The musical environment as a means of developing the creativity of the child. The musical environment as a means of developing the creativity of children at preschool age

Well, now it's time to go on stage to the "instigators" of today's concert and the entire project "Unforgettable Songs". And now I will tell you a little about our Musical Wednesday Club.

Now the club works at two concert venues - at the historical "Pushkinskaya 9" and in the House of Culture of the village of Kuzmolovsky, where it conducts its second project "Live String". The club annually holds two of its own festivals - the Forest Concert in Kuzmolovo and the Festival of Bard Clubs "Whiskers" in Pushkinskiye Gory, Pskov region. In the Musical Wednesday club, the sincerity of the song and the fullness of its emotional content are most valued, while the form of expression can be very different. Most often, you can hear a classic author's song with a guitar from the club's stage, but often related genres - romances, rock and blues - also sound.

During the 12 years of its existence, our club has given a try to a very large number of artists, many of whom are now known far beyond the Musical Environment, and some have already opened their own Author's Song Clubs.

As the head of the club, I allow myself to begin the performance of the Musical Wednesday.

I want to present you a song by a wonderful Petersburg author Victoria Knysh.

Victoria Knysh started singing at the age of 5. She graduated from a music school with a red diploma in piano. At the age of 16, she began writing songs. I was in charge of arranging. She taught herself the guitar.

In January 2006, the duet "Rucheyok" was formed at the Sosnovaya Polyana Theater of Author's Song, consisting of Anna Komissarova and Victoria Knysh. For 8 years of its existence, "Rucheyok" was awarded many awards in various competitions of the author's song: Echo-2007, Strings of Forts, Robinsonade-2007, Nord -West-2008.

The duo twice won the Grand Prix of the Spring Drop competition, in 2007 and 2008, as well as the Grand Prix of the I am a Composer-2007 competition, in the nomination "Author's song "Poems on Strings". Victoria's songs are characterized by amazing penetration, beauty melodies, they immediately take the soul and make you empathize.

Now I will sing a song for you Victoria Knysh, which is called "Breakers of the Year"

Sounded for you song by Victoria Knysh. For now, I'll put down the guitar and get back to my host duties.

And now I will introduce you to our next author. This Eric Ostashev. This name is undoubtedly well known to everyone who attends the club's evenings " Music environment", because Eric has been a member of the Club almost from the day it was founded.

Eric began to sing very early, and picked up the guitar for the first time at the age of 16. He graduated from a music school in the class of jazz guitar, played at dance parties, then created a rock band for which he wrote songs.

In 2003, Eric came to our club and has not parted with us until now. Eric's songs touch the souls with their amazing melody and virtuoso guitar arrangement. They are somewhere at the junction of the classic author's song, rock and blues. Piercingly lyrical or sparklingly funny - they do not leave indifferent those who are young at heart, regardless of age.

A member of the team of the Creative Club Musical Wednesday is invited to the stage Olga Zelenskaya. She will perform for you Erik Ostashev's song "The Book of Fates". We meet…

There was a song for you Erika Ostasheva performed Olga Zelenskaya. Creative Club musical environment.

Elena Maksimova – talented composer and performer - came to the author's song in her student years, when she studied at the Leningrad Engineering and Economic Institute. Elena actively participated in the institute musical life, sang at concerts, composed music for student performances.

Elena writes songs based on her own poems and poems by famous poets such as Alexander Kushner, Joseph Brodsky, Alexander Gabriel, Gleb Gorbovsky, Alexander Levin. Her songs are distinguished by an unusual and sometimes very complex melodic line, as well as the depth and ability to feel real poetry. Elena Maksimova is a laureate of the festivals "TOPOS" and "Spring drops".

I invite a member of the team of the Creative Club Musical Wednesday to the stage Erika Ostasheva, he will present you Elena Maximova's song "In Contradictions".

There was a song for you Elena Maksimova performed by Eric Ostashev– Creative Club musical environment.

Our Musical Environment still has a very strong choir tradition, so we love to sing in choir and do it regularly. And now we will present you our choral song, which was written by a friend and member of our Club Denis Tveritin.

Denis Tveritin lives in the city of Lomonosov. Creator and leader of the ensemble "First Snow", for which he wrote songs on his own poems. His songs have been awarded prizes and laureate titles at art song festivals, including Inflorescence, Lampushka, the Nord-West Festival in Valdai, Balaklava Vacations in Sevastopol, Strings of Forts in Kronstadt, and many others.

In bard circles, Denis is sometimes called the Border Guard of the genre, because his work is somewhere on the border of the author's song and rock music. In addition to the author's song and bard rock, Denis also tries himself in the musical genre. The song that will sound today was written by him for the musical "My Musician Friend".

So, I invite the team of the Musical Wednesday Creative Club to this stage. We will sing a song for you Denis Tveritin "Sailboat".

(COMMON SONG)

Sounded for you song by Denis Tveritin "Sailboat" performed by the team of the Creative Club Musical Wednesday.

Well, our today's concert has come to an end - the first and, I hope, not last concert new project "Unforgettable songs". And now I invite to this stage all the participants of today's program, all those who introduced you today to the unforgettable songs of our friends and contemporaries. Once again I will list the names of the clubs that were on this stage today, So:

(ALL CLUBS IN TURN UP TO THE STAGE TO THE APPLAUSE OF THE AUDIENCE)

Consultation for educators

"Musical environment as a means of developing a child's creativity"

In our time, the problem of the versatile education of a person is very relevant at the very beginning of his path, in childhood, the education of a Person in which the emotional and rational principles would harmoniously develop. Losses in aesthetic education impoverish the inner world of a person. Not knowing true values, children easily accept false, imaginary values.

The main purpose of education is to prepare the younger generation for the future. Creativity is the way that can effectively realize this goal.

An integrated approach to education creative personality covers wide circle issues related to the problems of general aesthetic and moral education. The inseparable unity of the ideological, worldview, spiritual and artistic is an indispensable condition for the personality of a growing person, the versatility and harmony of its development.

The value of creativity, its functions, lie not only in the productive side, but also in the very process of creativity. An indicator of the creative development of an individual is creativity. Creativity in psychological research refers to a complex of intellectual and personal characteristics of an individual that contribute to the independent advancement of problems, the generation of a large number original ideas and unconventional solutions. It is necessary to consider creativity as a process and a complex of intellectual and personal characteristics of an individual, inherent in many personalities.

Since ancient times, music has been recognized as an important means of shaping the personal qualities of a person, his spiritual world. Modern scientific research shows that musical development has an irreplaceable impact on the overall development of children: the emotional sphere is formed, thinking is improved, the child becomes sensitive to beauty in art and in life. The lack of full-fledged musical and aesthetic impressions in childhood can hardly be replenished later.

The most important indicators of a child's creativity include:

- creative activity, i.e. readiness and a high level of motivation to create a new product;

- self-expression, otherwise, the child's free choice of the species musical activity, a way to implement your idea;

- intelligence, "intellectual ability";

- "musical intelligence" - the ability to perform, compose and perceive music;

- knowledge and skills.

Factors contributing to the development of children's creativity include:

- informational, allowing to develop intelligence;

- social, providing support for children in the process of their creativity, giving the opportunity to communicate and exchange impressions;

- emotional providing psychological comfort and safety.

The modern approach to education as a cultural phenomenon allows us to talk about the cultural development of the individual in the process of mastering various types of artistic activity in a specially organized environment. Considering musical education as a process of organized introduction of children to musical culture, we can talk about the musical environment as a means of introducing a child to musical culture. Thus, the musical environment becomes one of the components of the pedagogical system and represents musical arrangement the life of children.

For a child before school age, the musical environment can be represented as a combination of several main functional areas: the environment of a preschool institution, the environment of the family, the environment of society.

Accordingly, in our kindergarten we single out the musical environment of preschool educational institutions, families and institutions of culture and education.

Musical educational environment of preschool educational institution

Block of organized (regulated) musical activities: music lessons and entertainment holidays and other activities using music (for all children).

A block of non-regulated (joint with a teacher and independent) musical activity of children in a group outside of class (in warm weather - in the fresh air):

Joint with the educator (in role-playing games using the musical repertoire, round dance, musical and didactic, musical and creative, etc.)

Independent musical activity of children outside of classes (arises on the initiative of children, represented by songs, musical games, exercises, dances, as well as song, musical-rhythmic, instrumental children's creativity).

2. The musical and educational environment of the family, where the unregulated musical activity of children is carried out:

Joint with parents (in terms of content, it is adequate to the similar activities of a teacher with children in a preschool educational institution);

Independent (similar to the independent musical activity of children in a preschool educational institution).

3. The musical and educational environment of cultural and educational institutions aimed at musical education of children attending preschool institutions (concerts, music school or art school, opera and ballet theater performances, etc.).

This is how, integrating the musical environment and the environmental approach in our kindergarten, close and successful interaction of children, educators and parents, as well as the three levels of organizing the musical education of children and their constituent blocks, is ensured.

2. Musical and educational environment of the family

The relevance of working with parents is determined by the fact that kindergarten is the first non-family social institution in which systematic pedagogical education of parents begins. The further development of the child depends on the effectiveness of our joint work with parents.

The main problem in interaction with the family is the parents' insufficient understanding of the importance of musical education of children, so I, together with the teachers of our kindergarten, set myself the following tasks:

To form in parents a strong belief in the importance and necessity of the early musical development of the child;

To teach how to create a musical environment, methods of musical education of children in the family;

To teach how to create a musical environment, methods of musical education of children in the family.

It is in the family that the child receives his very first life lessons, therefore, from the first days of the child’s visit to a preschool institution, it is important to establish contact with parents so that in the family, and not only in kindergarten, favorable conditions are created for the child to communicate with music.

In our kindergarten, parents are annually surveyed in order to obtain the necessary information about their musical culture (their musical preferences), their awareness of the musical development of children, their attitude to cooperation with preschool teachers.

3. Musical and educational environment of cultural and educational institutions

The environment of society differs significantly from the environment of the preschool educational institution and the family. Therefore, we strictly observe the principle of integrity when organizing this environment. The musical educational environment of cultural and educational institutions is aimed at the musical education of children attending preschool institutions. In our preschool educational institution, concerts of pupils are often organized music school and art schools, puppet and drama theater performances, etc.)

Information factor provides for the coordination by teachers and parents of the possibilities of using society in the musical education of children. So, the musical works that our children meet in the philharmonic society, the theater, etc., should be familiar to them - they have already listened to them in the preschool educational institution and the family. This gives children the opportunity to enjoy the experience of familiar works and to more actively and fully consciously seek to visit concert halls(big society) and music school (small society.

Peculiarity social factor is that children get acquainted with professional musicians, with people interested in the musical education of children. This is different and emotional factor. The enthusiasm of professionals infects children and allows us to consider it as a powerful factor in stimulating the creative activity of children. Using the possibilities of the social environment contributes to the personal growth of children - the development of their musicality in general, artistic and general culture, and creative imagination.

In this way, the musical environment as a means of introducing the child to musical culture and the environmental approach are an integral means of ensuring close and successful interaction between children, educators and parents, as well as three levels of organization of musical education of children and their constituent blocks.

One of the basic properties of music is its ability to create a polymodal dynamic environment with specific (spatial, temporal, psychological and pedagogical) parameters that have a strong formative and educational impact on a person. However, the theory and practice of training a music teacher - a teacher who forms the moral and spiritual foundations of the younger generation, indicate that many problems in this area have not yet been sufficiently developed, including the issue of training a specialist capable of creating pedagogically organized musical environment.

The effectiveness of music lessons depends not so much on programs and methods, methods and techniques, but on the personality of the music teacher himself, his professional skills, his spiritual perfection. A feature of musical and pedagogical activity is its universality, determined by the versatility of knowledge, skills and abilities of a teacher-musician, who must lead pedagogical, choirmaster, musicological and research work, with all its activities striving to create a pedagogically organized musical environment that can have a comprehensive formative impact on the spiritual sphere of the younger generation. At the same time, the task of the teacher-researcher is to comprehend and define new ways and methods on the basis of historical national roots for the development of a model of music education in the 21st century.

Of particular importance is the fact that a pedagogically organized musical environment cannot exist in a completely isolated space. To one degree or another, elements of the spontaneous musical environment will penetrate into it, which has a number of properties that have a negative impact on the younger generation, but they will be present in their weakened, fragmented form, and the more successfully the pedagogical musical environment is built, the less impact it will have. provide a natural environment.

From the point of view of the theory of iol and artistic development developed by B.P. Yusov, a certain organized environment allows children to develop the field of spatial imagination to the maximum: the breadth of spatial representations, fantasy, which, in turn, is an indispensable condition for the development of the child’s creative potential . A great contribution to the study of this problem was made by L. G. Savenkova, who in her research brings together the concepts of space and environment and develops a promising approach to teaching visual arts at school from the standpoint of the subject-spatial approach.

It is also necessary to take into account such an important quality of the pedagogically organized musical environment as the ability to have an adaptive and rehabilitative effect on listeners. Modern psychological and pedagogical science actively uses the therapeutic properties of music. Such a direction as art therapy is successfully developing. The influence of music is widely used in the treatment of somatic and neuropsychiatric diseases, as well as in various methods aimed at the development of children with a differentiated level of intellectual development.

The complexity and at the same time the relevance of the tasks facing the teacher-musician is due to the presence of problems in the formation of the spiritual culture of the younger generation, which is experiencing a deep crisis of values ​​and the loss of spiritual and moral orientations. In accordance with this, the content of musical and pedagogical education should be aimed at the formation and development in the younger generation of national and universal values ​​that contribute to the self-determination of the individual in the world of culture and its creative manifestation.

The environmental aspects of the development of society, the strong and often decisive influence of a certain way formed environment on a person was known in ancient times. On the basis of the patterns of environmental influence, religious and social centers were created, in which, under the influence of all types of art, a certain view of the world that was in demand in a given historical period, its spiritual and spiritual needs, corresponding to the ideals accepted in society, was formed. The artistic environment as a whole has always carried the formative, educating functions, influencing the development of a person. In nineteenth century philosophy draws attention to the deep interest in historical roots individual states and peoples, the originality of the ethnic spaces of mankind. This direction found a fruitful continuation in the 20th century, asserting the determining factor of space and environment, traditions, ethnic group and region in the formation of personality.

Special properties of the musical environment, i.e. environment formed with the help of artistically (spatially, intonationally, rhythmically, dynamically, timbre) organized sounds are determined, first of all, by their wave nature, which determines the permeability and ability to propagate in any physical environment. Modern science has proven that each cell of the human body has its own types of vibrations, and under the influence of resonance or inter-

These vibrations can be amplified or suppressed by the effect of sound. Consequently, it is the permeability of sound that determines its ability to create a certain environment, which may have different qualities depending on which sounds are involved in its formation.

The 20th century has transformed the “musical landscape” itself. Now it is full of paradoxes associated with rapid civilizational progress. The phenomenon of mass music emerged. It developed so rapidly that by the second half of the last century, mass genres became the main ones in musical culture, and today folk, classical or church music are just small islands in a sea of ​​diverse popular music. According to the researcher N. N. Kurchan, the very concept of "music" in the mind modern man, as a rule, is associated with one or another genre of mass music, in particular with a popular song.

Modern youth often perceives music exclusively in the form of a clip - a new genre built on a sequence of musical fragments supported by a flashing video sequence, which forms only some impression, a feeling, but not a complete one. artistic image, since the clip lacks its most important components - continuity and development over time.

It is possible that clip consciousness is a reaction to the information overload of a modern person, an attempt to "fold", reduce its flow, and thus becomes an integral and natural sign of the modern cultural (including musical) environment. “This is self-defense, however, self-defense is aggressive, since the habit of “wedge consciousness” displaces all other forms of knowledge of the surrounding world. When choosing between simple and complex work, a person, as a rule, makes a choice in favor of the first.

Historical analysis makes it possible to differentiate the following basic concepts: global audio environment - an environment that contains all the variety of sounds of human civilization, including the latest forms of music application (various signals, calls, sound design of the operation of various machines and devices, etc.); musical environment - an environment formed with the help of artistically (spatially, intonationally, rhythmically, dynamically, timbrely) organized sounds; the spatial structure of the musical environment - a structure that reflects the ratio of its components, their subordination and mutual influence; mass music - music intended for perception by the general population. The basis of mass music, as a rule, is the song genre; concert hall music - classical and modern academic music performed by high-level professional performers; clip consciousness - a person's ability to think in flashes, discretely developing under the influence of the modern cultural environment and developing the habit of perceiving the world through a short, extremely articulated message, embodied in the form of a video clip.

Among the principles of building a musical environment, one should single out: the principle of complexity, under which information, psychological, aesthetic and moral codes affect a person in a complex; the principle of unification (all components of the musical environment and all those who are the object of its influence); the principle of reflection (the ideals of the era, the originality of ethnic spaces, etc.); the principle of permeability (which is based on the wave nature of sound).

The features of the pedagogical musical environment, created in the process of working with students by outstanding teachers-musicians, include: intentional pedagogical inclusion; creation of an atmosphere of trust and special “affinity” of congenial people; high "moral degree"; appeal to the inner forces of students in the process of their immersion in the atmosphere of creative creation; breadth of interests and comprehensive education of the teacher.

In pedagogy of the XX century. a special place belongs to musical and pedagogical systems addressed to the widest audience, which were created by outstanding musicians - K. Orff, Z. Kodai, D. B. Kabalevsky. These systems marked the beginning of a mass pedagogical appeal to the possibilities of musical art in the development and education of a person of the future.

Making high demands on the personality of a music teacher, Kabalevsky proceeded from the belief that the personality of a student can only be brought up by an extraordinary, bright personality of a teacher. Psychologists traditionally define a personality as a unique structure that arises as a result of the synthesis of all the characteristics of an individual and changes as a result of adaptation to a constantly changing environment, and is largely formed under the influence of the reactions of others to the behavior of this individual.

A special place in the process of personality formation is occupied by the relationship of time and culture. So, M. M. Bakhtin draws attention to the fact that culture is characterized by extension, life in “big time”. It is here, in the space of "great time", that a person acquires such a quality necessary for a person as freedom. “Culture is always a matter of free initiative, and the latter is possible only as an initiative of individuals, as a personal initiative” (Yu. N. Davydov). Personality can also be interpreted taking into account external manifestations (in facial features, behavior, in the characteristic features of the environment created by a person around him, etc.), reflecting the internal qualities of a person.

Thus, a personality can be defined as a lifetime psychological formation that is social in nature, representing a system of motivational-demanding relations, as a concept that characterizes essential social relations. Personality can also be interpreted as an external manifestation of the internal qualities of a person.

Of particular importance is the value-semantic concept of personality, which determines the essence of the development of the culture of a person's personality through his attitude towards another person as a value in itself, as a creature that embodies the infinite potentialities of the human race. In this regard, the provisions of the concept of emotional-figurative development of the personality in their application to the musical development of students are also significant.

After analyzing the forms of existence of the musical environment, as well as the ways of its organization and existence, we single out its two main types - spontaneous and cultural. The spontaneous musical environment described by E. II. Kabkova, develops by itself under the influence of various factors and is an example of a characteristic of the 20th century. "clip". An important difference between the spontaneous musical environment is the predominance of commercial forms of musical art, often affecting on a subconscious level in such a way that students immersed in such an environment increase and develop aggressiveness, isolation, inability to dialogue, inability to daily work, the need to distance themselves from reality. . In the space of a spontaneously developing musical environment, there are also examples of high musical art, but their presence or absence depends largely on social factors. Thus, the definition can be clarified: a spontaneous musical environment is a type of musical environment that develops by itself under the influence of various, often unrelated factors and is an example of a characteristic of the 20th century. "clip", when a modern student in his ordinary life is influenced by various, often negatively affecting musical factors.

signs spontaneously developing musical environment: polymodality, dynamism, unpredictability, an insignificant degree of presence of high examples of musical art, the predominance of commercial forms of music, a decrease in the verbal component of the language of youth communities.

Features such as polymodality and dynamism of the spontaneously emerging musical environment ensure its high permeability and influence on the youth audience, while the unpredictability and predominance of commercial forms of music give it a potentially dangerous character for society. Researchers comprehensively study the influence of clip consciousness on the personal characteristics of today's youth. The most obvious changes are:

• 1) a decrease in interest in learning, since it is not seen as a way to shape the future, and the future is of little interest to a young person. The basis of the worldview are formulas about the transience of life and the need to enjoy and "take everything from life";
• 2) weakening and decrease of interest in the search and formation of spiritual ties; strengthening the pragmatic aspect in relationships with people;
• 3) the dominance of individualistic values ​​aimed at satisfying such qualities as vanity, selfishness, etc.;
• 4) a decrease in the individual's ability to introspection, which is manifested in a superficial, but absolutely confident assessment of ongoing processes, unwillingness to delve into the essence of problems, expressed in focusing only on external signs, "stereotinization of thinking" (M. A. Davydova).

The researchers note that in order for a person to be able to strive for moral perfection, the presence of some kind of harmonizing force is necessary. As such a force, the antipode of the spontaneous musical environment can act - the cultural musical environment, which is defined as a polymodal, dynamic artistic sound environment that exists in the integral space of culture and contributes to the elevation and improvement of the spiritual sphere of listeners. A characteristic feature of the cultural musical environment is its harmony, which ensures a balanced "consonant" impact of such an environment on a person. Even very strong emotions caused by music in a cultural musical environment do not contribute to the destruction of the spiritual sphere of a person, but to its cathartic purification, which has been noted by many researchers since Antiquity.

Thus, it can be argued that the cultural musical environment is distinguished by the following signs: polymodality, dynamism, intellectual fullness, harmony, a significant degree of presence of high examples of musical art, communicative potential, openness to dialogue, therapeutic, health-saving functions, a high level of verbal component.

P. II wrote about the relationship between aesthetic education and the spiritual development of the individual and the need to create special pedagogical conditions for the implementation of this relationship. Blonsky, S. T. Shatsky, V. A. Sukhomlinsky and other classics of Russian pedagogy. Summarizing their discoveries, as well as our own results of the study, it can be argued that when creating pedagogical conditions for the implementation of purposeful work to create an environment in which the spiritual development of the individual takes place in the process of aesthetic education, the most perfect type of cultural environment is formed, its highest level, which we defined as a pedagogically organized musical environment.

Main components pedagogically organized musical environment are: a meaningful layer of musical art, perceived by listeners in the form of musical works (in its finished form or presented in the form of certain fragments, reflecting the thematic, emotional-figurative or illustrative aspects educational process) sounding in the recording; live music performed by professional performers; music sounding in the students' own direct performance; carriers of live musical sound - musical instruments available in educational institution, in a music studio, with children at home, in a museum; imaginary music, i.e. one that students “hear” with their inner ear in the process of perceiving other types of art (works of literature, painting, architecture, sculpture, etc.); the so-called "music of nature" - the singing of birds, the rustle of leaves, the sound of waves, wind, the hum of a flame in the hearth, the ringing of drops, etc.; melody of expressive speech (meaningful and figurative).

The following main channels through which the influence of the musical environment occurs: vibration channel(as the most general, covering all manifestations of the sounding world); emotion channel(as the basis of "the center of the spiritual life of society"); verbal-analytical channel(contributing to the critical understanding of incoming information, its ranking and evaluation); communication channel(providing, on the one hand, a connection between various manifestations of the musical environment, and, on the other hand, promoting rapprochement, mutual understanding of people immersed in the musical environment and experiencing its comprehensive influence).

to meaningful features the musical environment is global in nature, connection with the harmony of the universe, spatial structure, the intensity of its influence on a person, the ability to form the worldview of the younger generation, the ability to be a catalyst for emotional impact, the ability to create synthesis, self-sufficiency and, at the same time, the ability to create environmental compositions in commonwealth with other arts, blurring the boundaries between art and reality.

The study of musical influence as an aesthetic influence is one of the most important areas of modern psychological and pedagogical science, since the aesthetic, being a fundamental link in culture as a whole, determines the direction of development towards spiritual elevation. In the process of aesthetic perception of music, new opportunities for the student's personality are opened up, since progress from the aesthetic development of the musical developmental environment to the development of creative thinking and the improvement of the motivational sphere entails not only the search for something new in the surrounding world, but also the search for the best in oneself.

The aesthetic component in its summing value in relation to other components of the pedagogically organized musical environment appears to be a consistently integrating force that unites all aspects of the physical, intellectual and emotional development of schoolchildren. Aesthetic education affects both artistic creativity and the aesthetics of everyday life, nature, behavior, work, relationships, i.e. the whole surrounding world as a whole, the perfection of which is presented precisely from the standpoint of an aesthetic attitude.

Outstanding domestic teachers of the XX century. saw the prospect of the development of all pedagogical science in the development of aesthetic perception, understanding, spiritual saturation and elevation of the younger generation. An equally important condition is also the awareness of the child's perception of the aesthetic in art and in life, which can be achieved. the leading role of purposeful pedagogical influence in the aesthetic development of the child. The decisive factor here is the translation of spontaneous, spontaneous communication with aesthetic phenomena, during which the child, one way or another, develops aesthetically, into the mainstream of pedagogical guidance, since the development of a child’s aesthetic attitude to reality and art, as well as the development of his intellect, must be carried out in pedagogically formed system.

The aesthetic development of schoolchildren determines such an ability, necessary for the full perception and comprehension of information, as love ability, closely associated with general ability to deep emotion.

In the context of this issue, the synthesis of arts is understood as a voluntary connection, combination, an organic union of equal, formed, independent principles, which, entering into conflict with each other, overcome it and combine into a new artistic and synthetic reality. The synthesis of the arts, embodied in the image of a pedagogically organized musical environment, provides artistic creativity not just new opportunities and reserves in the development of the world, but opportunities at a new qualitative level both in the aesthetic organization of the human environment and in the awareness of spiritual values.

In this regard, the cultural environment of education is of great importance, which can be represented as a system of approaches and typical methodological properties that determine the integrity of the educational process. The ability of the beautiful to influence the feelings of people, to enrich them, remains central and unifying here. spiritual world and rise above everyday reality.

Comparative analysis directions of education, based on the environmental approach, and opportunities pedagogically organized musical environment proves the relevance of developing a dynamic model of a pedagogically organized musical environment, the structure of which is based on the identification of several significant temporal and spatial characteristics. Among them: stage parameters; stages of development; components (material, creative, effective and transformative); layered structure interpersonal relationships, transforming as the activity attitude to creative work deepens, and the so-called.

A significant role in the structure of the pedagogically organized musical environment is played by stage sequence its formation. First stage - initial, when the musical environment is just beginning to form. At the first stage of the formation of a pedagogically organized musical environment, manifestations of the spontaneous musical environment can still be quite strong, which often provoke conflicts and disagreements in the school community. In this regard, for the first stage of the development of a pedagogically organized musical environment, the consistency and adherence to principles of decisions and actions to form it on the part of the pedagogical leadership is important.

Second stage the formation of a pedagogically organized musical environment is characterized by the fact that the personal positions of the participants in the process are determined, their activity and interest in achieving a common goal is manifested. On the basis of collective activity and the manifestation of mutual psychological attraction, microgroups are formed and a group of leaders from among the most active and advanced students begins to form. At this stage, there is a great opportunity for the formation of the so-called "opposition group", which can contribute to a more active penetration of various components of the spontaneous musical environment.

Third stage The formation of a pedagogically organized musical environment is characterized by the fact that all its components begin to function under the influence of common intellectual, emotional and communication aspirations of all participants in the process.

In a pedagogically organized musical environment there are a number of components: material, creative, effective and transformative.

TO material components environment should include all physical objects that are in the zone of its action, since all this in one way or another affects either the very sound of music, or the nature and quality of its perception. creative component represented not by objects, but by the quality of activities, among which a significant place should be occupied by creative projects students. Effective component associated with the creative component and starts working immediately after it is enabled. The effective component is one of the significant conditions for the implementation of not only students' copyright projects, but also the successful development of the school's musical environment. Transform component refers to the internal, deeply personal areas of action of the pedagogically organized musical environment. He is the most important component, since it is he who is responsible for the inner, mental work of the individual and her spiritual elevation.

It is important to note stratometric (layered) structure development of interpersonal relations in a team of schoolchildren, which are characterized by a number of qualities. intellectual unity participants in a pedagogically organized musical environment is determined by the equal accessibility of information and its exchange among different age groups of students, teachers and parents, as well as awareness of common goals, joint creative activity. Emotional unity is determined, first of all, by such an influential category of art as its “contagiousness” (L. N. Tolstoy), and the commonality of goals and bright emotional coloring relationships in the process of joint creative activity activate communication links within the team of participants in the integral process of formation and development of a pedagogically organized musical environment. Spiritual community is formed on the basis of purposeful pedagogical education in students of the values ​​of ethical and moral culture. It is determined by an appeal to the ancestral roots, the historical past of the people, their culture and art.

An analysis of the pedagogically organized musical environment as a means of developing the spiritual culture of schoolchildren led to the need to reorient the activities of music and pedagogical faculties - priority centers for training qualified music teachers who are able to cope with the implementation of the innovative tasks set. In this plan there should be a change in the leading type of relationship from a theoretical attitude in teaching the subjects of the musical cycle to a practical-spiritual one. At the same time, it is necessary to strengthen the role of emotional cognition in its relation to the rational one. The Faculty of Music and Education must itself acquire the features of a pedagogically organized musical environment. which will be able to convey aesthetic and spiritual values ​​to students at an effective, creative and procedural level, which will allow them to acquire the necessary qualities for further work with students.

Pedagogical training and the method of modeling pedagogical situations were recognized as the most effective forms of interactive learning with great pedagogical potential. They allow students to master the technique of organizing effective interaction with students based on the “distant pedagogical horizon”, reproduce real pedagogical phenomena and act productively in the proposed conditions. As a result, it was determined pedagogical conditions formation of basic professional qualities of future music teachers capable of creating a pedagogically organized musical environment. Among them: a special personality-oriented atmosphere; achieving the balance necessary for the harmonious development of future music teachers between the intellectual, emotional and spiritual spheres of their development; creation of a pedagogically organized musical environment in the course of the entire time of classes for future music teachers, and with the active involvement of the forces of the students themselves.

So, the main provisions of the concept of the formation of the spiritual culture of a growing person, based on interaction with a pedagogically organized musical environment, are as follows.

• 1. A pedagogically organized musical environment, having a number of effective qualities, such as permeability, influence, the ability to produce a variety of media compositions, has a decisive influence on the development of the spiritual culture of young people and is its integral indicator.
• 2. The essential characteristics of a pedagogically organized musical environment, based on a rich musical and pedagogical tradition, the activities of outstanding music teachers, lies in the intensity of its influence on a person, the ability to form the worldview of the younger generation, to create a synthesis in collaboration with other arts.
• 3. The conditions for building a pedagogically organized musical environment are: the stages of its formation, the stratometric (layered) structure of the development of interpersonal relations in a team of schoolchildren as the activity attitude to creative work deepens, the correspondence of the forms and methods of its construction to the age characteristics of students, the general focus on the spiritual improvement of the growing person.
• 4. The adaptive and rehabilitation properties of a pedagogically organized musical environment are due to the deep relationship between the physical and mental development of a child and the musical environment, which is carried out through a number of communication channels, such as a vibration channel, an emotional channel, verbal-analytical and communication channels, as well as in the process of implementing its functions. - filtration, compensatory, ecological, functions of stimulation of mental activity, functions of emotional and psychological comfort, motivational and social-adaptive functions.
• 5. The determining condition for the creation of a pedagogically organized musical environment is the purposeful training of qualified specialists at the music and pedagogical faculties of universities, who are aware of its significance and own modern methods of its creation in educational institutions.
• 6. Signs of the readiness of future music teachers to create a pedagogically organized musical environment are the presence of the following basic professional qualities: an individual approach to the development of a pedagogical concept, the ability to plan pedagogical actions, the ability to communicate with art, orientation to the level age development and individuality of students, striving for a holistic approach to the totality of pedagogical methods, methods of activity and communication strategies, the need for self-development and self-improvement.

The concept of L. I. Ukolova attracts with a value approach to the analysis of a pedagogically organized musical environment. The author specified the conditions for its construction: the stages of formation; stratometric (layered) structure of the development of interpersonal relations in a team; focus on the spiritual improvement of a growing person, etc. These and other pedagogically significant provisions, subject to their practical implementation, can significantly update the educational process of the school and university, namely, increase the educational orientation of the organized musical environment, neutralize the negative impact of the natural environment and ensure humanization of the educational space in its focus on the personality of students. At the same time, the professional tasks and functions of music teachers are updated, it becomes possible to develop modern strategy education of personality by means of music in a broad socio-cultural context.

• Based on materials: Ukolova L. I. Pedagogically organized musical environment as a means of establishing the spiritual culture of a growing person: author. dis. ... doc. pedagogical sciences M., 2008.

Before proceeding to the consideration of this topic, let's dream a little. Imagine a child in an empty room. What will happen? He will make every effort to leave her: it is not interesting, there is nothing to do. Another variant. There are many interesting toys, games, manuals in the room. But there is nothing for musical activity. Will the child take care of it? Of course not. He will take care of what the objects around him are suitable for. Third option. In the preschool educational institution, two groups of children of the same age are equipped with the same games, toys, aids, including those for musical activities.

In one group, the teacher does not pay attention to them, sometimes even expresses a negative attitude towards them. As a result, children's interest gradually fades away, and they cease to engage in musical activities on their own. In another group, the teacher shows interest in musical games, demonstrates to children the possibilities of the musical subject environment, creates creative situations that arouse interest in musical games and toys. As a result, children often play with them in a creative way.

So, we come to an undeniable conclusion: for the musical education of children, a rich musical subject-developing environment is necessary, and for the development of the personality of preschoolers, there must be a teacher next to them who is passionate about music, able to realize the creative potential of the musical environment and manage the development of children's creativity in musical activity.

The environment surrounding the child in kindergarten, family and society can become a means of developing his personality only if the teacher is able to organize such an environment. To do this, he needs to know what the environment should include, the mechanism of its influence on the personality, as well as the qualities of the personality that form the basis of creativity.

The most important indicators of creativity include creative activity, self-expression, intelligence, knowledge and skills.

The factors contributing to the development of creativity include: informational, which allows the development of intelligence; social, providing support for children in the process of their creativity, giving the opportunity to communicate and exchange impressions; emotional, causing psychological comfort and safety.

Knowing and taking into account the above indicators of creativity and factors that contribute to the development of creativity, allow the teacher to exercise the function of indirectly managing the process of musical education of children.

Considering musical education as a process of organized introduction of children to musical culture, we can talk about the musical environment as a means of introducing a child to musical culture. Thus, the musical environment becomes one of the components of the pedagogical system and represents the musical arrangement of the life of children, including classes and holidays.

Musical instruments, toys, manuals can be identified in the subject-developing environment, which is developed in sufficient detail in preschool pedagogy.

For a preschool child, the environment can be represented as a combination of several main functional areas: family environment, preschool environment, social environment.

In accordance with this, we single out the musical environment of preschool educational institutions, families and institutions of culture and education (the environment of society).

1. Musical and educational environment of the preschool educational institution. This environment is subdivided into the Environment of organized musical and creative activity in the preschool educational institution and the Environment of unregulated (together with the teacher and independent) musical and creative activity. An environment for organized musical and creative activity is created in music classes conducted by a music director, as well as in classes in a music studio, musical theater etc. This environment, through its content, should create conditions for the musical and creative activity of each child, stimulating the development of his creativity. The organizer of the environment, and its component is the music director, and musical and creative activity takes place in interaction not only with the music director, but also with the educator. An adult is a role model, a bearer of musical culture.
The environment of unregulated musical and creative activity is created in the group outside of classes. The child spends most of the time in the kindergarten group, so this environment must have the potential for musical education and the development of his creativity.

The unregulated musical activity of children is carried out jointly with the teacher in the group and, to a lesser extent, in circles of musical creativity organized by the music director. The teacher does not teach children - he tries to interest them in listening to familiar music, expresses his attitude towards it, involves children in musical games and exercises familiar to them, conducts musical warm-ups and traditions (a morning song is a greeting to a new day, once a week an evening of songs and etc.).

The teacher selects the musical repertoire with the help of the music director or himself, but in agreement with the music director. The organization of unregulated activities requires compliance with the following conditions.

The presence of children's skills in all types of musical activities, as well as a sufficient repertoire that children can use in their musical activities.

The presence in the group of all visual aids that are used in music classes (cards for musical exercises and games, children's musical instruments and toys).

The presence of a tape recorder and cassettes on which the music director, especially for the educator, records a new musical repertoire, cassettes with recordings of instrumental music and musical fairy tales.

In this environment, the educator continues the pedagogical line of the music director and is a model of musical perception and musical creativity for children. In parallel, independent musical creative activity of children is carried out. Independent musical activity of children outside of classes arises at the initiative of children, represented by songs, musical games, dances, as well as song, musical-rhythmic, instrumental children's creativity).

2. The environment of the family as a place for the musical activity of the child. It is generally accepted that the family either contributes to the musical development of the child, or hinders it. The main problem in interaction with the family is the lack of understanding by parents of the importance of musical education of children. What to do? The kindergarten teacher needs to have information about the culture of parents (their musical preferences), their awareness of the musical development of children, their attitude to cooperation with preschool teachers. Family work includes musical education of parents and their involvement in joint activities(holidays, entertainment with parents, competitions for the best musical rebus, the best home-made children's musical instrument). It is necessary to convince parents of the importance of a favorable home musical climate: parents must show their children that their favorite pieces of music bring joy and pleasure, improve mood. Children are greatly influenced literary images Therefore, family readings are well accompanied by music (recordings of children's musical fairy tales).

3. Society as an environment for musical education of the child. The environment of society differs significantly from the environment of the preschool educational institution and the family. Therefore, it is very important to observe the principle of integrity when organizing this environment. It is aimed at the musical education of children attending preschool institutions (concerts, theater performances, etc.). The enthusiasm of professionals infects children and allows us to consider it as a powerful factor in stimulating the creative activity of children.

So, when organizing the musical environment, the leading role belongs to the musical director, who performs various functions: diagnoses the environment and personal qualities of children (musicality, creativity, empathy), designs the goal and means to achieve it, organizes the musical educational process, advises educators and parents on issues of musical education of children, ensures the interaction of all components, analyzes the results of the process of musical education of children and corrects.

The term developing environment is understood as a complex of material and technical, sanitary and hygienic, ergonomic, aesthetic, psychological and pedagogical conditions that ensure the organization of children's lives. The purpose of creating such a developing environment in a preschool educational institution is to provide for the vital needs of an emerging personality.

Based on this definition, the musical environment, in our opinion, is a system of musical material objects of a child's activity, functionally modeling the content of his creative development. The musical environment presupposes the unity of social and objective means of ensuring the diverse activities of the child. The main elements of the musical environment are music studios; music venues and their equipment; musical spaces equipped with thematic sets of musical objects, musical materials; audiovisual and information means of education and training, etc. All components of the musical environment are linked to each other in terms of content, scale, and artistic solution.

V.A. Petrovsky, L.M. Klarina, L.A. Smyvina, L.P. Strelkova in her work “Building a developing environment in a preschool institution”. offer the following principles for building a developing environment, which also apply to the musical environment:

the principle of distance, position in the interaction;

the principle of activity, independence, creativity;

the principle of stability, dynamism;

the principle of compensation and flexible zoning;

the principle of emotionality of the environment, individual comfort and emotional well-being of each child and adult;

the principle of combining familiar and extraordinary elements in the aesthetic organization of the environment;

the principle of openness - closeness;

the principle of taking into account gender and age differences in children.

The modern musical environment must be designed in accordance with the musical program that is being implemented in an educational institution. The teacher himself must be able to create a musical environment. The teacher must take into account the individual characteristics of the development of each of his pupils, know the group as a whole, so as not to delay further development children's creativity and at the same time not to set overwhelming tasks for them: such tasks do not work for the development of creativity, they can extinguish a child's desire to even try to solve them, hinder the development of cognitive interest.

Emotional saturation is an integral feature of the musical environment. What is attractive, funny, interesting, bright, expressive, arouses curiosity, is remembered quite easily. It should not be forgotten that the musical material with which the child did something himself is especially easy to remember and is preserved for a long time.

The created musical environment evokes a sense of joy in children, an emotionally positive attitude towards kindergarten, a desire to attend it, enriches it with new impressions and knowledge, encourages active creative activity, and contributes to the intellectual development of preschool children.

The musical environment in kindergarten involves the assimilation of certain knowledge by children, the acquisition of the necessary skills, and the accumulation of musical impressions. This is achieved thanks to proper organization music classes, holidays and entertainment, as well as the guidance of educators (albeit indirectly) in the independent musical activities of children.

However, the organization of the musical environment involves not only solving methodological issues, but also equipping it with all the necessary equipment - musical toys and instruments, musical and didactic aids and games, home-made toys, technical teaching aids, all kinds of methodological literature, various attributes, special furniture.

In kindergarten, music classes are held in the hall or group room, which are important elements of the musical environment. The hall should be spacious, bright, strictly and beautifully (no frills) cleaned, especially during festive matinees. The walls are painted in pleasant pastel colors, which are in harmony with the curtains on the windows, frosted lamps, flowers in decorative vases. Decorative panels, prints, portraits of composers, children's drawings, etc. are used to decorate the hall. Much attention is paid to the design of the central wall. For the piano, you should choose a place so that the teacher, sitting at the instrument, can see all the children.

Children's musical instruments, toys, musical and didactic aids, attributes for dancing, games, TCO, methodological literature are stored in sectional cabinets in the hall or in the methodological room. All equipment must meet modern aesthetic and pedagogical requirements. Compliance with hygiene requirements is equally important. Before each lesson, the hall is well ventilated, wet cleaning is done. It is best to cover the floor in the hall with a carpet or rug so that children do not slip during movements.

As we have already noted, the musical environment has a significant influence on the formation of children's artistic tastes. Therefore, in order to instill in children an interest in musical activity and constantly maintain it, it is necessary to allocate a special place in the group room and equip it with various musical and didactic games and manuals, technical means (radio, electric player, tape recorder, etc.).

In the corner there should be: a small cabinet or shelves for storing musical aids, 1-2 tables with chairs for independent music-making and board didactic games. You can hang a portrait of a composer known to children, photographs of the children themselves playing instruments. Flowers and decorative works of children made by them in manual labor classes will be appropriate here. If desired, the music corner can be fenced off with a light decorative screen that can be easily removed.

The main content of the corner is a variety of musical aids. First of all, these are musical toys and children's musical instruments, which are selected taking into account the age of the children, the sequence of acquaintance with one or another instrument during classes. Secondly, these are various didactic aids and games, and some of them are homemade. There are also separate attributes, elements of costumes used by children in musical games, dramatizations, and dances. The teacher makes sure that the children carefully handle toys and tools, after the game they put them away.

It is desirable for each group to have a player and a small set of gramophone records with children's songs, folk dance melodies, musical fairy tales, dramatizations. In this case, the teacher will be able to satisfy the desire that arose in children to listen to music, dance, play a “concert”.

The tasks of musical education in different age groups determine the number and range of benefits. All of them should be beautifully designed, arouse children's interest and desire to act with them, should be simple in form, easy to handle, durable and reliable in use.

In the musical environment, in order to most successfully develop creativity and familiarize with music, it is necessary to use various aids that facilitate the process of its perception and understanding. In order to more clearly present the purpose of various benefits, you can conditionally group them as follows:

• 1st group - figurative toys (cats, dogs, etc.);
• Group 2 - children's musical toys and instruments, which, in turn, can be divided into unvoiced and voiced. The first are designed to create a game situation in which children, fantasizing, imagine themselves playing musical instruments. The latter are divided into four types depending on their sound: toys-instruments with a sound of non-fixed, indefinite pitch (rattles, tambourines, drums, triangles, etc.); toy instruments that make only one sound (pipes, pipes, horns, etc.); toys-instruments with a fixed melody (organs, music boxes); toys-instruments with diatonic and chromatic scales (metallophones, pianos, button accordions, flutes, etc.);
• 3rd group - musical and didactic aids and games (subject and graphic). These include manuals and games homemade and manufactured by industry. Games are aimed at solving the problems of musical and sensory development of children, but unlike manuals, they have a certain content, rules;
• Group 4 - audiovisual (auditory-visual) teaching aids, which are usually divided into screen, sound, screen-sound. Screen films include silent films, filmstrips and transparencies; to sound - tape recordings, gramophone records, radio broadcasts; to screen-sound - sound films, voiced transparencies and filmstrips, educational television programs.

Figurative toys are good to use in games with younger preschoolers. Picking up toys of various sizes ( big dog and small, chicken and chicken, cat and kitten, etc.) and using them in play situations, you can show children that sounds can be high and low. To do this, the teacher imitates the clucking of a chicken and the squeak of a chicken, etc., and encourages the children to do the same. At the same time, he repeatedly reminds that the chicken squeaks thinly - with a high sound, etc.

The same toys, but played differently, help to introduce kids to a variety of timbres.

For example, to a nesting doll in a toy house (you can use it, and its planar image, taking from the set puppet theater) toys come to visit: a dog, a cat, a chicken, etc. With the help of onomatopoeia, the teacher introduces all the guests to the children in turn, asking at the same time who came to the nesting doll. When the children correctly name the toy, he shows it. Even more interesting is this game with voiced toys.

Lotto-type benefits are cards with pictures drawn or pasted on them. These can be images of various musical instruments: glockenspiel, zither, drum, triangle, etc., available in the group. When playing an instrument so that the child does not see it, the teacher invites him to choose the card that depicts an instrument with such a sound. At another time, you can offer to choose a card with the image of your favorite musical instrument, name it, and then play it. This task is more difficult, and it is recommended to give it in older groups, when children have mastered the techniques of playing different instruments to a sufficient extent.

With the help of children's musical instruments, you can convey the rhythmic pattern of a familiar song, chants, sing, play along with yourself, improvise the simplest melodies.

If you put an ordinary metallophone at an angle, you get a sounding ladder, along which a small matryoshka will go up and down, attached to a thin wooden stick, it will jump on one step or over the steps, and this will allow each child to visualize the relative height of sounds, the direction of movement melodies.

Pipes, bells, bells, selected in such a ratio that they sound differently, can also be used to familiarize or reinforce children's ideas about the height of sounds.

For the development of timbre hearing, you can give riddle exercises: guess what instrument sounded? At the same time, instruments must be selected as contrasting in sound, for example, a tambourine, a metallophone, a triol, and closer in sound - a triangle, bells, a tambourine. Such a task, since it is quite difficult, is recommended to be given in the senior preschool age.

With the help of musical instruments, children's dynamic hearing also develops. Inviting them to play the game “Loudly Quietly”, the teacher first shows himself how both loud and quiet sounds can be achieved on the same instrument, then he asks the children to try to play the same way. For example, in order to make the sound softer, muffled when playing the drum, you need to wrap the sticks with soft cloth.

Musical and didactic aids and games are most often made by educators or parents. Such homemade benefits include, for example, musical lotto. This is a graphic guide. Circle notes for it are usually cut out of thick cardboard and pasted over with multi-colored velvet paper, but they can also be made from any other material, the main thing is that they fit the musical staff in size, on which they will need to mark the relative height of the sounds. Another element of the musical lotto are cards made of cardboard or other material (wood, plastic), different in width; Wider cards conventionally denote long sounds, and narrow ones short ones.

Pictures pasted on cards can conditionally convey the nature of a particular work. For example, the image of a girl rocking a doll is well connected in the representation of children with a lullaby; the image of a boy marching with a drum in his hands is associated with a march, and a girl in a sundress is associated with a dancer. Introducing children to various genres of musical works, the teacher can offer them to choose the one from the pictures that corresponds to the piece they listened to.

But at the initial stage of familiarizing the child with the relative height of sounds, it is better to make a planar image of a ladder with steps, along which not only a nesting doll, but also other toys (planar images) can walk, beaten accordingly. After the children have mastered the principle of the arrangement of high and low sounds, the teacher proceeds to show them on the instruments.

To identify the parts of a piece of music, you can use geometric figures. Older preschoolers are familiar with figures such as circle and square. While listening to a familiar work, the child puts on the table different figures as many times as the nature of the music changes. For example, if the work is two-part, then the child will put two figures - a square and a circle, if it is three-part, then three different figures - a square, a circle, a triangle. But you can also offer a simpler option: mark parts of the work with the same shapes (for example, squares). As illustrative aids, it is useful to use pictures from N. Vetlugina's "Musical Primer". They give a visual representation of the various properties of sound: pitch, duration, timbre. The display of illustrations is combined with playing musical instruments, singing and laying out the melody of the song on the flannelograph with the help of circles of notes. In this case, auditory perception is supported by visual and motor perception.

Children of older preschool age can distinguish the nature of music, its mood (cheerful, sad, calm). If you depict a child on a card with different facial expressions (cheerful, calm and sad), conditionally corresponding to the nature of the music, then you can invite the children to listen to the piece of music and determine its character using this manual (close the corresponding image with a chip). Preschoolers also distinguish the genre of musical works, for example, heroic, lyrical, comic. Designating these genres on the cards with conditional images (for example, a dancing ballerina, a cheerful clown).

Musically didactic games, as well as manuals, help to acquaint children with the properties of musical sound. The game "Know the instrument" is a set of large cards depicting various musical instruments, arranged in different sequences, and a set of small cards depicting a musical instrument. The players are given large cards, and the host takes small ones. Children must recognize and name the instrument from the card shown by the presenter, and close the same instrument on their large card with a chip. In a more complicated version of this game, children recognize musical instruments not by the image, but by the timbre of sound. At the same time, the teacher plays various children's musical instruments so that the child does not see them. Having recognized the instrument by its sound, the child closes its image on the card with a chip. The winner is the one who correctly identifies all the tools.

In another musical and didactic game such as "Lotto", instead of images of musical instruments, images are used that conditionally convey the content of songs familiar to children. The principle of the game is the same: the teacher plays the melodies of familiar songs on some instrument, the children recognize them and cover the corresponding image on the lotto card with chips.

Manuals of the 4th group, i.e. audiovisual teaching aids, Every year they are increasingly used in the educational process, both at school and in kindergarten. First of all, they include gramophone records, audio CDs, the assortment of which is very diverse. These are children's songs, music and songs from cartoons, fairy tales with musical accompaniment, musical fairy tales and compositions.

Records, audio CDs enable the teacher to acquaint children with vocal and instrumental music, with the sound of the choir, orchestra, individual instruments, with a variety of musical genres.

Listening to recorded works, children learn to perceive music attentively and with concentration. The teacher draws their attention to the richness and imagery of the musical language.

Since children are very fond of dancing, you need to have records in the group, audio CDs with recording dance melodies. A good selection of records in accordance with the age characteristics of children will help in organizing concerts and entertainment.

It is better to introduce new manuals to children in the classroom, and only then bring them into the group so that the children gradually master them. The group should have four or five different musical instruments at the same time, two or three didactic games, several home-made toys, four or five records with music for listening, singing, movements, as well as musical fairy tales, dramatizations.

When using benefits, the principle from simple to complex, as well as age, should be observed. For example, in junior group, when children have not yet mastered the ways of playing instruments, you need to offer them musical toys with a fixed sound or melody, various pipes, whistles, some percussion instruments- drum, tambourine, triangles. Older preschoolers who have a desire to learn how to play musical instruments should be given metallophones, zithers, triplets, accordions, etc.

Audiovisual teaching aids should also be used taking into account the age characteristics of children. At the request of the children, the teacher gives them to listen to their favorite works (songs from cartoons, musical fairy tales), dance to a dance melody, organizes a viewing of a filmstrip with musical accompaniment (a record or a tape recording).

In order to constantly maintain children's interest in independent musical activity, it is necessary to periodically, approximately once every two months, update the composition of benefits, bring in new equipment. This will diversify musical activities, significantly increase the activity of children. As a result, the level of their independence increases, musical abilities develop, knowledge about music expands.

It should be noted that the presence in the group of a large number of benefits in itself does not solve the problems of musical education. This requires the creation of a certain environment and the constant tactful guidance of the educator, directly or indirectly directing the musical activity of children. Based on the foregoing, in the musical environment it is necessary to single out a musical corner, which consists of:

• 1. Figurative musical "singing" or dancing toys (cockerel, cat, bunny, etc.);
• 2. Toys - instruments with a fixed sound - organ, hurdy-gurdy;
• 3. Toys - instruments with a sound of indefinite height: rattles, bells, tambourine, drum;
• 4. Musical toys (sounding and noise) for creative music making;
• 5. Metallophone;
• 6. Noise instruments for children's orchestra;
• 7. Flannelgraph or magnetic board;
• 8. Musical and didactic games: “The doll teaches to dance”, “Where are my kids?”, “Birds and chicks”, “Musical tops” “Guess what I play?”, “Who did the sun wake up?”, “Where are my kids ?”, “Wonderful bag” (it is better to have two bags: one with musical instruments, another with toy animals for voice development games) “Who Sings How”, “Three Bears”, “Recognize and Name”, “In the Forest”, “Our Orchestra”, “Flower-Semitsvetik”, “Guess the Bell”, and others;
• 9. A set of unvoiced figurative instruments (dombra, kobyz, accordions, pipes, balalaikas, etc.;
• 10. Attributes for musical outdoor games: “Catch up with us bear”, “Cat and kittens”, “Locomotive”, “Balls”, “Geese, you are geese”, “Cat and kittens”, “Hen and cockerel”, “Hares and bear”, “Pilots”, etc.;
• 11. Flags, sultans, scarves, bright ribbons with rings, rattles, autumn leaves, snowflakes, etc., for children's dance creativity (according to the season);
• 12. musical stairs(three-step and five-step), on which there are small and large birds or small and large matryoshka;
• 13. Screen table and a set of toys;
• 14. Glove toy (for the teacher), etc.;
• 15. A tape recorder and a set of program audio recordings;
• 16. Singing and moving toys;
• 17. Glove toy (for a child), etc.;
• 18. Musical pictures for songs

The tasks of musical education of children are realized in the conditions of a specially organized educational process, which is carried out in various forms. As you know, the main form of musical education for preschoolers in kindergarten is musical activity.

According to N.A. Vetlugina, music education should be considered as a result qualitative change mental processes that are caused by the internal patterns of the child's musical experiences and the external circumstances of his life. In the process of music lessons, the teacher carries out a large educational work, a creative attitude to music and musical activity is formed. Thanks to the scientific research, as well as the experience gained by practice, the methodology for organizing and conducting music classes in preschool institutions is quite well developed. A great contribution to the development of the theory and practice of teaching preschoolers was made by the research of the famous domestic scientist and teacher - A.P. Usova and her staff, which define the concept of "preschool education", substantiate its content, and suggest forms of organization.

A significant contribution to the development of issues of musical education and upbringing of preschool children was made by the research of Professor N.A. Vetlugina and her students (I.L. Dzerzhinskaya, A.I. Katinene, A.I. Vaichene, L.N. Komissarova, M.A. Medvedeva, O.P. Radynova, etc.), in which an active search was conducted new forms and methods of teaching children in music classes.

Music lessons have their own specifics. They differ from other classes primarily in their structure. It includes several types of musical activity at once: listening to music, singing, musical and rhythmic movements, playing children's musical instruments, familiarization with the elements of musical literacy.

In her study, a theoretical substantiation of the system of musical lessons of various types with preschool children was given on the basis of an analysis of those studies that had been carried out earlier, as well as on the basis of a generalization of practical experience.

Studying the problem of activating the musical development of preschoolers, she came to the conclusion that the degree of activity and cognitive activity of children and the development of their general and special abilities depend on the correctly applied structure of the lesson.

In his research, he proceeds from the fact that each type of musical activity should have its own structure, which includes both external and internal elements.

He refers to the internal elements everything that is connected with the artistic cognitive process (i.e., the process of perceiving music and the nature of assimilation of musical material). To external elements - everything that, in the conditions of classes, contributes to the manifestation of internal actions (repertoire, types of musical activity, their sequence, methods and techniques of teaching). Moreover, all elements are closely interconnected.

Today it becomes clear that there cannot be a universal structure of classes that can solve all educational tasks equally. The use of various types of music lessons in a certain system will make the process of musical education of preschoolers more effective.

However, it is pertinent to note that studying proccess very dynamic. It should not be limited to too rigid frameworks. It is quite obvious that in the future new, more effective types of classes may also be “born”, which may require completely different forms of their organization.

So, let's consider 4 main types of music lessons that have become widespread in modern practice:

1 type -- traditional activities. This type of lesson is the most common and well known to educators. The traditional lesson is designed to solve several educational tasks at once. In the structure of such a lesson, all or almost all types of musical activity appear at once. Their sequence, as noted above, may be different.

Traditional classes allow, economically using time, to introduce children to various types of musical activities, thereby taking into account the various interests and needs of the child. During these classes, the psychological characteristics of preschoolers, their fatigue and the need to switch from one type of activity to another are well taken into account. All this creates such conditions for conducting classes in which children get tired a little, they study with great interest and desire.

The use of traditional classes provides systematic learning, gradualness, consistency in assimilation educational material, in the development of certain skills and abilities by children, uniformity in the assimilation of material for all types of musical activity.

The traditional lesson has many advantages, however, it does not give the teacher the opportunity to fully realize all the tasks of musical education. Too frequent use of only this type of activity reduces the interest of children and their activity, makes the learning process stereotyped, and inhibits the creative manifestations of children.

Since the methodology for organizing such classes is well known and described in methodical literature, we will not dwell on it in detail.

The 2nd type of occupation is dominant. Translated from Latin, this word means "dominant." In the structure of this type of occupation dominates, or prevails, any one type of musical activity.

This type of lesson is used to overcome the backlog of children in one form or another of musical activity. Experienced practicing teachers know that, demonstrating certain successes, for example, in musical and rhythmic activities, children of the same age group find it difficult to sing or play children's musical instruments, etc. In this situation, the use of dominant classes may be effective. This will contribute to overcoming the existing backlog of children. Carrying out a small series of such exercises usually corrects, evens out the situation.

V There are 4 options for dominant occupation:

• a) an occupation in the structure of which dominates, listening to music dominates;
• b) an occupation, in the structure of which the singing activity of children dominates; creativity - paintings, prints, reproductions, artistic photographs, etc. - everything that can contribute to the disclosure of the main theme and make the lesson more vivid, colorful, attractive.
• c) an occupation in which the predominant form is playing children's musical instruments;
• d) an occupation in which movements to music dominate. When developing dominant activities, one should proceed from the need to activate the musical development of children and purposeful development of skills in a particular type of musical activity.

However, in such an activity there will always be a perception of music. In addition, other types of musical activities may be involved, if necessary for the implementation of the tasks. So, for example, in dominant occupation where singing activity is predominant, a task may be offered to dramatize a familiar song, or children's musical instruments can be used to perform familiar chants by children, convey their rhythmic pattern, etc.

Dominant classes contribute to the correction of the lag in various types of musical activity. In such classes, with the help of one, dominant type of activity, tasks are solved that are closely related to other types of musical activity.

This type of classes allows you to carry out the educational process purposefully, highlighting a narrower pedagogical task and achieve positive results.

The 3rd type of music lessons is thematic.

A distinctive feature of the structure of thematic music lessons is that here the musical material for all types of musical activity is united by a single theme. This type of lesson makes it possible to focus the attention of children on one topic during the entire lesson. At the same time, the activity of children is significantly increased. A change in activities contributes to a faster orientation of children in determining the nature of music, in perceiving its content and means of musical expression.

Such activities are well remembered by children, they draw their attention to the music itself and to the surrounding reality. The structure of the classes should be flexible. It depends on the chosen topic, on the repertoire, the age of the children. In addition to musical material, other artistic material can be widely used in thematic classes - works of oral folk art, poems, excerpts from prose.

The subject matter may vary. Depending on this, they can be divided into thematic, in which the topic is associated with objects or phenomena of the surrounding reality, for example, with natural phenomena(“Golden Autumn”, “Snowdrops”, “Seasons”), the life of children (“City Festival”, “Favorite Fairy Tales”) and musical thematic, in which the theme is closely related to the features of the music itself - genre features, form , expressive means, etc. (“Musical riddles”, “What is dance?”, “Let's get acquainted with musical instruments”, etc.).

The synthesis of various types of art was originally characteristic of folklore, which, however, now many teachers are increasingly attracted to such methods of working with children, in which musical material is given in combination with other types of art (visual, theatrical, artistic word, etc.). That is, one of the conditions that determine the effectiveness of the aesthetic education of children of preschool and primary school age is largely determined by the integrated use of all means of aesthetic education and the integration of the content of the objects of the aesthetic cycle.

The need for the interconnected use of different types of art in aesthetic education is also determined by the fact that, in relation to all types of artistic and creative activity, general mental processes can be distinguished, which are the basis for the formation of artistic taste, interest in musical art and artistic and creative abilities.

These processes include:

Perception characterized by individual differences; images of perception, accumulating, form sensory experience, which is the basis for the development of various abilities, including artistic and intellectual ones.

Visual-figurative thinking, based on visual representations and their transformation into means of solving a mental problem.

Imagination, without which no artistic and creative activity is possible, and which, in turn, develops in this activity.

In preschool education, as a rule, the concept of "complex" is used, which in the most general sense of the word represents certain combinations of individual processes into a single whole. In the studies of Vetlugina N., Dzerzhinskaya I., a complex is understood as an integrity formed from parts (arts, types of children's artistic activity) that interpenetrate each other.

The phenomenon of the complex manifestation of artistic and creative abilities can also be explained by the nature of art itself. As you know, at the dawn of mankind, art was a syncretic phenomenon. Only with time did the separation of various areas of art into independent areas occur, which was undoubtedly a progressive step (Gerasimova). But the spiritual and emotional essence of art is the main integrating factor in its contemporary development. The trend towards the integration of various types of arts is considered in the studies of Vanslov A.V., Zisya A.Ya., Gerasimova N.A.

The synthesis of various types of art is also determined by the fact that common points of contact for various works of art are distinguished. The following combination options are considered: on the basis of universal values, on the basis of content common to different types of art, on the basis of visual and expressive means common to different types of art.

The universal values ​​reflected in art include cultural and cognitive values. Assigned by the child, they become personal and characterize the level of his cognitive development, that is, spirituality as a property of consciousness; internal need for the perception of art and for one's own artistic and aesthetic activity; mastery of various ways of mental activity. Moral values ​​are also common and represent the norms and rules of human behavior in society, his attitude to everything around him. Knowing them, the child gains experience of constructive opposition to everything negative, learns to interact with the world according to the laws of morality. Aesthetic values ​​are also unifying. These values ​​are expressed in terms of the beautiful, the ugly, the comic, the tragic, and so on. Knowing them, the child learns to perceive, experience and evaluate the world of images and recreate it in his own artistic and creative activity.

To common for pictorial, musical and literary works artistic means include: composition, rhythm, tempo, repetitions, parallels, melody, color, light, etc.

Art, as a component of Culture, has always been given one of the central places in the system of universal values, today it is typical to understand Culture as a holistic view of the world, and art is a subsystem, a component of Culture, expressing a product, an objective world, a model of the world and a person in it.

Integration implies not only finding a figurative-emotional community in works of different types of art, but also a fundamentally different approach to the method of working with artistic material. Working with a piece of music, the teacher creates a situation in which perception

all the senses of the child are connected: hearing, sight, touch, the content of this work is “translated” from the language of notes into the language of colors. To recreate a holistic view of Culture in the mind of a child, it is necessary to use works of art in work with children. different eras, styles, which requires special attention of teachers, because works of high, "adult" art began to be used relatively recently and may seem too "adult" for preschoolers. At the same time, while shaping the worldview of the child, we cannot do without them.

An emotionally positive attitude towards the objects of aesthetic education, which is necessary for the successful implementation of activities, especially artistic ones. All this determines the versatility and maximum usefulness of another form of classes of the 4th type of classes - complex.

These are classes in which the general educational task is realized by means of several types of artistic activity - artistic and speech, musical, visual, theatrical. To some extent, complex classes make it possible to implement the idea of ​​an integrated approach to the musical education of preschoolers.

The simplest and most natural form of association artistic material various types of arts, as well as the organization of various types of artistic and creative activities of preschoolers are complex classes.

A distinctive feature of this type of occupation, which involves the synthesis of various types of art, is an unusual form of organization. It is quite modern and allows children to adapt to the life around them. In their everyday life, children often come across various synthetic types of spectacles - television and radio programs, theatrical performances, mass spectacles (children's parties, Christmas trees, etc.). Therefore, they need to be ready to perceive and understand the features of these spectacles.

The structure of complex lessons, as well as the structure of thematic lessons, is determined by one topic chosen by the teacher. However, unlike thematic classes, the theme is revealed in complex classes by means of different types of art.

All types of artistic activities of children in such a lesson are united by a common theme, in a single artistic way. This allows children to gradually realize that the same image or phenomenon can be expressed by different artistic means. For example, the image of spring can also be felt in the music of Tchaikovsky or Grieg, in the poems of Tyutchev, Fet, in the paintings of Savrasov and other artists. All this helps the child to perceive works of art more consciously.

The topics of complex classes can be very diverse. These are images of nature (“Zimushka-winter”, “We meet the birds”, “Autumn”, etc.), themes related to various holidays (“Seeing off Shrovetide”, “The Most Beloved” (dedicated to mothers), with life, the way of life of people ( "Fair", "Skillful Hands", "Cosmonauts", etc.).

During complex classes, the activity of children increases to a large extent, because. freedom of action, choice of means of implementing the task set by the teacher is ensured. Such activities liberate the most shy children. All children feel equally involved in everything that happens in the classroom, they rejoice when they see the overall collective result of work. A special creative atmosphere reigns in complex classes. Relationships between children and between children and teachers are changing. They become partnerships.

During complex classes, children have strong emotional experiences, which allows them to develop aesthetic feelings, the ability to navigate the environment. A logical, natural transition from one type of artistic activity to another makes these activities very dynamic and exciting not only for older, but also for younger preschoolers.

This type of classes can be considered as a kind of accounting and control form of work with children, which helps to identify the general level of preparedness of children and their individual characteristics. These are generalizing classes that are best done at the end of the quarter, as if summing up a certain result of the work carried out over a given period.

A characteristic feature of complex classes is the combination of educational tasks and artistic material around certain topics. The choice of topics is determined by: a) general educational tasks of getting to know the environment; b) features of artistic and figurative reflection, characteristic of art.

When planning a comprehensive lesson, you need to take this feature into account. The title of the lesson usually reflects a general theme related to getting to know the environment, however, along with the general theme, more specific tasks can be set related to familiarizing children with the features of its various types of art. For example, with the concepts of “rhythm”, “genre”, “composition”, etc. The theme “rhythm” can be reflected in a drawing, in a dance, in an expressive reading of poetry. The theme of "composition" can be embodied in music when determining the form of a work, in a drawing with a certain arrangement of objects or details of a pattern, in the analysis of a fairy tale, a certain composition can also be traced.

In the classroom, children take turns reading poetry, singing), movements to music, drawing, etc. In some cases, musical accompaniment serves as a background for the children to perform certain tasks related to visual activity. For example, older preschoolers willingly draw or do arts and crafts to the sounds of calm, light, lyrical music. At such moments, music not only serves as a background, but also is a great stimulus for the creative manifestations of children during their work.

The most complex, laborious and. in a complex lesson, the part where children perform the task by means of visual activity. Therefore, so that this part does not cause any special difficulties for children, it is well thought out by the teacher in advance. Preliminary work is carried out related to the preparation of the necessary materials for the lesson. In addition, in the preliminary lessons in fine arts, children can make blanks: mold dishes from clay, so that they can then paint them with paints at a complex lesson, or cut out geometric figures from colored paper, from which they will later make a pattern; cut out mittens from colored paper that will be painted with paints; prepare paper for the future collective panel and tint it, etc.

Taking into account the individual characteristics of children and the level of preparedness of each child, the teacher must think in advance and offer subgroups of children with different levels of preparation tasks of varying degrees of complexity.

Planning of complex classes takes place in accordance with curriculum on artistic speech, visual and musical activities. In the classroom, mainly material well known to children, learned by them in the course of ordinary classes in all types of artistic activity, is used. This material is selected in accordance with the chosen topic of the lesson and the artistic tasks set by the teacher. But in a complex lesson, new material unfamiliar to children, which is performed by adults or a pre-prepared child, can also be involved. This introduces an element of surprise into the lesson and arouses genuine interest in children.

The most important requirement for a comprehensive lesson: it must be a real lesson, involving various forms of learning. It may include an element of entertainment, but it should not resemble entertainment in its form.

Complex classes are not simple in their organization, so they are held infrequently. The music director and the tutor of the group take part in their preparation and conduct. On the day of the lesson in this age group, one of the artistic cycle classes is removed.

In terms of time, a complex lesson lasts the same time as a regular lesson (depending on the age of the children, but with a slight increase in time by about 5-7 minutes.

Thus, in children in the process of complex classes:

• - develops the ability to independently and creatively apply different artistic means(colors, shapes, musical sounds, poetic expressions for the realization of the same idea);
• - experience of joint work is accumulated, moral foundations relationships between children;
• - the results of the artistic development of all children are clearly distinguished, as well as the interests and abilities of each child individually;
• - a joyful and creative atmosphere of communication between a team of adults and children is created, a favorable environment for the manifestation of aesthetic qualities, for moral improvement, the development of intelligence, for the formation of readiness for school.