Importance of singing in preschool age. Figurative techniques for the development of singing abilities of preschool children. Singing as the main type of musical activity of preschool children E singing activity of preschool children

Traditionally, in the domestic system of musical education, singing activity occupies a leading place. This is due to a number of reasons (M. S. Osenneva, L. A. Bezborodova and others):.

■ the song beginning of the Russian musical culture: all folk holidays, rituals, all church services were accompanied by singing;

■ the adequacy of singing to the psychological and age characteristics of children, their desire for active forms of mastering art, their active nature;

■ special accessibility for perception due to the synthesis of words and music;

■ the importance of educating the feelings of human community in the modern world - singing unites people, creating conditions for emotional communication.

The importance of singing activity can hardly be overestimated in child's personal development. Singing develops aesthetic perception, aesthetic feelings, artistic taste, musical and musical-sensory abilities and above all musical and auditory performances. It contributes to the formation aesthetic attitude to the environment, enriching the experience of the child, his mental development. Expands horizons, the amount of knowledge about the environment. Enriches the vocabulary of the child, improves his articulatory apparatus and speech.

Singing classes help develop socio-personal And communication qualities, to unite the children's team, to bring up the will, organization, endurance. The influence of singing on moral development expressed in the fact that the songs convey a certain content and attitude to it. Singing gives rise to the ability to experience the moods reflected in the songs.

Singing is viewed as body strengthening agent preschoolers. It forms proper breathing, strengthens the lungs and vocal apparatus. According to doctors, singing is the best form of breathing exercises. Singing activity contributes to the formation of correct posture.

In the field of musical psychology, singing is considered as one of the forms of music therapy that affects the emergence of various emotional states.

Traditionally, the tasks of teaching preschoolers to sing are the following (A. N. Zimina, O. P. Radynova, etc.):

■ to educate the basics of singing and general musical culture: to form aesthetic emotions, interests and vocal and choral skills and abilities;

■ develop musical abilities and, above all, the distinction between intonationally accurate and inaccurate singing of sounds in height, duration;

■ promote the all-round spiritual and physical development of children.

Singing for the development of musical perception:

listening to songs not meant to be sung;

listening to songs intended for their subsequent performance;

singing melodies and exercises to develop ideas about the height, timbre, duration, strength of sounds (development of sensory abilities).

Song performance:

singing with and without accompaniment;

singing with own accompaniment on children's musical instruments;

singing to accompany movements (round dances).

Singing in musical and educational activities:

singing exercises to acquire singing skills and musical knowledge;

pedagogical analysis of songs (the most vivid expressive means, structure, character, etc.).

Song creation:

improvisation;

composition of melodies to given texts;

choral composition.

Various types of singing activity are closely related to each other, have a mutual influence: singing and listening to songs, singing and exercises, listening to songs and songwriting, etc. The forms of their organization are also diverse: classes (collective and individual), independent activities, holidays and entertainment.

Purpose and tasks of singing activity. The main goal is to educate children in singing culture, to introduce them to music. The tasks of singing activity follow from the general tasks of musical education and are inextricably linked with them. They are as follows:

1. Develop musical abilities (emotional responsiveness to music, modal feeling, musical and auditory representations, a sense of rhythm).

2. To form the foundations of singing and general musical culture (aesthetic emotions, interests, assessments, vocal and choral skills and abilities).

3. Contribute to the comprehensive spiritual and physical development of children.

These tasks are solved on the basis of a certain song repertoire, the use of appropriate teaching methods and techniques, and various forms of organizing children's musical activities.

Song repertoire includes: exercises for the development of singing voice and hearing; songs for various types of musical activity (listening, choral and solo singing, singing with movements, playing musical instruments with singing, musical literacy, creativity).

The repertoire must be selected so that it corresponds to the physical, mental characteristics of the child, performs aesthetic and general educational tasks. Both music and lyrics play an important role here.

Singing exercises must be used on a particular system. Their main goal is the development of singing technique, musical ear. Each exercise has some basic narrow task: the development of breathing, diction, range, etc., but it is solved against the background of the whole complex of skills. In order for the work on the basic skills to be systematic, the sequence of exercises is important. We can recommend the following order of development of singing skills (conditionally): diction and articulation, breathing, sound production, range expansion, sound knowledge.

At the beginning of the school year, in all age groups, it is proposed to sing exercises for development diction and articulation. (This is especially important for younger groups, since there are children with speech defects in them.) Many teachers believe that good diction contributes to the purity of intonation, the beauty of the sound of the voice. First, children sing exercises to help overcome speech defects, then - to align vowels and syllables with consonants.

The following are developmental exercises. singing breath. The quality of the sound, the singing of phrases, the purity of intonation depend on the correct breath (calm, but active). Inhalation is recommended to be done simultaneously through the nose and mouth. The exhalation should be calm and slow so that the breath lasts until the end of the phrase. For the development of breathing, all exercises are given in the following sequence: first, singing two-bar chants, songs at an average tempo in 2/4 time, then the phrases are lengthened. There are also exercises with pauses for taking the right breath.

Exercises for correct sound production(natural singing, relaxed, melodious, light) also take into account the importance of developing a “soft attack” of sound in children (the initial moment of sound formation). Children should be able to sing calmly, without jerks. The "hard attack" harms the child's voice, the correct singing sound: it is rarely allowed, only as a performing technique 4 . Among the exercises for children 3-6 years old should not be "beating" on the vocal cords. You need to teach the guys to sing long, melodious.

For the development of singing ranges the same exercises are used, but transposed into other keys.

Vocal skills (sound production, breathing, diction) are acquired simultaneously with choral skills (purity of intonation, ensemble). Purity of intonation is the most difficult singing skill. It is associated with the development of hearing (modal sense and musical-auditory representations), the feeling of a melody's attraction to stable sounds, and the presentation of a melodic pitch pattern. Unclean intonation in singing is often the result of a small vocal range. In such cases, it is useful for the child to sing in a comfortable range so that he can catch the melodic pattern and reproduce it.

Feeling ensemble also requires auditory attention, the ability to listen to each other. In order for children to be able to listen to singing, it is important to sing quietly, at an average pace.

Songs without accompaniment. From the age of 3, children sing without instrumental accompaniment in small groups and individually with the support of an adult's voice. These are onomatopoeia, folk songs, small songs. Melodic moves, rhythm are very simple, easy for intonation. The melody consists of one or two repeated motifs. Children 4-6 years old sing more difficult songs, with a wider range, interesting rhythms, and melody. The main purpose of unaccompanied singing is to develop purity of intonation; therefore, it is necessary that the technical side of the performance does not require much effort and that children can focus on pure intonation.

Songs with accompaniment. At the beginning of the school year, preschoolers sing simple, uncomplicated songs to restore those skills that have been forgotten over the summer. The melody of the song is accurately duplicated by the instrument; melodic moves are convenient for intonation, written in medium tessitura, with a narrow range.

At the next stage of training, songs with a more complex rhythm and melodic structure are offered. In older groups, instrumental accompaniment can only partially duplicate the melody, sound in a different register. Songs are used with an introduction, conclusion, pauses, chorus, chorus of a different nature, which requires melodious or moving singing, the use of all singing skills.

Another group of songs, more difficult, is designed for children 5-6 years old. These are songs of a two-part or three-part form (parts may have a different character). There are already unexpected pauses, short durations, chanting (two notes per syllable), wide ranges (septim, octave), long phrases. These songs are performed by more capable children (soloists or small groups) with and without instrumental accompaniment.

Songs to accompany movements. When selecting a repertoire for this type of activity, it must be borne in mind that singing is incompatible with fast, abrupt movements; therefore, the songs should be of a calm, smooth character.

Movements activate the emotional manifestations of children. Children always sing songs with movements willingly. Such songs are already being taught in junior groups.

Songs to accompany movements (round dances) have a simple melody, they are lighter than those offered in the "Songs with Accompaniment" section. Combining singing and movements requires great physical effort from children, concentration and distribution of attention. At the beginning of the school year, songs with short phrases are used, simple, of a small range, then - more detailed (two-part or three-part form), of a different nature, with varied, but calm movements. It is important to remember that sudden movements lead to increased breathing, and singing becomes intermittent and inexpressive.

Songs for playing musical instruments. This repertoire is intended for intermediate and senior groups. At the beginning of the year, children improvise on a given topic (“Bells”, “Rain”, “Brook”, etc.). The purpose of these exercises is to introduce the instrument, to let them play with it like with a toy. Then the children play rhythmic exercises on one or two notes and sing along. Gradually, the guys learn to select melodies by ear from a familiar repertoire (chants from several sounds).

Sample songs for teaching children the basics of musical literacy. The repertoire for various types of singing activities can be used in teaching the basics of musical literacy. Drawing the attention of children to the direction of movement of the sounds of the melody, their length, the nature of the performance of the song, the teacher gives the children some information about the height and duration of sounds, timbre, tempo, rhythm, dynamics, etc. To develop ideas about the height and duration of sounds, characteristic rhythmic or melodic turns from already familiar works. Children reproduce them as exercises, for example, clap, tap with a stick or play a rhythmic pattern of a melody on one plate of a metallophone, sing melodic turns into syllables la-la, doo-doo, mi-mi, mo-mo etc. so that the text does not distract from the reproduction of the pitch of the sounds.

Singing teaching methodology. The singing abilities of preschoolers (singing ranges, features of singing breathing, articulatory apparatus) in each age group are different.

Three age periods can be distinguished in accordance with the general and musical development of children: up to 3 years, from 3 to 5 and from 5 to 6 (7) years. In the first age period, babies accumulate the experience of perceiving music, initial musical impressions, the experience of sensory-auditory and rhythmic representations, intoning the melody with their voice. In the second age period, the coordination of hearing and voice, music and movements, the combination of knowledge and skills take place. At the age of 5 to 6 (7) years, practical actions are supported by knowledge about music, enriched by it, elements of an aesthetic attitude to singing and music in general are formed and visibly manifested.

In classes with the youngest children, singing and small songs that are imitative in nature (voices of birds, animals, sounds of the surrounding reality, repetitive intonations) are used. With their help, hearing develops, diction and articulation are formed. It is desirable that there are sounds in the text w, w, h, r. Melodies should be simple, built on 2-4 sounds, in the fourth range (re 1-salt 1), the rhythmic pattern should consist of quarter and eighth durations, the tempo and strength of the sound are medium, and the breathing is short. In children 3-4 years old, as a rule, the range of singing re- la the first octave, breathing is still uneven, short, not everyone has developed articulation, diction, some find it difficult to pronounce individual sounds. At 4-5 years old, the range of singing expands: re-si the first octave, breathing becomes more stable, children can sing longer phrases (two measures at an average pace), pronounce words better. In this age period, songs and round dances about nature, the surrounding reality are selected, singing exercises are built on a text that is feasible for the children. They help the formation of diction, articulation, singing breathing, ensemble. For the development of coordination of hearing and voice, singing breathing, it is important to choose songs that have not only uniform, but also lingering sounds. By the age of 5, children already use different types of breathing (clavicular, thoracic, lower costal, and also mixed). Melodies are sung more complex, at a slow and medium pace, the dynamics are quiet and moderately loud. At 5-6 (7) years, the range is even wider: re first octave - before second octave (sometimes even re first octave - re second octave). Children have a better command of singing breathing - they can sing phrases of two measures at a slow pace. During these years, musically gifted children appear, they are noticeably ahead of their peers. This is revealed in the following: purity of intonation, sonorous voice, artistically expressive singing, artistry, interest in music.

At the age of 5 to 6 (7) years, a more varied song repertoire is used, the tempo is from slow to moving, the dynamics are from quiet to moderately loud. Singing loudly is not recommended. The strength of the sound of children's voices is moderate, since the vocal cords are not yet formed.

The most suitable material for classes with children of all ages is folk songs, songs, round dances. Their melodies are simple and accessible to preschoolers. They are often performed unaccompanied, contribute to the development of hearing, form taste, and can be used in various life situations.

The work on the song can be conditionally divided into several stages, each of which has its own methods and techniques.

At the first stage work on the song (familiarization, perception), visual and verbal methods are used. With the help of an expressive performance of a song, a figurative word, a conversation about the nature of music, the teacher seeks to arouse interest in it, the desire to learn it. It is important that the children feel the moods conveyed in the music, speak about the nature of the song as a whole, the change of moods in its parts. Only a bright, expressive performance of a teacher can evoke positive emotions in children, an experience of the content of music. A conversation about the emotional and figurative content of the song helps to set the guys up for its expressive performance, the choice of sound formation, diction, and breathing corresponding to the nature of the song. So, if the children defined the nature of the music as affectionate, gentle, calm, they are explained to them that it must also be sung in a melodious, drawling voice.

At the second stage the actual learning of the song begins (for 3-5 lessons). In addition to visual and verbal methods, here great importance has a practical method. Children master the necessary singing skills, memorize and reproduce the melody, rhythm of the song, expressive nuances. At this stage, exercises play an important role. At first, the guys learn by imitation, so the teacher's demonstration of performance techniques and their consolidation in the exercises are very important. Exercises are given as chanting, before singing songs. With their help, difficult melodic moves found in the song are learned. For example, before singing the song "Herringbone" by L. Beckman, starting with a move up a sixth, you can use the song from the "Musical Primer" by N. A. Vetlugina "Echo" to prepare children for playing this difficult interval.

Working on difficult melodies based on the material of the song itself requires multiple repetitions, which inevitably reduce children's interest in the song. The exercise, given in a playful way, helps to overcome difficulties, to acquire singing skills. Exercises that have a playful character, children sing with pleasure not only in the classroom, but also in independent activities and at home. Children like songs related to the world close to them. These are melodies from folklore, imitation of the voices of birds, animals, tongue twisters, nursery rhymes, counting rhymes.

When performing singing exercises, children constantly train their singing voice, develop an ear for music, coordination of hearing and voice, and purity of intonation.

Very simple exercises are also used, built on one or two intervals. For example, the exercise "cuckoo" is built on a minor third. Children come up with their own words for this interval. This is how auditory representations are formed, which are important for the development of modal feeling. (The interval of a minor third is included in the tonic triad, which forms the basis of the mode.) Other exercises can be created in a similar way: imitation of the voice of a lapwing (down fifth), the croak of a crow (on one sound), etc.

Learning to sing requires a lot of willpower from a child. To maintain interest in the song, to focus the attention of children, it is important to be able to create game situations, use musical and didactic games, problem tasks. On average, a song is learned in 8-9 lessons. Children show the greatest interest in the first three lessons, then interest may fall. It is necessary to support it with the help of various pedagogical techniques, to connect singing with other types of musical activity: movements, playing musical instruments.

At the second stage of work on a song, children master the skills of sound production, breathing, diction, purity of intonation, ensemble.

To develop the habit of correct sound production such methods and techniques are used as a figurative word, a conversation about the nature of music, and a demonstration of performance techniques. The melodiousness is connected with sound formation. From a young age, it is important to teach children to draw out vowels, the ends of musical phrases, and learn songs in slow motion. Melodies are helped by singing melodies without words, into a consonant m or l combined with vowels u, oh In older groups, exercises in which syllables dominate are useful. coo-coo, mo-mo. Mobile light sound formation is facilitated by exercises that begin and end with consonants (ding-ding, knock-knock) 5. The method of comparing sound with musical instruments(smooth sound of a pipe, jerky and light - a bell).

To help children master the right breath, they are explained and shown where and how to take breath, how to spend it on musical phrases. For proper breathing, the singing attitude is important - the landing is straight, without raising the shoulders.

To develop the correct diction the following methods apply: expressive reading text, explaining the meaning of some unfamiliar words, their correct and distinct pronunciation, reading the text in a whisper, with clear articulation. It is important to develop the mobility of the articulatory apparatus (lips, tongue, palate, lower jaw) in children with the help of exercises. Meaningful pronunciation of the text makes singing more expressive. This is facilitated by the clear sound of consonants, soft endings of phrases, semantic accents, etc.

Purity of intonation in singing requires constant work on improving the ear from an early age: from the development of auditory concentration to the distinction and reproduction of sounds in height, reproduction of the direction of movement of the melody. So that children can easily determine the direction of movement of the melody, modeling is used (showing the movement of sounds with the hand, didactic games, demonstrating the sounds of the melody on the flannelograph, etc.).

Techniques help to get the purity of intonation in singing: tuning on the first sound of the song; singing of one melody by the teacher (children's perception of the melody from the voice); performance of a melody on the piano and other instruments; learning a melody in parts, phrases, in slow motion. They usually begin to learn a song from simpler, more memorable fragments, for example, from a chorus. In addition, the auditory attention of children is necessary. They should sing quietly, expressively, listening to themselves and others. It is useful to sing in small groups and solo.

It is important for the teacher to understand the causes of impure intonation. It can be an underdeveloped hearing, articulation deficiencies, a diseased vocal apparatus. It is recommended to deal with children with impure intonation individually.

One of the reasons for incorrect intonation is the low range of the voice. In this case, the transposition of the melody into a key that is convenient for the child helps. If he manages to catch the pattern of the melody and reproduce it in a comfortable tessitura, he can begin to sing correctly and together with other children, in a higher sound. Gradually, the range expands, starting with primary (i.e., comfortable for humans) sounds.

Along with this technique, the reverse also helps - “opening up” the sounds of the upper register of a child’s voice (la, si first octave, before, re second octave). First, children perform onomatopoeia exercises. (coo-coo, doo-doo) then they sing jokes. Moreover, it is desirable that the melody goes from top to bottom: this immediately sets the voice apparatus to a high sound. The third way - along with the strengthening of low sounds - immediately expand the upper register of the child's voice, accustoming him to high sounds (RT Zinich) 6 .

N. A. Metlov advised seating children for singing so that children with impure intonation would sit in the first row, behind them - medium intonation and in the third row - well-singing children. At the same time, children with poor intonation better adjust to the correct intonation: in front they hear the sound of the instrument and the singing of the teacher, and behind them - pure intonation children 7 .

Establishing the purity of intonation in singing is facilitated by the systematic repetition of the learned songs both with and without accompaniment, listening to songs well performed by adults and children.

Feeling ensemble(from the French ansamble - together) is also necessary for choral singing. The teacher shows the children the moment of entry, encourages auditory attention, coherence of sound. One should strive not only for the simultaneity of singing, but also its expressiveness: soft endings of phrases, dynamic shades, semantic accents, the quality of sound science corresponding to the nature of the music. Therefore, the bright performance of the song by the teacher and the figurative word are also important at the second stage of work on the work, when learning it.

On third stage songs are repeated. Children have already mastered singing skills and freely perform the learned repertoire. If the song is loved, the guys sing it at will, not only in the classroom. They remember it for a long time, include it in games, and “perform” in front of the audience with pleasure.

Traditionally, in the domestic system of musical education, singing activity occupies a leading place. This is due to a number of reasons (M. S. Osenneva, L. A. Bezborodova and others):.

■ the song beginning of Russian musical culture: all folk holidays, rituals, all church services were accompanied by singing;