Musical education of primary school children
Introduction.
Chapter 1. Play and musical activity of junior schoolchildren.
1. 1 Psychological and pedagogical aspects of children's play activities.
1.2 Musical-play activity of younger students
Chapter 2. Pedagogical conditions of musical-play activity of younger students.
2. 1 General characteristics of the program "Music" TV Nadolinskaya.
2. 2 Methods of carrying out musical-didactic games and dramatization in a music lesson.
List of references
application
Introduction
In elementary school, the foundations of spiritual culture, musical education are laid, which form musical and aesthetic ideals, tastes and needs of younger students. Of great importance are classes in the subjects of the aesthetic cycle, among which music occupies a special position. It is during music lessons that every child is introduced to the treasures of classical and folk music, he develops an emotional and personal attitude towards works of art.
not only musical, but also acting, directing, literary abilities are actively developing.
Many teachers have successfully used the game in practice, finding in it a powerful potential for solving various problems. In preschool institutions, in primary school and in the practice of out-of-school institutions, as well as during extra-curricular activities, play has acquired particular importance and has become one of the main methods of upbringing, teaching, and, therefore, development of the child's personality.
The ideas of using games in raising children, dating back to the era of antiquity, can be traced at the turn of the 19th-20th centuries in the works of N.N.Bakhtin, S. Hall, N. Tycher, H. Finlay-Johnson and found further development in the works of L.S. Vygotsky, N.A. Vetlugina, N.A. Terentyeva, and others.
The emergence of the scientific theory of play in the 19th-20th centuries made it possible to reach a new level of its pedagogical comprehension. The most effective areas of application of the game were identified, the classification of games was carried out, the technology for preparing and conducting games was developed, as well as a mechanism for their introduction into the learning process. The result is a variety of play scenarios and techniques, as well as play-oriented educational programs. Traditionally, the game is organized according to the script of a literary or musical work. At the same time, LS Vygotsky believes that in play the script is not always a rigid canon and can only be a canvas within which improvisation unfolds. "... What is important is not what children create, it is important what they create, create, exercise in the creative imagination and its embodiment."
In a didactic sense, play activity is relevant as a method of stimulating the educational and cognitive activity of a student. The organization of the process of listening to music as an educational-play activity contributes to the development of creative abilities, develops imagination and visual-figurative thinking, expands the range of students' emotional ideas, and, ultimately, allows to achieve great acuity and accuracy of music perception. Thus, the use of play activities in a music lesson includes two directions of action:
introduction of games, game methods and techniques into the learning process;
development of students' ability to enter into playful contact with music in the process of musical perception.
Purpose of the research: to substantiate the need to organize play as a form of musical and creative activity of primary schoolchildren and as a means of developing their musical ideas.
Subject of research: the process of organizing the musical and creative activity of junior schoolchildren through play.
Research objectives:
Consider the psychology of children's play activities;
Consider the program "Music" by T.V. Nadolinskaya as one of the options for realizing the conditions of musical-play activity of younger students.
Determine the best methods and techniques for conducting musical and didactic games and dramatization in a music lesson.
with the principle of conformity to nature).
Chapter 1. Play and musical activity of primary schoolchildren
1.1 Psychological and pedagogical aspects of children's play activity
Play is the child's leading activity. Its enormous importance in the lives of children prompted many scientists to seek an explanation of the nature and origin of this amazing child's activity.
There are many theories of children's play. The theory explores the question of the origin of play, that is, why and where this activity originated.
K. Gross believed that play is the unconscious preparation of a young organism for life. To unconsciously prepare, for example, to play the role of a mother, a little girl, when she puts and lulls a doll. As if the source of the game are instincts, that is, biological mechanisms.
Schiller and Spencer explained play as a mere waste of excess energy "accumulated by the child. It is not spent on labor and therefore is expressed in playful actions.
K. Büller argued that the whole point of the game is the pleasure that the game gives the children. But the reason that makes children feel happy about the game remained undisclosed.
3. Freud believed that the child is encouraged to play by a sense of his own inferiority. The meaning of his theory is that children are not really able to be a doctor, chauffeur, salesman, etc. etc. replace this real role with play. In this fictional life, the child, as it were, “outlives” his inherent drives and desires.
they simply mature as the child develops and are manifested in his games, regardless of how and where this child lives, and how and by whom he is brought up.
Russian scientists accept and explain the nature of children's play in a fundamentally different way.
Play is a form of active reflection by a child of the lives of people around him. The initial forms of play arise from imitation and manipulation of various objects. In play, the child reflects the life of adults. And the more opportunities for active action, the more interesting the game. Therefore, it is more interesting to be a doctor than a patient, an artist is better than a spectator.
In the studies of Russian scientists on children's play, a number of directions are determined, but they are all united by the understanding that play is a child's life, his joy, which is necessary for his activity.
While playing, children do not strive for exact and thoughtless copying of reality, but bring into their games many of their own inventions, fantasies, and combinations. Freedom of inventions, unlimited possibilities of combination, obeying the interests, desires and will of the child, is precisely the source of joy that play brings to children. The games reflect the real life of people with their dreams, plans, wonderful inventions. Everything is available to the child in the game, he can do everything. In the game, reality and fiction are intertwined in amazing combinations, the striving for an accurate reproduction of reality with the most voluntary violations of this reality.
In elementary school, play is the manipulation of knowledge, a means of clarifying and enriching them, the path of exercise, and hence the development of the child's cognitive abilities and powers.
Play is a collective activity. In the game, all participants are in a cooperative relationship. All its members are united by a single idea. Each of the players brings their share of fantasy, experience of activity into the development of the adopted collective design.
The game, like any other human activity, has a social character, therefore it changes with changes in the historical conditions of people's life.
Among the researchers of various aspects of game activity, one can name D. V. Mendzheritskaya, N. A. Metlova, A. B. Keneman, L. N. Komissarova, L. S. Vygotsky, A. N. Leontiev, D. B. Elkonin.
The problem of using play activity in the musical and pedagogical process has not yet been sufficiently developed. Scattered pedagogical research and methodological developments do not provide a holistic vision of the problem of using play in musical pedagogy (in particular, for the development of musical perception of schoolchildren). Most often, research focuses on some of its specific aspects. Some ways of using the game in music lessons, individual games, game forms and techniques are proposed by Yu. B. Aliev, O. A. Apraksina, N. L. Grodzenskaya, M. G. Golbandova, T. V. Nadolinskaya, V. Y. Petrushin, V. G. Razhnikov. LF Kelmanovich and OV Borisenkova touch upon the problem of using the game in music lessons.
In the domestic pedagogy of the last decade, the methodology of game imitation has been intensively developed - new models of the processes of educational and educational activities necessary for the formation of semantic, emotional, cognitive aspects of the student's personality, but a holistic theory still does not exist.
The educational impact of the play activity of preschool children is generally recognized. D. B. Elkonin believed that as a result of mastering play activity in a child by the end of preschool childhood, he forms a desire for socially assessed activity, which is the main prerequisite for educational activity. Therefore, play activity should organically enter the teaching of the subject "Music".
Game activity, presented in the form of musical and didactic games and dramatization, has a number of advantages over other types of cognitive activity. First, the play does not tire the younger students much; secondly, it activates their emotions and intellect, develops versatile artistic abilities; thirdly, it helps to simulate the musical educational process in a game form.
Play-dramatization is a kind of artistic play with specific features inherent in it.
First, play-dramatization is a form of assimilation of the social experience of people, and not only theoretical and cognitive, but also the experience of communication, artistic values \u200b\u200band meanings.
Secondly, the game actualizes the individual experience of the student in the field of musical activity.
Thirdly, it is necessary to note the procedurality of the game, which is being born at the moment and is a consequence of the interaction of the first two sides - social experience, as the productive side of activity and individual experience as its incentive beginning.
In a music lesson, dramatization play is organized on the plot of a literary or musical-stage work, the specific features of which are that in its process everything read, seen or heard is reproduced in "faces", using various expressive means of musical and speech intonation, pantomime, gestures, postures, mise-en-scenes.
The plot of dramatization is the area of \u200b\u200bmusical art that schoolchildren strive to portray in the game.
component of teaching music, a complex of interdependent operations can be distinguished:
a) recreation of the situation of the action (partial retelling of the plot after hearing a piece of music);
b) enumeration of actors to determine the number of roles and their performers;
d) the musical characteristics of each character and the characteristics of his musical speech;
3. Determination of executive tasks, conditioned by the idea of \u200b\u200brealization of the author's intention of the composer and playwright.
4. Artistic interpretation of the work and the choice of means of expressiveness of the musical and verbal language for the implementation of the intended tasks.
5. Dramatization of a musical and stage work.
6. Analysis of the quality of performance from the point of view of the embodiment of the artistic idea of \u200b\u200bthe work (the degree of embodiment of individual characters - identification of the stage image, the deployment of stage action).
7. Summing up the work done and evaluating the results of the dramatization game.
So, dramatization is a playful polyartic activity of younger schoolchildren, a set of actions that constitute it.
When preparing and conducting, adhere to three stages:
Evaluative (resulting) stage: evaluation of the performance of game and didactic tasks, rules, actions, the scenic embodiment of musical and game images.
So, in domestic pedagogy, the methodology of game imitation is being intensively developed - new models of the processes of educational and educational activities necessary for the formation of semantic, emotional, cognitive aspects of the student's personality, but a holistic theory still does not exist. As a result of mastering play activity in a child by the end of preschool childhood, a desire for socially assessed activity is formed, which is the main prerequisite for educational activity. The game actualizes the student's individual experience in the field of musical activity.
The main goal of the proposed games and dramatizations is the development of the musical and linguistic thinking of primary schoolchildren, the assimilation of key and private knowledge about music in musical and creative activity and penetration into the essence of musical art.
Chapter 2. Pedagogical conditions of musical and game activity of primary schoolchildren
2. 1 General characteristics of the program "Music" T.V. Nadolinskaya
In modern conditions of social and cultural development of society, the main task of the school is to educate a growing person capable of creative self-development, self-regulation, and self-realization. The concept of art education, developed at the Russian Academy of Education, states that in the process of humanizing the public school, the disciplines of the art cycle must move to the center of study. Therefore, improvisation, play, dramatization and other various forms of creativity and communication with art become dominant in the pedagogical educational process.
The music program of T.V. Nadolinskaya meets the goals of the versatile development of the student's personality, ensures the strengthening of the emotional, moral, educational impact of music.
all their spiritual culture. " The goal of the program is achieved by solving three leading interrelated tasks and is implemented on the basis of the development of musical perception:
The first pedagogical task is the formation of an emotional attitude to music based on its perception. Schoolchildren need to develop emotional responsiveness to music.
The second pedagogical task is the formation of a conscious attitude to music. It is important for a schoolchild to acquire a conscious perception of works; to be able to apply musical knowledge, not only to feel, but also to understand the nature of musical images, the logic of their development.
The third pedagogical task is the formation of an active-practical attitude to music in the process of its performance, primarily choral singing, as the most accessible form of playing music.
This program is developed on the basis of general didactic principles of scientific nature, systematicity and accessibility, the connection between learning and life, visibility, etc., as well as artistic didactics.
The most important principle of the program is a thematic structure that reflects the basic laws and functions of musical art.
Each quarter of the academic year has its own theme, which is revealed from lesson to lesson, and forms the musical and linguistic thinking of younger students. Therefore, the author considers it necessary to more accurately and specifically define the topic of each lesson, which will help reflect the various facets of music as a whole. Between the four quarters and between all the years of study, the logic of development is carried out, associated with the comprehension of music as the art of intonated meaning. (B.V. Asafiev).
to interest, captivate students with music, to help them assimilate the content of musical and didactic material.
The most important methods of studying and mastering the presented program are:
the method of "running ahead and returning" to the material covered (DB Kabalevsky);
generalization method (E. B. Abdulin)
method of improvisation (N. A. Terentyeva)
method of dramatization (T.V. Nadolinskaya)
The methodological value of this program lies in the fact that game modeling becomes an important factor in the musical and creative self-development of younger students. This creates pedagogical conditions for the use of games, dramatizations in the music lesson, and also contributes to the conduct of lessons in theatrical form.
D. B. Kabalevsky has repeatedly emphasized that the music program is fundamentally variable, a creative attitude of the teacher to work is necessary, therefore, the musical and didactic material was updated in the content of training.
Each non-curriculum work included in the lesson was considered in terms of artistic value and fun for students.
The program pays great attention to the musical and creative development of schoolchildren. It is generally accepted that creative music-making is becoming the leading trend in musical pedagogy of the 20th and 21st centuries. Therefore, each lesson or homework includes creative assignments for various types of musical activities, which help to shape the musical and linguistic thinking of schoolchildren, to understand the connection between music and life, and enrich their musical and auditory experience.
E. B. Abdulin believes that musical and creative activity "should permeate the entire process of assimilation of knowledge, the formation of skills and therefore does not stand out as an independent element of the content of education."
In the school curriculum for music, a system of aesthetically directed, generalized (and not elementary, specific) knowledge about the laws and functions of musical art is given. They serve as guidelines in the process of perceiving specific pieces of music.
Key and private knowledge are in a dialectical relationship (E. B. Abdulin). For many years, private musical knowledge has been the subject of constant attention in musical pedagogy, however, in the "Music" program, private knowledge, skills, and abilities are practically not represented. We refer to private knowledge as knowledge about individual elements of musical speech (pitch, harmony, rhythm, tempo, dynamics, timbre, etc.), biographical information about composers, performers, the history of the creation of works ... In accordance with the subordinate role of private knowledge in relation to the key, the sequence of their inclusion in the content of training was determined.
By orienting students towards mastering private musical knowledge ”, we form their ability to recognize the means of musical expression using didactic means (illustrations, diagrams, tables, etc.). According to BM Teplov, full-fledged musical empathy depends on the ability to distinguish between the main parameters of the musical fabric. Therefore, the better students learn to recognize elements of musical language, the higher their level of musical perception and musicality in general.
This program is one of the optimal ways for the development of musical play activities of younger students.
The system for the formation of musical knowledge, music perception skills, the upbringing of vocal and choral skills, is basically preserved. However, the music teacher is given freedom in choosing and determining the content of each lesson, which is subordinate to the theme or artistic and pedagogical idea of \u200b\u200bthe music lesson.
2. 2 Methods of conducting musical-didactic games and dramatization in a music lesson
Musical brush.
Purpose of the game - development of musical and auditory ideas of a musician playing an instrument (middle register) and the musical form of schoolchildren.
Didactic material: paint brushes or feather pen.
paint a picture in an imaginary space using a "musical brush". The task of the students is to put a comma at the end of a musical phrase or a full stop in time, when a sentence or a period ends, and also to convey the character and mood of the music in the "picture".
Playing teacher.
The aim of the game is to consolidate the knowledge of musical literacy.
Didactic material: cards with musical terms.
Methodology and technique of the game. The traditional game of "teacher" is carried out in order to check the degree of mastering the musical knowledge acquired during the 1st quarter. The student who acts as a “teacher” names the word (there is a “book” with musical terms in the workbook for grade 1 on p. 14), and his “students” explain what it means.
Didactic material: melodic lotto cards.
Melodies should be produced with smooth or gradual movement. Then the task can be complicated and you can add melodies from any cards.
The task of each student is not only to lay out a melody from different cards, but also to perform it with the name of the notes "by hand" or play on the "keyboard" of the piano.
We play an orchestra.
Didactic repertoire: “Waltz of the Flowers” \u200b\u200bby PI Tchaikovsky (from the ballet “The Nutcracker”), “Kamarinskaya” by MI Glinka, 40th symphony by VA Mozart (part 1).
Methodology and technique of the game. During the passage of the topic "Orchestra and its types", students study the compositions of a symphony, chamber, brass and folk orchestra. Play-dramatization will enable them to enter the role of musicians-performers of each type of orchestra.
Introducing students to various types of orchestra, the teacher introduces a number of new concepts: score, orchestral part. Concertmaster, tuning fork, maestro (this is how honored composers and conductors are called as a sign of respect).
For example, the teacher tells students about the symphony orchestra and its bands, shows illustrations of the instruments, and explains how to play.
After that, the class "turns" into an orchestra. The teacher places the class in the order in which the musicians of the symphony orchestra are located. The first desks are the first violins and cellos, the second desks are the second violins and violas, one student “plays” the harp, then the double basses, timpani, etc. sit. The task of each student is to listen to the timbre of his instrument, to enter and imitate playing on time. your instrument.
The teacher acts as the "conductor of the symphony orchestra" and shows the intro for each orchestra part. Students “play” the instruments of the symphony orchestra to the music of the selected piece of music.
For a play-dramatization, independence in determining his introduction by each student and his ability to coordinate his actions to music is important.
Photographer.
The aim of the game is to develop the musical memory and attention of first graders.
Didactic material: cards with rhythm.
Methodology and technique of the game. To conduct the game, the teacher chooses one student - the "photographer". "Photo flash" - "photographer" shows and quickly removes a card with a rhythm. Students must memorize the rhythm and play it. Whether "photography" has turned out or not - the "photographer" decides.
Scouts.
The goal of the game is to consolidate the knowledge of musical notation, to develop the modal feeling and musical memory of schoolchildren.
Didactic material: cards with "musical code".
Methodology and technique of the game. The teacher distributes cards with a "musical code" in which the numbers indicate a certain degree of the fret.
Musical and didactic game with elements of dramatization is carried out at speed. Each student acts as a "decoder", that is, he must be able to decode the melody: mentally hear the melody along the steps, recognize the song and sing it out loud. The student who is the first to correctly sing the encoded melody becomes the "scout". Before there is a new task - to remember the "password" without writing it down (a new melody of 2-4 bars is given). To send to "reconnaissance" means to remember the new "password" and be able to sing it.
For homework, you can ask students to write their own "password" and turn it on when the game is played again.
Starry sky.
Didactic material: instruments of a noise orchestra ”paper, ink, paints.
Musical repertoire: S. V. Rachmaninov. Second Concerto for Piano and Orchestra (introduction).
Methodology and technique of the game. To conduct a musical and didactic game, the teacher selects 5-7 students and distributes them musical instruments (tambourine, pandeiro metallophone, triangle, bells, maracas). Schoolchildren are invited to complete the following task: using the received tools to depict a "sounding starry sky".
The game is of an improvisational nature, and the teacher can offer to perform the introduction of the concert on the piano in four hands with the students.
After the game, students draw a "starry sky" on tinted or black paper with ink or paint.
A musical journey through Europe.
Methodology and technique of the game. To participate in the dramatization game, the teacher chooses the "machinist", "travelers", "singers", "orchestras" and "composers". The lesson is structured in a peculiar form of rondo, where the theme song is "A passing song" by M. Glinka, the verse of which sounds in front of each station. During the game, the teacher performs various functions (“sends” “travelers” on the road, puts a musical refrain and names stations, explains tasks, plays music and evaluates the work of the class).
The lesson-journey begins with the sound of "Traveling Song" by M. Glinka: the "driver" gives a whistle (on the whistle) and the "train" sets off on the "path". "Travelers" imitate the movement of a train with arms bent at the elbows (sitting at a desk, standing or moving around the classroom).
"By hand" with the name of the notes or words. (For example, the Belarusian folk song “Bulba”, “Our song” by E. Basovsky, the Czech folk song-dance “Polka”, the Greek children's song “Rodina”, the Italian folk song “Macaroni” are performed).
"Musical train" stops at the second station - "rhythmic". Here, the "travelers", by rhythm, guess the pieces that the "orchestra members" perform for them. (In an ensemble with a teacher on the orchestral score "Moldoveniasca" and "Bolero" are performed).
The third station is the station "Musical riddles", where "travelers" solve riddles.
The "musical journey" continues and the "train" arrives at the fifth station - "Listening". Here the "travelers" identify works by fragments and name composers. (Works by M. Musorgsky, F. Liszt, E. Grieg, W. Mozart, I. Strauss, J. S. Bach, L. Beethoven).
The sixth station is "Executing". The "journey" ends at this station. All participants of the game - "machinists", "travelers", "singers", "orchestras", "composers" - complete their "musical journey" with the performance of B. Savelyev's song "The Big Round Dance".
Conclusion
From all of the above, the following conclusions can be drawn:
Pedagogical science, responding to changes in social life, has put forward a new paradigm of education - a personality-oriented approach in the upbringing and education of children. In domestic pedagogy, the tendencies of variability continue to grow not only in the content of education and upbringing of children, but also in the field of methods and forms of organizing musical activity. Scientists and teachers are developing new methods and techniques of musical and aesthetic work with children, up to the creation of non-traditional musical technologies. Progressive music technologies contribute to the creative development of children, their initiative and independence.
personality of the student, but a holistic theory still does not exist. As a result of mastering play activity in a child by the end of preschool childhood, a desire for socially assessed activity is formed, which is the main prerequisite for educational activity. The main goal of the proposed games and dramatization is the development of the musical and linguistic thinking of primary schoolchildren, the assimilation of key and private knowledge about music in musical and creative activity and penetration into the essence of musical art.
The music program of T.V. Nadolinskaya meets the goals of the versatile development of the student's personality, ensures the strengthening of the emotional, moral, educational impact of music. The methodological value of this program lies in the fact that game modeling becomes an important factor in the musical and creative self-development of younger students. This creates pedagogical conditions for the use of games, dramatizations in music lessons, as well as facilitates the conduct of lessons in theatrical form.
It can be considered positive in the creation of new programs for educational schools that their authors are increasingly trying to include play-based material in the content of music education, with the main emphasis on the development of musical knowledge, specific skills and abilities of students.
List of references
1. Asafiev BV Musical form as a process. M. 1971.
2. Asafiev BV Selected articles on musical education and education. M. 1973.
3. Barashnikova 3. A., Romanova JI. JI. Pedagogy M. 1995.
8. Nepomnyashchaya NI Mental development and training (developmental educational psychology) M. 1979.
9. Teplov BM Psychology of musical abilities. M. 1995.
10. Radynova OP Musical development of children. M. 1997.
11. Perfil'eva IA Through playing at a music lesson - to the cognition of the aesthetic essence of man (pedagogy of art in creative search). - Moscow-Samara. 1996.
12. Schoolboy RV Contradiction and tendencies of modern music lessons (pedagogy of art in creative search). M.-Samara 1996.
13. Elkonin DB Psychology of the game. M., 1978.
14. Aesthetic education in the family / Ed. V. A. Razumny. M., 1973.
15. Nadolinskaya TV Games-dramatization in music lessons in elementary school. M. 2003.
Vygotsky L. S. Imagination and creativity in childhood. M., 1967.S. 67.
In elementary school, the foundations of music culture and music education are laid. Elementary music education is understood as the process and result of acquaintance of children with the best examples of musical art, mastering basic knowledge of music.
In elementary school, the goal of forming the musical culture of schoolchildren as part of their spiritual culture is concretized. The main components of this process are an emotionally holistic attitude towards art and life; musical perception, adequate to the moral and aesthetic essence of musical art; experience of creative activity as a manifestation of the spiritual and creative relationship of the composer, performer and listener. In the lower grades of a general education school, music lessons involve the development of the imagination and fantasy of children, understanding the relationship between forms of nature and forms of art, and developing the ability to feel their community (color - space - volume - sounds).
The musical education of primary schoolchildren is based on the idea of \u200b\u200bsuch teaching of musical art, which would combine the specifics of the nature of a child of primary school age with the nature of art itself. For a younger student, this is primarily the interest brought from preschool childhood to a variety of sensory impressions and emotional responsiveness to them, a willingness to treat everything as if it were alive, a rich gaming experience.
Main activities in music lessons:
Hearing and analyzing musical works
Tasks: to develop the ability to hear and experience musical content as an artistic reflection of reality.
Development of vocal and choral skills
Tasks for the development of vocal skills: to teach how to control the voice, control the correct position of the body while singing, breathing, articulation and diction. The tasks of developing choral skills: understanding the conductor's gesture, ensemble (harmonious uniform sound), tune (they do not sing - one lower, the other higher)
Playing children's musical instruments (K. Orff's method)
Using spoons, whistles, xylophones, bells, etc.
Development of rhythmic feeling (rhythm - method of Emile Jacques-Dalcroze)
Movement to music, choreography.
Creative task
Musical certificate
In the first grade, the following genres of music are studied: song (lullaby, ditty, dance, tongue twisters, jokes, teasers, etc.), dance (waltz, polka, minuet, polonaise, mazurka, hopak, round dance), march (festive, sports , military, comic, funeral, toy). Acquaintance with musical instruments: piano, violin, flute, trumpet. In the section "Musical culture of the native land", it is recommended to study children's musical folklore and its genres: lullabies, doggies, nursery rhymes, jokes, chorus, sentences, tongue twisters, counting rhymes, draws, teasers.
For listening in 1st grade: D. Shostakovich"March", V. Shainsky"What do they teach in school", V. Shainsky"Don't tease the dogs", "The dog is gone", G. Gladkov"About a lion cub and a turtle", V. Shainsky,sl. M. Tanicha"Winter's Tale" M. Glinka"Lark" P. Tchaikovsky"Song of the Lark", cycle "Children's Album".
For listening to music in 2nd grade, you can use the following pieces: E. Grieg -suite "Peer Gynt", S. Prokofiev -fragments of the cantata "Alexander Nevsky", C. Saint-Sané"Animal Carnival" P. Tchaikovsky"Waltz" from the ballet "Sleeping Beauty", R. Shchedrin"King Peas" from the ballet "The Little Humpbacked Horse", J. Bizet.
Grade 3: N. Rimsky-Korsakov- fragments of the operas "Sadko", "Snow Maiden", "The Tale of Tsar Saltan", "The Golden Cockerel", P. Tchaikovsky- ballets "Nutcracker", "Swan Lake", First Concerto for Piano and Orchestra, finale of the Fourth Symphony, R. Shchedrin- excerpts from the ballet "The Little Humpbacked Horse", M. Glinka- Ivan Susanin's aria from the opera of the same name, S. Rachmaninoff -Concerto No. 3 for Piano and Orchestra, I.S. Bach"Capriccio for the departure of my beloved brother."
4th grade: A. Alexandrov"State Anthem of Russia", I. Brahms -hungarian dances, V.A. Mozart -symphony No. 40 (1st movement), M. Mussorgsky -cycle "Pictures at an Exhibition", S. Prokofiev- cantata "Alexander Nevsky", D. Gershwin- "Lullaby" from the opera "Porgy and Bess", Jean-Michel Jarre -favorites, D. Kabalevsky -cantata "Song of the morning, spring and peace", P. Tchaikovsky- cycle "Seasons", L. Beethoven- sonatas, F. Chopin -foreplay.
- , Doctor of Science, Associate Professor, Professor
- Glazov State Pedagogical Institute. V.G. Korolenko
- METHODOLOGICAL BASIS
- INTRAMUSICALITY
- CREATIVELY DEVELOPING MUSICAL AND ART EDUCATIONAL SPACE
- MUSICAL EDUCATION
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Music is a unique means of influencing the inner world of a person, it awakens in him not only emotions and feelings, but also the imagery of musical performances, creativity of thinking, spiritual states (\u003d inspiration) and creativity.
Teaching the musical art of children is carried out in music schools, music salons, choir studios, art schools, as well as in secondary schools. The methodological foundations of teaching in them have significant differences. For secondary schools, programs are being developed aimed at "the formation of students' musical culture, as an integral part of the spiritual culture of the individual." It should be noted that the authors of music programs are, as a rule, musicians professionals in any specific field of musical art.
So, D.B. Kabalevsky - composer, music figure, pianist; Yu.B. Aliev, - brass and choir in basic education; V.V. Aleev - graduate historical-theoretical-composer Faculty of the Russian Academy of Music (RAM) named after Gnesins ; G.S. Rigina graduated first from the music school named after. Ippolitova-Ivanova. Worked for several years a music school teacher; T.I. Baklanova Graduated with honors from the Moscow State Institute of Culture (now the Moscow State University of Culture and Arts) in the department academic choir. She devoted her professional activities to the problems of traditional folk culture, folk art, ethnocultural and musical education.
The analysis of the programs on music of the above authors gives grounds for the conclusion that the teaching materials on music for a secondary school, developed by students and like-minded people of D.B. Kabalevsky, reflect some functionalism in the methodological and technological aspects of music education and upbringing of schoolchildren.
In our opinion, the authors of the music program of the main educational system "School of Russia" have managed to achieve integrativeness and integrity. Methodological foundations of the E.D. Crete, G.P. Sergeeva, T.S. Shmagina, are: enthusiasm, trinity of activity: composer - performer - listener, "Identity and contrast", intonation, reliance on Russian musical culture.
The types of musical activity in music lessons under this program are diverse and are aimed at implementing the principles of developmental education in mass music education of schoolchildren.
Our scientific interest lies in the study and scientific and pedagogical justification principlesmusic education and upbringing of junior schoolchildren in a comprehensive school.
The main idea of \u200b\u200bthe research is to teach younger schoolchildren music, as well as creativity, it is necessary to the basis of general didactic laws and modern innovative pedagogy, using both classical didactic and specific music-pedagogical methods and creative technologies of music education.
D.B. Kabalevsky argued that "the cliché in pedagogy is always bad, but when it comes to art, it is especially bad and even dangerous."
At the same time, skill and a creative approach to teaching children any science, including art, should be based on clear rules for organizing the educational process. Just like a musician-performer interprets the composer's intention in his own way, but within the framework of the author's musical text.
Creativity begins with maximum orderliness and algorithmicity. "Ordnung" - translated from German as order.
And the old proverb says: "Keep order, and order will keep you!"
Improvisation as primary creativity - "folded logic", trigger
(\u003d firing) mechanism of going beyond the given, "oversituational activity" of a musician, artist, poet, teacher.
- both teacher and students will be provided with all the necessary didactic means,
- in the classroom, equipped with a musical instrument along with modern TCO,
- decorated with musical and methodological clarity.
However, both earlier and now, despite the fact that the requirements of the Federal State Educational Standards regulate the provision of each student with a textbook, a workbook, in real conditions, often children come to a music lesson only with a pen and a diary. Typically, this results in “doing nothing” on the part of the children or a complete lack of discipline in the lesson. The reason for this is the absence of the basic personal didactic means of self-education in music lessons for schoolchildren, which are mandatory in all other lessons.
It would seem that the methodological explanations for music programs rightly stipulate that the study of musical literacy should not overshadow the direct perception of music by children with their laboriousness of mastering specific didactic material.
Our interpretation of "musical literacy" is the well-known didactic postulate: the musical language, like any other, must be learned from the "basics" and thoroughly. Without knowing the language of music, it is impossible to adequately emotionally experience and understand the musical image.
According to the research carried out, the so-called the law of three « AND»:
- integrability,
- interactivity,
- intramusical.
Compliance with these principles returns children to "live music" instead of electronic sound; provides a reasonable combination of complementary methods, techniques and technologies of musical education and upbringing of children; creates unified creatively developing music and art educational space - "union of three Muses": music, fine arts, poetry.
The “script direction” of the modern music lesson, transferred to music education from theatrical (\u003d cinematographic) pedagogy, is becoming fundamentally important. Only in this case a music lesson becomes an art lesson, a creative lesson.
The summarizing thesis of our research is heuristics: - “In modern innovative music education there are many techniques, but the methodological foundation is formed by:“ intonation ”of B.V. Asafiev, "musical performances" by B.M. Teplova, “musical hermeneutics” by D.B. Kabalevsky ".
List of references
- Asafiev B.V .. Musical form as a process. - 2nd ed. - L .: Music, 1971.
- Zagvyazinsky VI Teaching theory: Modern interpretation: Textbook. manual.- M .: Ed. Center Academy, 2001
- Kabalevsky D.B .. Education of the mind and heart. - Education, 1981.
- Programs. Music: Primary School. - M .: Education, 2011.
- Teplov B.M. The psychology of musical ability. - M .: Nauka, 2003.
UDC 372.878
Krechetova Galina Andreevna
senior Lecturer, Department of Primary Education Methods, Chechen State Pedagogical University
IMPLEMENTATION OF AN INTEGRATIVE APPROACH IN THE PROCESS OF MUSICAL EDUCATION OF YOUNGER SCHOOLERS
Krechetova Galina Andreyevna
Senior Lecturer, Primary Education Methodology Department, Chechen State Pedagogical University
IMPLEMENTATION OF THE INTEGRATIVE APPROACH IN MUSICAL EDUCATION OF PRIMARY SCHOOL STUDENTS
Annotation:
The article is devoted to the problem of organizing the learning process and development of primary schoolchildren, taking into account the whole variety of cultural values \u200b\u200bas an important and necessary component of improving the methodological system of the school subject "Music". As a result of the analysis of some fragments of the author's textbook "Music", it was concluded that the integrative approach makes it possible to effectively implement the musical and educational process of comprehending knowledge about music by schoolchildren in the course of cooperation, co-creation and empathy in the triune concept "region - Russia - world".
Keywords:
integrative approach, intrasubject integration, interdisciplinary integration, interpersonal integration, music educational process, primary school students, school subject "Music".
The article deals with organization of training and development of primary school students taking into account all the diversity of cultural values \u200b\u200bas an important and essential component improving methodological system of the Music subject. The analysis of some fragments of the author "s original textbook" Music "has shown that the integrative approach makes it possible to implement effectively music education of students in the course of cooperation, co-creation and empathy in the context of triune" region- Russia-world "conception.
integrative approach, intra-subject integration, interdisciplinary integration, interpersonal integration, music education, primary school students, school subject "Music".
The modern system of music education is in a state of dynamic development and needs constant updating of its goals, means, approaches, principles and methods, the content of music education and training, and the improvement of innovative technologies. To make the innovative educational process more effective, new ideas, concepts and models are needed for the implementation of an integrative approach in musical education, training and the acquisition of knowledge by schoolchildren about national, Russian and universal cultural values \u200b\u200bin their unity and interconnection in music lessons. Such scientists as E.B. Abdulin, Yu.B. Aliev, M.N. Beru-lava, E.Yu. Volchegorskaya, T.V. Emanova, D.B. Kabalevsky, N.V. Likhacheva, O. I. Ra-domskaya, L.G. Savenkov and others.
According to E.Yu. Volchegorskaya, the organization of an integrative approach to the process of musical education and training at the primary and basic stages of school education is carried out at three levels:
1) intra-subject integration of various types of musical activity, which ensures the integrity, emotionality and adequacy of musical perception, and also makes it possible for schoolchildren to productively reflect the process of comprehending music;
2) interdisciplinary integration, which presupposes complex development in the process of musical education of various types of art and forms the ability of associative artistic-figurative thinking as the basis of the child's creative abilities;
3) interpersonal integration as a process of cooperation and co-creation, which allows the student to tune in to an emotional and personal understanding (interpretation) of the figurative sphere of musical art, the transformation of impressions and experiences of life into a musical and artistic image.
Using the example of the author's textbook Music for educational institutions of the Chechen Republic, approved by the Ministry of Education and Science of the Russian Federation for use in an experimental format, the article proves that the integrative approach makes it possible to implement the musical and educational process as a factor in the development of the multicultural personality of a younger student.
Since each academic discipline includes two blocks - the main one, which includes the content for the sake of which the subject is included in the curriculum, and the procedural one, which ensures the assimilation of this content, then, accordingly, the integration is both substantive and procedural in nature. M.N. Berulava believes that at the level of general didactic representation, integrative ties are established in systems of knowledge, skills and abilities, experience of creative and emotional activity, that is, they include all elements of the content of education.
At the level of educational material, the integration of educational content is carried out between specific knowledge, skills and abilities to master national, domestic and universal values \u200b\u200bin the triune concept "region - Russia - world". The procedural side of integration is realized in direct pedagogical activity, that is, individual, intrapersonal integration occurs, which results in the personal development of students.
1. Intra-subject and interpersonal integration. This fragment of the lesson, dedicated to the theme "Folk storytellers", ensures the integrity, emotionality and adequacy of musical perception in the process of cooperation and co-creation, life experiences in musical and artistic images in the relationship of intra-subject and interpersonal integration.
In this music lesson, schoolchildren gain knowledge about folk songs, from which they learn about the life of the people, their feelings and thoughts, individual historical events of the distant past. Folk storytellers were the keepers of antiquity, bearers of the people's historical memory. Each nation has its own folk storytellers. They were gifted people. In Ancient Greece - Orpheus playing the cithara. The ancient songs-tales in Russia, which were created by boyans (poets-musicians), were called epics, they were not sung, but were told to the accompaniment of gusli. Chechen and Ingush heroic, epic and historical male songs (illi) were performed by illancha (folk storyteller) to the accompaniment of some ancient instrument of the Chechens and Ingush, which the storyteller usually played. Younger students also get acquainted with Chechen, Russian and foreign ancient musical instruments, examine the instruments and remember their names. Such an integrated approach to the presentation of educational material makes it possible to productively reflect the process of comprehending music by schoolchildren in the course of cooperation and co-creation in the triune concept "region - Russia - world" (Fig. 1).
Figure 1 - Fragment of lesson number 1 on the topic "Folk storytellers" (1st grade, fourth quarter)
2. Interdisciplinary integration. Using the thematic structure of music lessons, the author proposes a variant of interdisciplinary integration, integrated development of various types of art and the formation of a child's creative activity in the process of cognitive activity on the example of a fragment of a lesson on the topic "Heroic Images in Music, Painting and Literature" (Fig. 2). Younger students learn to perceive the image of heroes, to evaluate their moral qualities through works of art. Music, painting and literature tell students about noble deeds, convey to them the ideas of beauty in art.
Figure 2 - Fragment of lesson number 5 on the topic "Heroes images in music, painting and literature" (2nd grade, first quarter)
The developed author's UMK "Music" for secondary schools of the Chechen Republic forms the multicultural attitude of students in the process of musical education, which is based on the world musical culture, consisting of the golden fund of musical cultures of the peoples of foreign countries, cultural values \u200b\u200bof the peoples of Russia and the musical culture of the Chechen people. The principle of bilingualism, which is incorporated in the models of the textbook "Music" in Russian and Chechen languages \u200b\u200bin cognitive and musical activity, ensures the integrity, emotionality and adequacy of musical perception, and also makes it possible for schoolchildren to productively reflect the process of comprehending multinational (multicultural) music in the triune concept of "region - Russia is the world.
In conclusion, we note that an integrative approach to the organization of the musical and educational process in primary school allows us to link the development processes of a multicultural personality, helping to find a common platform for the convergence of cultural values \u200b\u200bof different peoples in the concept of "region - Russia - world", develops students' ability to synthesize musical knowledge and skills in various types of musical activities.
1. Abdulin E.B. Theory and practice of music education in a comprehensive school. M., 1983.
2. Aliev Y.B. School music lessons in solving the problem of the formation of the national cultural code of a modern young person // History of the present: musical education in the post-Soviet space (experience, problems, prospects): materials of the international. symp. IV session Scientific. council on the problems of the history of muses. education / ed.-comp. IN AND. Adishchev. Kursk, 2014.S. 15-24.
3. Berulava M.N. Theoretical foundations of education integration. M., 1998.173 p.
4. Volchegorskaya E.Yu. The unity of the methodological foundations of musical education at the initial and basic stages of education // Proceedings of conferences of the Scientific Research Center Sociosphere. 2015. No. 18. S. 31-33.
5. Emanova T.V. Pedagogical foundations of musical education of students taking into account the ethnic characteristics of the region: dis. ... Cand. ped. sciences. Vladikavkaz, 1998.200 p.
6. Kabalevsky D.B. Basic principles and methods of a music program for a comprehensive school. M., 1980.
7. Likhacheva N.V. Integration of the content of education as a pedagogical problem // Vesyk Vshchebskaga dzyarzhaunaga uyversggeta. 2012. T. 5, No. 71. S. 108-113.
8. Radomskaya O.I., Savenkova L.G. The theoretical basis of complex integrated learning // Pedagogy of art. 2015. No. 2. S. 149-159.
9. Volchegorskaya E.Yu. Decree. op. P. 32.
10. Berulava M.N. Decree. op.
11. Figures 1 and 2 show fragments of the author's textbook: G.A. Krechetova. Music. 1st grade: textbook. for general education. institutions of the Chechen Republic. Grozny, 2010.110 p.
Abdullin, EB 1983, Theory and practice of music education in secondary school, Moscow, (in Russian). Aliyev, YB 2014, "School music lessons in dealing with problems of formation of national cultural code of modern young man" Istoriya sovremennosti: muzykal "noye obrazovaniye na postsovetskom prostranstve (opyt, problemy, perspektivy): materialy mezhdunar. Simp. IVsessii Nauch. soveta po problemam istorii muz.obrazovaniya, Kursk, pp. 15-24, (in Russian). Berulava, MN 1998, Theoretical basis of the integration of education, Moscow, 173 p., (in Russian). Emanova, TV 1998, Pedagogical bases of musical education of pupils taking into account the ethnic characteristics of the region, PhD thesis, Vladikavkaz, 200 p., (In Russian).
Kabalevsky, DB 1980, Basic principles and methods in music for secondary school program, Moscow, (in Russian). Likhacheva, NV 2012, "Integrating the content of education as a pedagogical problem", Vesnik Vitsebskaga dzyarzhaénaga universiteta, vol. 5, no. 71, pp. 108-113, (in Russian).
Radomskaya, OI & Savenkov, LG 2015, "The theoretical basis of complex integrated training", Pedagogika iskusstva, no. 2, pp. 149-159, (in Russian).
Volchegorskaya, eY 2015, "The unity of methodological bases of musical education at the elementary and primary levels of education", Sborniki konferentsiy NITS Sotsiosfera, no. 18, pp. 31-33, (in Russian).
At the initial stage, the connections of the musical ear with other sensory and sansomotor abilities are especially important; the artificial separation of the visual, motor, and other components does not accelerate, but harms the development of musical ear and musicality.
Thus, keeping in mind the wide individual differences of children in the level of development of musical ear, the teacher should take a differentiated approach to stimulating and assessing the educational success of younger students. At the same time, the teacher assesses the development of the student, being guided not by the average measure of "good - bad student", but taking into account the individual advancement of the student, bearing in mind his initial level. The main thing is not to extinguish the child's activity, self-confidence, desire to learn musical art deeper and more versatile.
Traditionally, the concept of “method” in pedagogy is understood as an ordered way of activity to achieve educational goals. The method is characterized by three features: the orientation of teaching (goal), the way of assimilation (sequence of actions), the nature of the interaction of subjects (teaching and learning). At the same time, the methods of educational activity of the teacher and students are closely related to each other and interact. In some periods of the development of musical pedagogy, in the foreground was the substantiation of the method as a sequence of teacher's actions to master the learning material by students. The modern education system poses tasks based on the organization of joint activities of the teacher and students, in which the activity of the subjects of the educational process becomes the main and determining factor of methodological equipment.
There is no live program, - writes DB Kabalevsky, - without a methodology corresponding to it, there is no methodology if it does not correspond to this specific program. The program and methodology in their dialectical, interacting and constantly developing connection form a single pedagogical concept. This connection is not the only, but a prerequisite for the successful conduct of classes in any school subject.
There are various approaches to classifying methods. In pedagogy, one of the most common is the classification of methods according to the source of knowledge acquisition: verbal methods, when the source of knowledge is an oral or printed word; visual methods, when the source of knowledge is observed objects, phenomena, visual aids; practical methods, where students gain knowledge and develop skills by performing practical activities. Let us dwell in more detail on the features of the application of each of these groups of methods in a music lesson as an art lesson.
Verbal methods (story, explanation, conversation, discussion, lecture, work with a book) occupy a leading place in the system of teaching methods. They allow you to transfer large-scale information in the shortest possible time, pose problems, indicate ways to solve them, and draw conclusions. With the help of the word, the teacher can evoke vivid pictures of the past, present and future in the minds of children. The word activates the imagination, memory, feelings of students. The word of the teacher, - wrote V. A. Sukhomlinsky, - is an irreplaceable instrument of influence on the soul of the pupil. The art of upbringing includes, first of all, the art of speaking, addressing the human heart ... The word can never fully explain the depth of music, but without the word one cannot approach this subtlest sphere of cognition of feelings. Explanation of music should contain something poetic, something that would bring the word closer to music. Being a certain reference point in the perception of music, the word cannot exhaust the semantic polysemy of the artistic image. It only gives the direction in which the creative imagination of the child develops.
Visual methods are intended in pedagogy for sensory acquaintance of students with life phenomena, processes, objects in their natural form or in a symbolic representation using all kinds of drawings, reproductions, schemes, models.
Due to the sound nature of musical art, the visual-auditory method, or the method of auditory visualization, of teaching acquires special significance. The priority type of visualization in a music lesson is the sound of the music itself, which involves the demonstration of musical works both in live sound and using sound reproducing technology. In this regard, the performance of music by the children themselves is of particular value: choral singing, singing of certain themes-melodies, vocalization, elementary music-making, playing imaginary instruments, plastic intonation, conducting, musical stage performance, etc. The volume and quality of music sounding at the lesson, and also its function in lesson drama is an important indicator of the success of the musical and pedagogical process.
Among a wide range of methods and techniques of an auditory orientation, prominent figures of mass musical education (B.V. Asafiev, B.L. Yavorsky, N.L. Grodzenskaya, D. B. Kabalevsky) singled out the observation method and considered it a fundamental link in musical education.
To observe art, according to B.V. Asafiev, means, first of all, to be able to perceive it. This means, first of all, that any form of performing activity, composing music by children acquires a deeply felt and conscious character. “Observing it (music. - Ed.) Leads to the setting of consciousness not on single objects and their properties, as“ separate ”, but on the interdependence and conjugation of phenomena, - as usually happens when observing the properties of only tangible phenomena, but invisible. " Only in this case, B.V. Asafiev believes, music has an upbringing effect on children, on the basis of which their life experience is enriched, "socially valuable mental states" awaken, "initiative, resourcefulness, organizational flair, critical attitude" develop, students learn to draw conclusions and generalizations.
In musical and pedagogical practice, the visual-visual method, or the method of visual clarity, is also widely used. For example, visual didactic aids, diagrams, musical tables, a dictionary of emotional characteristics. Reproductions are used to prepare children for the perception of music and to enrich musical impressions with visual associations. Children's drawings about music and to music perform similar functions in music lessons.
According to the well-known Russian psychologist A. N. Leontyev, the use of visualization should take into account two points: the specific role of visual material in assimilation and the relation of its objective content to the subject to be assimilated. Proceeding from this, it is necessary to use such visualization, which is due to the very essence of music as an independent auditory intonation-temporal art, the content-rich intonation-sound form of the work and the musical activity of children themselves.
Teaching your pupils to trace, comprehend and evaluate the intonation processes taking place in music, to accentuate the auditory orientation of musical educational systems can be considered the fundamental principles of Russian musical education. It is necessary to observe harmony in the interaction of auditory, visual clarity, practical action with music.
Practical methods in general pedagogy include methods aimed at obtaining information in the process of action. “Observing music,” wrote B. V. Asafiev, “first of all leads to an exacerbation of auditory impressions ... and, consequently, to the enrichment of our life experience and our knowledge of the world through the ear ... but it is necessary to evoke the performer’s instinct in the listener ... It is necessary that the largest possible number of people actively, at least to the smallest extent, but participate in the reproduction of music. Only when such a person feels from within the material that the music operates with will he more clearly feel the flow of music outside.
Participation in the choir creates the possibility of a very rapid growth of musical consciousness and receptivity, moreover, if pieces with a developed, mobile and independent movement of voices are still performed ... Any explanation from the outside, no matter how perfect it may be, reveals the meaning of technical terms, clarifies the meaning of one form or another, but it is not able to give an understanding of music, proceeding not from a dry analysis of the means of embodiment, but from a living sensation and immediate feeling. Personal participation in reproduction develops these properties, because it is impossible to perceive with the whole being, and not by the mind, only creative achievements, if even for a moment, for a small moment of life, one does not feel like a creator or an accomplice-carrier of someone's creative ideas, that is, a performer " ... The same pattern applies to the perception of instrumental music by children. Perception is most effective if not only auditory, but also visual and motor-motor activity is turned on. Singing, according to NL Grodzenskaya, is "an active and very important method for developing the perception of music." In this regard, among the actions with the help of which the child can reflect the perceived music, a special place is occupied by vocalization, as well as plastic intonation, musical notation, graphic recording. All this helps to survive the music, to understand the composer's intention more accurately, to remember it more firmly and faster. At the same time, for many years, the perception of music was identified with listening to music. Choral singing, playing musical instruments, etc. were among the active and priority types of musical activity. The main thing was the formation of skills and abilities for the implementation of these types of activity.
