Types of musical rhythmic movements. Coursework on the topic: "The influence of musical and rhythmic movements on the development of musical abilities of preschool children"
Tatyana Donskaya
Musical and rhythmic movements as a means of developing a sense of rhythm in preschoolers
The relevance of studying this problem lies in the fact that one of the important tasks of a comprehensive development child is nurturing musical culture. Introducing children to a variety of musical activity, We develop the overall musicality of the child, his musical ability(modal feeling, musically- auditory representations sense of rhythm).
The fact that the last years many new programs for preschool education. New, modern programs By musical education determine different approaches to the organization of the pedagogical process in preschool educational institutions, combining traditional and innovative methods musical education. This is including « Rhythmic mosaic» , And "Top, clap, kids"(author Anna Iosifovna Burenina, St. Petersburg, aimed at a comprehensive harmonious development children of the appropriate age.
Object of study- musically-pedagogical process in preschool educational institution
Subject of study: musical and rhythmic movements as a means of developing a sense of rhythm in preschoolers
The aim of our work was to reveal the content musical- rhythmic movements in the development of a sense of rhythm in preschoolers
The objectives we set for ourselves were to next:
1. Study the psychological and pedagogical aspect development of musical and rhythmic abilities of preschool children;
2. State general characteristics ;
3. Describe rhythmic ear as the basis of musicality;
4. Outline formation preschool age
5. Develop a practical part
Research methods: theoretical analysis of educational, scientific, musical and reference literature, analysis of practical material on the research topic, approbation of practical material.
This work has a practical focus. Recommendations for educators, interns, and parents are of practical importance.
Graduate work consists of introduction, two chapters, conclusion, list of references.
The introduction reveals the relevance, goals, objectives of the study, object, subject, value music and movement in a child's life.
The theoretical part outlines the general characteristics musical and rhythmic activity of preschoolers. Revealed rhythmic ear as the basis of musicality, formation musical and rhythmic skills in the process of musical activities in older children preschool age
The practical part contains the teaching methodology musical and rhythmic movements children senior group, stages of learning, as well as abstracts of classes on development of a sense of rhythm in preschoolers in musical and rhythmic movements.
Based on a theoretical analysis of methodological, educational, musical literature as well as periodicals, musical programs and teaching materials, we came to the conclusion that What:
sense of rhythm develops, first of all, in musical rhythmic movements, corresponding in nature to the emotional coloring music. Consistency rhythm of movement and music also one of the conditions for development of this ability. Classes rhythms allow you to feel and express in movements the change of moods in a piece of music, improve sense of rhythm through coordination movements and music. These activities are important to subordinate development of children's abilities, musical perception and not just learning motor skills.
Based on sources movements distinguish the following types rhythmics:
1) musical and rhythmic exercises; 2) dances, dances, round dances; 3) music games.
I would like to elaborate on the following types musical-rhythmic movements-dances, dances, round dances. They are usually divided into two groups: fixed and free.
Fixed ones include those that have the author's composition movements, and the teacher follows it exactly when learning:
The children loved the dance "White Birds", which I learned with the children of the older group. My task was to make the children beautiful, in character music performed smooth movements. Subsequently, we showed this dance at the festival « musical drops» and a holiday dedicated to Victory Day.
Children's "ballroom dance"(conditional definition, includes a variety of polkas, gallops, waltzes movements. Light, lively character music accompanied all the time by repetitive dance elements (polka step, gallop step).
Round dances of a dance character, more often associated with folk songs, performing which children stage the plot, accompanying it with dance movements. For example, round dance "Vesnyanka" which we performed at the celebration "Wide Shrovetide".
The simplest elements of modern dance available to children are also used. preschool age: light jumps with a high rise of the legs and simultaneous circling, alternately placing the legs on the heel with simultaneous spreading both hands, etc.. d.
Parents take an active part in learning and performing dances that we show at the holidays ( Graduation 2015- dance of girls with dads, March 8 - dance of girls with moms, "Graduation - 2016"- dance of boys with mothers)
Free dances include all those dances and round dances that the children themselves come up with.
Free dances are creative in nature. Children, using familiar elements of dances, constructions, exercises, combine them in a new way, come up with "my" dance.
At the celebration dedicated to the Defender of the Fatherland Day, children performed the dance of sailors to the song "Border" L. Agutina, March 8 - dance to the song "Grandmothers" V. Dobrynina,
Musical play as a kind of play activity in kindergarten is an important method musical development.
Musical games are divided into games with instrumental music(plot and non-plot) and singing games (round dances and dramatizations). For example, in the plot musical game"Hares and Fox" children must figuratively perform movements, specific to the data characters: the insinuating, easy run of the fox and the high, soft run with stops and circling of the hare.
In games with singing composition movements depends on character music, text. Elements of folk dances, various round dance formations are used here.
No less interesting for children are games and dances using various attributes. (flags, ribbons, wooden spoons, etc.)
When considering the issue of age preschoolers in musical and rhythmic activities, we marked 3-4 years: show vivid emotions when perceived music contrasting character. Children 4-5 years old with a desire to perform musical rhythmic movements, are transferred to motion character music.
Children 5-7 years old perform various types of basic movements, respond body movements to music of a different nature, master movements using them in dance compositions.
Studying the question of the methods and techniques used by the teacher when learning musical and rhythmic movements we have identified three stages. And we came to the conclusion that each stage has its own tasks, methods and techniques, all of them are interconnected.
Classes rhythmics are excellently developed creative imagination of children. They transform into the images of various characters, make contacts, act under music; performing creative tasks in a real environment activates their intention, stimulates them to search for expressive movements.
In folk, dance and round dance melodies there are many expressive possibilities for movement development. In a programme « Rhythmic mosaic» , "Top, clap, kids" widely represented, for example, Russian folk music, varied in its character: melodious, smooth ( "The girls sowed spring hops", "Spinning wheel" etc., easy mobile("Zemelyushka-chernozem", "Like thin ice", "Hare" etc., perky, dancing ( "Oh, you canopy", "I went up the hill" and etc.).
Thus, having considered the questions of theory, we have come to the following conclusion: development in children of interest in musical and rhythmic movements will contribute musical education and development of preschoolers if, in the process, the following tasks:
Teaching children to be holistic music,
Must be used in class individual approach to each child, that is, to conduct not only collective forms of work, but also individual classes with individual children who find it difficult to master skills and abilities
Learn to perceive development of musical images and agree movements with their character,
Take into account the specific features of the folk musical culture
Apply in class music visual material, didactic aids aimed at mastering rhythmic skills;
-develop artistic and creative abilities in older children;
Cultivate independence in the manifestation of knowledge in the process musical and rhythmic movements,
Use non-traditional forms of work not only in the classroom music but also outside of work.
The practical part of our research contains guidelines for parents on developing a sense of rhythm in children. We place this information on the stand « Music corner» . Let me read a few excerpts.
Listen music
It improves mood, promotes emotional development.
A child from the end of the first - the beginning of the second year of life listens with pleasure to children's songs and dramatizations of children's fairy tales. Already at this age, you can teach your baby to listen to classical music.
Turn on more often music in the children's room. It can accompany any child's activities, but make sure that the sound is muffled.
Teach your child to play the melody by clapping, tapping, singing
If the baby has not yet learned how to independently perform the task, clap his hands, taking them in your hands; tap out rhythm or conduct it by hand.
Encourage movement to music. The program of A. Burenina can serve as a very good help in this type of activity. "Top, clap, kids". (show "Stepped feet")
Arrange a parade, marching and beating drums. Organize a home orchestra from toys musical tools or kitchen utensils. change the pace movements(faster, slower)
Act out nursery rhymes, songs, poems (show):
"Naughty Rain" (For children from 3 years old)
Rain - cap! Rain - cap!
Stronger, quieter. (strike index finger one hand on the palm of the other).
Don't knock, don't knock
Don't hit the roof! (wiggle finger)
What a naughty one! (shake head reproachfully).
Wait, don't lay down!
Come to the kids (beckon with hands).
And get warm! (put palms on shoulders, cross palms on chest
Also, the practical part contains material on learning games, dances, round dances. After testing some games, nursery rhymes, songs with movements I came to the conclusion that in the course of mastering the repertoire, children constantly exercise, developing musical skills perception in unity with expressive movement.
In our research, we tried to uncover the content rhythms as a means of musical education and development of a preschooler. We studied 25 literary sources, made recommendations for parents, tested practical material and came to the conclusion that in our information age, children and adults are passionate about computer games, the Internet, television, etc., they devote little time to sports, outdoor activities. As a result, every second child has a curvature of the spine, impaired vision and hearing, as well as some mental disorders. Sometimes children do not know the elementary - the heroes of Russian folk tales, games, round dances, they are more interested in Disney characters - robots, monsters, spiders, etc.
Classes rhythmic in kindergarten let us look at musical education in preschool institutions as an important process child development. The purpose of the work is achieved, the tasks are solved.
Thank you for your attention!
Modern scientific research shows that the development of musical abilities, the formation of the foundations of musical culture should begin at preschool age. The lack of full-fledged musical impressions in childhood can hardly be replenished later.
To develop musical abilities, it is necessary to give the child the opportunity to try himself in various types musical activities, one of which is the musical movement. Musical-rhythmic movement is one of the ways of "living" images, when any gesture, movement becomes a form of emotional expression of content. In rhythm classes, children get acquainted with the simplest musical concepts: "fast" and "slow" (the tempo of a piece of music, transmitted in movements, for example, by running on toes and walking), "loud-quiet" (dynamic nuances that can be expressed respectively by walking brisk step and running on toes), sound registers (high, medium, low), etc. .
In classes with children of the youngest age (three or four years old), one must take into account that they still do not know how to perceive music, how to link their movements with it, which are distinguished by sharpness, impetuousness, and poor coordination. At this age, the child reacts to everything very vividly, he craves new information and perceives it on the fly. The impressions he received (including musical ones) remain in his memory and become the basis for perception and knowledge of the surrounding world.
Children learn basic movements (walking, running, jumping). This allows them to more accurately convey the nature of the music: peppy, light, jerky. They do it still imperfectly, but the general character is visible. Since the kids confidently move around the room, this makes it possible to expand the tasks for orientation in space. Depending on the construction of the dance, the musical game, the exercises, the children walk in a "flock", in pairs, scattered, one after another, master simple dance movements
Children of six years old have a confident and firm step, their movements become more conscious. All this makes it possible to complicate rhythmic exercises and teach children to independently complete tasks.
By the age of six or seven, children have almost complete control over their bodies and are able to coordinate movements. In order to interest them in rhythmic studies, it is necessary to select more complex movements and constructions, designed for a quick change of landmarks.
If a child has difficulty completing a task, he cannot accurately coordinate his movements with the music, its tempo, rhythm (even after learning it), the teacher should not fix excessive attention on this and point out to the child his shortcomings in a sharp form, and even more so remove him from the class. As in the development of other types of activity, in rhythm, each child expresses himself in his own way, certain abilities are already laid in him or, conversely, their absence is obvious. Rhythm classes are designed to instill in any child an interest in movement to music. This interest can be maintained only in an atmosphere of goodwill and good mood.
Rhythm classes include work on musical-rhythmic skills and skills of expressive movement, which are very closely related to each other, the separation of which is conditional.
Musical-rhythmic skills form the basis of exercises with musical tasks. They lead children to understand the laws of the rhythmic structure of musical works, teach them to understand the diversity of the nature of music, change in tempo, dynamic and register changes, reproduce metrorhythmic features through movement, and analyze the form of works. Here one can see especially close connection rhythmics with music theory and solfeggio, choral singing, playing musical instruments.
Expressive movement skills are aimed at training and improving the culture of movements, which in the process of training become more rhythmic, free, expressive, coordinated, and plastic. They are borrowed from the field of physical education (basic movements, gymnastic exercises with and without objects, building and rebuilding), dance (elements of folk and ballroom dances, character dance movements, individual elements modern dances), from the field of plot-figurative dramatization. In the work on the skills of expressive movement, the most serious attention is paid to the relationship between movement and music.
important correct selection musical works for classes, on which the upbringing of a good musical taste largely depends, and the child responds with movement to various music, but only if it is understandable to his body. You need to choose music that will encourage the child to move with joy and desire. It can be classical works, folklore, rock, jazz. Music can be of any genre, the main thing is that it be melodic, beautiful, in an arrangement that is understandable to children.
In musical and rhythmic activities, preschoolers master various movements and methods of their performance, which also requires special knowledge: about the fusion of the nature of music and movements, about the expressiveness of the game image and its dependence on the nature of music, on the means of musical expression (tempo, dynamics, accents, register , pauses). Children learn the names of dance steps, learn the names of dances, round dances. great attention in the classroom, the ability to act independently to the music is given: to perform various rearrangements, remember the sequence of dance movements, come up with your own dance using familiar movements
Accompanying singing with movement contributes to the development of musical and rhythmic skills in a child, affects the quality of choral sound, the purity of intonation. In children, breathing is strengthened, diction improves, and the skill of coordinating movement with music is developed. Solving the problem of reflecting the content and nature of the musical image in movement helps to develop imagination in a preschool child, to activate its creative manifestations.
An indispensable tool in working with preschoolers on the formation of motor skills are "games with the word", the use of which introduces children to the main types of movements (spring, variable step, jumps, gallop, dance elements, etc.), improves the quality of their performance.
The strength and advantage of musical-rhythmic activity for the formation of children's artistic creativity lies in the fact that it is a synthesis of several types of arts: music, dramatization, plasticity, pantomime and choreography, combined into a single artistic whole through the creation of a musical-plastic image. The basis is the musical movement, dance in its various forms: folk, characteristic, classical, historical and everyday, ballroom, modern. Dance expresses various emotional states, feelings, experiences, where music, emotions and movements are closely interconnected and interact.
The process of musical and rhythmic creativity includes the composition and performance by children of their own musical movements, exercises, etudes, dance scenes, performances, and games. hallmark musical and rhythmic creativity is that it contains a synthesis of two principles - executive and productive: children invent their own dances, etudes, games and perform them at the same time, the product coincides with the process, performance is a product of creativity, which determines the effectiveness of the formation of interest as a subject matter as well as the process.
The musical-rhythmic movement helps the children to feel the length of the phrase or the asymmetry of the phrasing, to feel in the pulsation the nature of this or that work, to show the features of the development, deployment of music, and also to express themselves in a creative search.
Even elementary movements: top, slap, clap, correctly coordinated with music, are the most important basis for the development of the child. After all, performing them, the child responds to a certain rhythm, tempo, melody, including both hemispheres of the brain in the work.
It must be remembered that there are rules that are common to working with children of all ages. The lesson should be structured in such a way that active movements alternate with walking or breathing exercises. Do not overload children with running or jumping, as this can lead to excessive psycho-emotional and cardiovascular overload. It is also necessary to take into account the individual abilities of the child. Only strict adherence to these rules will make rhythmic exercises effective.
The task of the teacher in musical and rhythmic education will be to promote the formation of the musical and aesthetic consciousness of students and teach them to feel, aesthetically experience music in motion; cultivate musical taste; contribute to the formation of the musical and cultural horizons of the individual. He is obliged to improve the artistic and creative abilities of students, developing the plasticity of movements, their rhythm, expressiveness in close relationship with music, to educate and develop artistic and creative abilities, initiative, independence of decisions when children compose dance compositions, options for musical games and exercises, staging songs.
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Musical-rhythmic movements are an active activity, which is a reflection of the nature of music in motion. Musical-rhythmic movements include musical games, dances and exercises. The basis of musical and rhythmic education is the development in children of the ability to perceive musical images and the ability to reflect them in motion.
The meaning and tasks of musical and rhythmic education
One of the first developed the system of musical and rhythmic education at the end of the 19th century. Swiss teacher and musician Emile Jacques-Dalcroze. Many musicians, teachers, psychologists, methodologists, music directors worked on the creation of a modern system of musical and rhythmic education. preschool institutions. The leading place among them belongs to N.G. Alexandrova, as well as her students and followers - E.V. Konorova, N.P. Zbrueva, V.I. Griner, N.E. Kizevalter, M.A. Rumer. Taking into account the child's need for movement, caused by the growth of the body, they sought to form his motor skills and, most importantly, to comprehensive development through the organic combination of movements with musical sound.
It is known that with the help of movement, the child learns the world . Performing various movements in games, dances, children deepen their knowledge of reality. Music causes motor reactions and deepens their , not only accompanies movement, but defines their essence . The task of the educator is to develop in children the ability to quickly carry out the movements proposed by him and, if necessary, to be able to slow them down, that is, to develop active inhibition. Music is a stimulus that causes a reaction, both in the direction of excitation and in the direction of inhibition. In music education classes, one can observe how lethargic, passive children become active, and excited children become disciplined.
In the process of practicing musical and rhythmic movements the child's body is strengthened; musical ear, memory, attention develop; moral-volitional qualities, dexterity, accuracy, speed, purposefulness are brought up, such movement properties as softness, springiness, energy, plasticity are developed; improves the posture of children. Musical rhythm contributes to the ordering of movement and facilitates its mastery. With the right selection, musical and rhythmic movements strengthen the heart muscles, improve blood circulation, respiratory processes, and develop muscles.
At the heart of musical and rhythmic education lies development in children of perception of musical images and the ability to reflect them in motion . Moving in accordance with the temporal course of a piece of music, the child also perceives pitch movement, i.e., a melody in connection with all expressive means. It reflects the character and tempo of a piece of music in movement, reacts to dynamic changes, starts, changes and ends movement in accordance with the structure of musical phrases, reproduces a simple rhythmic pattern in movement. Hence, the child, perceiving the expressiveness of musical rhythm, holistically perceives everything sonic work. It conveys an emotional character; a musical work with all its components (development and change of musical images, changes in tempo, dynamics, registers, etc.).
Thus, musical-rhythmic movement is means of developing emotional responsiveness to music and Chuv musical rhythm.
Seeing the beauty of movement in games, dances, round dances, striving to perform the movement as beautifully, gracefully as possible, to coordinate it with music, the child develops aesthetically, learns to see and create beauty.
Musical and rhythmic constructions, national dances, dramatizations, round dance games with singing, built on the best examples of folk, Russian classical and modern music, form the moral character of the child , develop musicality and artistic taste , instill love for the motherland . In addition, musical and rhythmic movements contribute times development of spatial and temporal orientations . The child finds himself in such game situations that require a quick reaction to changes in music, to the movements of his comrades, and is faced with the need to independently complete tasks. It develops it attention, creativity .
Therefore, the lessons of musical-rhythmic movements are connected with everyoneaspects of education. They promote mental, moral venous, aesthetic and physical development of the child.
The value of musical-rhythmic movements in a child's life is that they:
♦ enrich the emotional world of children and develop musical abilities;
♦ develop cognitive abilities;
♦ foster activity, discipline, a sense of collectivism;
♦ contribute to the physical improvement of the body.
main direction in work on musical and rhythmic movements is systematic musical development child.
Music not only accompanies the movement, but determines its essence, i.e. movement should not be only movement to the accompaniment of music or against the background of music, it should match:
♦ the nature of the music;
♦ means of musical expression;
♦ the form of a piece of music.
Let's consider this in more detail.
Music, as you know, conveys the most various shades moods. For example, in the following three works for walking - “Festive March” by N. Levy, “Etude” by T. Lomova and “March” by S. Prokofiev - music of a cheerful, calm and solemn nature. Naturally, in these three cases, children will walk differently. Under the first march, they will walk with a brisk step, to the music of T. Lomova - calm, unhurried, and under the "March" by S. Prokofiev, the children will go solemnly. Hence , movement , V this case walking, matches the nature of the music .
Among means of musical expression tempo, metro-rhythm and dynamics are of particular importance for musical-rhythmic education. Pace is the speed of movement of a piece of music, metrorhythm - organization of strong and weak beats, the ratio of different durations, dynamics - the strength (loudness) of the sound.
Depending on the tempo of the piece of music, the child moves quickly or slowly, slows down or speeds up his movements. Metrorhythm determines the coordination of certain movements with music. For example, in "Polka" by I. Strauss, for a strong share of tact, children are asked to put their foot forward on the toe, children threaten accents with their right or left hand.
By the age of six, they not only feel metrical accents, but can also partially reproduce the rhythmic pattern of a piece of music. So, in the round dance “Viburnum on the mountain” (Russian folk melody) to the chorus “Well, who cares viburnum”, children make 4 claps and three stomps. This is already a rhythmic pattern.
Movement , as already mentioned, consistent with the form of the muse cal product . Even the children of the younger groups can distinguish the contrasting music of the two-part form and change movements in connection with it. Consider the dance "Boots" (Russian folk melody), intended for children of primary preschool age. There are two parts to this dance. Children go to the first part of the work, stomp to the second part. Therefore, the movements depend on the form of the piece of music. Older children are introduced to three-part and more complex forms of musical works, they are taught to change movements in accordance with the change of parts of a less contrasting nature. The more precisely and in more detail they distinguish the nature of music, the means of musical expressiveness, the forms of musical works, the more freely and expressively they perform movements.
Preschool is a period of accumulation of musical impressions, intensive development of musical perception. depending As a result of age-related development, the nature of children's musical-rhythmic activity changes.
In the earliest childhood the child happily runs, jumps, dances. But this is not yet the performance of the game, the dance, but only a partial inclusion in this process. The child moves imprecisely and inexpressively. During these years, children develop emotional responsiveness to music, ability to listen her, memorize And perform music-related movements nia shown by the teacher and consistent with the words of the song.
In the fourth year of life children able to learn and perform movements independently . But these movements not fast enough yet ordered , children are poorly oriented in space, are hardly included in collective actions. That's why musical- rhythmic activity children of the fourth year of life enough modest . They learn to move in accordance with the brightly contrasting nature of the music, at a slow and fast pace, are able to respond to the beginning and end of the sound of music and perform the simplest movements.
In the fifth year of life children already have the experience of listening to music, they can recognize familiar melodies, distinguish the brightest means of musical expression, and determine the nature of music. They have auditory sensations are differentiated , They move rit more fun , more in tune with the nature of the music , start and stop movements according with start and end sound music, perform more varied movements (straight canter, movements in pairs, stomping with one foot, placing the foot on the heel).
At the age of five or six children can expressively and rit move smartly , showing in your movements individuality.
They must be able to feel the metric beat and, first in clapping, and then in movements, perform a simple rhythmic pattern, master a variety of movements (from rhythmic running with a high leg lift and jumps from foot to foot to a polka step, half squat, variable step, etc.). d.).
Hence, in the process of musical-rhythmic movements carried out as general tasks of musical education and the following special tasks
Development of musical perception, musical-rhythmic feeling and, in connection with this, the rhythm of movements;
Teaching children to coordinate movements with the nature of a piece of music, the most striking means of musical expression, the development of spatial and temporal orientations;
Teaching children musical and rhythmic skills and abilities through games, dances and exercises;
Development of artistic and creative abilities.
The motor basis of musical-rhythmic movements that are held with children in the form of games, dances and exercises are:
♦ basic movements - walking, running, jumping, jumping;
♦ gymnastic movements with objects (balls, ribbons, hoops, flags);
♦ dance moves;
♦ imitation movements, which are combinations of basic movements with imitation of various actions and movements of birds, people, animals, vehicles, etc.
All these movements are transmitted by children in different ways and are useful material for the development of imagination and creative activity.
Types of musical and rhythmic activity
To the most common types of musical and rhythmic activity include games, dances and exercises.
The main place in the section of musical and rhythmic movements is occupied by games. Music game - this is an active activity aimed at performing musical and rhythmic tasks. It causes a cheerful, cheerful mood in children, affects the activity of the process of development of movements, and forms musical abilities. While playing, the child exercises in movement, masters it, during the game the positive qualities of the child's personality develop, through the game he learns life.
All child activity in the process of musical games is active listening music , requiring a direct reaction, heightened musical perception associated with experiencing, distinguishing and recognizing a musical image.
Performing musical tasks in the game involves determining the nature of music, tempo, distinguishing dynamics, separating ny parts of the work.
The effectiveness of the musical development of the child in the processmusic games is ensured by the fact that the game as the closest form of activity to it is easy to explain. In addition, interest in the game and emotional elation in the process of its performance, the availability of game images contribute to the development of the child's creative initiative.
Music games are divided into plot And non-plot depending on whether the children are acting out a certain plot or performing game tasks.
IN plot games reveal images, show actions. In these games, poetic texts are plotted, and movements, as it were, comment on them.
In the plot games of children of younger groups, the simplest imitation of movements takes place (a sparrow flaps its wings, a bunny jumps). In the middle group, the requirements for similarity with the image, the experience of it, increase. In the preparatory group for school, children are required to have emotional expressiveness of movements, a conscious attitude to their role and a higher quality of its performance. In the process of experiencing his role, the child develops an attitude towards the image.
The main types of story games .
1. The initial form of the game - playing under singing and movements under the piano conclusion . For example, "Horse", music by A. Filippenko. The text is the content, and the piano conclusion is the development of the image.
2. Next in difficulty is playing with an instrument mental music , for example “Pilots, watch the weather”, music by M. Rauchverger.
3. More complex are dramatization games . They can be taken out for holidays, leisure evenings. It is desirable that the participants of the game act in costumes. For example, the dramatization game "Teremok", music by M. Krasev, words by S. Marshak.
Non-plot games do not have a specific theme. They contain various game tasks, dance elements, competitions, various constructions and rebuildings.
An important type of musical-rhythmic movement are dancing. They activate the child's hearing, develop clear beautiful movements and contribute to the development of creative activity. And in dancing, children distinguish between the nature of music, the form of a musical work, and the means of musical expression.
Various dances are held in the kindergarten.
1. Dances with fixed movements, i.e. copyright, which include:
♦ dancing with the participation of an adult; this type of dance is created by the author, taking into account the obligatory performance by the teacher of the same or different movements as the children;
♦ modern children's dance;
♦ folk dances, which use authentic elements of folk dance;
♦ round dances with singing, the movements of which are not connected with the text;
♦ characteristic dance, in the movements of which this character is depicted;
♦ children's ballroom dance.
2. Improvisation dances based on learned movements. They are used for the development children's creativity. These include:
♦ dance like "mirror";
♦ dance, where children compose movements for the first part of it, and for the second part the teacher shows the movement;
♦ dance, where children compose movements for its first and second parts.
In addition to musical games and dances, in music classes with children, a certain place is occupied by exercises- repeated performance of the same movement for learning purposes.
Assignment of exercises various O:
♦ exercises used to improve basic movements (walking, running, jumping, jumping);
♦ preparatory exercises, during which movements for games and dances are learned (alternating step, circling, step on the whole foot, passing the flag in a circle, etc.);
♦ figurative exercises that clarify various game images, the movements of the characters in plot games (the gait of a bear, the jumping of a hare, the running of a horse); figurative exercises give
children the opportunity to master the movements to perform individual roles;
♦ exercises as certain completed compositions; usually they are created by the authors.
IN junior group basic software requirements in the section of musical and rhythmic movements are as follows: through musical and rhythmic exercises and musical games, increase children's interest in music, develop their musical abilities, help them perceive music holistically, emotionally.
Children should master the following skills :
♦ start and end movements simultaneously with music;
♦ coordinate their movements with the nature of the music (peppy, calm), register changes (high, low), tempo (fast, slow), dynamics (loud, quiet), form of musical works (two-part);
♦ perform basic movements (walking, running, jumping);
♦ perform gymnastic exercises (with flags, handkerchiefs, rattles, etc.), rebuilding;
♦ perform figurative and dance movements.
To children middle group in the process of practicing musical and rhythmic movements, much more demanding nia . They are taught to perform tasks more accurately, correct mistakes themselves, and consciously relate to the quality of movements. Develop observation, initiative and independence of children when performing tasks, awaken the imagination.
In the process of games, dances, exercises, children develop interest and love for music, develop musical memory and musical-rhythmic feeling. In the middle group, the skills acquired in the younger group are consolidated, and new, more complex ones are introduced.
The topics of games in the middle group are more diverse , their content is quite detailed, the musical tasks are more complicated. Teaching children games, they deepen their understanding of the environment, as in them children convey the habits of animals, the actions of people, and imitate the movement of vehicles.
The dances are getting harder in terms of movements and construction, the musical material becomes more diverse in form and content. Games with individual roles are introduced. In the middle group, a lot of dances with fixed movements are used, the simplest type of dance-improvisation is introduced - the "Mirror" type. Dances become more diverse both in their music and construction. The movements in them reflect the changes in the nature of the music in more detail.
Children work with all kinds of exercises , although the exercises-compositions are given very simple, consisting of 2-3 elements of movements. The role of the educator is also changing. He gives children more and more independence, explains more often, gives instructions than shows. In games with individual roles, their performance is entrusted to the child from the second lesson.
During the learning process, all takes up more space individual work - challenges to demonstrate the movement of one, two, three children. Moreover, not only children who have mastered the method of its implementation are called, but also not coping with it. Such challenges activate children, help to focus their attention.
With children lagging behind in mastering the material, individual work is carried out outside of music classes.
At every lesson when learning a game or dance in front of children new tasks are set. Learned games and dances are repeated many times, different versions of games are used, their combination with dance.
Program complication V senior And preparatory groupgroin due to the life and musical experience already acquired by children, as well as the level of their physical and mental development: the nervous system has strengthened, movements have become more coordinated, orientation in space and imagination have developed, attention has become more concentrated.
Children of this age have sufficiently developed musical abilities - a sense of rhythm, an ear for music. In the senior and preparatory groups educator fixes everything before skills, knowledge and skills acquired by children . The scope of their musical and motor skills is increasing. Children approach the task consciously, are able to evaluate their activities and strive to do everything correctly. If in the younger group the child imitates the image, in the middle group he accurately fulfills it, then in the senior and preparatory groups the child embodies the image emotionally, expressively.
Children are required to be able to move in various formations and directions (asterisk, gate; walking forward, backward, loose, snake, etc.). In a number of games, dances and exercises, work is carried out on the alternate actions of groups and pairs of children, on the timely start and end of actions by them. All kinds of games, dances, exercises, improvisations are held in these groups; dramatizations, sketches. Children of senior preschool age should be able to: move rhythmically in accordance with the nature of the musical work, its parts and dynamics of sound, tempo and meter, rhythmic pattern.
In games with singing, children must convey the content of the text and the nature of the melody. Perform dances built on dance movements - gallop step, polka, putting the feet on the toe and heel. Perform elements of Russian folk dance - a smooth step, a variable step, a step with a stomp, a half-squat, a triple stomp at the end of musical phrases; claps at different tempos and rhythms, etc. Correctly combine basic movements with gymnastic, imitation ones. Play to the singing of children and the teacher, to instrumental accompaniment, be able to stage the content of the song.
In musical games, children are taught to act in concert, independently look for expressive movements, without imitating each other. In dances, they must creatively use the elements of movements familiar to them, combine them, and make simple compositions. Children should not only master various movements, but also know their names.
In the senior and preparatory groups the game remains the main activity , But dances and exercises take more place.
In groups of children of senior preschool age, all kinds of dances and exercises. A dance with the participation of an adult usually appears only at holidays, when the guests who have arrived (Santa Claus, Petrushka, Snegurochka, Spring, Autumn, etc.) dance with the children or when the leader organizes the children in a round dance and conducts a dance with them that has not been previously learned .
Preparing a teacher for teaching children musical and rhythmic movements
In order to properly organize the process of learning games, dances and exercises with children, the teacher must prepare accordingly:
♦ carefully study a piece of music;
♦ analyze it in terms of general character and musical form;
♦ perform the movements of this game, dances, exercises, strive for their expressiveness, accuracy, figurativeness based on the analysis of the work and the instructions of the authors;
♦ to plan program requirements for children in basic musical and rhythmic skills;
♦ develop a teaching methodology.
Software Requirements planned for the following aspects :
♦ the nature of the piece of music (peppy, calm, solemn);
♦ pace (fast, slow, moderate, etc.);
♦ dynamics (loud, quiet, not very loud, etc.);
♦ metrorhythm (meter, accent, rhythmic pattern);
♦ the form of a piece of music (one, two, three parts, introduction, conclusion).
9. Methods of teaching musical-rhythmic movements to children of younger and older age.
Let's look at a few examples methodology for conducting games and dances with children of primary preschool age.
Story game with singing "Vanya is walking",
Russian folk song, arranged by M. Rauchverger
Software content. Teaching children to move in circles calmly
step, holding hands, in accordance with the nature of the music and the content of the song; to dance music to perform the simplest dance movements.
Tasks. To cultivate the ability to actively engage in a common game, to act in a team.
Game description
1. Vanya walks, Children sit or stand in a circle.
Vanya walks, the teacher sings. The child named in the song walks in front of the children.
in the middle of the circle,
In the middle of a circle.
The child chooses one of the children and approaches him.
“Vanya” and his “friend”, holding hands, slowly spin around. The rest of the children clap their hands. Then the game is repeated with the new "Vanya".
The methodology of the game. The song for the game does not learn in advance. Usually children memorize it during the game. It is difficult for babies to sing and perform movements at the same time, while either one or the other suffers. Children sing along as they play. Before the game, a figurative story is given: “Once upon a time there was Vanya, a cheerful boy. He wanted to find a friend with whom he could dance merrily. He set off on his journey and soon found a friend. Both were delighted and began to dance merrily.
For the first time, the teacher takes on the role of Vanya. He and the children walk in a circle. The teacher sings the 1st verse. Before the second verse, he explains: “And now all the children will stop so that I can see everyone, I need to choose Vanya’s friend” (The teacher walks in a circle and sings the 2nd verse, looking at the children). After the 2nd verse, he says: “So I chose my friend” - and, to the singing of the 3rd verse, solemnly leads him in a circle. Then the teacher and his friend dance, and the children clap. The teacher says: "Now "Vanya" will be Lenochka, she will look for her friend." In the text of the song, you should not substitute real names, so as not to violate the folk flavor of the game. The game is repeated without explanation from the teacher. You can offer different options for this game, for example, look for flowers or handkerchiefs.
The game "Hide and Seek with Handkerchiefs" (any Russian folk melody of a peppy character)
Software content. Teaching kids how to dance
coordinating them with the nature and form of music.
Tasks. To evoke a feeling of joy, to cultivate attention, endurance.
ABOUT writing the game and the method of its implementation. The teacher takes a handkerchief and shows several dance movements with it: springs, stomps, whirling, clapping. Then he distributes handkerchiefs, approaching each child. He says: "Here, Anya, a blue handkerchief, and you, Vova, a red one." Then he suggests: “Now let's dance with handkerchiefs” (first dances with the children, and then prompts the movements with words). At the moment the music ends, he invites everyone to hide behind handkerchiefs, quickly sits down showing how to hide, and then gets up and starts looking for the children, saying: “Where are the guys, where did they run away?” (The main thing is that the children should be happy at the same time - they are sitting here, but they are not found.) The music sounds again, and the children dance. Educator: "Here they are, guys!" (if one of the children did not get up, it is necessary, calling him by name, invite him to dance).
By varying the game, you can put boys and girls in pairs, giving each pair of handkerchiefs of the same color. After the dance, the girls hide behind handkerchiefs, while the boys look for them and vice versa.
Dance "Stukalka", Ukrainian folk melody, arranged by N. Metlov, author of movements F. Teplitska
Software content. Teach children to change movements with a change in the volume of music. Perform light running and vigorous stomping with one foot.
Tasks. Cultivate spatial orientation.
Description of the dance. On bars 1-8, the children move lightly in a scattered way throughout the room. On bars 9-16, turning to face the teacher, they vigorously stomp with one foot.
Learning methodology. Children listen to dance music, then the teacher explains to them that at first the music does not sound very loud, it is easy and it is very good to run under it, and then the music sounds loud, energetic and it is very good to stomp under it. The teacher reinforces his explanation by showing the dance. After the show, he invites all the children to dance, and he himself dances with them. In the process of performing the dance, he gives instructions. With further learning it can use a musical riddle: “Guess, children, what am I playing?”; showing dance movements with two or three children; explanations. When repeating the dance, it is necessary to ensure that the children stomp either with their right or with their left foot (change their foot). When the dance is mastered, you can introduce movement in pairs into it.
Dance "Befriended", music by T. Vilkoreiskaya, author of movements N. Frenkel
Software content. Move in accordance with the cheerful nature of the music; timely change movements with the change of parts of a musical work; move rhythmically in pairs, performing light running and circling.
Tasks. Cultivate attention, a sense of sympathy for each other.
Description of the dance. In the first part of the work, pairs of children move in a light run scattered throughout the room. On II - spinning, arms spread wide to the sides. At the moment the music ends, they stop and hug each other tightly. Dance can be given with the movement of couples in a circle.
Learning methodology. Before performing the dance, the children listen to music, the teacher draws their attention to its character. Then the teacher figuratively tells its content, for example, like this: “Children dance very cheerfully, together in music lessons. Together they run, spin, and even when the music stops sounding, they just don’t want to part with each other. After explaining the dance, he says: “Look how the children are dancing together,” and shows the dance together with another teacher or a pre-prepared child. Then he invites the children to stand in pairs and dance together. The group teacher pairs up with a child or two children. In the future, the children dance alone; during the dance, the teacher gives instructions, praises the children. In subsequent classes, when conducting a dance, you can use a musical riddle. “What kind of dance are we going to dance now?”, As well as showing the best dancing couple or several couples.
Consider Samples music learning techniquesbut-rhythmic material with children of senior preschool age.
Non-plot game “Be smart”, music by N. Ladukhin, authors of movements E. Zarkhina and M. Kremyanskaya
Software content. Teach children to move in accordance with the cheerful nature of the music; mark metrical accents in movements, change movements in a timely manner, start and end them.
Tasks. Cultivate attention, endurance, develop speed of reaction.
Description of the game. Chairs are arranged with their backs outward in a wide circle. Each child stands behind the chair. In the center, the leader squats down.
Measure 1. All children sit on chairs, and the leader stands up.
Measure 2. All children stand up, and the leader sits down.
Bars 3-4. The movements of measures 1-2 are repeated.
Bars 5-12. Children run along with the leader in a circle in the water direction.
At the moment the music stops, all the children run inside the circle, and everyone sits on any free chair (option - stops and puts the palms of his hands on the back of the nearest chair). One child is left without a place. He should not be chosen as the leader, since in this case he is, as it were, rewarded for his awkwardness. When the game is repeated, the leaders should choose the most dexterous child. At the end of the game while the children are running, it is recommended to put another chair so that all the children are dexterous. You should look for a free chair by running along the outside of the circle (behind the chairs).
Learning methodology. At the 1st stage, children listen to the music for the game, analyze it together with the teacher, determine what movements can be performed under it. In a number of preparatory exercises, they learn to alternately get up and squat to the music. During the exercises, the teacher shows them exact patterns of movements.
At the beginning of the 2nd stage of training, the teacher gives the children to listen to the music for the game, explains its course and invites the children to start the game. Helps with directions during the game. At the first performance of the game, the educator can take on the role of the leader. If any of the children fails to do this or that movement, individual work is carried out with him.
At the end of the 2nd stage and at the 3rd stage of training, the children play the game on their own.
The plot game "Trappers and animals", music by E. Tilicheeva, author of movements by S. Rudnev
Software content. To teach children to coordinate movements with the nature and form of program musical works; expressively embody the images of the game.
Tasks. Improve your music perception skills; to cultivate attention, endurance, orientation in space, to develop creative activity.
But one day trappers came to the forest to catch animals for the zoo. The trappers set up their camp at the edge of the forest and cautiously entered the forest. They go through the forest, stop, listen to the rustles of the forest. We went into the thicket and lay down in the bushes. And the forest is quiet. Only the cuckoo calls, and the birds chirp. But then the bears came out of their lairs. They go through the forest, roll over. They approached the bushes ... here clever hunters jumped out of the bushes, threw large nets on the bears and caught them all. They sent the bears to their camp, and hid themselves again. There was silence again.
Suddenly wolves jumped out of the thicket. They crossed the clearing with great leaps, stopped and howled in a long way. Trappers ran out of the bushes and the wolves were caught. They were also sent to the camp, and again they hid in the bushes near a beautiful clearing. For a long time they waited. It was quiet in the forest. But then the bunnies jumped into the clearing. They circled on the green grass and were very close to the bushes. And the hunters are already here. All the bunnies were caught and brought to their camp. There, the trappers put all the animals in cages, loaded the cages onto a big truck and took them to the zoo.”
Learning methodology. At the first lesson, children listen to a figurative story and music for the game. The distribution of roles is carried out at the request of the children (all movements of the characters are learned in advance in figurative exercises). The teacher monitors the progress of the game without stopping it. After the game is over, he gives explanations and conducts the game again. If there are inaccuracies in the actions of the children, in subsequent classes the teacher again conducts a series of figurative exercises. In the future, when improving the game, you can intersperse a figurative story with listening to music, use musical riddles, tell the story by one of the children, perform the game in subgroups (artists - spectators) with the assessment of movements by comrades. It is recommended to use the learned game as a performance, including it in the scenario of an evening of leisure or a holiday.
Exercise "Mill", music by T. Lomova, author of movements E. Lubyanskaya
Software content. To teach children to distinguish and convey in movements the dynamic shades of a musical work; change movements in accordance with the structure of the phrases of the musical work.
Learning methodology. Children listen to music. The teacher asks what her character is, how many parts she has. After listening to the answers of the children and clarifying them, he performs the work again. He asks if the music sounds the same all the time. Clarifies children's answers. Name the exercise. If the children do not know what a windmill is, show them a picture with its image. Explains that for the first phrase, you need to smoothly shake your hands, as if a weak breeze is blowing, and for the second phrase, make circles with your hands, waving them evenly, as if strong wind rotates the blades of a windmill. Shows exercise. Children perform it for the first time together with the teacher, standing in front of him or sitting in a circle. In the future, the children perform the exercise on their own. When learning the exercise, the demonstration of movements by children, their assessment of the movements of comrades, instructions, explanations are used. To complicate the exercise, you can give children ribbons in their hands.
Dance "Russian round dance", Russian folk melody "Near the river, near the bridge" arranged by N. Metlov, author of movements K. Suchkov
Software content. To teach children to move in accordance with the nature of the music, change movements and their direction to the chorus and chorus, narrow and widen the circle, smooth and fractional step.
Tasks. Develop auditory attention and emotional responsiveness to music, spatial orientation.
1. Go to the chorus with a simple step. On the chorus, they continue to walk in a fractional step in the same direction.
2. For the chorus they go to the center of the circle with a smooth step, for the chorus they step back with a fractional step, stopping facing the center. The circle expands to its original size.
3. For the chorus, the children go in a circle with a simple smooth step, for the chorus, opening their hands and putting them on their belts, they circle around themselves with a fractional step.
Option
The dance is performed in pairs: the boy stands on left hand from a girl.
1. Couples go to the song with a smooth step, slightly stretching their clasped hands forward. The girl holds the dress with her free hand, the boy holds his hand on the belt. To the chorus, the children join both hands, spread them apart and spin in a fractional step.
2. To sing, the boys, taking the girls by both hands, walk with their backs to the center of the circle (the girls walk facing) with a smooth step. To the chorus, the couples return to their places with a fractional step, and the girls go with their backs.
3. The movements of the couples are repeated with a smooth step in a circle, as in the first figure, but for the chorus, the children are spinning in a fractional step around themselves over their right shoulder. Hands are on the belt (or circle, holding under the right hand).
Learning methodology. During preparatory exercises, children work out the ability to walk with a smooth and fractional step. For this, various dance melodies of the corresponding character are selected. At the first stage of learning the dance, children listen to music for it, determine its character, form. Then the music director shows a dance with a teacher or a pre-prepared child and invites the children to perform it. At the initial performance of the dance, the teacher can participate in it. At the second stage, to improve the dance, the teacher uses explanations, explanations, instructions, comments, showing its performance by children who have mastered the nature and sequence of movements. Offers dance options. At the second stage of training, the teacher participates in the dance only when it is carried out in pairs and one child is left without a pair. At the third stage, children are required to perform independent emotional expressive performance.
Thus, method of teaching musical and rhythmic movement is varied and varied which contributes to the deep and conscious assimilation by children of the musical and rhythmic skills necessary for their overall musical development.
Types of musical-rhythmic movements
The sources of movement are physical exercises, dance, plot-figurative dramatizations. Physical exercises in rhythm - walking, running, bouncing, jumping, general developmental exercises (without objects and with them); drill exercises - building, rebuilding, movement. The purpose of the exercises is the development of gymnastic, dance movements, the development of their rhythm and plasticity. Musical-rhythmic exercises can be divided into preparatory and independent. The very word "exercise" sounds prosaic for a child, therefore, taking into account the poetic perception of the world by children, exercises, as a rule, have figurative names: "grasshoppers are walking", "after the rain", "I want to sleep", etc.
Musical games are aimed at expressing the emotional content of music. They are based on program music, which suggests the course of action of the story game, the musical characteristics of the characters. There are plot games, carried out in figurative movements, and non-plot games, which are played according to certain rules, depending on the nature of the musical work. Musical games are divided into games with instrumental music and games with singing - round dance. Round dances are held under folk songs, the text of which suggests a sequence of movements. Singing game is the initial form of musical game, where the text determines the nature of the movement. A more difficult type is playing to instrumental music.
The next type of musical-rhythmic movement is children's dances and dances. They are based on elements of folk and classical dance movements. This type of musical-rhythmic movement can be divided into dances and dances with fixed movements and free - improvisational, as well as combined, i.e. having both fixed movements and free improvisation. In this case, both the author's composition of movements and those that the children themselves come up with are used.
Thus, all types of musical-rhythmic movement perform a common task - to achieve the fusion of the nature of movement and music, but each type has its own functions.
The requirements for the musical repertoire for all types of musical-rhythmic movement are its artistry, dynamism, harmony and clarity of expression of the artistic image. Of particular importance is folk music, in particular Russian folk song.
Techniques for teaching rhythm: a visual-auditory method, which involves the artistic performance of music by a teacher; verbal - a figurative story about a new game, dance; the method of the exercise is repeated repetition and consolidation of movements, as well as the gradual learning of each dance. In the first group of actions for the perception of music by children, bright, expressive means in music, accents, metrical pulsation, and tempo changes are highlighted. All this is transmitted by clapping, slapping, stomping, clicking, tapping rhythm. In the second group of actions, motor skills are mastered in the process of musical games, round dances and dances.
Musical-rhythmic activity is based on motor-plastic elaboration of musical material. The main rule for teaching children the musical-rhythmic movement is an attentive attitude to music, which accordingly does not allow conversations during its sound, as well as noisy
execution of movements. The simplest task at first for children should be the requirement to start and end the movement with the music. If the work begins with an introduction, children should be taught to listen to it, and the movements should begin only after it is completed. The next step may be tasks to change the type of movement depending on the nature of the sound of the music.
The methodology for teaching rhythm contains three stages: 1) introducing children to a new exercise, dance or game. A holistic impression of music and movements is created. This is the beginning of learning in general terms. At the same time, the teacher listens to music together with the children, reveals its character, images and shows musical and rhythmic movements, trying to awaken in children the desire to learn them. Then he explains the content of the musical-rhythmic movement, its elements, shows each element separately and, together with the children, performs a new movement. At the moment of learning the sequence of elements of the entire composition, the teacher tactfully evaluates the actions of children in order to maintain their positive attitude towards learning; 2) deepening learning. At this stage, clarification takes place, the creation of a holistic musical image, the mood of the music; 3) consolidation of ideas about music and movement, encouraging children to independently perform the learned movements; children's creativity, inventing new composition round dance from the learned elements of dance.
When working on a game, dance or dance, it is advisable for the teacher to repeatedly perform music, to stop the attention of children at moments that are not clearly conveyed in movements; it is unacceptable to clarify the rhythm of movement in isolation from the music, as well as the loud score of the teacher at the time of the exercise. If necessary, it is possible to use the demonstration of successful movements by one or two successful students, since in teaching practice it has been noticed that schoolchildren understand the movement faster when it is performed by their peers.
Rhythm classes require space for the free movement of children. The absence of a special room in some schools explains the reason why it is difficult to give sufficient attention to rhythmic exercises in the classroom. But, understanding the importance of rhythmic movement, which can help the child "get into the image", feel the music "with the whole body", get deeper into its mood, we can recommend performing tasks while sitting or standing near the desks, but in no case deprive the child of the possibility of self-expression through movement . For example, to cheerful music, you can invite children to “dance” in the air with their hands, stamp their feet (sitting), make smooth movements with their hands to calm music, and portray curiosity or fear to “mysterious” music. Those works that are associated with movement, children remember better and love more.
As program works Yu.B. Aliyev offers the following exercises: games, dances, dances and dramatizations.
Exercises: 1. V. Shainsky"It's fun to walk together" (marching). 2. M. Glinka"Children's Polka" (jumps, whirling). 3. D. Kabalevsky"Rondo March" (walking to music of a different nature), etc.
Games: 1. Playing with dolls: P. Tchaikovsky"Disease of the doll", "New doll". 2. Game of soldiers: P. Tchaikovsky"March of the Wooden Soldiers" V. Rebikov"Game of Soldiers". 3. The game "Bear and children": Russian folk song "How our girlfriends went", I. Stravinsky"Bear". 4. The game "Conductors" (clocking for 3 4, 2 4, 4 4) for 3 4 - P. Tchaikovsky"Kamarinskaya" from "Children's Album", F. Schubert"Lendlers"; on 3 4 - N. Rimsky-Korsakov"Song Indian guest"from the opera" Sadko "; on 4 4 - M. Glinka"March of Chernomor" from the opera "Ruslan and Lyudmila".
Dances and dances: 1. Russian folk song "Will I go, will I go out." 2. P. Tchaikovsky"Polka" from "Children's Album". 3. I. Shatrov"On the Hills of Manchuria". 4. P. Tchaikovsky"Waltz" from the ballet "Sleeping Beauty".
Staged: 1. A. Alexandrov"It's boring without music." 2. M. Krasev"Summer Waltz". 3. G. Sviridov"Witch". 4. E. Sokolova"Baba Yaga". 5.77. Perkovsky"Argument". 6. P. Tchaikovsky"Snowdrop" from the cycle "Seasons".
Recommended game movements and dance elements in elementary school (more details can be found in the book: Osenneva M.S., Bezborodova L.A. Methods of musical education of junior schoolchildren. - M., 2001. - S. 251 - 252):
1. Starting position: the main standing position is to stand without stooping, without excessive tension in the knees and shoulders, the head is slightly raised, the heels are together, the toes are slightly apart.
2. Step types: cheerful step - an ordinary household step, but somewhat more striving, due to which the weight of the body is immediately transferred from the heel to the front of the foot. The nature of this step corresponds to a joyful, cheerful march. High step - a step with a high leg lift and knee flexion. The body is straight, the head is raised, active movements of the hands. Corresponds to the energetic character of marching music. Quiet and "cautious" walking - the body is tilted slightly forward, the legs gently step on the entire foot. Hand movements are restrained. The nature of the step corresponds to the quiet sound of the music. round dance step - the head is slightly raised, the shoulders are slightly laid back; the round dance is performed by children holding hands. In this case, it is possible to change the position of the hands, i.e. the hand that was in front goes back, and the one that
behind, forward. Thus, the children walk in a round dance, turning in a circle either with their faces or with their backs. To perform a step on your toes, you need to straighten up, as if stretching up. Soft, springy step corresponds to calm dance music. The leg, sinking to the floor, gently bends at the knee and immediately springs up, stands on the toe (half toes).
3. Types of running: easy running - running of a relaxed, carefree nature. In running, the legs actively push off the floor and land softly, silently. Swift running - vigorous running (big jumps) with a strong swing of the arms. The body leans slightly forward.
4. Jumps: lungs jumps are performed without undue stress. The leg is slightly extended forward with a bent knee, the arms move freely - one forward, the other back. Strong jumps - the movements of the arms and legs are more energetic. Unlike light hops, strong hops correspond to more dynamically brighter music.
5. Jumping: spring bouncing is performed with a strong repulsion of the feet from the floor. When landing, the knees bend slightly. First, the fingers touch the floor, and only then - the whole foot, the weight of the body does not pass to the heels. The position of the body is straight, the upward movement is emphasized vertical.
6. Elements of dancing: lateral gallop - the right foot takes a step to the right, the left one stretches towards it, with the heel, as it were, pushing it again to the right, for the next step. Flight movement, without high bouncing. The body does not turn in the direction of movement. Polka step- on the outset, a slight jump is made on the left leg. At the same time, the right leg is extended slightly forward. On "one-and-two" three small steps-running on toes are made, with the right - left - right foot, on "and" - again a slight jump on the right foot, the left is carried forward, etc. Putting the foot forward on the heel and on the toe: putting the foot on the heel, you should bend the leg in the rise so that the toe looks up; putting the foot on the toe, the rise must be straightened. Jumps with "throwing" the legs forward - the leg is carried forward with a straight knee and a slightly extended toe, almost touching the floor. The body is slightly tilted back.
7. Elements of Russian dance: step with a flood in place: on "one" - step with the left foot, placing it next to the right, on "two" - stomp with the right foot in front of the left (without transferring the weight of the body to it), then on "one" of the next measure - step in place with the right foot, on " two" - left inflow ahead of right, etc. fractional step performed with moving forward and while circling in place. It is performed rhythmically, on the entire foot, with bent knees and a straight position of the body. Triple Step: on "one-and" two short steps are taken, on "two" - one long (equal to a quarter).
The basic character of the movement is smooth. Variable Pitch: on "one" an elongated step is taken with the right foot, on "and" - a small step with the left, on "two-and" - a small step with the right foot from the toe. Then the movements are repeated from the left leg. Half squat: on "one-and" a spring semi-squat is done and straightening of the knees, on "two" - putting the right foot forward on the heel, the toe is raised up. On the next measure, the other leg is put forward. "Kyryalochka": on "one-and" a small jump is made on the left leg, at the same time the right leg is moved to the side, placed on the toe, the knee is turned inward. On "two-and" - a jump on the left leg, the right one is placed on the heel, the knee is turned outward. On the next measure, the overstepping is done with both feet alternately - right, left, right. Then the movements are repeated.
8. The positions of the hands in Russian dance: hands on the belt, hands clenched into fists, elbows directed to the sides; arms are laid aside and the hand is open; hands are removed behind the back; arms crossed in front of the chest. In the round dance, you can use the following movements: in a circle (one at a time and in pairs), "rays" (towards the center of the circle and from the center), "snake", "streams", "wall to wall" (two rows of children standing opposite each other , alternately move forward and backward or simultaneously - "comb").
State budgetary educational institution
Secondary vocational education of the Irkutsk region
"Angara Pedagogical College"
COURSE WORK
on the topic: The development of dance-rhythmic movements of children of primary preschool age in the process of acquaintance with musical works
Angarsk 2012
Introduction
Conclusion
Bibliography
Introduction
Preschool age is one of the most crucial periods in the life of every person. It is during these years that the foundations of health, the harmonious mental, moral and physical development of the child are laid, the personality of a person is formed.
As essential condition harmonious development of personality JI. S. Vygotsky called the unity of the formation of the emotional and intellectual spheres of the child's psyche. Musical education- a unique means of forming this unity, since it has a huge impact not only on the emotional, but also on cognitive development child, because music carries not only emotions, but also a huge world of ideas, thoughts, images.
Musical education begins with acquaintance with musical works. In the process of listening to musical works, children learn music of a different nature (cheerful, sad, slow, fast, etc.), and not only learn, but perceive and assimilate the specifics of different works (author's or folk song; lullaby, dance, polka, waltz , march, etc.). But musical education would not be complete if children were limited to singing or listening to music. Important role dance-rhythmic movements play in the musical and pedagogical process.
Dance-rhythmic movements serve the cause of the child's knowledge of the surrounding reality and, at the same time, are a means of expressing musical images, the nature of musical works. An outstanding music teacher A.D. Artobolevskaya, in the book "The First Encounter with Music", states that the musical abilities of children are manifested and developed primarily through movement with music.
In addition, during preschool childhood, the child grows and develops intensively, movements become his need, so physical education is especially important during this period. age period. And musical-rhythmic movements combine both emotional and creative development and physical development.
In other words, the art of dance is a synthesis of the aesthetic and physical development of a person. Performing various dance-rhythmic movements strengthens the musculoskeletal system, develops coordination of movements and orientation in space.
Thus, the theme of the development of dance-rhythmic movements is relevant in the preschool pedagogical process.
Object of study- dance-rhythmic movements of children of primary preschool age.
Subject of study- a technique for the development of dance-rhythmic movements of children of primary preschool age.
Purpose of the study- study of the development of dance-rhythmic movements of children of primary preschool age in the process of acquaintance with musical works.
Research objectives:
explore the concept and meaning of dance movements;
learn the types of dances, as well as the requirements for dance movements for younger preschoolers
give methods and techniques for teaching dance-rhythmic movements;
to study the methodology of teaching dance-rhythmic movements to children of primary preschool age.
preschooler dance rhythmic learning
Chapter 1. Dance-rhythmic movements of children of primary preschool age
1.1 The concept and meaning of dance movements
The organic unity of music and movements is necessary and natural. Movements must reveal the content of the music, correspond to the nature, form, dynamics, tempo and rhythm of the musical work. At the same time, movements encourage conscious perception of a piece of music. And the music becomes more understandable and easier to digest, giving the movements a special expressiveness, clarity, rhythm. It is known that both in singing and in movement it is necessary to achieve full compliance with the music. Vivid examples of the relationship between music and movements are demonstrated by such sports as rhythmic gymnastics, figure skating, and synchronized swimming.
A significant place in the musical and rhythmic education of preschoolers is given to dancing. To teach a child to convey the character of a piece of music, its figurative content through the plasticity of movements to music - this is precisely what the work on dance is aimed at. Children are known to love to dance. In dancing, they satisfy their natural need for movement. In the expressive, rhythmic movements of the dance, feelings, thoughts, mood are revealed, the character of children is manifested.
Dance is a synthetic art. It is aimed at solving the musical-rhythmic, physical, aesthetic and mental development of children. Movements to music accustom them to collective actions, contribute to the development of a sense of collectivism, friendship, camaraderie, and mutual respect.
Movement to music strengthens children's body. The satisfaction received by the child in the process of motor actions is accompanied by significant physiological changes in his body, improves breathing and blood circulation.
Funny music excites the nervous system, causes increased activity of the higher parts of the brain associated with associative, intellectual and volitional processes. The activity of skeletal muscles in preschool age is important, since in a growing organism the restoration of expended energy is characterized not only by a return to the initial level, but also by its excess. Therefore, as a result of dancing, there is not a waste, but an acquisition of energy. Musical and rhythmic movements contribute to the formation of motor skills, improves posture. Systematic dance classes are very useful for the physical development of children: posture improves, body proportions improve, muscles become stronger. Gradually, children begin to move more easily, more gracefully, and become relaxed. Children develop such qualities of movements as lightness, "flight", elasticity, dexterity, speed and energy. Thanks to music, the movements of preschoolers become more clear, expressive and beautiful.
It has been noticed: if they like music, the guys have a desire to move, it is difficult for them to sit still, they literally “splash out” their emotions. Rhythm can be experienced. And it is easier for children to convey their understanding of music not in words, but through movements. And this is a good prerequisite for the creative process. Acquiring knowledge and skills in the field of dance art, children begin to understand that each dance has its own content, character, and image. To convey the expressiveness of dance images, the child must remember not only the movements themselves, but also their sequence (which in itself has a positive effect on the development of memory and attention), but also mobilize imagination, observation, and creative activity.
Dance teaches children to the norms of cultural communication. Modesty, goodwill, friendliness are brought up in children. Boys begin to take care of their partner. Dance becomes one of the means of moral education of the child.
1.2 Types of dances. Requirements for dance movements for younger preschoolers
The dances consist of simple folk and classical dance movements. They can be divided into several types:
dances and dances with fixed movements, the construction of which is determined by the structure of the musical work;
free dances and dances, in which the creative abilities of the performers are most clearly manifested;
combined dances, including fixed movements and free improvisation;
folk dances and dances built on authentic elements of folk dance;
characteristic dances performed by various characters;
children's ballroom dances, including polka steps, gallops, waltz movements and others.
At present, the attention of children and teachers is attracted by modern rhythms of music, new dances. But sometimes you have to deal with the fact that children, watching adult dances in everyday life, imitate the worst examples of their performance (they grimace, break, dance rudely, unmusically). This is of great concern, since it is at preschool age that the foundations of artistic and musical taste are laid.
There are two ways to work on creating children's dances. The first way is to work on lightweight, child-friendly versions of already existing ballroom dances for adults using the same music. They preserve the movements of the dance for adults, its pattern, but the number of figures is reduced, the composition is simplified, and the most difficult elements for children's performance are excluded.
Another way is to create a new children's dance to the music that the children like and suitable in terms of musical structure and form. Such dances include program dance skills that are mandatory for preschoolers (springs, jumps, gallop steps, side, rhythmic claps, etc.), many of which are performed in a new modern manner. New elements are introduced at the same time.
When compiling new dances for preschool children, it is necessary to be guided by a number of artistic and pedagogical requirements. Each children's dance should have a bright emotional content, a kind of color. Dances should be accessible to children, meet their technical capabilities. Otherwise, training will turn into a tedious exercise and lose its educational value.
Children's dance should be very concentrated, compact. It is not recommended to include a large number of different figures in it - this tires the children. It is necessary to take into account the psychophysical characteristics of preschool children, carefully limit the physical load, control over which must be exercised. Namely:
monitor the posture of children in the classroom, the nature of motor tasks;
determine dosage physical activity taking into account the wishes of the doctor;
pay attention to the complaints of children during dance classes;
in conversations with educators and parents, find out all the data about the health of the child, his individual features.
Dance for children should have a clear pattern of movements. It is necessary to remember about maintaining the accuracy and completeness of the dance form, only in this case the dance will be convenient for repeated repetition. An organic relationship of movements with music is necessary, taking into account not only the general nature of music, but also the main means of musical expression (dynamic, tempo, meter-rhythmic, harmonic features, register coloring, the form of construction of a given work). The diversity of the children's dance repertoire (by content, mood) is also important. An interesting moment for children can be a change of partners in the dance, an element of the game, jokes, unusual attributes, costumes.
In order to interest children in dance, the teacher must give a general description of the dance, note its features. Of great importance is listening to dance music, understanding its content and features, analyzing its structure ( separate parts, musical phrases). Children can be invited to note accents, a rhythmic pattern, the beginning of a new part, a musical phrase, etc. with claps. In the process of learning dance, the teacher has to repeatedly return to the content and features of the music he listened to, help children find the shades of movement that reflect the nature of the music. It is necessary to introduce children into the world of the music to which they will dance.
The primary role is played by the correct, distinct, expressive demonstration of movements by the teacher. good show makes children want to quickly learn to dance just as beautifully. The teacher should specially prepare for this show, perform individual dance elements in front of a mirror. It is important to clearly show all the nuances of dance movements. The display may be accompanied by verbal explanations, instructions. This will help make the learning process more conscious and accessible.
The teacher analyzes in advance what mistakes children may encounter when mastering a particular movement, finds the exact words to explain individual details, thinks over figurative comparisons, clear brief instructions.
Working on dance great importance have preparatory dance exercises. It is recommended to first teach the children individual dance elements, which, as they learn, can be combined into dance figures. Children can stand scattered or in a general circle, in which case they see the teacher's show well, and the teacher, in turn, has the opportunity to control the quality of movements. If the children are scattered, the teacher's display should be mirrored.
More often it is necessary to use the demonstration of children who perform this or that movement well. There are cases when in practice any preliminary work on the dance or elements is excluded. The dance is learned in its entirety, the children perform movements uncertainly, often make mistakes, and receive many comments from the teacher. All this reduces interest in dancing, the learning process lengthens, becomes ineffective. Without mastering the technique of movement, it is impossible to achieve its expressiveness.
Musical accompaniment is a matter of paramount importance. Music should be chosen in accordance with the requirements of good taste. With regard to its criteria (with respect to musical arrangement dance classes), they are determined by such concepts as clarity, intelligibility, completeness of the melody.
Working to the phonograms of musical works makes it possible for the teacher to observe each child, correct movements right in the process of performance, and captivate children with their own show. And, of course, it's nice to see the results of such work: clarity, synchronicity, rhythm, expressiveness, imagery - all these qualities are achieved with passion, and most importantly - by all children. Bright, interesting music causes a desire to move, dance, allows each child to open up, show what he is capable of. A certain level of development of musical abilities in children is assumed, and first of all, a musical and rhythmic feeling, as well as good quality their motor training. It is necessary to take into account the areas of study in each age group.
In children of the younger group, coordination of movements is not sufficiently developed. They walk, waddling, pulling their legs, lowering their heads, running hard and jumping. characteristic feature This age is the excitation of the nervous system and insufficient inhibition, so children have a slow reaction to musical signals. Despite this, the kids develop a steady interest in dancing. By strengthening it, children are taught to listen to music and move in accordance with it. Music for dances should be bright and expressive in form, which helps to perform better dance moves. Particular attention in the younger group should be given to the ability of children to distinguish between the beginning and end of a piece of music and, in accordance with this, begin and end movements.
While learning the dance, a certain sequence should be followed. First, the children listen to music, then - the teacher's explanations about its nature, the form of the work, etc. You can show a dance with a teacher or a pre-prepared child. Then the teacher dances with the children, carefully watching them and helping them, for example, find the right leg or handle, etc.
For children of the younger group, it is necessary to select dances, the performance of which contributes to the development of the following dance skills:
rhythmically walk and run, passing a different pace, marking the end and beginning of each part;
perform movements with attributes (dolls, sultans, etc.);
alternately stamping their feet, spinning apart and in pairs, clapping their hands, putting their legs alternately on their heels, etc.
Indicators of the level of development of children:
interest in the dance process of movement to music;
expressiveness of movements;
the ability to convey in plastic the nature of music, a dance image.
Chapter 2
2.1 Methods and techniques for teaching dance-rhythmic movements
There is much in common in the method of teaching preschoolers rhythmic movements and singing.
Firstly, similar methods are used: visual-auditory (expressive performance of music by a teacher), visual-visual, motor (showing games, dances, their individual elements), verbal (figurative story of the leader about a new game, dance, explanations and progress of movements). , reminders of their techniques, etc.), exercises (multiple repetitions, variation of familiar material).
Secondly, in singing and rhythm, consistent learning of the repertoire is used, taking into account the complexity of the piece, the age and individual capabilities of each child.
However, there are differences that are peculiar only to this type of musical activity. Let's consider them.
Musical works require a complete holistic perception. And although they are bright in character, but have a certain content, are small in volume (more often these are round dance, marching game songs, instrumental pieces of a pictorial nature), in teaching rhythm they are always associated with movement, a certain action, sometimes with words. Therefore, the perception of the musical game is holistic - the perception of the unity of music and movement. It is difficult to do this, since the game involves the actions of many participants and showing it in its entirety with musical accompaniment almost impossible. In this case, the teacher uses not only a display, but also a word, explaining the game, sometimes in a figurative form, sometimes in the form of clear short instructions.
There are many ways to get started with the game. We consider the following to be the most expedient: first, all the music is performed, then summary games and in conclusion, the piece of music is re-sound.
Most often, this method is used in fairly simple non-plot games or games accompanied by a song.
For example, in the Russian folk song "Like on a thin ice" it tells how Vanya was riding a horse, fell, and his girlfriends helped him. The performance of the song creates a holistic impression of those musical and game images that children will have to reproduce.
Here is another example, when the same method is varied as follows: the performance of music is preceded by a story, which, as it were, leads to an understanding of the program content of the work. The children are told that they will play the "train": "The train goes slowly at first, slowly, then faster and faster. But here is the station, the train slows down, stops - they have arrived! All the guys go for a walk in the meadow, pick flowers there, but how they do it, the music will tell."
Games that have a detailed action require their own methods and techniques. Learning one of them - "The Bear and Hares" begins with a short story about the life of hares in the forest and is accompanied by the performance of the folk song "Hare" in the processing of N. Rimsky-Korsakov. Then a story is told about the bear: "Not far in the den a bear was sleeping, heard a noise, woke up, and got out of the den to see who disturbed him", and the play "The Bear" by V. Rebikov is performed.
You can use the display of a characteristic game movement: the teacher moves, at the same time the music director performs the piece. If the leader himself conducts the show, then first he performs music, then movement, while singing a melody (without words). Such a combination of various techniques - the performance of the entire piece of music, the demonstration of the main elements of the game, their partial description - is very effective in teaching. However, it is necessary that children find any movements on their own as often as possible.
A holistic perception acquires a special meaning if the child is able to capture and retain in his mind the individual components of the work: the nature of the development of musical images, tempo, dynamic changes. Therefore, when teaching children, one should choose such techniques that will help the child feel the richness of the "language of music" and convey it in movements.
Consider the sequence of tasks and techniques in the course of learning N. Ladukhin's game "Be smart!". The music is light and graceful. The first proposal is short phrases in each measure - underlined accents and pauses. The second sentence is conveyed by a uniform, continuous movement of sixteenths. Accordingly, the movements in the first sentence are used - the children, crouched behind the backs of the chairs, either look out, or hide from the leader on the accented first beats of each measure; in the second sentence, everyone runs behind the chairs in a circle and, exactly with the last chord, takes any free chair.
The complexity of the game is that the movements must exactly match the accents and the final chord. Therefore, preparatory exercises are expedient, accustoming the children to listen carefully to these features of a musical work.
Lesson 1. Listening to music. Children's attention is drawn to the light, graceful nature of the music and the different presentation of the first and second sentences. Children perceive music as a whole, feeling its changing character.
Lesson 2. The guys note changes in the nature of the sound with the movement of their hands. The first sentence - the hands "appeared" (the first beat of the beat), the hands "hid" (the second beat of the beat). The second sentence - hands "dance" (turns with brushes). Thus, the structure of a musical work is assimilated.
In order to teach children clear and expressive movements to music, in subsequent classes the teacher gradually complicates the tasks.
Lesson 3. The players hide behind chairs placed in a circle. The first suggestion is to quickly look out or hide. The second sentence - they run in a circle, with the end of the music they take chairs. Rhythm and clarity of movements develop.
Lesson 4. Building the game, as in the previous lesson, but in the center of the circle behind the back of the chair becomes the leader. When the children are hiding, he "looks" for them (peeps out from behind the chair), and vice versa. The teacher works on the expressive-figurative nature of the movement.
Lesson 5. The movements of the previous lesson are repeated, but when the guys run in a circle, the teacher quietly removes one chair and the one left without a seat becomes the driver. The game appears "sports" interest.
Thus, the sequence of classes and the skillful use of techniques help children learn the game well, master the program skills of musical perception and expressive movement.
The technique of learning dances, dances, round dances is built in a similar way. It is also important to create an atmosphere of interest, to captivate with impressions of the dance, playing dance music and figuratively talking about it. Learning is carried out sequentially, and for mastering the most complex elements movements, preliminary exercises are used. Precise instructions and brief descriptions of movements and their sequence are also needed. Especially important is the correct, expressive display of an adult, which determines the quality of children's performance.
Good results are brought by methodological techniques that are addressed immediately to the entire group of participants (this is a feature of rhythm classes) or aimed at activating each child individually. These include the following:
Individual verification of the level of acquired skills, development of abilities through episodic examinations, as well as by monitoring the child's behavior and success.
Use in the course of the lesson techniques addressed to each child;
creating an environment that makes insecure guys want to act and limits overly self-confident ones;
individual instructions to some children along with a general instruction to the whole team;
performance of individual roles, distribution into groups and subgroups, so that some guys complete the task, while others give it an assessment.
Switching on, if necessary, very short in time (2-3 minutes) individual lessons.
Such methodological techniques develop independence and creative inclinations of preschoolers. This is very important in teaching. When introducing children to a piece of music for the first time, the teacher should encourage them to make independent statements about the nature of the music, movements that can correspond to this music. In subsequent lessons, stimulate to independence even when mastering the movements shown to him. The guys are able to speak out about how best to perform the dance, list the sequence of building the dance and perform any movement without the help of an adult, etc. The movements invented by the children are then refined and evaluated by the leader.
In addition, a wide variety of methods for activating children's creativity are possible: exercises with imaginary objects, such as "Play ball", "Play snowballs" (program music is played at the same time and the situations in which these games take place are recalled); game exercises such as "Guess what we are showing" (when some guys come up with and show movements previously agreed with the teacher who must perform the appropriate music, others guess what these movements were); dance exercises similar to Russian folk dance (children dance in turn, and each one remembers and performs his own movement, the one who danced the most interesting and varied is encouraged).
The method of teaching musical-rhythmic movements is characterized by the following:
in the course of mastering the repertoire, children are constantly exercised, developing the skills of musical perception in unity with expressive movement;
learning games, round dances, dances, consistently complicate tasks, taking into account the peculiarities of the repertoire;
repeatedly repeat the learned material, consolidating knowledge that children can apply in independent activity;
constantly stimulate the creative independence of children, use a variety of options for games, dances, round dances;
offer children creative tasks of varying complexity depending on their age, individual interests and abilities.
2.2 Methods of teaching dance-rhythmic movements to children of primary preschool age
third year of life.
In the third year of life, due to the general physical development of children, their movements to music become more confident, but not coordinated enough. In the transmission of the general nature of movement (running, walking), there is still no ability to start and end movements simultaneously with music, to note the metric pulsation of walking and running.
The program includes the following volume of musical and motor skills. Teaching children coordinated movements to music, developing a sense of rhythm, the teacher teaches them to move in accordance with the pronounced nature of the musical work. It draws the attention of children to the fact that you can dance to one music, and walk to another, giving them the opportunity to independently distinguish (for example, they perform a march and dance, and the children themselves must change the nature of the movements). The children are taught to mark the two-part form of the play, the strength of the sound (loudly, quietly) by changing movements; continue to develop rhythm in walking and running to the music.
The games and dances that children are introduced to include the ability to move in a circle, holding hands, in pairs. Games to music help to master some figurative and imitative movements, conveying a musical and game image ("bunnies", "kittens", "locomotive", etc.).
Dance movements also become more complicated: one must be able to clap and stomp at the same time, sway from foot to foot, and half-squat.
fourth year of life.
In the second younger group, the volume of musical-rhythmic and motor skills expands. Children are able to perform more precise tasks. In music of a mobile nature, they distinguish between march and dance and move accordingly (walk, run, jump), noting with movements a change in sound strength (loud, soft) and tempo (moderate, fast).
The attention of the child is drawn to the beginning and end of the piece of music. Using gymnastic, dance, figurative movements, the teacher says that you can move only when the music sounds.
Achieving expressiveness of performance, the teacher constantly makes sure that walking is rhythmic, posture, coordination of movements of arms and legs is correct, running is not "shuffling", jumping on two legs is light.
Gradually, children are enriched with a variety of dance and figurative movements that allow them to more fully convey the nature of the music, learn to stamp each foot alternately, turn their hands, spin one by one, in pairs, they can stage simple songs, chants, performing actions prompted by the text to the music.
The development of movements is helped by exercises to music using flags (waves), handkerchiefs (smooth movements), rattles (raise, lower, hide).
Musical-rhythmic repertoire.
The repertoire of dance-rhythmic movements is composed of various games, dances and exercises that contribute to the assimilation of program skills and abilities, enable children to master them gradually and consistently.
Games with singing and instrumental music contain simple game actions: chasing, hide and seek, or movements dictated by text and music.
Tasks and skills in the process of teaching children (3 and 4 years old) are gradually becoming more difficult. Let's take for example the game "Steam Engine" to the music of A. Filippenko.
Option for 3 year olds. The teacher sings a song. The kids sit on chairs and make circular movements with their hands - "the train is moving."
Option for four year olds. The teacher sings a song. The guys, standing one after another, move around the room (with a stomping step) and with their arms bent at the elbows make circular movements - "the train is moving."
Games for singing in the fourth year of a child's life include more complex actions, constructions, as can be noted in the game "Flag" to the music of M. Krasev.
Wider step, higher flag,
Don't kick your feet!
Who knows how to walk like this -
Stand with us!
Chorus: One, two! One, two!
Stand with us!
Our flag is like a flower,
The wind is swaying.
Come on, Olenka, checkbox
Raise it higher.
Chorus: One, two! One, two! Raise it higher!
First couplet. The teacher sings, the guys go (in a circle) behind him.
Second couplet. An adult calls (sings) the name of the child, offering an individual task - to pass with a flag inside the circle.
Instrumental music games available means expressively convey the image of the game ("kittens" run quietly, "hares" jump merrily, "sparrows" fly easily, flap their wings, etc.). Usually the games are accompanied by a two-part piece of music, the form of which the guys mark with movements, for example, they walk in a circle to the song, run away to the "house" ("The Sun and the Rain", music by M. Raukhverger, B. Antyufeev); they rock the doll and dance with it ("Playing with a Doll", music by V. Karaseva).
Often used in games musical toys, children's musical instruments: bells, drums, castanets, metallophones. The sound of children's musical instruments is different in timbre, which gives special flavor the sound of a piece of music. So, a cheerful chime of bells can accompany "horse riding"; playing along on the drums, the boys clearly march, depicting soldiers; girls often use tambourines, castanets when they dance, for example, polka.
The dances also become more difficult, are accompanied by two-part music and require appropriate movements. The use of text helps the teacher in teaching. Consider, for example, the dance "Squat".
Children stand in pairs, freely located in the room, and perform the movements that the teacher sings about.
1. Become dancing And bow to your friend. La-la-la. (bars 9-16) The guys bow to each other Spin around holding hands (these movements are repeated in each verse) 2. Everyone will squat. Sit down together! Stand up together! La-la-la. (bars 9-16) Squat with hands on waist. 3. The guys are waving their hands - These are the birds flying. La-la-la. Waving their hands 4. Leg top, leg top, Once again, top and top. La-la-la ... They stomp their feet5. Hands clap, hands clap, Once again clap yes clap. La-la-la. Clap hands 6. So the dance ended, Bow again. La-la-la. bow down
In the dances and games of three-, four-year-old children, toys are often used: dolls, bears, a cat, a fox, which is of great interest to the kids, and they perform movements vividly, emotionally.
Exercises include one or two movements (more active and calm), which, depending on the age of the children, gradually become more difficult. For example, to the music of E. Parlov's "March", three-year-old children learn to walk rhythmically; four-year-olds - march with flags and, with the end of the music, make "gates" out of them (the teacher and one of the guys). Then the music of T. Lomova "Running" is performed, and all the kids run one after another through these "gates".
Methods and techniques.
The technique of teaching dance-rhythmic movements is based on the demonstration of the teacher and his short instructions. In working on the accuracy of completing the task by all children, it is very important to correctly and clearly show the movement. The emotional tone of the teacher will help the kids to fulfill it, causing the children to want to move to the music, as well as the use of various toys and attributes.
When learning the game, you should immediately reveal the content and invite the guys to act. If the music in the story game is of a contrasting nature, you need to play it to the children, say who it is intended for, and then invite the children to play. If the performance of any movement, construction will cause difficulty for the kids, it is necessary to practice this separately. By including in the lesson, for example, the game "Sun and Rain", you can first check how easily children can walk in a circle, and then attach the second part of the game - dancing to this movement.
Teaching three-year-old children imitative dances and dances with fixed movements, the teacher uses various techniques.
The correct demonstration is always offered in order to teach the children to follow the pattern exactly and to enable them to independently use the learned movements in the future.
The teacher performs a dance and offers to dance with him, noting the guys who move better, and dances with them again (the rest of the children are watching). In the following lessons, the teacher provides those who have mastered the dance with the opportunity to act independently, and he himself dances with children who still need help.
In the exercises, separate musical and rhythmic skills are singled out, in teaching which the teacher also uses an expressive display, further providing the kids with some independence in completing the task, approves those who perform the movement well, and encourages those who find it difficult to move with them.
When teaching four-year-old children dance-rhythmic movements, the teacher uses both his own demonstration and the demonstration of children who correctly perform tasks.
Learning a new dance or game requires a purposeful perception of music, determining the features of its sound (clapping your hands, waving your hands, etc.). For example, distinguishing the contrasting sound of the two-part play "Playing with Dolls" by V. Karaseva, the guys put their hands under the cheek - the doll is "sleeping"; raising their hands, rotate the brushes - the doll "dances".
When getting acquainted with the music for the story game, figurative explanations are needed, the use of an appropriate toy so that the kids feel the character of each character.
To teach children how to start and end a movement with the music, the music director makes notes to the children who are distracted, reminds them to focus their attention on the musical sound, repeats the piece, achieving the exact completion of the task.
In the learning process, you can use the following techniques: after showing the children the dance, the exercise as a whole, in the future the teacher learns it in parts. By exercising the children in the exact, rhythmic execution of each movement, repeating it several times, the teacher shows the movements himself, approves the correct actions of individual children. This can be followed in the game "Sparrows and the car" to the music of G. Fried and M. Rauchverger. All kids are offered to first show how sparrows fly, achieving an easy run, and then "to drive like a car", rhythmically stomping. When these skills are mastered, the leader assigns a well-moving baby to be the “driver” of the car, and invites the rest of the children to be “sparrows”.
Before demonstrating the movements characteristic of them, the teacher can invite the children to show, to the appropriate music, how birds fly, a bunny jumps, a horse jumps, etc. The successful actions of the child are approved by the adult, who uses the display of the baby as his assistant.
The purpose of the exercises is the assimilation of any motor element on a small task. For example, in the exercise "Walk-rest" to the music of M. Krasev, children learn to walk rhythmically to the music, changing the movement in accordance with the nature of the parts of the play, in free dance they train in performing individual dance movements.
Exercises are performed as shown by an adult, especially at the beginning of learning. In the future, the teacher uses instructions, reminders, which should be extremely figurative in order to help the kids understand the task, to feel the nature of the movement. For example, emphasizing the smooth movements of the hands, the teacher says: "Children have such soft hands"; checking the correct distance between the children, he passes between them and notes: "I'm going to visit you, I can pass here, but I won't pass here, I won't get to you."
At the end of the year, the teacher checks the level of musical and rhythmic skills, assessing whether the children feel the contrasting nature of the music. He offers them, for example, works for walking, running, notes whether they convey the character of a march or light, moving music, and also determines how coordinated the movements of children are with it. To determine if children feel the form of a piece of music, you can have them perform a familiar dance and see how accurately they change the movement in connection with the change of musical parts.
The methodology for teaching dance-rhythmic movements to children of three and four years of age is based mainly on the teacher's demonstration, on emotional-figurative explanations and instructions.
Conclusion
Musical education for preschool children is important, both for intellectual development as well as for the physical. But to master musical abilities, it is necessary not only to sing or listen to music. Here dance-rhythmic movements come to the fore.
The system of rhythmic education, founded by the Swiss musician-teacher E. Jacques-Dalcroze, became widespread at the beginning of the 20th century in many countries. His method boils down to using specially selected training exercises to develop in children (starting from preschool age) an ear for music, memory, attention, rhythm, plastic expressiveness of movements.
The positive influence of musical-rhythmic movements on the general functional activity of the body has been proven. I.M. wrote about this. Sechenov, characterizing the relationship between auditory and muscle sensations.
Teaching the language of movements requires from the teacher not only knowledge of the appropriate methodology, but also implies that he has a correct idea of dance as an artistic activity, a form of art. It is the understanding of the nature of dance that allows the teacher to more meaningfully and skillfully solve the tasks.
The process of teaching dance movements is quite time-consuming and requires especially skill and qualification from the teacher. Here are just the main tasks of dance-rhythm training for preschool children: to teach to perceive the development of musical images and coordinate movements with their character; move rhythmically and expressively; play musical games, dance, dance in class and during other activities; develop a sense of rhythm, etc.
To help the music teacher, special methodological programs developed numerous didactic games.
Bibliography
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Appendix 1. Dance "Boots" (Russian folk melody)
Program skills: to teach children to move in a dance step in accordance with the nature of the contrasting parts of a piece of music.
E occupation. Introduction to dance music. Definition of her character.
E occupation. Show of dance performed by the music director and educator; learning dance movements with musical accompaniment. The transition from a calm walk to an alternate stamping of the feet.
E occupation. Teach children to dance by moving in a circle. follow correct execution movements (display of the educator).
E occupation. Teach children to dance in pairs, maintaining a certain distance between them. Explain that by the end of the first part of the music, everyone should turn to face each other.
E occupation. Consolidation of dance movements. Dance show performed by children. Pay attention to children who correctly and beautifully perform dance movements.
In order for the actions of children to music to be free, light, clear, so that children can use them without much difficulty in their creative compositions, it is necessary to repeatedly perform the same movement - exercises.
The purpose of the exercises is different:
to improve the basic types of movement (walking, running, jumping);
for preliminary learning of movements for non-plot games and dances;
to develop the expressiveness of the movements of characters in story games;
for the compositional completeness of musical and rhythmic movements.
The last exercises are mostly carried out with objects: flags, hoops, ribbons, sticks, balls, flowers, balls, leaves, snowballs, etc.
When selecting musical material for exercises, it is necessary that any, even the smallest and simplest, work has artistic merits that develop both auditory perception and artistic and musical taste of the child.
The purpose of the exercises is to teach children to perform musical and rhythmic tasks, to develop movement techniques. Exercises are closely related to dancing, games and are aimed at developing musical perception and rhythmic movements in children.
Appendix 2. Game for the development of dance movements "Winter Dance" (music by M. Starokadomsky)
1st lesson.
Purpose: to teach children to dance in accordance with the music of a light, moving nature and to convey the content of the song.
Course progress. The teacher sings a song and shows the movements. Children repeat the movements after the teacher.
E occupation.
Purpose: to teach children to finish a movement on time and move on to the next movement.
Course progress. The teacher sings and shows the movement of the first verse. Then he stops and, spreading his arms to the sides, shows that the movement is over. Then he shows the movements of the second verse and at the end of it he also makes a short stop. This is how the whole song-dance is learned.
E occupation.
Purpose: to clarify the movements of children.
Course progress. The lesson is carried out in the same way as the previous one, but smaller pauses are made between verses.
E occupation.
Purpose: to dance independently in accordance with the content of the song.
Course progress. The teacher invites the children to listen carefully to the song and do everything that is sung about in it.
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