a deep connection between motor reactions and the perception of rhythm, the motor nature of musical rhythm. But the feeling of musical rhythm is not only motor, but also emotional in nature. The content of the music is emotional. Rhythm is one of the expressive means of music, with the help of which the content is conveyed. Therefore, the sense of rhythm, like the sense of modality, forms the basis of emotional responsiveness to music.
The sense of rhythm is the ability to actively (motorly) experience music, feel the emotional expressiveness of the musical rhythm and accurately reproduce it.
So, Teplov B.M. identifies three main musical abilities that form the core of musicality: modal sense, musical-auditory perception and sense of rhythm.
ON THE. Vetlugina names two main musical abilities: pitch hearing and a sense of rhythm. This approach emphasizes the inextricable connection between the emotional (modal feeling) and auditory (musical-auditory perceptions) components of musical hearing. The combination of two abilities (two components of musical ear) into one (pitch hearing) indicates the need to develop musical ear in the interrelation of its emotional and auditory bases.
Researchers often face the question: in what types of activities do musical-sensory abilities develop?
For example, emotional responsiveness to music can be developed in all types of musical activity: perception, performance, creativity, since it is necessary for feeling and understanding the musical content, and, consequently, its expression.
Emotional responsiveness to music can appear in children very early, in the first months of life. The child is able to react animatedly to the sounds of cheerful music - with involuntary movements and exclamations, and to perceive calm music with concentration and attention. Gradually, motor reactions become more voluntary, consistent with music, and rhythmically organized.
The modal sense can develop during singing, when children listen to themselves and to each other, and control the correctness of intonation with their ears.
Musical-auditory concepts develop in activities that require distinguishing and reproducing melody by ear. This ability develops primarily in singing and playing high-pitched musical instruments.
The sense of rhythm develops, first of all, in musical-rhythmic movements, corresponding in nature to the emotional coloring of the music.
Timbre and dynamic hearing, performing and creative abilities.
Timbre and dynamic hearing are types of musical hearing that allow you to hear music in the fullness of its expressive, colorful means. The main quality of musical hearing is the discrimination of sounds by height. Timbre and dynamic hearing are formed on the basis of pitch hearing. The development of timbre and dynamic hearing contributes to the expressiveness of children's performance and the fullness of their perception of music. Children recognize the timbres of musical instruments and distinguish dynamics as an expressive means of music. With the help of musical didactic games, the pitch, timbre and dynamic properties of musical sounds are modeled.
Musical abilities manifest differently in all children. For some, already in the first year of life, all three basic abilities manifest themselves quite clearly and develop quickly and easily. This indicates the musicality of children. For others, abilities are discovered later and are more difficult to develop. The most difficult thing for children to develop is musical-auditory understanding - the ability to reproduce a melody with a voice, accurately intoning it, or select it by ear on a musical instrument.
Most preschoolers develop this ability only by the age of five. But this is not, according to B.M. Teplov, an indicator of weakness or lack of abilities.
The environment in which a child grows up (especially in the first years of life) is of great importance. The early manifestation of musical abilities is observed, as a rule, in children who receive sufficiently rich musical impressions.
It happens that if any ability lags behind in development, then this can inhibit the development of other abilities. Therefore, recognizing the dynamism and developability of musical abilities, it makes no sense to conduct any one-time tests and, based on their results, predict the child’s musical future. According to L. S. Vygotsky, constant observations of children with diagnostic cross-sections of development are needed. Diagnostics of musical abilities, carried out 1-2 times a year, makes it possible to judge the qualitative uniqueness of the development of each child and adjust the content of classes accordingly.
Planning and recording work on music education, as a rule, only includes monitoring the program skills and abilities acquired by children. In order for training to be developmental in nature, it is important to control not only the development of skills and abilities, but first of all the musical abilities of children.
The importance of the development of musical-sensory abilities in preschool children
Research by famous scientists and teachers proves the possibility and necessity of developing a child’s memory, thinking, and imagination from a very early age.
The possibility of early development of musical abilities in children is no exception. There is data that confirms the influence of music on the developing fetus during a woman’s pregnancy and its positive impact on the entire human body in the future.
Music has always claimed a special role in society. In ancient times, music and medical centers treated people from melancholy, nervous disorders, and diseases of the cardiovascular system. Music influenced intellectual development, accelerating the growth of cells responsible for human intelligence. Music can influence a person's emotional well-being.
The emotional impact of harmonious sound combinations is enhanced many times over if a person has fine hearing sensitivity. A developed ear for music places higher demands on what is offered to it. Heightened auditory perception colors emotional experiences in bright and deep colors. It is difficult to imagine a more favorable period for the development of musical abilities than childhood. The development of musical taste and emotional responsiveness in childhood creates “the foundation of a person’s musical culture, as part of his general spiritual culture in the future.” (15; p. 200)
Teachers and musicians have come to the conclusion that everyone has the makings of musical activity. They form the basis of musical abilities. The concept of “non-developing ability,” according to scientists and specialists in the field of studying problems of musicality, is in itself absurd.
It is considered proven that if the necessary conditions are created for the musical development of a child from birth, then this gives a more significant effect in the formation of his musicality. Nature has generously rewarded man. She gave him everything to see, feel, feel the world around him.
Everyone is naturally musical. Every adult needs to know and remember this, since it depends on him what his child will become in the future, how he will be able to use his natural gift. Childhood music is a good educator and a reliable friend for life. Early manifestation of musical abilities indicates the need to begin the child’s musical development as early as possible. The time lost as an opportunity to develop the child’s intelligence, creative, and musical abilities will be irreplaceable.
Special or basic abilities include: pitch hearing, modal sense, sense of rhythm. It is the presence of them that fills the music a person hears with new content; it is they that allow one to rise to “the heights of a deeper knowledge of the secrets of musical art.” (15; p.235)
The development of musical abilities is one of the main tasks of 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 of learning and upbringing.
At different historical stages of the formation of musical psychology and pedagogy, and at present, in the development of theoretical, and, consequently, practical aspects of the problem of the development of musical abilities, there are different approaches.
B.M. Teplov in his works gave a deep, comprehensive analysis of the problem of developing musical abilities. He clearly defined his position on the issue of innate musical abilities. The musical abilities necessary for the successful implementation of musical activity, according to Teplov, are combined into the concept of “musicality.” And musicality is “a complex of abilities required for practicing musical activity, as opposed to any other, but at the same time associated with any type of musical activity.”
A person also has general abilities that manifest themselves in different types of activities. The qualitative combination of general and special abilities forms the concept of musical talent, which is broader than musicality.
Each person has an original combination of abilities that determine the success of a particular activity.
Music is the movement of sounds, different in height, timbre, dynamics, duration, organized in a certain way in musical modes (major, minor), having a certain emotional coloring and expressive capabilities. In order to deeply perceive musical content, a person must have the ability to differentiate moving sounds by ear, distinguish and perceive the expressiveness of rhythm.
Musical sounds have different properties: they have pitch, timbre, dynamics, and duration. Their discrimination in individual sounds forms the basis of the simplest sensory musical abilities.
The duration of sound is the basis of musical rhythm. The sense of emotional expressiveness, musical rhythm and its reproduction form one of the musical abilities of a person - the musical-rhythmic sense. Pitch, timbre and dynamics form the basis of pitch, timbre and dynamic hearing, respectively.
Modal sense, musical-auditory perception and sense of rhythm constitute the three basic musical abilities that form the core of musicality.
Fret feeling .
Musical sounds are organized in a certain mode.
Modal feeling is an emotional experience, an emotional ability. In addition, the modal feeling reveals the unity of the emotional and auditory sides of musicality. Not only the mode as a whole has its own color, but also the individual sounds of the mode. Of the seven degrees of the scale, some sound stable, others - unstable. From this we can conclude that the modal feeling is the distinction not only of the general nature of music, the moods expressed in it, but also of certain relationships between sounds - stable, completed and requiring completion. The modal feeling manifests itself in the perception of music as an emotional experience, “felt perception.” Teplov B.M. calls it "the perceptual, emotional component of musical hearing." It can be detected when recognizing a melody and determining the modal coloring of sounds. In preschool age, indicators of the development of modal sense are love and interest in music. And that means modal feeling is one of the foundations of emotional responsiveness to music.
Musical and auditory performances
To reproduce a melody with a voice or on a musical instrument, it is necessary to have auditory representations of how the sounds of the melody move - up, down, smoothly, in jumps, that is, to have musical-auditory representations of pitch movement.
To reproduce a melody by ear, you need to remember it. Therefore, musical-auditory representations include memory and imagination.
Musical and auditory representations differ in the degree of their arbitrariness. Voluntary musical-auditory representations are associated with the development of internal hearing. Inner hearing is not just the ability to mentally imagine musical sounds, but to voluntarily operate with musical auditory ideas. Experimental observations prove that to arbitrarily imagine a melody, many people resort to internal singing, and students learning to play the piano accompany the presentation of the melody with finger movements that imitate its playback on the keyboard. This proves the connection between musical and auditory ideas and motor skills; this connection is especially close when a person needs to voluntarily remember a melody and retain it in memory.
"Active memorization of auditory representations, - notes B.M. Teplov, - makes the participation of motor moments especially significant.”(24; p.328)
The pedagogical conclusion that follows from these observations is the ability to involve vocal motor skills (singing) or playing musical instruments to develop the ability of musical-auditory performances.
Thus, musical-auditory perception is an ability that manifests itself in reproducing a melody by ear. It is called the auditory or reproductive component of musical hearing.
Sense of rhythm - this is the perception and reproduction of temporary relationships in music.
As evidenced by observations and numerous experiments, during the perception of music a person makes noticeable or imperceptible movements that correspond to its rhythm and accents. These are movements of the head, arms, legs, as well as invisible movements of the speech and respiratory apparatus.
Often they arise unconsciously, involuntarily. Attempts by a person to stop these movements lead to the fact that either they arise in a different capacity, or the experience of rhythm stops altogether. This indicates the presence of a deep connection between motor reactions and the perception of rhythm, the motor nature of musical rhythm. But the feeling of musical rhythm is not only motor, but also emotional in nature. The content of the music is emotional. Rhythm is one of the expressive means of music, with the help of which the content is conveyed. Therefore, the sense of rhythm, like the sense of modality, forms the basis of emotional responsiveness to music.
The sense of rhythm is the ability to actively (motorly) experience music, feel the emotional expressiveness of the musical rhythm and accurately reproduce it.
So, Teplov B.M. identifies three main musical abilities that form the core of musicality: modal sense, musical-auditory perception and sense of rhythm.
N.A. Vetlugina names two main musical abilities: pitch hearing and a sense of rhythm. This approach emphasizes the inextricable connection between the emotional (modal feeling) and auditory (musical-auditory perceptions) components of musical hearing. The combination of two abilities (two components of musical ear) into one (pitch hearing) indicates the need to develop musical ear in the interrelation of its emotional and auditory bases.
Researchers often face the question: in what types of activities do musical-sensory abilities develop?
For example, emotional responsiveness to music can be developed in all types of musical activity: perception, performance, creativity, since it is necessary for feeling and understanding the musical content, and, consequently, its expression.
Emotional responsiveness to music can appear in children very early, in the first months of life. The child is able to react animatedly to the sounds of cheerful music - with involuntary movements and exclamations, and to perceive calm music with concentration and attention. Gradually, motor reactions become more voluntary, consistent with music, and rhythmically organized.
The modal sense can develop during singing, when children listen to themselves and to each other, and control the correctness of intonation with their ears.
Musical-auditory concepts develop in activities that require distinguishing and reproducing melody by ear. This ability develops primarily in singing and playing high-pitched musical instruments.
The sense of rhythm develops, first of all, in musical-rhythmic movements, corresponding in nature to the emotional coloring of the music.
