The plan of interaction between educators and the music director. The interaction of the educator and the musical director of the preschool educational institution in the educational field "music". Interaction plan with educators

I. General provisions

1. The music director belongs to the category of specialists.
2. A person with a specialized secondary or higher education is appointed to the position of music director.
3. Appointment and dismissal of music director
4. The music director must know:
4.1. Constitution of the Russian Federation.
4.2. Laws of the Russian Federation, resolutions and decisions of the Government of the Russian Federation and educational authorities on education issues.
4.3. Pedagogy and psychology, age physiology, anatomy.
4.4. Sanitation and hygiene.
4.5. Individual features of the development of the personality of children, musical perception, emotions, motor skills and musical abilities of children of different ages.
4.6. Musical works of children's repertoire.
4.7. Rules and norms of labor protection, safety and fire protection.
4.8. When working with children with developmental disabilities - the basics of defectology and appropriate methods.
6. During the absence of the music director (vacation, illness, etc.), his duties are performed by a person appointed by order of the director of the institution. This person acquires the appropriate rights and is responsible for the quality and timely performance of the duties assigned to him.
II. Job Responsibilities
Musical director:
1. Carries out the development of musical abilities and emotional sphere, creative activity pupils.
2. Forms their aesthetic taste, using different types and forms of organization of musical activity.
3. Professionally owns the technique of performing on a musical instrument.
4. Coordinates the work of teaching staff and parents (persons replacing them).
5. Determines the directions of pedagogical activity, taking into account the individual and age characteristics of pupils, as well as their creative abilities.
III. Rights
The music director has the right:
1. Get acquainted with the draft decisions of the management of the institution regarding its activities.
2. On issues within its competence, submit proposals for the management of the institution to improve the activities of the institution and improve working methods; comments on the activities of employees of the institution; options for eliminating shortcomings in the activities of the institution.
3. Request personally or on behalf of the management of the institution from structural divisions and other specialists information and documents necessary for the performance of his official duties.
4. Involve specialists from all (individual) structural divisions in solving the tasks assigned to it (if it is provided for by the regulations on structural divisions, if not, then with the permission of the head of the institution).
5. Require the management of the institution to assist in the performance of his duties and rights.
IV. Responsibility
The music director is responsible for:
1. For improper performance or non-performance of their official duties under this job description, - within the limits determined by the current labor legislation of the Russian Federation.
2. For offenses committed in the course of carrying out their activities - within the limits determined by the current administrative, criminal and civil legislation of the Russian Federation.
3. For causing material damage - within the limits determined by the current labor and civil legislation of the Russian Federation.

How actively do kindergarten teachers participate in the musical education of children? And do they all realize the importance of such participation? Alas, often the teacher considers it his duty to just be present at the music lesson - in order to maintain discipline. And some do not even consider it necessary to be present - they say, during this time they will be able to do some things in the group ... Meanwhile, without the active help of the educator, the productivity of music lessons is much lower than possible. Implementation of the process musical education requires a lot of activity from the teacher. Raising a child by means of music, teachers - "preschoolers" should well understand its significance in the harmonious development of the individual. To do this, one must clearly and distinctly imagine by what means, methodological techniques one can lay the foundations for the correct perception of music.

The educator needs to:

1. Know all program requirements for musical education.

2. Know the musical repertoire of your group, be an active assistant to the music director in music classes.

3. To assist the musical director in mastering the program musical repertoire by children, to show examples of the exact execution of movements.

4. Conduct regular music lessons with the children of the group in the absence of a musical director.

5. Learn movements with lagging children.

6. Deepen the musical experience of children by listening to music in a group with the help of technical means.

7. To develop the musical skills and abilities of children (melodic ear, sense of rhythm) in the process of conducting didactic games.

8. Possess elementary skills in playing children's musical instruments (metallophone, timbre bells, wooden spoons, etc.).

9. To carry out the musical development of children, using all sections of the work: singing, listening to music, musical and rhythmic movements, playing on the DMI, musical and didactic games.

10. Take into account the individual capabilities and abilities of each child.

11. To develop independence, initiative of children in the use of familiar songs, round dances, musical games in the classroom, a walk, morning exercises, in independent artistic activities.

12. Create problem situations that activate children for independent creative manifestations.

13. Involve children in creative games that include familiar songs, movements, dances.

14. Use the children's musical skills and abilities in the classroom for other activities.

15. Include musical accompaniment in the organization of classes and regime moments.

16. Take a direct part in the diagnostic examination of their pupils to identify musical skills and abilities, the individual capabilities of each child.

17. Take an active part in the preparation and holding of holidays, entertainment, musical leisure, puppet shows.

Interaction with teachers
"Educator and Music"

THE ROLE OF THE EDUCATOR IN THE PROCESS OF MUSICAL EDUCATION OF PRESCHOOL CHILDREN

How actively do kindergarten teachers participate in the musical education of children? And do they all realize the importance of such participation? Alas, often the educator considers it his duty to just be present at the music lesson - in order to maintain discipline. And some do not even consider it necessary to be present - they say, during this time they will be able to do some business in the group ... Meanwhile, without the active help of the educator, the productivity of music lessons is much lower than possible. The implementation of the process of musical education requires a lot of activity from the teacher. Raising a child by means of music, teachers - "preschoolers" should understand well its significance in the harmonious development of the individual. To do this, one must clearly and distinctly imagine by what means, methodological techniques one can lay the foundations for the correct perception of music.

The educator needs to:

1. Know all program requirements for musical education.
2. Know the musical repertoire of your group, be an active assistant to the music director in music classes.
3. To assist the musical director in mastering the program musical repertoire by children, to show examples of the exact execution of movements.
4. Conduct regular music lessons with the children of the group in the absence of a musical director.
5. Learn movements with lagging children.
6. Deepen the musical experience of children by listening to music in a group with the help of technical means.
7. To develop the musical skills and abilities of children (melodic ear, sense of rhythm) in the process of conducting didactic games.
8. Possess elementary skills of playing for children musical instruments(metallophone, timbre bells, wooden spoons, etc.).
9. To carry out the musical development of children, using all sections of the work: singing, listening to music, musical and rhythmic movements, playing on the DMI, musical and didactic games.
10. Take into account the individual capabilities and abilities of each child.
11. To develop independence, initiative of children in the use of familiar songs, round dances, musical games in the classroom, a walk, morning exercises, in independent artistic activity.
12. Create problem situations that activate children for independent creative manifestations.
13. Involve children in creative games that include familiar songs, movements, dances.
14. Use the children's musical skills and abilities in the classroom for other activities.
15. Include musical accompaniment in the organization of classes and regime moments.
16. Take a direct part in the diagnostic examination of their pupils to identify musical skills and abilities, the individual capabilities of each child.
17. Take an active part in the preparation and holding of holidays, entertainment, musical leisure, puppet shows.
18. Prepare thematic collections of poetic material for entertainment and musical matinees.
19. Assist in the manufacture of attributes, musical design
hall for holidays and entertainment.
20. Be artistic, inventive, emotionally mobile.
At a music lesson
The role of the educator, the alternation of his active and passive participation, are different depending on the parts of the lesson and their tasks.
Listening to music:
1. By personal example, educates children in the ability to listen carefully musical composition, expresses interest;
2. Monitors discipline;
3. Helps the music director to use visual aids and other methodological material.
Singing, singing:
1 . Does not participate during rapid interrogation exercises;
2. Does not participate in chanting, so as not to knock down children;
3. Sings with children, learning a new song, showing the correct articulation;
4. Supports singing while performing familiar songs, using the means of mimic and pantomimic expressiveness;
5. When improving the learning of a song, he sings along in difficult places;
6. Does not sing with children with independent emotional and expressive
singing (exception - singing with children of early and younger age);
Musical-rhythmic movements and games:
1. Participates in showing all kinds of movements, giving appropriate recommendations to children;
2. Gives accurate, clear, aesthetic standards of movement (exception -
exercises for the development of children's creative activity);
3. Takes a direct part in the performance of dances, dances, round dances. In older preschool age, familiar dances and dances are performed by children on their own;
4. Corrects the performance of movements by individual children during the dance
or dancing;
5. Explains and controls the fulfillment of the conditions of the game, contributing to the formation of behavioral skills during the game;
6. Takes one of the roles in the story game;
7. Monitors discipline throughout the entire music session.

Teacher and music director: issues of cooperation and co-creation

Professional tasks of the musical director of the preschool educational institution

Tasks of musical education of preschoolers, solved by the educator

1. Organization and conduct of classes in each age group.

2. Organization and holding of holidays, entertainment programs in kindergarten.

3. Guiding the work of the educator in the field of musical development of children through consultations and group classes.

4. Organization of pedagogical meetings

1. Help in the process of conducting music lessons: sing and move with the children, help learn new songs, dance moves, monitor the completion of tasks.

2. Organization of pedagogical conditions that contribute to the development of independent musical activity of preschoolers.

3. Selection of musical and didactic material for solving various problems of upbringing and development of children. Organization of independent musical and creative activities of children

The commonality of professional and pedagogical tasks as the basis for cooperation and co-creation of the music director and educator of the preschool educational institution.

A kindergarten teacher	Musical director
Diagnostic tasks
1. The study of the individual characteristics and capabilities of the child, including those related to the musicality of a preschooler. kindergarten, the nature of its progress in development, including musical. 4. Determining the effectiveness of the impact of the pedagogical conditions implemented in kindergarten on the diversified development preschooler	1. The study of the individual characteristics and capabilities of the child in the context of musicality. 2. Taking them into account in a holistic way educational process DOW. 3. Tracking the nature of the changes that occur with the child during the educational process kindergarten, his progress in musical development. 4. Determining the effectiveness of the impact implemented in the children's garden of pedagogical conditions for musical education and development of the preschooler
Tasks of pedagogical design of the educational process
6. Familiarization with the musical repertoire for children to listen to and perform in order to assist in the work of a music teacher. 7. Knowledge of the tasks of musical education and development of preschoolers, analysis of their solution in terms of basic competence musical director. 8. Rendering professional help and support each other, joint solution of the problems of upbringing and development of the child, including the tasks of musical education and development. 9. Creation of a single cultural and educational space in the teaching staff educational institution, in kindergarten and the family of the pupil, in kindergarten and established	6. Acquaintance with the pedagogical tasks of the general development of preschoolers of a given age. 7. Studying the features of the general cultural competence of a kindergarten teacher, knowledge of his musical needs and interests. 8. Providing professional help and support to each other, joint solution of the problems of upbringing and development of the child through music and musical activities.
The tasks of designing and organizing a developing educational environment for a preschool educational institution
10. Creation of a developing musical and educational environment in kindergarten as one of the most effective conditions initiating the processes of holistic musical (artistic) development and upbringing of a child	10. Creation of a developing educational environment in kindergarten as one of the most effective conditions initiating the processes of holistic development and upbringing of a child
The tasks of developing the subject position of the educator, enriching professional competence
	11. Personal and professional self-development, self-education: Increasing professional competence through the enrichment of general cultural, basic, special competences

Innovative forms of cooperation and co-creation of the musical director and educator of the preschool educational institution

The tasks of professional cooperation and co-creation of the educator and musical director	Forms of cooperation and co-creation
1. The study of the individual characteristics and capabilities of the child in the context of musicality	Development of unified diagnostic maps of the child's musicality; joint discussion of the results of diagnostics and individual musical manifestations of the child in the conditions of the lesson and in everyday life
2. Taking them into account in the holistic educational process of the preschool educational institution	Joint design of work plans, their prompt adjustment as common tasks are solved; creation of complementary pedagogical conditions in the preschool educational institution that contribute to the musical education and development of children
3. Tracking the nature of the changes that occur with the child during the educational process of the kindergarten, his progress in musical development	Creation of intermediate diagnostics, diagnostic methods to assess the nature of the child's progress in musical development; joint discussion of the features of the child's advancement in musical development at thematic seminars, pedagogical consultations, business games; joint discussion of the influence of the process of musical development on the overall development of the child
4. Determining the effectiveness of the influence of the implemented pedagogical conditions in kindergarten on the musical education and development of a preschooler	Joint discussion of the effectiveness of the influence of pedagogical conditions on the nature of the child's progress in musical development, general development at thematic seminars, pedagogical consultations, business games, meetings of the accompaniment service
5. Design and organization of a holistic educational process that promotes the holistic musical development of a healthy preschool child in kindergarten	Mutual consultations, creation of professional "cheat sheets" (tips) on the use musical material in the educational process of preschool educational institutions, in solving various problems of education and development
6. Studying the features of the general cultural competence of kindergarten teachers, knowledge of their musical needs and interests	Organization by the music director of diagnostics of teachers preschool education and self-diagnosis for the study of musical culture, erudition (app. 5)
7. Knowledge by the educator of the tasks of musical education and development of preschoolers, analysis of their solution by the music director in terms of basic competence	Mutual attendance of classes, other forms of professional interaction with the child on musical content, followed by analysis and joint discussion of the effectiveness of solving the problems of raising and developing the child
8. Providing professional assistance to each other, jointly solving the problems of raising and developing a child through music and musical activities	Musical lounges and evenings of meetings with music organized in preschool (app. 4); joint organization of holidays by the teaching staff of the preschool educational institution; joint preparation of thematic seminars and workshops on the problem of holistic education and development of a preschool child by means of music, the use of new pedagogical tools and techniques in musical education and development of children
9. Creation of a single cultural and educational musical and aesthetic space in the teaching staff of the educational institution, in the kindergarten and the pupil's family, in the kindergarten and cultural institutions, commonwealth with musical institutions of the city, district of the preschool educational institution	Collective trips to the Philharmonic, Conservatory, Chapel, Theater; joint creation of a poster on academic year for professional and teaching staff, parents of children, preschoolers with recommendations on the repertoire; joint organization of parent meetings on the problems of musical education and development of the child; creation of a stand or corner for parents and teachers “Music in the life of our family”, “We and music”, “I want you and your child to listen”, etc .; invitation to kindergarten musical and theater groups for children
10. Creation of a developing musical and educational environment of a kindergarten as one of the effective conditions initiating the processes of holistic musical (artistic) development and education of a child	Joint design of the musical and educational environment in preschool educational institutions, in groups; organization of a competition for projects of a musical developmental environment in a preschool educational institution, in a single group, in a child's family
11. Personal and professional self-development, self-education, building up professional competence through the enrichment of general cultural, basic, special competencies	Professional recommendations and advice to each other in the form of diaries, consultations, equipped methodological portfolios, invitations to concerts and performances; mutual recommendations on the musical repertoire and its use in the educational process of preschool educational institutions; compiling a professional music library, a bank of pedagogical techniques and technologies for using music in solving various problems of educating and developing preschoolers

The role of the educator in the musical education of children.

Successes in the musical development of children, their emotional perception of music are closely related to the work of the educator. It is the educator who has a broad outlook, a certain musical culture who understands the tasks of musical education of children, is a conductor of music in everyday life kindergarten. A good business relationship between a music director and an educator has a beneficial effect on children, creates a healthy, friendly atmosphere, equally necessary for both adults and children.

this is an artistic and pedagogical process that contributes to the development of the child's musicality, the formation of his personality and the development of reality through musical images. Music lessons play an important role in the development of endurance, will, attention, memory, in the education of collectivism, which contributes to the preparation for schooling. They carry out systematic education of each child, taking into account his individual characteristics.

Conducting music lessons is not the monopoly of the music director, but is part of the pedagogical work that the teacher is doing.

The participation of the educator in a musical lesson depends on the age group, the musical preparedness of the children and the specific tasks of this lesson. It is especially important for the educator to participate in work with younger groups, where he belongs the main role in play, dance, song. The younger the children, the more active the educator has to be - to help each child, to make sure that the children are not distracted, to be attentive, to observe who and how manifests himself in class. In the senior and preparatory groups, children are given more independence, but still the help of the educator is needed. He shows the movements of the exercises together with the music director, performs a dance with a child who does not have a partner, monitors the behavior of children, the quality of the performance of all program material. The teacher should be able to sing songs, show any exercise, game or dance, know the music for listening from the children's repertoire. During music lessons, the teacher monitors the posture of children, the pronunciation of words in the song, the quality of assimilation of the material. The role of the educator varies depending on the content of the music lesson. If the lesson plan outlines an acquaintance with a new song, the teacher can sing it if he first learns it with the music director. This option is also allowed: the music director performs the song for the first time, and the educator again. The teacher monitors whether all the children actively sing, whether they convey the melody of the song correctly, pronounce the words. Since the music director is near the instrument, he is not always able to notice which of the children sang this or that word incorrectly. If the lesson is devoted to listening to music, the teacher can talk about the content of the piece of music that the music director will perform, during the performance, monitor how the children perceive the music. When children speak little about what they hear, the teacher helps them with leading questions. When conducting musical and rhythmic movements with children of younger groups, the teacher plays with them, shows dance and imitation figures. In older groups, he carefully monitors whether the children perform the movements correctly and which of them needs help. Being present at the lessons, actively participating in them, the educator not only helps the children, but also learns the material himself. It is necessary that both teachers take turns attending the classes. Knowing the repertoire, they can include certain songs, games in the daily life of children.

The life of a child becomes more colorful, fuller, happier, if not only in music lessons, but also in the rest of the time in kindergarten, conditions are created for the manifestation of his musical inclinations, interests, and abilities.

Skills acquired in the classroom must be consolidated and developed outside of them as well. In various games, on walks, during the hours allotted for independent activity, children, on their own initiative, can sing songs, dance, listen to music, pick up the simplest melodies on the metallophone. Thus, music enters the child's life, musical activity becomes a favorite pastime.

At music lessons, new information about musical works is communicated, singing and musical-rhythmic skills are formed, and consistent musical development of all children is ensured according to a certain system. In the daily life of the kindergarten, the emphasis is on individual work with children - the development of their musical abilities, the formation of pure intonation, teaching children to play DMI. The leading role here belongs to the educator. Taking into account the age of children, he determines the forms of including music in the daily routine. Many aspects of kindergarten life allow a connection with music and acquire great emotional fullness from this.

Music can be used in plot-role-playing creative games for children, morning exercises, during some water procedures, during a walk (in summer), entertainment evenings, before going to bed. It is allowed to include music in classes for various types of activities: visual, physical education, familiarization with nature and speech development.

A game, of course, is the main activity of the child outside of classes. The inclusion of music in the game makes it more emotional, interesting, attractive. There are various options for using music in games.

In some cases, it is, as it were, an illustration of the actions of the game. For example, while playing, children sing a lullaby, celebrate housewarming, dance. In other cases, children reflect in games the impressions received at music lessons, holidays. Conducting role-playing games with music requires a very careful and flexible guidance of the educator. He, watching the course of the game, encourages children to sing, dance, play on DMI. Many role-playing games arise only when children are given a toy TV, a piano, a theater screen. Children begin to play "musical classes", "theater", perform concerts on "television".

Music can be included component and in different activities. The aesthetic perception of nature gives rise to love for the motherland in children. Music also helps them to more deeply emotionally perceive the images of nature, its individual phenomena. At the same time, observing nature deepens the perception of music. It becomes more understandable and accessible. For example, if, going for a walk in a park or forest, children pay attention to a beautiful slender birch, then the teacher should invite the children to carefully examine it, remember a poem about it, and even better, sing a song or dance. Thus, the educator consolidates children's impressions received from direct observation of nature with the help of a piece of music. In addition, the teacher can play games with singing during summer walks. This adds value to the walk. Musical material related to the theme of nature, learned in advance in music classes, allows children to be more attentive when observing. Children begin to understand that every natural phenomenon, every season is beautiful in its own way. Music, depending on the tasks set by the educator, either precedes observation or reinforces children's impressions.

MUSIC CLASSES AND THE ROLE OF THE EDUCATOR.

A musical lesson is the main organizational form for the implementation of the tasks of musical education and development of children.

In music classes, a versatile education of children is carried out (mental, aesthetic, physical)

Mental: Children gain knowledge about various aspects and phenomena of the surrounding reality, that is, knowledge about the seasons, holidays and everyday work of people. Life experience is systematized.

Moral-volitional:The feeling of love for the mother, the Motherland is brought up, the skills of cultural behavior are formed (in organizational moments), the ability to listen, sing, dance in a team is brought up. Purposefully engaged, the ability to bring the work started to the end, to overcome difficulties

Physical: Dancing and games form certain motor skills that develop certain muscle groups.

Aesthetic: To be able to listen and understand music, you need to feel it, to know the beautiful.

Singing skills:Purity of intonation, breathing, diction, coherence of singing intonations

Types of musical activity:

1. Listening is the main type of musical activity. This activity, being independent, at the same time is an obligatory component of any form of music-making, any kind of musical activity. For the aesthetic development of preschoolers, mainly 2 types of music are used: vocal, instrumental music. For the early and younger age, the vocal form of sound is more accessible. Older children listen to instrumental music ("Clowns", "Horse"). It is necessary not only to teach the child to listen to music, but also to speak emotionally about it (character), give some names (dance, march, lullaby), introduce the means of expression (tempo, dynamics, register) and the names of composers. Listening to a work repeatedly, children gradually memorize it, they develop a taste and a certain attitude to a particular work, favorite works appear.

2. Singing and songwriting is one of the most favorite types of music for children. activities. Choral singing unites children, creates conditions for their emotional communication .. at the first stage, children can only sing along and reproduce onomatopoeia (a cat meows, a dog barks, a bird sings)

3. Musical and rhythmic movements include dancing, dance creativity, music games, round dance exercises. Children learn to move in accordance with the nature of the music, with the means of musical expression. Develop a sense of rhythm, develop artistic and creative abilities. At the initial stage, when learning dances. Movements, the teacher needs to show. In the future, only verbal instructions are given in the course of execution, errors are corrected. Children learn to convey various images (birds fly, horses jump, bunnies jump). The educator verbally helps to more accurately convey the resemblance to the characters. In older groups, we seek from children a conscious attitude to their role and high-quality performance in performing movements. Consequently, the creative activity of children develops through purposeful learning, expanding musical experience, activating feelings, imagination, and thinking. Simple creative tasks include staging songs.

4. Learning to play children's musical instruments (acquaintance with the sound of instruments performed by an adult, selection of familiar melodies on various instruments. In this type of activity, sensory musical abilities, a sense of rhythm, ear for music, musical thinking are developed. Playing in an orchestra contributes to the development of attention, independence , initiative, the ability to distinguish the sound of instruments

Music lesson consists of several sections:

1. Introductory part: movements in various formations (columns, lines, links, pairs, in a circle), walking, running, dance steps (jumping, straight, lateral gallop, fractional, round dance, etc.). Movements to music create a cheerful, cheerful mood, improve posture, coordination of arms and legs.

2. Listening to music

3. Singing and songwriting -

4. Learning to play children's musical instruments (acquaintance with the sound of instruments performed by an adult, selection of familiar melodies on various instruments

5. Dance

6. Game

The teacher carries out basically all the pedagogical work in the kindergarten - therefore, he cannot remain aloof from the musical and pedagogical process.

The presence in the kindergarten of two teachers - muses. leader and educator, does not always lead to the desired results. If all musical education comes down to just conducting music classes, and the educator considers himself free from the musical development of children, then in this case musical education is not an organic part of the whole life of children: dancing, playing music is not included in the child's life. The educator, underestimating the importance of musical education in pedagogical work, does not show interest in it and does not know how to arouse interest in children.

The leading role in music lessons belongs to the muses. manager, because he can convey to children the features of musical works.

Misunderstanding of the educational tasks of music by the educator can nullify all the efforts of the music director. Where the educator loves music, loves to sing, and children are very interested in music lessons. In addition, in the "Movement" section, music. the leader is shackled by the instrument and here the teacher must show the movements.

The leading role of the music director in no way reduces the activity of the educator.

Teachers often make the following mistakes in class:

1. The teacher sits with a blank look

2. The teacher interrupts the performance

3. Give verbal instructions on a par with music. leader (although there cannot be two centers of attention)

4. Violates the course of the lesson (enters and leaves the hall)

The activity of the educator depends on three factors

1. From the age of the children: the smaller the children, the more the teacher sings, dances and listens on an equal basis with the children.

2. From the section of musical education: the greatest activity is manifested in the process of learning movements, somewhat less in singing, the lowest - when listening

3. From the program material: depending on the new or old material

The teacher must be present at every music lesson and actively participate in the process of teaching children:

1. Sings with children (without drowning out children's singing). When singing, the teacher sits on a chair in front of the children in order to show, if necessary, movements, the pitch of sounds, clap the rhythm, etc.

2. When teaching children musical and rhythmic movements (especially in junior groups) - participates in all types of movements, thereby activating the kids. In older groups - as needed (showing this or that movement, reminding the formation or giving separate instructions in the dance, game)

3. Directs independent musical activity, including music in games, walks, work process, using the music learned from music. leader material.

4. The teacher must be able to play all the instruments that are used by children in music classes in order to be able to correctly show the children how to produce sound on each instrument

5. Repeats the words of songs with children, and does not memorize them like poetry, but sings with children

6. Repeats the dance movements, having previously recorded the music on an audio cassette.

7. Knows the tricks of puppetry

The more actively the educator does this work, the more new children can learn in music lessons, otherwise music lessons turn into an endless repetition of the same thing, i.e. "trampling in place"

The success of the educator largely depends on the intensity of the work of the music director with him. The less prepared the educator is, the more the music director has to work directly with the children.

There are 2 forms of work of a music director with a teacher

1. Individual consultations:held once every 2 weeks

Acquaintance with the tasks of the upcoming classes
Assimilation of the repertoire (it is checked how the teacher performs children's songs, dances)
Thinking through forms individual work with kids
Thinking about bringing music into everyday life
Conversations about the activity of the educator at the music. classes

2. Group consultations:

Acquaintance with new methodological issues (song creativity, motor creativity, learning to play instruments)
Composition of the scenes of the holiday
Thinking about surprises
Discussion of various issues
Open music lessons (for young teachers)
Learning songs to listen to or to sing at parties (paying attention to purity of intonation and diction)
Improving the culture of movement (in addition to children's games, dances, exercises, educators make more complex movements that contribute to the development of coordination of their movements and overall musical development)
Performing independent tasks (compose a dance or exercise to a certain music)
Teaching educators to use a player, tape recorder, improve knowledge in the field of musical literacy so that he can perform a children's song on musical instruments from notes, sing it
Training in puppetry

The role of the host at the festival

The role of leader is very important. The presenter is the person who manages the festive matinee, unites all the elements of the holiday into an organic whole, explains to the children what is happening, and is the link between the audience and the performers. The mood of the children at the holiday, the interest of the program being performed depends to a large extent on the presenter.

The main task of the leader is to carefully prepare for the performance of his duties. The host should know the program of the matinee well, should know the songs, dances, games of children and, if necessary, help the children perform a dance or dramatization.

Before the matinee, the host must lay out all the attributes necessary according to the scenario, check their number, put the required number of chairs.

At the matinee, the leader should be free, naturally. It shouldn't be verbose. What needs to be communicated to children should be stated simply and clearly. An appropriate joke, a question for children, teachers, guests (for example: Have you seen how our kids dance with handkerchiefs?)

At the matinee, you need to speak loudly enough, clearly and expressively. The leader not only informs what songs, dances will be performed, but also explains what is happening. The matinee should be held at a good pace. Lengthy performances and pauses - tire the guys

The leader must be resourceful! Unforeseen moments may arise at the matinee (children did not have time to change clothes, the line-up of performers changed, a character appeared out of time, they missed a musical number, etc.). In such cases, the presenter must quickly find a way out of a difficult situation (jokes, riddles, involving the audience in resolving difficulties).

It is necessary for the host to learn how to finish the holiday in an organized way! After the treat - thank the guest (adult character), say goodbye to him, be sure to remind everyone on what occasion they gathered in the hall (once again congratulate everyone on the holiday), invite the children to leave the hall in an organized manner (if the scenario does not provide another option) i.e. stand one after another or in pairs and go out to the music, and not run to your parents

A teacher who does not play any roles is with the children of his group. He sings and dances with the children. The teacher should also know the program and the entire course of the holiday well and be responsible for the area of \u200b\u200bwork assigned to him (prepare attributes, details of costumes, change clothes for children in time, adjust costumes if necessary).

Great pleasure gives children solo and group performances of educators (songs, dance, character). Adult characters also participate in games and dances (pair up with children)

Costumes for the holiday are taken by educators in advanceso that you can check everything: wash, hem, make the missing parts. If parents are instructed to sew or decorate a costume, prepare attributes, parents must bring them in advance so that educators can check them, otherwise it may happen at the holiday that the elastic bands on the parsley caps will break, the attributes will break, etc.

The holiday is over, but the holiday impressions live in the memory of children for a long time. They share them with their comrades, educators, parents, reflect them in their games, drawings, modeling. The teacher strives to consolidate the most colorful impressions related to the theme of the holiday. Children repeat their favorite dances, songs, actions of individual characters. You can also conduct a reinforcing musical lesson (leave the decoration of the holiday, costume details, attributes for games and offer to remember what they liked, exchange impressions. Some performances can be repeated 2-3 times with a change of performers). You can perform festive numbers in front of children of younger groups.

Parents can also take part in the preparation of the holidays: help in decorating the room, designing a wall newspaper, making costumes, playing small roles or reading poetry, performing musical numbers with their children.

Parents are welcome guests at the celebration. The manager and the educator (parent) allocated to help him greet the guests warmly and place them in the hall. Parents must be warned that they need to bring a change of shoes. After the matinee, educators offer parents to write down their impressions in the "Book of Reviews"

It is good to hold discussions of the past holiday on a ped. meeting, where the positive aspects of the holiday and the mistakes made are discussed.

Ozerova Elena Borisovna; Yablokova Irina Nikolaevna
MBDOU "Kindergarten No. 69", Kostroma
Music directors

Presentation "Interaction between music director and educator
in the organization of musical activities in the preschool educational institution "

1 slide

We present to your attention the material on the interaction of the music director and educator in the organization of musical activities in preschool educational institutions.

2 slide

Preschool childhood is the time for the most optimal familiarization of the child with the world of beauty, including the world of music.

3 slide

The problem of pedagogical interaction between a teacher and a musical director in a preschool educational institution is one of the most important: the success of the process of musical development of preschoolers depends on its solution.

4 slide

Only in the joint coordinated activity of both teachers for the successful development of the musicality of children can one achieve

goals:

psychological and pedagogical support for positive socialization and individualization, comprehensive development of the personality of children of early and preschool age in age-appropriate activities for children.

And solve some problems:

Development of musical and artistic activity;

Introduction to musical art;

Development of children's musicality;

Developing the ability to emotionally perceive music.

5 slide

For the musical education of children in a preschool institution, not only the music director, but also educators are responsible. Consider their roles and responsibilities.

Doctor of Psychology Alexander Ilyich Shcherbakov highlights 8 general pedagogical functions:

1. Information.

2. Developing.

3. Mobilization.

4. Orientation.

5. Constructive.

6. Organizational.

7. Communicative.

8. Research.

Of these, 1-4 are pedagogical functions, 5-6 are general labor functions aimed at creating material and didactic conditions for the creative solution of pedagogical problems.

1. Information function. Transfer of musical information to children. To do this, you need to have deep knowledge of your subject, be able to present knowledge to students, and master the culture of speech.

2. Developmental function. Develop children's abilities, teach them to think independently, stimulate creative manifestations.

3. Mobilization function. Assumes the ability of the teacher to influence the emotional-volitional sphere of the child. Education will be developing when the teacher will interest and captivate children.

4. Orientation function. Assumes the formation of a stable system of value orientations of the individual.

5. Design function. Includes 3 components:

constructively meaningful(selection and composition of educational material).

constructive-operational(planning the structure of their own actions and the actions of children).

constructive-material(planning the educational and material base for the work).

6. Organizing function.

The music director must:

Provide individual and group counseling to caregivers.
Conduct group work.
Participate in teaching councils.
Conduct open classes for educators.
Conduct meetings with parents, individual consultations and conversations.

The educator must:

Together with the music leader to study the theory and methodology of music. education at the present stage and introduce new achievements in the pedagogical process.
Help the music to the head in organizing and conducting classes, entertainment and holidays, to help in organizing interaction with the family.

7. Communicative function. It involves the ability to communicate, establish friendly relations with children, a team of teachers, parents.

8. Research function. The desire for self-improvement and self-development, replenishment of professional competencies.

6 slide

Alas, often the teacher considers it his duty to just be present at the music lesson - in order to maintain discipline. And some do not even consider it necessary to attend. Meanwhile, without the active help of the educator, the productivity of music lessons turns out to be much lower than possible. The implementation of the process of musical education requires a lot of activity from the teacher. Raising a child by means of music, teachers - "preschoolers" should well understand its significance in the harmonious development of the individual. To do this, you, educators, need to clearly and distinctly imagine by what means, methodological techniques, you can lay the foundations for the correct perception of music.

The most effective educational tasks are solved if you take into account the principle of integration of educational areas.

7 slide

Children receive the initial skills of musical education in the process of music lessons. If the educator is looking forward to these classes, impatiently preparing for them together with the children, is active throughout the entire musical lesson, then his mood is transmitted to the children. If we talk about children of primary preschool age, then the role of the educator in musical work with them is exceptionally great, he is a participant in all types of children's activities, sings and dances with the children, plays various musical instruments.

Practice shows that the readiness of the educator for the musical development of children in preschool educational institutions is manifested in all forms of organizing musical activities: educators are active in music classes, conduct round dances with singing on a walk, musical and didactic games, use musical works in classes to develop speech, familiarize themselves with others . Such activities contribute to the development of children's musicality, bring together the educator and the child, and allow the music director to focus on performing skills in the process of developing musical perception among preschoolers.

8 slide

Forms of interaction between teachers:

1. Organization of monitoring.

We carry out diagnostic measures with fixing the results.

2. C joint planning

As a result of the monitoring, we, together with the educators, draw up a plan.

3.Methodological support.

It includes holding thematic teachers' councils, consultations, seminars, workshops, business games, the development of booklets, visual consultations, information leaflets, planning guides, joint discussion of scenarios.

One of the forms of work with educators is to maintain an interaction notebook, where the music director enters:

2. lyrics, dance movements before learning them in class.

4.Practical productive activity.

is the finished product of this activity:

Getting children new knowledge;

Organization and holding of holidays and entertainment;

Organization of exhibitions for children creative works associated with musical activity.

5Family engagement includes:

Organization of parent meetings;

Consulting;

Involving parents in participation in holidays and entertainment, in the manufacture of costumes and attributes, in joint participation in creative and musical reviews, competitions and festivals at the kindergarten and city levels.

Placement of creative reports on the website of the institution.

6. Organization of interaction with society

Organization of performances by professional groups of the city (philharmonic society, theater, folklore ensemble "Venets", various choreographic and vocal groups);

Slide 9

The educator needs to:

To develop independence, initiative of children in the use of familiar songs, round dances, musical games in the classroom, a walk, morning exercises, independent artistic activities.

To develop the musical skills of children (melodic ear, sense of rhythm) in the process of conducting didactic games.

Involve children in creative games that include familiar songs, movements, dances.

Use the children's musical skills and abilities in the classroom for other activities.

Include musical accompaniment in the organization of classes and regime moments.

Slide 10

You can see the interaction structure on the slide. Successful interaction of all participants is built on subject-subject relations, i.e. all are full-fledged assistants in the musical education and development of children.

slide 11

The teachers of our preschool institution are active and direct assistants in the musical education and development of children.

slide 12

Successful and systematic interaction of a musical director and educator in musical education makes it possible to achieve the set goal and solve problems, to form skills and abilities for perceiving music, singing, musical and rhythmic movements. To fully develop the age-appropriate integrative qualities of each child.

slide 13

Thank you for your attention.

Consultation for teachers "Interaction between a music director and an educator in a preschool educational institution."

Kurkina Irina Sergeevna, musical director of MADOU-kindergarten No. 106, Yekaterinburg.

The material is addressed to teachers of preschool educational institutions (music directors, teachers). Contains methodological information, a questionnaire for educators, methodological recommendations.

Target: creating conditions for the successful musical development of pupils of preschool educational institutions.

Tasks:
- to increase the professional competence of teachers on the musical development of preschool children;
- to acquaint educators with their functionality in different types of children's musical activities during music lessons;
-provide methodological support (recommendations for educators and "leaders" at children's holidays and entertainment);
- to ensure the interaction of the teacher-educator and the music director.

Relevance of the problem:
How actively do kindergarten teachers participate in the musical education of children? Are they all aware of the importance of such participation?

The teacher carries out basically all the pedagogical work in the kindergarten - therefore, he cannot remain aloof from the musical and pedagogical process.
The presence in the kindergarten of two teachers - muses. leader and educator, does not always lead to the desired results. If all musical education comes down to just conducting music classes, and the educator considers himself free from the musical development of children, then in this case musical education is not an organic part of the whole life of children: dancing, playing music is not included in the child's life. The educator, underestimating the importance of musical education in pedagogical work, does not show interest in it and does not know how to arouse interest in children.
The leading role in music lessons belongs to the muses. manager, because he can convey to children the features of musical works. Misunderstanding of the educational tasks of music by the educator can nullify all the efforts of the music director. Where the educator loves music, loves to sing, and children are very interested in music lessons. In addition, in the "Movement" section, music. the leader is shackled by the instrument and here the teacher must show the movements.
The leading role of the music director in no way reduces the activity of the educator.

Often the educator considers it his duty to just be present at the music lesson - in order to maintain discipline. And some do not even consider it necessary to be present, believing that during this time they will be able to do some business in the group. Meanwhile, without the active help of the educator, the productivity of music lessons turns out to be much lower than possible. The implementation of the process of musical education requires a lot of activity from the teacher. When educating a child by means of music, teachers should understand well its significance in the harmonious development of the personality. To do this, one must clearly and distinctly imagine by what means, methodological techniques one can lay the foundations for the correct perception of music.

What is included in the DUTIES OF THE TEACHER in the field of musical education in the preschool educational institution:
1. Know all program requirements for musical education.
2. Know the musical repertoire of your group, be an active assistant to the music director in music classes.
3. To assist the musical director in mastering the program musical repertoire by children, to show examples of the exact execution of movements.
4. Conduct regular music lessons with the children of the group in the absence of a musical director.
5. Learn movements with lagging children.
6. Deepen the musical experience of children by listening to music in a group with the help of technical means.
7. To develop the musical skills and abilities of children (melodic ear, sense of rhythm) in the process of conducting didactic games.
8. Possess elementary skills in playing children's musical instruments (metallophone, timbre bells, wooden spoons, etc.).
9. To carry out the musical development of children, using all sections of the work: singing, listening to music, musical and rhythmic movements, playing on the DMI, musical and didactic games.
10. Take into account the individual capabilities and abilities of each child.
11. To develop independence, initiative of children in the use of familiar songs, round dances, musical games in the classroom, a walk, morning exercises, in independent artistic activity.
12. Create problem situations that activate children for independent creative manifestations.
13. Involve children in creative games that include familiar songs, movements, dances.
14. Use the children's musical skills and abilities in the classroom for other activities.
15. Include musical accompaniment in the organization of classes and regime moments.
16. Take a direct part in the diagnostic examination of their pupils to identify musical skills and abilities, the individual capabilities of each child.
17. Take an active part in the preparation and holding of holidays, entertainment, musical leisure, puppet shows.
18. Prepare thematic collections of poetic material for entertainment and musical matinees.
19. Assist in the manufacture of attributes, design music hall for holidays and entertainment.
20. Be artistic, inventive, emotionally mobile.

To assess the competence of the educator in relation to his role in the musical education of children, a survey can be conducted.

Questionnaire for a teacher-educator

1. I know all program requirements for musical education.
2. I know the musical repertoire of my group
3. I can show examples of the exact execution of movements / provide assistance.
4. I conduct regular music lessons with the children of the group in the absence of a musical director.
5. I learn movements with lagging behind children.
6. Deepening the musical experience of children by listening to music in a group with the help of technical means.
7. I develop the musical skills of children (melodic ear, sense of rhythm) in the process of conducting didactic games.
8. I have basic skills in playing children's musical instruments (metallophone, tambourine, triangle, drum, wooden spoons, etc.).
9. I develop independence, initiative of children in the use of familiar songs, round dances, musical games in the classroom, a walk, morning exercises, in independent artistic activity.
10. I create problem situations that activate children for independent creative manifestations.
11. I involve children in creative games that include familiar songs, movements, and dances.
12. I use the musical skills and abilities that children have in the classroom for other activities.
13. I include musical accompaniment in the organization of classes and regime moments.
14. I am directly involved in the diagnostic examination of my pupils to identify musical skills and abilities, the individual capabilities of each child.
15. Take an active part in the preparation and holding of holidays, entertainment, musical leisure, puppet shows.
16. I prepare thematic collections of poetic material for entertainment and musical matinees.
17. I assist in the manufacture of attributes, the design of the music hall for holidays and entertainment.
18. I show artistry, ingenuity, emotional adequacy

Music as part of the educational environment in kindergarten

Successes in the musical development of children, their emotional perception of music are closely related to the work of the educator. It is the educator who has a broad outlook, a certain musical culture, who understands the tasks of musical education of children, is the conductor of music in the daily life of the kindergarten. A good business relationship between a music director and an educator has a beneficial effect on children, creates a healthy, friendly atmosphere, equally necessary for both adults and children.

The main form of musical education and training of a child in a preschool institution is music lessons. In the process of classes, children acquire knowledge, skills in listening to music, singing, musical and rhythmic movements, playing the DMI. Music lessons are artistic and pedagogical process that contributes to the development of the child's musicality, the formation of his personality and the development of reality through musical images.Musical lessons play an important role in the development of endurance, will, attention, memory, in the education of collectivism, which contributes to the preparation for schooling. They carry out systematic education of each child, taking into account his individual characteristics.

Conducting music lessons is not the monopoly of the music director, but is part of the pedagogical work that the teacher is doing.

At music lessons, new information about musical works is communicated, singing and musical-rhythmic skills are formed, and consistent musical development of all children is ensured according to a certain system. In the daily life of the kindergarten, the role of the environment for musical development is assigned to the educator. Taking into account the age of children, he determines the forms of including music in the daily routine. Many aspects of kindergarten life allow a connection with music and acquire great emotional fullness from this.

The game, of course, is the main activity of the child outside of classes. The inclusion of music in the game makes it more emotional, interesting, attractive. There are various options for using music in games.

Music can be included as an integral part and in different activities. The aesthetic perception of nature gives rise to love for the motherland in children. Music also helps them to more deeply emotionally perceive the images of nature, its individual phenomena. At the same time, observing nature deepens the perception of music. It becomes more understandable and accessible. For example, if, going for a walk in a park or forest, children pay attention to a beautiful slender birch, then the teacher should invite the children to carefully examine it, remember a poem about it, and even better, sing a song or dance. Thus, the educator consolidates children's impressions received from direct observation of nature with the help of a piece of music. In addition, the teacher can play games with singing during summer walks. This adds value to the walk. Musical material related to the theme of nature, learned in advance in music classes, allows children to be more attentive when observing. Children begin to understand that every natural phenomenon, every season is beautiful in its own way. Music, depending on the tasks set by the educator, either precedes observation or reinforces children's impressions.

It is advisable to include music in speech development classes, for example, when telling a fairy tale. But at the same time, care must be taken that the music does not violate the integrity of the fairy-tale image, but rather complements it. It is convenient to introduce music into such fairy tales, on the text of which operas or children's musical games are written. (“The Tale of Tsar Saltan”, “Teremok”, “Geese Swans”). The performance of songs in the course of fairy tales gives them a special emotionality.

Music can also be used in conversations on various topics. (About the seasons, the upcoming holiday, about the Motherland, etc.)

In close connection with musical education is the work on speech. Singing improves the pronunciation of words and helps to eliminate speech defects.

It is also easy to establish a relationship between musical education and visual activity. On the one hand, music deepens the impressions that children expressed in drawing or modeling. On the other hand, it provides material for its implementation. The theme of drawings, modeling, appliqués can be the content of a well-known song or software instrumental work. Thus, the union of musical and visual activity helps the child in the perception of each kind of art.
Music, included by the educator at various moments in the daily life of children, causes them positive emotions, joyful feelings, creates an upbeat mood. It is recommended to use folk songs and jokes more often. Their subtle humor, vivid imagery have a much greater impact on the child's behavior than moralizing or direct instruction.

THE ROLE OF THE TEACHER IN MUSIC CLASSES

A musical lesson is the main organizational form for the implementation of the tasks of musical education and development of children. In music classes, children's all-round development (mental, aesthetic, physical) is also carried out. The participation of the educator depends on the age group, the musical preparedness of the children and the specific tasks of this lesson. His role, the alternation of active and passive participation, is different depending on the parts of the lesson and their tasks.
The activity of the educator depends on three factors
1. From the age of the children: the smaller the children, the more the teacher sings, dances and listens on an equal basis with the children.
2. From the section of musical education: the greatest activity is manifested in the process of learning movements, somewhat less in singing, the lowest - when listening
3. From the program material: depending on the new or old material

The teacher is obliged to be present at every music lesson and actively participate in the process of teaching children. The more actively the educator does this work, the more new children can learn in music lessons, otherwise music lessons turn into an endless repetition of the same thing, i.e. "trampling in place". It is necessary (preferably!) that both educators take turns attending the classes. Knowing the repertoire, they can include certain songs, games in the daily life of children.

Types of musical activity

Music lesson consists of several sections:
1. Introductory part: movements in various formations (columns, lines, links, pairs, in a circle), walking, running, dance steps (jumping, straight, lateral gallop, fractional, round dance, etc.). Movements to music create a cheerful, cheerful mood, improve posture, coordination of arms and legs.
2. Listening to music
3. Singing and songwriting
4. Learning to play children's musical instruments (acquaintance with the sound of instruments performed by an adult, selection of familiar melodies on various instruments)
5. Dance
6. Game (dramatization game)

Hearing- the main type of musical activity. This activity, being independent, at the same time is an obligatory component of any form of music-making, any kind of musical activity. For the aesthetic development of preschoolers, mainly 2 types of music are used: vocal, instrumental music. For the early and younger age, the vocal form of sound is more accessible. Older children listen to instrumental music ("Clowns", "Horse"). It is necessary not only to teach the child to listen to music, but also to speak emotionally about it (character), give some names (dance, march, lullaby), introduce the means of expression (tempo, dynamics, register) and the names of composers. Listening to a work repeatedly, children gradually memorize it, they develop a taste and a certain attitude to a particular work, favorite works appear.
The functionality of the educator while listening to music:
· personal example brings up in children the ability to carefully listen to a piece of music, expresses interest;
During the performance, monitor how children perceive music;
When children speak little about what they hear, the teacher helps them with leading questions;
Maintains discipline
Assists the music director in the use of visual aids and other methodological material.

Singing and songwriting- one of the most favorite types of music for children. activities. Choral singing unites children, creates conditions for their emotional communication. At the first stage, children can only sing along and reproduce onomatopoeia.
The functionality of the educator during chanting and singing:
· does not participate during quick interrogative exercises;

During the exercises, one of the methods of work: the music director performs for the first time, the teacher performs again, then the children.
sings with children, learning a new song, showing the correct articulation;
The teacher monitors whether all the children actively sing, whether they convey the melody of the song correctly, pronounce the words, monitors the correct pronunciation of the words in the song (since the music director is near the instrument, he is not always able to notice which of the children sang this or that word incorrectly;
Supports by singing while performing familiar songs, using the means of mimic and pantomimic expressiveness;
when improving the learning of a song, sings along in difficult places;
Does not sing with children with independent emotionally expressive singing (an exception is singing with children of early and younger age).

Musical-rhythmic movements include dancing, dance art, musical games, round dance exercises. Children learn to move in accordance with the nature of the music, with the means of musical expression. Develop a sense of rhythm, develop artistic and creative abilities. At the initial stage, when learning dances. Movements, the teacher needs to show. In the future, only verbal instructions are given in the course of execution, errors are corrected. Children learn to convey various images (birds fly, horses jump, bunnies jump). The educator verbally helps to more accurately convey the resemblance to the characters. In older groups, we seek from children a conscious attitude to their role and high-quality performance in performing movements. Consequently, the creative activity of children develops through purposeful learning, expanding musical experience, activating feelings, imagination, and thinking. Simple creative tasks include staging songs.
The functionality of the educator during the musical-rhythmic movement and the game:
participates in showing all types of movements, giving appropriate recommendations to children;
performs a dance with a child who does not have a partner,
Maintains correct posture
Monitors the quality of the implementation of all program material;
Gives accurate, clear, aesthetic standards of movements (with the exception of exercises for the development of children's creative activity);
Takes a direct part in the performance of dances, dances, round dances. In older preschool age, familiar dances and dances are performed by children on their own;
corrects the performance of movements by individual children during a dance or dance;
clarifies and controls the fulfillment of the conditions of the game, contributing to the formation of behavioral skills during the game;
Takes one of the roles in the story game;

Learning to play children's musical instruments acquaintance with the sound of instruments performed by an adult, the selection of familiar melodies on various instruments. In this type of activity, sensory musical abilities, a sense of rhythm, an ear for music, and musical thinking are developed. Playing in an orchestra contributes to the development of attention, independence, initiative, the ability to distinguish the sound of instruments
The functionality of the educator while playing on DMI:
participates in the demonstration or in the simulation of game techniques;
takes a direct part in the performance of dances, dances, round dances; in creative (improvisational) tasks, children perform their parts independently, the teacher is an equal participant;
Helps to “conduct” a subgroup of children (when playing according to the score with different parties); children;
corrects performance with individual children in case of difficulties;
Assists in the distribution (collection) of tools, organizing children into subgroups
Monitors discipline throughout the entire musical lesson.

Teachers often make the following mistakes in class:
1. The teacher sits with a blank look
2. The teacher interrupts the performance
3. Give verbal instructions on a par with music. leader (although there cannot be two centers of attention)
4. Violates the course of the lesson (enters and leaves the hall)

The interaction of the music director and educator

THE ROLE OF THE EDUCATOR AND LEADER ON THE HOLIDAY

The role of the leader is very important. The presenter is the person who manages the festive matinee, unites all the elements of the holiday into an organic whole, explains to the children what is happening, and is the link between the audience and the performers. The mood of the children at the holiday, the interest of the program being performed depends to a large extent on the presenter.
The main task of the leader is to carefully prepare for the performance of his duties. The host should know the program of the matinee well, should know the songs, dances, games of children and, if necessary, help the children perform a dance or dramatization.
Before the matinee, the host must lay out all the attributes necessary according to the scenario, check their number, put the required number of chairs.
At the matinee, the leader should be free, naturally. It shouldn't be verbose. What needs to be communicated to children should be stated simply and clearly. An appropriate joke, a question for children, teachers, guests (for example: Have you seen how our kids dance with handkerchiefs?)
At the matinee, you need to speak loudly enough, clearly and expressively. The leader not only informs what songs, dances will be performed, but also explains what is happening. The matinee should be held at a good pace. Lengthy performances and pauses - tire the guys
The leader must be resourceful! Unforeseen moments may arise at the matinee (the children did not have time to change clothes, the composition of the performers changed, the character appeared out of time, they missed the musical number, etc.). In such cases, the presenter must quickly find a way out of a difficult situation (jokes, riddles, involving the audience in resolving difficulties).
It is necessary for the host to learn how to finish the holiday in an organized way! After the treat - thank the guest (adult character), say goodbye to him, be sure to remind everyone on what occasion they gathered in the hall (once again congratulate everyone on the holiday), invite the children to leave the hall in an organized manner (if the scenario does not provide another option) i.e. stand one after another or in pairs and go out to the music, and not run to your parents.
The teacher, who does not play any roles, is with the children of his group. He sings and dances with the children. The teacher should also know the program and the entire course of the holiday well and be responsible for the area of \u200b\u200bwork assigned to him (prepare attributes, details of costumes, change clothes for children in time, adjust costumes if necessary).
Great pleasure gives children solo and group performances of educators (songs, dance, character). Adult characters also participate in games and dances (pair up with children)
Costumes for the holiday are taken by educators in advance, so that it is possible to check everything: wash, hem, make the missing parts. If parents are instructed to sew or decorate a costume, prepare attributes, parents must bring them in advance so that educators can check them, otherwise it may happen at the holiday that the elastic bands on the parsley caps will break, the attributes will break, etc.
The holiday is over, but the holiday impressions live in the memory of children for a long time. They share them with their comrades, educators, parents, reflect them in their games, drawings, modeling. The teacher strives to consolidate the most colorful impressions related to the theme of the holiday. Children repeat their favorite dances, songs, actions of individual characters. You can also conduct a reinforcing musical lesson (leave the decoration of the holiday, costume details, attributes for games and offer to remember what they liked, exchange impressions. Some performances can be repeated 2-3 times with a change of performers). You can perform festive numbers in front of children of younger groups.
Parents can also take part in the preparation of the holidays: help in decorating the room, designing a wall newspaper, making costumes, playing small roles or reading poetry, performing musical numbers with their children.
Parents are welcome guests at the celebration. The manager and the educator (parent) allocated to help him greet the guests warmly and place them in the hall. Parents must be warned that they need to bring a change of shoes. After the matinee, educators offer parents to write down their impressions in the "Book of Reviews"
It is good to hold discussions of the past holiday at a pedagogical meeting, where the positive aspects of the holiday and the mistakes made are discussed.

Sections: Working with preschoolers

The problem concerning the peculiarities of the interaction between the educator and the music director is not new. The issues of professional cooperation of teachers were considered in the works of Vetlugina N.A., Zimina A.N., Radynova O.P., Gogoberidze A.G. and etc.

At present, when one of the requirements of the FGT is the integration of all educational areas and, consequently, the activities of the entire kindergarten team in the process of forming the integrative personal qualities of children, the issues of cooperation between the participants in the pedagogical process are highlighted most acutely. In this regard, it is necessary to build a system of work on the interaction of teachers of preschool educational institutions.

The inspirer and organizer of the process of musical education and development of a preschool child in kindergarten is the music director with the helping participation of the teacher. However, in practice, such interaction is not always carried out.

Causes of problems in the implementation of mutual cooperation:

Musical director	caregiver
1. Does not know (or does not know well) the peculiarities of the general cultural competence of teachers in a particular kindergarten, their musical needs and interests, and also poorly represents their role in the pedagogical process.	1. Does not know (or does not know well) the functional duties of the music director, his role in the pedagogical process of the preschool educational institution.
2. There is no professional help and support for each other, joint solution of the problems of upbringing and development of the child through music (often it all comes down to preparing matinees and entertainment).
3. Self-withdrawal from the pedagogical process in the preschool educational institution (does not participate in methodological work, drawing up an annual plan, etc.)	3. Does not know his duties in the process of conducting a music lesson.
4. Does not have enough knowledge of the basics of pedagogy and psychology of preschoolers.	4. Does not possess special performing skills, is poorly oriented in the world of musical art, is practically not familiar with the specifics of the children's musical repertoire. He has poor knowledge of the basics of the methodology of musical education.
5. There is no system of work with the family.

To resolve the emerging contradictions, the music director must:

to carry out personal and professional self-development, self-education: increase in professional competence through the enrichment of general cultural, basic, special competences;
know your professional functions (cf. Annex 1) and introduce them to educators;
analyze your work with educators;
to diagnose (based on observations, conversations, questionnaires) the level of basic competence of the educator on the musical education of preschoolers (see Appendix);
plan and, as necessary, adjust their work with teachers to improve professional competence based on available data;
together with the educator, design a holistic, but at the same time variable pedagogical process in a preschool educational institution, in which each child could manifest, develop and educate as much as possible;
to work with the educator in the system, taking into account the characteristics of the preschool educational institution and a particular teacher;
actively participate in the methodological work of the preschool educational institution.

One of the leading areas of professional interaction should be mutual enrichment of the professional experience of teachers . We must not allow it to be only one-sided, for example, in the traditional sense - from a music director to an educator.

The commonality of professional and pedagogical tasks as the basis for cooperation and co-creation of the musical director and educator of the preschool educational institution
(according to Gogoberidze A.G.)

caregiver	Musical director
1. The study of the individual characteristics and capabilities of the child, including those related to the musical activities of a preschooler.	1. The study of the individual characteristics and capabilities of the child in the context of musicality.
2. Taking into account the individual characteristics and capabilities of children in a holistic educational process.	2. Same
3. Tracking the nature of the changes that occur with the child during the educational process of the kindergarten, the nature of his progress in development, including	3. Tracking the nature of the changes that occur with the child during the educational process of the kindergarten, his progress in musical development.
4. Determining the effectiveness of the impact of pedagogical conditions implemented in kindergarten on the versatile development of a preschooler.	4. Determination of the effectiveness of the influence of the pedagogical conditions implemented in the kindergarten on the musical development of a preschooler.
5. Design and organize a holistic educational process that contributes to the holistic development of a preschool child.	5. Design and organize a holistic educational process that contributes to the holistic musical development of a preschool child.
6. Familiarization with the repertoire for listening and performing by children in order to assist in the work of a music teacher.	6. Acquaintance with the pedagogical tasks of the general development of preschoolers of a given age.
7. Knowledge of the tasks of musical education and development of preschoolers, analysis of their solution from the point of view of the basic competence of the music director.	7. The study of the characteristics of the general cultural competence of a kindergarten teacher, knowledge of his musical needs and interests.
8. Provision of professional assistance and support to each other, joint solution of the problems of upbringing and development of the child, including the tasks of musical education.	8. Providing professional assistance and support to each other, jointly solving the problems of raising and developing a child through music and musical activities.
9. Creation of a single cultural and educational space in the teaching staff of an educational institution, in a kindergarten, a pupil's family, in a kindergarten and cultural institutions.	9. Creation of a single cultural and educational musical and aesthetic space in the teaching staff of the educational institution, in the kindergarten and the family of the pupil, in the kindergarten and cultural institutions, commonwealth with the musical institutions of the city, district of the distance education.
10. Creation of a developing musical and educational environment in kindergarten as one of the most effective conditions initiating the processes of holistic musical (artistic) development and upbringing of a child.	10. Creation of a developing educational environment in kindergarten as one of the most effective conditions initiating the processes of holistic development and upbringing of a child.
11. Personal and professional self-development, self-education: increasing professional competence through the enrichment of general cultural, basic, special competences.	11. Same

Forms of interaction between the music director and the educator:

development of unified diagnostic maps of the child's musicality; joint discussion of the results of diagnostics and individual musical manifestations of the child in the conditions of the lesson and in everyday life;
joint design of work plans, their adjustment as the solution of common tasks;
mutual consultations on the use of musical material in the educational process of preschool educational institutions, in solving various problems of education and development;
mutual attendance of classes with subsequent discussion;
musical lounges and evenings of meetings with music organized in the DOW;
joint preparation of workshops on the problem of holistic education and development of a preschool child by means of music;
joint organization of parent meetings on the problem of musical education and development of the child;
joint design of the musical and educational environment in preschool educational institutions, in groups;
organization of review competitions for projects of a musical development environment in a preschool educational institution, in a separate group;
compiling a professional music library, a bank of pedagogical techniques and technologies for using music in solving various problems of educating and developing preschoolers;
interaction with the methodological service of the preschool educational institution.

Due to the fact that many teachers who do not have special preschool education currently work in preschool institutions, the music director needs to conduct active educational work. He must, in a short time, give teachers specific knowledge on the methods of musical education, form their basic level of performing skills, introduce them to the repertoire (of the group on which the teacher works). An effective form of work to improve the professional competence of educators are workshops (see Appendix). They must be planned together with the methodologist of the preschool educational institution and reflected in the annual tasks.

Another effective form of work of the music director with educators is competitions. They activate the creative potential of teachers, children, parents. One of the options is a review competition of musical corners (see appendix). Music centers are organized in each age group. This work is carried out by educators with the active assistance of the music director.

The music teacher must:

tell educators about the requirements for organizing musical zones, their content (in accordance with age characteristics);
provide a list of literature on the manufacture of variants of instruments for a noise orchestra and various attributes;
note the need to involve parents and children (especially of older preschool age) in the design of the music zone;
to acquaint with the position of the review-competition.

Summing up the above, I would like to note once again that the modern goals and objectives of preschool education, outlined in the FGT, cannot be implemented by each participant in the pedagogical process separately. Therefore, the problem of cooperation between specialists and teachers in the context of the holistic development of the child must be solved in every kindergarten.

Medical encyclopedia. Astrology. Feng Shui. Numerology

The plan of interaction between educators and the music director. The interaction of the educator and the musical director of the preschool educational institution in the educational field "music". Interaction plan with educators

The educator needs to:

1. Know all program requirements for musical education.

2. Know the musical repertoire of your group, be an active assistant to the music director in music classes.

3. To assist the musical director in mastering the program musical repertoire by children, to show examples of the exact execution of movements.

4. Conduct regular music lessons with the children of the group in the absence of a musical director.

5. Learn movements with lagging children.

6. Deepen the musical experience of children by listening to music in a group with the help of technical means.

7. To develop the musical skills and abilities of children (melodic ear, sense of rhythm) in the process of conducting didactic games.

8. Possess elementary skills in playing children's musical instruments (metallophone, timbre bells, wooden spoons, etc.).

9. To carry out the musical development of children, using all sections of the work: singing, listening to music, musical and rhythmic movements, playing on the DMI, musical and didactic games.

10. Take into account the individual capabilities and abilities of each child.

11. To develop independence, initiative of children in the use of familiar songs, round dances, musical games in the classroom, a walk, morning exercises, in independent artistic activities.

12. Create problem situations that activate children for independent creative manifestations.

13. Involve children in creative games that include familiar songs, movements, dances.

14. Use the children's musical skills and abilities in the classroom for other activities.

15. Include musical accompaniment in the organization of classes and regime moments.

16. Take a direct part in the diagnostic examination of their pupils to identify musical skills and abilities, the individual capabilities of each child.

17. Take an active part in the preparation and holding of holidays, entertainment, musical leisure, puppet shows.

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The educator needs to:

1. Know all program requirements for musical education.

2. Know the musical repertoire of your group, be an active assistant to the music director in music classes.

3. To assist the musical director in mastering the program musical repertoire by children, to show examples of the exact execution of movements.

4. Conduct regular music lessons with the children of the group in the absence of a musical director.

5. Learn movements with lagging children.

6. Deepen the musical experience of children by listening to music in a group with the help of technical means.

7. To develop the musical skills and abilities of children (melodic ear, sense of rhythm) in the process of conducting didactic games.

8. Possess elementary skills in playing children's musical instruments (metallophone, timbre bells, wooden spoons, etc.).

9. To carry out the musical development of children, using all sections of the work: singing, listening to music, musical and rhythmic movements, playing on the DMI, musical and didactic games.

10. Take into account the individual capabilities and abilities of each child.

11. To develop independence, initiative of children in the use of familiar songs, round dances, musical games in the classroom, a walk, morning exercises, in independent artistic activities.

12. Create problem situations that activate children for independent creative manifestations.

13. Involve children in creative games that include familiar songs, movements, dances.

14. Use the children's musical skills and abilities in the classroom for other activities.

15. Include musical accompaniment in the organization of classes and regime moments.

16. Take a direct part in the diagnostic examination of their pupils to identify musical skills and abilities, the individual capabilities of each child.

17. Take an active part in the preparation and holding of holidays, entertainment, musical leisure, puppet shows.

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