Primary conditions for the musical development of preschoolers. Age features of the musical development of preschoolers

Capabilities

Makings

Conditions for the musical development of a child

Characteristics of musical abilities

Ear for music

Basic musical ability

Musical-sensory abilities -

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12. Characteristics of the musical development of children

13. Development of musical abilities

14. Diagnosis of musical abilities

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23. Sources of information

Experimental work was carried out in the preparatory class of the music school in Kataysk. The experiment involved 12 children 6-7 years old. On the basis of the selected hypothesis, the ascertaining experiment provided for the solution of the following tasks:

1. identify components, criteria, indicators, levels of development of children's musical abilities;

2. determine the average level of musical development formed in spontaneous experience.

To solve the first task, we have identified components, criteria, indicators and levels, which are presented in tables 1.2.

Table 1

Components of the development of musical abilities of preschool children and criteria for their assessment

Table 2 Levels of development of the components of musical abilities

To solve the second problem of the ascertaining experiment, the following tasks were given.

Exercise 1 aimed to identify the presence in children of developed methodical hearing, voice range, developed diction, auditory attention. The children were asked to remove from the experimenter's voice the melodic line of the folk chants "In the Garden of the Hare", "The Sun is Shining", "The Cat is Walking", the melody of which has a progressive movement up and down for an interval of a second, a third and a fifth. If there are difficulties, the experimenter helps with his voice, or plays along with the singing on the instrument. The children showed uncertainty, timidity in singing. Many children - Andrey G., Lena B., Liza N., Uliana E., (39%) just say the words without singing a purely melodic line, some children - Roma K. (8%) scream, take their breath loudly. When singing on the instrument again, only Natasha G., Katya B. (17%) listen to the melodic line and try to sing cleanly. The most successful children perform the song "Hare in the garden", because. The melody consists of 2 steps. The greatest difficulties arose when singing the song "The cat is walking", because. the melody has a wave-like type of melody movement. Ilya D. (8%) refused to sing, citing the fact that he could not sing. The rest (28%) group of children tried to complete the task, but the performance was not accurate, with a change in the melodic line.

Task 2 aimed to identify the presence in children of developed timbre hearing, auditory attention. The experimenter performed the "Lullaby" on the instrument in different registers: high, medium, low. At the same time, it was stipulated that one lullaby was sung by a bear, another by a hare (middle register), and a third by a mouse (high register). The children listened to all three lullabies and noted that the voices of the animals are different. In the form of a musical riddle, each child was asked to guess which of the animals sings a lullaby: a bear, a bunny or a mouse.

The children did well, although not everyone listened to the music attentively without being distracted. Lena B. (8%) refused to complete the task, explaining that she did not hear where the lullaby was. Ilya D. (8%) answered without thinking, at random, taking the task lightly. The girls Yulia K., Katya B., Lena Z. (25%) were especially attentive. they are closer to the theme of lullabies, willingly listening to the task. But in most cases (59%), the children's answers had errors, especially often the children confused the upper and middle registers, mistaking one of them for the other.

Task 3 aimed to determine the presence of pitch hearing and auditory attention in children. The children were asked to repeat the singing of the cuckoo on two sounds in the interval of a third from different sounds, accompanied by a piano, or to remove a chant from the voice. The children responded to the task with great desire, but their repetition was distinguished by the mechanical pronunciation of the syllables "ku-ku", not listening to the pitch arrangement. If the experimenter drew attention to the incorrectness of the task, offering to listen more carefully to the pitch, performing again on the instrument, then some children - Yulia K., Lena Z., Sasha M., (25%) - tried to listen. Their repeated attempts to sing pure sounds had a better result. The rest of the children (67%) were not able to complete the task qualitatively. Only Katya B. (8%), thanks to her natural abilities, was able to complete the task with high quality and without much difficulty.

Task 4 The goal was to identify the child's musical memory based on previously studied musical material. The children were asked about what kind of folk songs they know, nursery rhymes from the material covered in the developmental program of the kindergarten. Then excerpts from RIP "The month is shining", "I went up the hill", "And I am in the meadow", "In the field there was a birch tree", "On the green meadow" were given in the recording or on the instrument. The children were asked to recognize them, or to sing the melody of the work. The children named only a few works, such as RIP "There was a birch in the field", "And I am in the meadow." More active were: Sasha M., Natasha G., Yulia K. Often the children duplicated their answers with their previously answered comrades - Ira G., Lena Z. - repeating them. Most of the children reacted to the task with indifference, not even trying to remember the previously studied musical material. When performing even named works, such as "The moon is shining", "And I am in the meadow", only Katya B., Sasha M., Andrey G., Lena Z. (33%) recognized them. Not a single child could sing, purely intoning the melody of these songs, with the exception of Sasha M. (8%). The rest of the group of children (59%) was indifferent to the task.

Task 5 aimed to determine the presence and development of a sense of rhythm in children. The children were asked to: a) repeat the given rhythmic pattern with claps; b) clap the rhythmic pattern of the song performed by the experimenter at the 1st step, for example, "Lambs" - a Russian folk song; c) clap the rhythmic pattern of the "Ladushki" song, performed in the range of 2 - steps. More than half of the children completed the first task successfully (67%), except for Lena B., Andrey G., Natasha G., Liza N. (33%). Children performed the task with great interest, even where there were rhythmic inaccuracies, the children did not perceive them as such, believing that they were doing everything correctly. Many children were wary of the second type of task, it seemed difficult to them. Natasha G., Lena B., Andrey G., Liza N. Ilya D., Ulya E. (50%) performed the task with difficulty and unwillingness, emotionally constrained, making many mistakes. Only Lena Z., Katya B. (8%) were able to accurately complete the task without errors. Not a single child could slam a rhythmic pattern of four steps. To solve the second problem of the ascertaining experiment, the children were given the following tasks.

Task 6 The aim was to identify the presence of creative skills in children, the ability to compose a melody and rhythmic pattern for a given text. The children were asked to complete the ending of the song "Rain" by voice to the given text. Despite the fact that the experimenter showed his version of the composition, only Liza Z., Katya B, Andrey G. (25%) volunteered to immediately try their hand at composing a song. Lena Z. and Katya B. (17%) coped well with the task, although their rhythmic pattern and melody of the song resembled the version performed by the experimenter, not differing in rhythmic complexity and originality of the melodic line. The rest of the group of children remained indifferent to the task, not trying to take part in the composition.

Task 7 aimed to determine the presence of motor skills in children, the ability to improvise in movements, the freedom to perform movements. Children are invited to portray Russian folk dance with arbitrary movements to the music of the Russian dance "Lady". The children showed uncertainty, timidity when performing the task. The movements are primitive, not expressive, not rhythmic. Children do not have a range of motion. Many children (83%) simply imitate the movements of other children. Ilya D., Uliana Z. (17%) refused to complete the task, explaining the refusal with the words: "I can't do that." To analyze the results of the classes, we have identified criteria for assessing musical abilities.

Musical ear - pure intonation of the melodic line;

Clear diction;

Proper breathing;

auditory attention;

Feeling of harmony.

A sense of rhythm is the accuracy, clarity of the transmission of a rhythmic pattern. Musical memory is the memorization of musical material, as well as its recognition and reproduction, the presence of musical "baggage" of memory, the ability to use it. Musical movement - a stock of dance movements, the ability to use them to convey a characteristic or other image. Creative skills - interest in musical and creative activity, the presence of figurative perception, musical imagination, the ability to compose a melody, rhythmic pattern, improvise, think figuratively and convey one's feelings in various types of musical activity (singing, movement, playing an instrument, facial expressions) with various expressive means. An analysis of the results of data on musical and creative abilities made it possible to compile tables.

Table 3

Criteria and levels for assessing the development of children's musical abilities

Criteria for evaluation:

B - high level;

H - low level;

C - medium level.

Table 4

Levels of development of musical abilities of children on assignments

Levels of development of musical abilities of children in percentage terms

In modern pedagogical and psychological literature, the category “condition” is considered as specific in relation to the generic concepts “environment”, “circumstance”, “environment”, which expands the set of objects necessary for the emergence, existence, and change of the pedagogical system.

The pedagogical condition is a purposefully created environment in which a set of psychological and pedagogical factors (relationships, means, etc.) is presented in close interaction, allowing the teacher to effectively carry out educational or educational work.

According to researchers (I.G. Afanasyev, A.V. Bituev, N.A. Kirilov, A.V. Kiryakova and others), the development of musical culture, the perception of modern music, value orientations and relationships include three elements: emotional cognitive and behavioral. It is these elements that determined the content of the first condition of the hypothesis of our study. Let's consider the essence of these aspects from the point of view of the problem that interests us - the development of musical culture in the process of perception of modern music.

The first assumed condition is to provide a phased approach (emotional, cognitive, behavioral) in the study of works of contemporary musical art in the process of listening, taking into account the age-related possibilities of adolescents' musical perception.

The emotional aspect is the organizing, guiding core of the value process, it plays a decisive role in shaping the musical culture of the individual. The development of musical culture occurs primarily on the basis of personality-colored emotional-figurative communication with artistic examples of modern musical art in various types of musical activity. Interest in music in a teenager arises primarily through emotion. As a result of the perception of a modern musical work, an unprepared listener manifests unconscious emotional reactions, that is, the emotional component in the structure of interest displaces the volitional one. N.N. Grishanovich points out the importance of a cognitive interest in contemporary music, which forms a person's relationship to art. According to the author, cognitive interest in music is expressed in the ability to “understand, feel, realize a piece of music”. Cognitive interest in contemporary music is deeply emotional. It is impossible to arouse in a teenager an interest in music if it is not felt. E.V. Boyakova, characterizing the essence and pedagogical conditions for the development of interest in music among adolescents, revealed its features.

The author in his work points to interest as a prerequisite for the formation of the foundations of the musical culture of adolescents and calls it a formed personal quality, “the content of which is, to varying degrees, a conscious value attitude to music.” If a teenager, listening to a modern musical work, empathizes, and also satisfies his need knowledge of music, then this work acquires value for him and develops cultural qualities. The emotional aspect is due to the adolescent's past experiences. The experience and presence of imagery of music during perception depends on how much previously received musical and aesthetic life situations are actualized at the time of perception of a modern musical work. When selecting and building the musical repertoire, its orientation is provided: on the development of emotional responsiveness of adolescents; on contemporary music and their personal relationship to art; to reveal the content of modern music through its intonational essence; on the consistent and purposeful expansion of the musical-auditory fund of modern music familiar to teenagers, the accumulation of musical experience and the inclusion of music of various directions in it.

The essence of the development of emotional and cultural relations is characterized by the fact that:

1) feelings become more conscious and motivated;

2) there is an evolution of the content of feelings, due to both a change in lifestyle and the emergence of new activities;

3) the form of manifestations of emotions and feelings, their expression in behavior, in inner life changes;

4) the importance of the emerging system of feelings and experiences in the development of the personality increases.

The cognitive aspect includes: updating the accumulated musical theoretical knowledge in the perception of modern music; having an interest in music; conscious understanding, careful attitude to musical art; connection in the perception of works of unconscious images; actualization of the experience of life situations in the perception of contemporary musical art. The cognitive component includes all types of musical activity, in particular, perception. P.M. Jacobson, investigating the problem of perception, identified three stages that are most characteristic of the formation of the musical culture of adolescents. The first stage of musical perception is characterized by indivisibility: the listener receives only a general idea of ​​the musical image. It should not be forgotten that often an inferior perception makes a teenager remain indifferent to the music he listened to. The image that arises in adolescents at the first stage of musical perception may be unequal in its depth. The task of the teacher at this stage of perception is to help the teenager find his/her attitude to the modern piece of music, to understand what feelings this music evokes in him, to welcome, even if not similar, options for “hearing” new music. The second stage of musical perception

Associated with repeated listening to a musical composition in its entirety or in excerpts. At the same time, there is a deepening into the content of a modern work, a kind of “examining”, “feeling” it with hearing and thought, highlighting the most striking features in it, and understanding individual means of musical expression. Holistic perception, characteristic of the first stage, gives way to a differentiated, analytical, meaningful. At the second stage of perception, the music teacher invites teenagers to search for an answer to the question related to understanding how, with the help of what means of expression, the composer conveys the content of the work. The third stage of musical perception is a repeated appeal to a musical composition, enriched with musical and auditory ideas and associations that arose earlier. At the third stage of perception, a holistic emotional impression of the music, received when listening, and its meaningful perception, associated with the analysis of the means of musical expression, enter into interaction. It is at the third stage of perception that the creative perception of music becomes possible, which is colored by the individual attitude of the listener to the modern work, its personal assessment. .

Since artistic emotions are “thinking emotions”, a synthesis of cognitive (cognitive) and emotional principles is necessary (L.S. Vygotsky). The content of the cognitive component is the knowledge obtained in the process of cognition of contemporary musical art and their evaluation.

The cognitive component includes not only knowledge about the laws of musical art, but also knowledge of a moral and aesthetic nature. Directly this knowledge, obtained in the course of studying a modern musical work, orients a teenager in the world around him, explains his place in it. Knowledge and evaluation of a modern musical work as a phenomenon of spiritual and musical culture allows us to determine its place among other meanings and establish its “value status”.

The behavioral component is determined by those behavioral reactions that are present in a teenager during the perception of a modern piece of music. These reactions may be unconscious. The mechanism of their occurrence is as follows: unconscious images, previously stored in memory, enter into resonance with the perceived music, amplify and thereby become accessible to consciousness. The behavioral aspect is determined by the practical manifestations of a cultural position in relation to perceived music (the ability to defend a personal position in the process of evaluating musical phenomena, the desire to participate in musical activities), the ability to listen and hear music, and the extent to which a teenager shows respect for the art of a composer and performer.

The content of the behavioral component includes the awareness and acceptance of the personal meaning of a modern musical work, its relationship with the surrounding objective reality and other people. Thus, this relationship is realized by means of active conscious activity in the process of communication and cognition of a modern musical work, as well as in the spiritual and practical activity of the individual, that is, the cultural aspects of musical art become the subject of active activity, acquiring meaning for it. Musical consciousness is one of the most important components of the development of the musical culture of the personality of a teenager. It represents "a form of reflection of musical reality, a set of socio-psychological processes through which the comprehension of contemporary musical works and one's own impressions of them takes place."

O.P. Radynova identifies the following elements of the consciousness of a musical work:

1) the need for music is the starting point for the formation of a teenager's value attitude to music; arises in a musical environment saturated with positive emotions; develops with the acquisition of musical experience and already in the early years a teenager develops a steady interest in music;

2) musical taste - the ability to enjoy artistically valuable music; is not inborn, it is formed in musical activity.

3) evaluation of music - a conscious attitude to their musical needs, experiences, attitudes, taste, reasoning. .

B.M. Teplov called the perception of music an active process, a “skill” that needs to be learned, and pointed out that it contains motor moments, emotions, the work of the imagination, “mental action”. As a result of the development of the ability to adequately perceive a piece of music, a teenager, through understanding this piece, is able to use it in further cognition.

Consider the following pedagogical condition for the development of the musical culture of adolescents, which is associated with the organization of the musical educational environment. As a condition for development, the environment is the most important means of the pedagogical process. Analyzing the concept of “environment”, we have identified the following interpretations of it. Environment - the surrounding social and living conditions, the situation, as well as the totality of people connected by common conditions.

Environment - the environment, the totality of natural conditions in which the activities of human society take place, i.e. those of the environmental conditions that they are able to experience and on which their existence and continuation of the species depend.

Environment - socio-economic, historically established conditions for the life of society. The environment in pedagogical terms - the microenvironment - is a world of interconnected objects, phenomena of people that constantly surround a teenager and determine his development. The guiding principle of the teacher should be the “principle of humanizing the environment around a teenager”, when being in such an environment will affect the development of the personality as a whole, without improving its individual features and qualities. The mechanism of action of the environment on a teenager V.G. Maximov defines it through its actualization, personification, personalization. Actualization is understood as significance, understanding of the educational potential of the environment, which must be used in the work of a teacher. Personification shows the environment as specially created for a person, in it a teenager feels, understands that all this was created by a person, his talent, feelings, thoughts and for a person in whom the same feelings and thoughts will continue to be stimulated. Personalization involves the creation of each individual's own environment; at school, this activity will be in the nature of collective creativity. The personification of the environment initially orients a person towards the unregulated activity, when it is possible to offer free cultural creativity within the framework of educational activity within the limits that are determined by the creative individuality with the activation of all the essential forces of the personality. In connection with this important problem is the creation of a musical educational environment not only in music lessons, but also in extracurricular and extracurricular activities of a teenager. Extra-curricular activities complement music lessons and have a goal aimed at self-realization of the creative abilities of adolescents by including them in various types of extra-curricular musical activities. The specificity of the content of extracurricular activities is characterized by the following factors:

1) the predominance of the emotional aspect over the informative one: for an effective educational impact, an appeal to the feelings of a teenager, his experiences, i.e. to reason through emotions;

In extracurricular activities, the following areas can be distinguished: “musical education”, “experience in creative activity”, “school traditions and holidays”.

Musical education is a very broad field of activity that contributes to the development of musical horizons, when the subject of contemporary musical works (the content of art in general) becomes the basis for meaningful spiritual communication between adults and children. The most important thing in this area of ​​activity is that musical communication itself becomes the core of access to the most ambitious concepts of the development of the world by teenagers - worldview, worldview, worldview. The main forms of educational work: children's assemblies of arts: interest clubs; musical and literary living rooms. Musical living rooms have recently become an increasingly relevant way of organizing a musical and educational environment for teenagers. In addition to the musical program, the living room, with the aim of a deeper, sensual perception of a musical work, includes an exchange of impressions.

School traditions and holidays can be aimed at developing the musical culture of adolescents in the process of perceiving modern music. The forms of this direction can be: initiations into musicians; school week of contemporary music; festival of contemporary musical art, etc.

Also, organizational forms of creating a musical-educational environment can be visiting concert halls, museums of modern musical culture, watching videos, etc.

Thus, the musical and educational environment is the educational and educational space of musical culture, the emotional and moral impact of which is an incentive for the formation of moral values ​​of the younger generation.

Musical activity in the musical educational environment contributes to the development of musical culture as the most important condition for entering the value system of musical art.

We assume that it is the organization of musical activity that is one of the necessary conditions for the development of the musical culture of adolescents in the process of perceiving modern music. The organization of the musical activity of adolescents implies various forms of communication between the child and modern music. Musical activity includes three components: listening to music, musical-performing activity and musical-creative activity. Listening and perception of music we examined in detail when revealing the cognitive aspect of the development of the musical culture of adolescents in the process of perception of modern music. The sphere of performing activity of teenagers includes: choral and ensemble singing; plastic intonation and musical-rhythmic movements; playing musical instruments; staging (acting out) songs, etc. The guys express their attitude to modern musical works in drawings, make art collages, create music collections from the music they like for their home music library. In addition, teenagers show creativity in thinking about music and improvisation.

Among the activities of adolescents, singing, and above all the repertoire, is one of the main mechanisms influencing the development of musical culture and allowing a better perception of modern music.

Improvisation is the most accessible form of productive self-expression of children, which leads to the emancipation of the individual. Improvisation is a special kind of artistic creativity, in which the work is created directly in the process of performance. There are various types of improvisation: speech, plastic, instrumental, visual and vocal.

All types of musical activity are aimed at including a teenager in active interaction with modern musical art, which allows him to plunge into the process of musical creativity and feel, perceive, and realize a modern piece of music. Playing modern musical instruments, whether it be an electric guitar, a bass guitar, a synthesizer, etc., helps a teenager to comprehend the semantic foundations of musical art, which take him to a new level of comprehension of musical culture and a musical work, in particular.

Thus, the pedagogical conditions of the organization of the musical educational process that we have considered will contribute to a more effective development of the musical culture of adolescents in the process of perceiving modern music.

Conclusions on the first chapter

1. The development of musical culture is based on the fact that music affects the aesthetic, moral, cultural formation of a teenager. The value of music is realized not in the music itself, but in the goal of education through music, that is, music is used in the education of a worthy citizen of society. Separate inherently valuable aspects of music are recognized as important, but the main one is the connection in society: a person - music - society. The value of music is determined on the basis of the goals of cultural, social, social, political education. Teachers, first of all, set musical and didactic goals in the lesson, such as mastering musical literacy, learning to sing, play musical instruments, and others.

2. We understand that in everyday life teenagers are surrounded by music, which sometimes is not a standard of musical quality. We cannot fail to understand that focusing only on classical music will not solve the problem of shaping the musical culture of a teenager, so it is necessary to build bridges of mutual understanding with teenagers through the acceptance of the music that surrounds them and which they consider “real”, to bring schoolchildren to an understanding of what what is highly artistic in art and what should be the standard of the artistic in the means of musical expression.

3. The development of the musical culture of adolescents in the process of perceiving modern music can be based on the implementation of conditions based on a phased approach, which includes emotional, cognitive and behavioral components. For a more successful development of the musical culture of adolescents in the process of perceiving modern music, a musical educational environment should be organized, the emotional impact of which is an incentive for the development of the musical culture of adolescents in the process of perceiving modern music.

Researchers in the field of psychology have made a significant contribution to the study of age-related changes in the human psyche, especially the psyche of preschool children. The ideas of fundamental research by A. N. Leontiev, A. V. Zaporozhets, A. A. Markosyan, V. V. Davydov and other scientists underlie the organization of the educational and educational process at school and preschool institutions. Physiologist A.A. Markosyan, for example, developed a detailed age classification, including eleven age periods. According to the researcher, it is they that create only a prerequisite for certain changes in the mental organization of the child; these changes are influenced by social factors, which can no longer be identified with the help of psychophysiology alone.

Thus, age is not only a physiological concept, but also a social one. This interpretation is contained in the very name of some age periods: “preschool”, “school”, etc. Certain functions are associated with each age in society, one or another status is assigned to age groups. The socio-psychological meaning of age division should not be overlooked when it comes to age-related characteristics that manifest themselves in the sphere of human contact with art. Therefore, speaking of the best age for the development of musicality, we mean many conditions.

It is necessary to name one more essential pattern - mental functions develop unevenly. This idea was expressed by L. S. Vygotsky, B. G. Ananiev, L. I. Bozhovich. So, L. S. Vygotsky notes: "... the development of the imagination and the development of the mind are very different in childhood." Developing this idea, L. I. Bozhovich points out that the boundaries of age can shift depending on the activity of the child and the specific conditions in which he is.

Structure can be a practical guide when used with regard to the musical development of children of different ages and their personalities.

But for this it is necessary to know the age and individual characteristics of the musical development of children. Knowledge of the age characteristics of preschool children makes it possible for the teacher to find more effective ways to control the mental processes of the child, including his musical development.

The concepts of "age" and "age stage of development" are interpreted in different ways. Some consider the age stage only as a natural biological process. Hence the conclusion about the immutability of these stages. Others generally reject the concept of "age" and believe that at any stage of development, a child can be taught anything. Hence the complete disregard for consideration of age opportunities.

The early and bright successes of children in performing musical activity every time allow us to think that we are dealing with a rare, exceptional phenomenon. But there is reason to believe that the ability to perceive a musical work is also not always directly dependent on age.

The opinion that there is no direct reason for the relationship between musical ability and age has two sides: negative and positive. Its negative side lies in the fact that the legitimacy of the development of musical abilities as a person grows up is denied. In other words, a child can grow, but his ability to musical activity does not progress (may even regress, on the contrary), if you do not provide optimal opportunities for its development. Positive - lies in the fact that already at an early age a child can develop musical susceptibility.

The idea of ​​the existence of the best age period for the development of musical abilities echoes the position of L. S. Vygotsky on the leading types of activities for children of different ages. But in the field of musical perception, such a period has yet to be found. When we say “best”, we mean not so much that it is the only one (for example, the age of up to three years is the only time when a person can learn to speak), but that, having missed this age, we create additional difficulties in musical development. .

It should be emphasized that although age to a large extent characterizes the formation of an individual, his neuropsychic maturation is determined mainly by all his life experience. A person at any stage of his development has a completely unique, single property. In this sense, individual properties, as it were, overlap its age-related features, which makes the age-related boundaries of perception extremely unstable, dynamic, changeable and at the same time very differentiated, subject to external influences.

What is the basis for establishing the boundaries of the age stages of children's development?

Soviet psychologists believe that these boundaries determine the child's attitude to the world around him, his interests and needs for certain types of activity. And in accordance with this, the following age stages of the entire preschool period can be noted:

infancy (first year of life);

early childhood (from 1 year to 3 years);

preschool childhood (from 3 to 7 years).

The timing of the beginning of musical development and education must be sought in the prerequisites for the emergence of a certain attitude to music, the appearance of emotional and auditory responsiveness.

In Soviet psychology and pedagogy, data have been obtained on the early stages of the manifestation of musicality. According to A. A. Lyublinskaya, on the 10-12th day of life, babies have reactions to sounds.

At the beginning of the first months of life (the first age stage - infancy), musical sound affects the child purely impulsively, causing a reaction of revival or peace. So, children sitting quietly in the arena, at unexpected sounds of the piano, turn, rejoice and begin to crawl towards the sounding source.

This confirms the need for early musical education, and primarily the development of perception, since children are not yet ready for other types of musical activity. In accordance with this, a program of musical education in preschool institutions is being built, which outlines certain tasks for the musical development of children, starting from two months of life. Gradually, with age and with purposeful upbringing, children begin to perceive music according to the emotional and semantic content, rejoicing or sad, depending on the nature of the music, and only later perceive the expressiveness of the image.

The next age stage is early childhood (1-3 years). During this period, the child most clearly manifests the need to communicate not only with adults, but also with peers. He masters orienting actions with surrounding objects. The child has a desire for musical activity, the baby is interested in moving to the music, in singing. All this acts as a prerequisite for musical activity.

When perceiving music, children show emotional responsiveness: they rejoice or calmly listen to music. Auditory sensations are more differentiated: the child distinguishes high and low sounds, loud and soft sounds, the most contrasting timbres of children's musical instruments. There are also individual differences in auditory sensitivity, which allows some babies to accurately reproduce a simple and short melody.

The first consciously reproduced singing intonations appear. And if in the second year of life a child, singing along with an adult, repeats the endings of musical phrases, then by the end of the third year he himself can reproduce the melody of a small song (with the help of a teacher). During this period, children often sing of their own free will, improvising some intonations they like. They willingly move to the music: they clap, stomp, spin. The child's musculoskeletal system is noticeably strengthened, and movement to the music helps him express his mood.

The next age stage is actually preschool childhood (3-7 years). The child shows a great desire for independence, for a variety of actions, including musical activity (if the necessary pedagogical conditions are created for this). Children have musical interests, sometimes to some kind of musical activity or even to a separate piece of music. At this time, the formation of all the main types of musical activity takes place: the perception of music, singing, movement, and in older groups - playing children's musical instruments, musical creativity. In the preschool period, children of different ages differ significantly in their development. Children 3-4 years old are in a transitional period - from early to preschool. The features characteristic of the previous age are still preserved. But there is already a transition from situational speech to coherent, from visual-effective thinking to visual-figurative, the body is strengthened, the functions of the musculoskeletal system are improving. Children have a desire to make music and be active. They master the basic skills of singing and by the age of four they can sing a little song on their own or with the help of an adult. The ability to perform simple movements to music gives the child the opportunity to move more independently in musical games, dances.

Children of middle preschool age already show greater independence and active curiosity. This is the question period. The child begins to comprehend the connection between phenomena, events, to make the simplest generalizations, including in relation to music. He understands that the lullaby should be sung quietly, "slowly. A child of this age is observant, he is already able to determine what kind of music is being played: cheerful, joyful, calm; high, low, loud, quiet sounds; what instrument they play (piano, violin , button accordion) He understands the requirements, how to sing a song, how to move in a dance.

The voice apparatus of a child of middle preschool age is strengthened, so the voice acquires some sonority, mobility. The singing range is approximately within the re-si of the first octave. Improved vocal-auditory coordination.

The motor apparatus is significantly strengthened. Mastering the basic types of movements (walking, running, jumping) in the process of physical education makes it possible to use them more widely in musical and rhythmic games and dances. Children are able to remember the sequence of movements by listening to music. At this age, interests in different types of musical activity are more clearly revealed.

Children 5-6 years old, against the background of their general development, achieve new results in terms of quality. They are able to single out and compare the signs of individual phenomena, including musical ones, and establish connections between them. Perception is more purposeful: interests are more clearly manifested, the ability even to motivate one's musical preferences, one's assessment of works. So, after listening to two marches by S. S. Prokofiev and E. Parlov, the children were asked to say which of the marches they like and why. Most of the children chose "March" by S. S. Prokofiev. But their motivations were very peculiar: “Strict music”, “This march is better, there are such brave soldiers”, “Music has a character”. About E. Parlov's march, the boy said: "I liked it better, we know him, he is softer." In these statements, a desire was manifested to find life prototypes expressed by musical means, to evaluate its general character (“strict music”, “music has a character”, “it is softer”), an attempt is visible to compare it with one’s own experience (“we know it”). At this age, children not only prefer one or another type of musical activity, but also selectively treat its various aspects. For example, they like to dance more than dance, they have favorite songs, games, round dances, dances. They can explain how a (for example, lyrical) song is performed: “You need to sing beautifully, lingeringly, affectionately, gently.” Based on the experience of listening to music, children are capable of some generalizations of simple musical phenomena. So, about the musical introduction, the child says: "This is played at the beginning, when we have not yet begun to sing."

The vocal cords of the child are significantly strengthened, vocal-auditory coordination is being established, auditory sensations are differentiated. Most children are able to distinguish between high and low sounds in intervals of fifths, fourths, thirds. In some five-year-old children, the voice acquires a sonorous, high-pitched sound, a more definite timbre appears. The range of voices sounds better within the re-si of the first octave, although some children also have higher sounds - to, re - the second octave.

Children 5-6 years old show dexterity, speed, the ability to move in space, to navigate in a team in movement. The guys pay more attention to the sound of music, better coordinate movements with its character, form, dynamics. Thanks to the increased opportunities, children better learn all types of musical activities: listening to music, singing, rhythmic movements. Gradually, they master the skills of playing instruments. They learn the simplest information on musical literacy. All this is the basis for the versatile musical development of children.

Children 6-7 years old are brought up in a preparatory group for school. The very name of the group, as it were, determines its social purpose. The mental abilities of children develop, their musical thinking is enriched. Here are some answers from 6-7 year olds to the question of why they like music: “When music plays, we have fun” (feel the emotional nature of music); "Music tells something"; “She tells you how to dance” (they note her vital and practical function); “I love music when it sounds gentle”, “I love waltz - smooth music” (they feel and appreciate the nature of the music). Children are able to note not only the general character of the music, but also its mood (cheerful, sad, affectionate, etc.). They already attribute works to a certain genre: cheerfully, clearly, menacingly, joyfully (about a march); affectionately, quietly a little sad (about a lullaby).

Of course, there are individual differences here as well. If some children (including six-year-olds) give only brief answers (such as “loud-quiet”, “fun-sad”), then others feel, understand more essential signs of musical art: music can express various feelings, human experience. Consequently, individual manifestations often “overtake” age-related possibilities.

There are distinct differences in the level of musical development of those children who mastered the program of musical education in kindergarten, and those who did not have such training (some come to the preparatory group from the family). The vocal apparatus of a child of 6-7 years old is strengthened, however, singing sound formation occurs due to the tension of the edges of the ligaments, so the protection of the singing voice should be the most active. It is necessary to ensure that the children sing without tension, quietly, and the range should gradually expand (re of the first octave to the second). This range is most comfortable for many children, but there may be individual differences. In the singing range of children of this age, deviations are significant. The voices manifest melodiousness, sonority, although a specifically childish, somewhat open sound is preserved. In general, the choir of children aged 6-7 does not sound stable and harmonious enough, although master teachers, studying with children of this age, achieve good success.

Physical development is improved in various directions and is primarily expressed in the mastery of the main types of movements, in their coordination. There is an even greater opportunity to use movement as a means and way of developing musical perception. Using the movement, the child is able to express himself creatively, quickly navigate in search activities. The performance of songs, dances, games sometimes becomes quite expressive and testifies to attempts to convey one's attitude to music.

In addition to singing, listening to music, musical and rhythmic movements, much attention is paid to playing children's musical instruments (individually and in an ensemble). Children master the simplest methods of playing drums (drums, tambourines, triangles, etc.), strings (zithers), wind instruments (triola, Melodiya-26); they memorize their structure, distinguish sounds by timbre.

A short review of the age-related features of the musical development of children can be completed by emphasizing their characteristic features.

Firstly, the level of musical development depends on the overall development of the child, on the formation of his body at each age stage. At the same time, it is important to identify the links between the level of children's aesthetic attitude to music (to musical activity) and the level of development of musical abilities.

Secondly, the level of musical development of children of different ages depends on the active learning of musical activities in accordance with the content of the program. (However, the musical information received by the child at home is wider than that planned in the program.)

The main thing, and this is emphasized in the program of musical education, children get the experience of listening.

Not all children of the same age are the same in terms of musical development. There are significant deviations due to their individual characteristics. If we compare the general structure of musicality with the manifestations of musicality in individual children, we will see that some of them are musical in all respects, while others are distinguished by a peculiar combination of individual musical abilities. So, with a very high-quality musical perception, some children show themselves weaker in singing, dancing, or a good development of an ear for music is not always accompanied by a penchant for creativity. Therefore, it is necessary to take into account both] age and individual characteristics of children.

In general, it is possible to formulate the level of development of musicality, which should be strived for in the practice of musical education in kindergarten.

Let us give examples of the desired level of musical development of a child in middle, senior and preparatory school groups.

In the middle group, children should:

respond emotionally to music, recognize all familiar works, mark favorites, recognize a melody, speak about works, distinguish between the contrasting nature of music, sounds in height within a sixth;

determine various dynamic shades: forte [f] -I loud, mezzo-forte - moderately loud, piano [p] - quiet: sound;

sing simple songs without accompaniment and with accompaniment;

move to unfamiliar music, conveying its basic mood, perform dance movements accurately and with pleasure, perceive a simple rhythmic pattern on percussion instruments clearly.

Thus, it can be concluded that the identification of the supposedly existing musical abilities of preschool children is possible only when their development can already be diagnosed, that is, the level achieved is already noticeable.

Municipal educational institution of additional education for children "Karluk Children's Music School"

"Prerequisites and conditions of musical

student development"

methodical work of the teacher

MOU DOD IRMO "Karluk Children's Music School"

Fereferova N.P.

Karluk village, 2014-2015 academic year

When teaching children folk singing, the fundamentals of the psychology of children's musical thinking are of great importance for the teacher. This knowledge makes it possible to determine the criteria for a child's musical talent, his creative abilities, the prospects for improving his musicality, and the disclosure of talent; allow you to find an individual approach to each student.

Already from the age of four, the harbingers of certain musical abilities begin to come to light in children. Later, during puberty, they can either fade away, or, conversely, develop rapidly. And finally, in the period of full maturation, at 18-20 years old, when the structure of the higher parts of the brain is close to the completion of its formation, one can already fully appreciate talent and giftedness.

B.M. Teplov in his article “The Psychology of Individual Differences” called musical talent “that qualitatively original combination of abilities, on which the possibility of successfully engaging in musical activity depends.” The musical abilities of the child are: ear for music, sense of rhythm, musical memory. The signs of musicality are emotionally - sensual experience of music, subtle perception of it. Thus, mastering folklore intonation and successful musical performance requires not only talent, but also the possession of skills and abilities. Whatever musical talent a child has, but if he does not develop his abilities and does not learn certain skills in this area, he will not achieve possible success in mastering performing, singing skills.

A child's giftedness in music is called musicality. Are all children musical? Is musicality educable and lends itself in the learning process? There are many opinions on this question. Thus, the famous American psychologist B.R. Andrews wrote as early as the 20th century: “No child should be regarded as hopelessly unmusical until he has been given the opportunity of musical instruction. In musical talent, a lot depends on practice. Another music researcher, T. Kopp, argued in an article that “musical abilities are much more widespread than is supposed, and that the vast majority of children lose their innate musical abilities due to lack of ear and psyche training at the most malleable age.

It is known that it is not musical abilities that are innate, but only the inclinations on the basis of which these abilities develop. In this regard, of great interest is the doctrine of musicality by J. Chris in the book “What is musicality?” An outstanding physiologist and a good musician tends to this view: for all the signs of musicality, the hereditarily conditioned, especially rich development of individual parts of the brain associated with hearing is favorable, but each of these signs, in addition, depends on the inclinations specific to it.

In the practice of selecting children for teaching them folk singing, it is important for the teacher to evaluate the child not only by his musical abilities, but by his inclinations to these abilities, since the inclinations as a result of upbringing and training quickly develop and develop into skill, professional skill.

The presence of this or that degree of musical talent in a child forms his musical thinking. Musical thinking is a spiritual, sensual perception and sensation of sound meloinformation, its assessment, the emergence of a creative attitude towards it, as well as the state of memory, the expression of one's inner musical world in sounds.

The level of musical thinking in a child can be different. Intellectual, volitional and emotional functions interact in it. The traditional mental functions of musical thinking according to their constituent components have a certain classification:

sensory component - the sensation and difference in pitch, intensity and duration of sounds.

retentive - memory for the height, intensity and duration of sounds.

Synthetic - the perception of integral formations: motives, tempos, rhythmic figures.

Motor - transferring the sound image to the voice,

Ideative - mental imagination, finding the ideological, associative content of music.

The process of developing the functions of musical thinking in children can be fashionably divided into three stages.

The first stage corresponds to the earliest childhood - up to three years. It is characterized by the beginning of the transition from the child's perception of musical intonation without understanding the meaning of words. The child also exhibits a tendency to connect, on the basis of a single impression, various melodic formations that have no internal connection, bringing them into an undivided, fused sound image.

The second stage coincides with the period of preschool age of children - from 3 to 7 years. On this section of the path, the child reaches musical thinking in complexes. He ceases to perceive the connection of his own musical impressions from what he hears directly. Begins to understand the effective connections and differences that exist between various musical formations. The child's mind already forms certain concepts and objectively concretizes them, begins to unite individual links of musical formations into one chain. It is in chain complexes that the objectively concrete and figurative nature of children's musical thinking is clearly manifested.

The third stage serves as a kind of bridge, a transitional link to the formation of a developed system of concepts; to the period when musical thinking in complexes passes into the stage of meaningfulness of musical development. There are moments of psychic evolution, in which conditions are created that make possible the restructuring of the intellect. At each age, something new consistently appears, but is inextricably linked with the previous one.

What is the process of learning song folklore? How does a child receive, assimilate and process musical information? It is known that certain characteristics in the child's ability to perceive musical sounds, memorize and reproduce them are inherited. Nevertheless, the state of the nervous system can change, as it depends on the environment and upbringing.

Modern research has shown that the development of the brain occurs at a tremendous speed. At nine months old, the brain weighs 50% of the weight of an adult brain, at two years old - 75%, at six years old - 90%, and the remaining 10% is acquired in the next ten years.

The process of cognition is a process associated with the work of the brain. The existence of an innate initial structure in the central nervous system, which contributes to the development of musical thinking, is considered the initial, genetically predetermined stage. This stage is replaced by a sequence of states that develop depending on the external environment. The influence of the environment increases with the age of the child in terms of both physiological and intellectual. And here the connection of the child with the world of adults is important. After all, the possibility of early manifestation of musical abilities depends not only on the inclinations of the child, but also on the degree of the environment in which the child spends the first years. Here, either the direct concern of the parents for the musical development of the child, or the sufficient wealth of musical impressions, affects.

Early performance of works of musical folklore to a child, teaching him folk songs with adequate natural, hereditary prerequisites most of all create a talent, an outstanding creative personality. Numerous observations show that in families where a child from the first days of his life was rocked in a cradle to lullabies, they looked after him by singing pestles; playing, they sang nursery rhymes, jokes, told fairy tales with tunes, the most musically capable children grew up. The simplest musical tunes and motifs of folk tunes were already imprinted in their memory, the poetic, figurative language of folk songs was remembered. This developed the musical abilities of children, prepared them for the performance of more complex pieces of folk song.

The second important factor in the creative development of children was their musical impressions.

In a newborn, musical abilities, creative qualities are determined only genetically. Heredity is a canvas that creates potential opportunities for the musical development of a child, contributes to the acquisition of certain qualities and abilities. The environment, as a set of multi-colored threads in the skillful hands of a master, creates a unique pattern of individual differences, properties, qualities and skills according to the hereditary canvas, which distinguishes and distinguishes a particular person from others.

Hereditary factors and environmental factors are two unknowns in one equation to be solved. One approach to this solution is the so-called "twin method". The use of this method also makes it possible to determine which musical qualities and abilities of an individual can be changed through systematic training, and which ones are hard-coded in the individual's genome.

Testing the musical abilities of the twins, in ninety cases out of a hundred, showed that in each pair one child, despite the same innate inclinations, shows greater musical talent and the degree of development of his abilities than the other.

The main thing for a teacher, in the psychology of a child’s musical thinking, is to see and determine not only the natural inclinations for the development of musical abilities, but also to recognize such qualities as spirituality, sensual predisposition, love for folk music, the child’s desire to work patiently and hard in music lessons. It is these qualities that lead children to success to a greater extent, allow them to achieve good results.