Musical education for preschoolers is as important as mental arithmetic skills and basic concepts about the objects around us. It has been proven that the art of music influences the development of universal human values in a child. Children develop musical responsiveness, taste, and ideas about beauty and aesthetics.
A special author's program has been developed, which provides for the use of classical musical works in music lessons in kindergartens. This is much more productive than using a simplified musical repertoire in the form of children's and folk songs.
Children of preschool age can give a predominantly emotional assessment of musical works at the “like or dislike” level. Classical musical works listened to in preschool educational institutions form the standards of beauty in a child. Spiritual formation occurs faster, children become familiar with global cultural values.
What are the benefits of music as an educational tool?
Songs and melodies are practically the only art form that children can properly appreciate at such a young age. Even in the first months of life, babies react to melodies and can express their feelings about what they hear with their emotions. Through a lullaby, an attitude towards loved ones and art is formed.
Important
It is important to make music accessible to such a young age. For preschoolers, it is very difficult to listen to, understand and evaluate a piece of music with a duration of more than 5-7 minutes. Children simply will not be able to sit for more time in attention; this must be taken into account when planning lessons.
To solve the problem, you need to select short fragments for listening with maximum ease of comprehension. It is better to take those parts and passages that are used on television for intros to programs, in films, and in theatrical productions. Their impact on the subconscious has already been tested for years and is highly likely to cause a strong emotional response, as well as maximum results in the musical education of preschoolers.
More diagrams on the topic “Music in kindergarten”.
Shinichi Suzuki Method
His absolutely unique method of early musical education (Dr. Suzuki began teaching children the violin at the age of two or three!) can also be said to be an established, time-tested method, because everything he did could be seen and listened to. The world was amazed by his amazing ensembles of 4-5 year old violinists from 100-200 children, who performed the music of Vivaldi, Mozart, Beethoven cleanly and synchronously.
The wonderful teacher died in 1998, and so far there are no those who could fully repeat Suzuki’s feat. Apparently, the point here is not only the uniqueness of the method, but also the uniqueness of the teacher. What is the Suzuki method? Three points can be highlighted with confidence.
- All children are musical. According to the Japanese teacher (however, this is the opinion of most authors of music education systems) all children are musical. Without exception. You just need to recognize and develop their abilities in time.
- The path to success is love for children. Dr. Suzuki was sure that it was impossible to succeed in musical (or in any other) education if it was not built on love for children. You can be strict and demanding, but you must love the student. It is impossible to pretend and play at love. Children subtly sense falsehood and activities that are not built on love for the child are doomed to failure. Hence the third condition.
- The main teachers are parents. Because no one loves their children more than parents. Fathers and mothers became the main assistants and sometimes the main teachers for Suzuki’s students. They attended the classes. They studied at home with the children. They themselves learned to play the violin together with the children.
The purpose of music lessons with the little ones was determined by the brilliant teacher himself: “My task is not to raise a musician, but through music to raise a good, noble person.”
Principles of education with musical works
It is necessary to select those classical and folk melodies that will become standards of beauty for children. The education program is guided by the following principles:
- Thematic - six themes are used that are repeated periodically. These are the following topics: fairy tales, nature, musical instruments, dancing, human characters, fine arts.
- Cyclic - all the above themes are repeated with a certain frequency, this will ensure the formation of a lasting musical taste.
- Contrastive comparison of the repertoire - teachers allow students to listen to several works of different genres. After this, children express their feelings and emotions regarding what they heard, learn to distinguish between a wide variety of genres.
- Adaptability - the teacher should not use technologies for musical education of preschoolers as a mandatory template. It is necessary to focus on the level of development of a group of children and select works according to purely individual tastes. If the majority liked a certain song or melody, then it should be given to listen to as often as possible.
- Syncretism - the works being listened to should encourage children to physical activity, improvisation, rhythmic plasticity, etc. All this ensures complex development. In the future, based on the listening works, you can stage performances and perform mini-scenes.
Drugs for concentration and memory improvement for children
Carl Orff system
The German composer Carl Orff, a contemporary of D. Kabalevsky, came up with a system of musical education, which, like the Russian composer’s system, is designed not for a select few, not for those with special musical training, but for all children. Its essence is in the development of creative imagination, in elementary music-making. In playing the simplest, mainly percussion, noise musical instruments. Moving to the music. In dramatizing children's songs and fairy tales. That is, what children especially love and do with pleasure. Moreover, such dances and movements are accompanied not only by playing percussion musical instruments (drums, spoons, xylophone, etc.), but also by “sounding gestures” - clapping, slaps on the hips, stamping feet, snapping fingers, clicking the tongue and so on.
All this not only turns music-making into a joyful, exciting activity, but also forms creative imagination, instills a love of singing, and develops a sense of rhythm. To understand how exactly you can use K. Orff’s method, let’s give a specific example.
Song-game “Good Beetle”
All of you have known this song from childhood to the music of E. Schwartz from the movie “Cinderella,” but just in case, let’s recall the words:
Stand up children, stand in a circle, Stand in a circle, stand in a circle. Once upon a time there lived an old beetle, a good old friend! He never grumbled, screamed, or squeaked. He crackled his wings loudly and forbade quarrels.
Stand up children, stand in a circle, Stand in a circle, stand in a circle. You are my friend and I am your friend, Old faithful friend. We fell in love with a beetle, an old man, a good man, That beetle has a very light soul.
Stand up children, stand in a circle, Stand in a circle, stand in a circle. You are my friend and I am your friend, good old friend!
Carl Orff's system is designed for the participation of several children, but by showing some imagination, we can easily apply its elements in classes with one child - your son or daughter. What is needed for this?
- Come up with dance moves together (we emphasize - together) with your child. For example: a step to the side - a stampede. A step in the other direction is a flood. At the chorus there is clapping of hands. Movements imitating a beetle. For example, you jump, hunched over, on bent legs, with your toes raised like horns.
- Accompanying dancing and singing by playing any noise instruments and (or) some “sounding gestures” that we have already talked about.
- Try to play with the plot. For example, to the words “stand in a circle,” move in a circle.
Fathers and mothers (grandmothers, grandfathers) also “fall into childhood,” which is sometimes pleasant - they dance and sing along with the child. Move like this, and real fun will come to the house.
Objectives of musical education of preschoolers
Music, due to its specificity and uniqueness, is the main assistant in the development of a child’s aesthetic perception.
Main goals:
- Develop an interest in music, introduce simple concepts of the melodic world, works of various composers and poets.
- Develop practical skills and actions in different types of musical activities.
- Saturate the child’s emotional sphere, fill them with impressions with the help of music and tools for its expression.
- Comprehensive, harmonious development of the child, his emotional-sensory sphere, musicality, hearing, rhythm, tact.
- To form and expand the creative abilities and imagination of preschoolers, using elements of music in various games.
- Instill musical taste by evaluating this or that compositional work.
Pavel Tyulenev's method
Suzuki and Nikitin have followers. Including in Russia. They try to start teaching a child to play notes very early, at 2-3 years old. “Know the notes before you walk.” This is the name of the book by Pavel Tyulenev, the author of “WORLD” - a method of intellectual development, as if continuing the idea of the book by Masaru Ibuka, who describes the Suzuki method “After Three It’s Too Late.”
Unfortunately, we cannot see the results of Tyulenev’s method as clearly as in the case of Suzuki, and therefore cannot claim that his method has been time-tested. Let us highlight the basic principles on which this method is built.
Start musical education from birth. Tyulenev is based on the research of Glen Doman, director of the Institute for the Development of Human Potential (Philadelphia, USA), and other physiologists. Doman believed that “...in the period from birth to 3 years, the brain develops very quickly, and mental capabilities at this age are unique.” According to Doman and Tyulenev, what children master through play before the age of three (learning foreign languages, reading, playing musical instruments), later on they master with difficulty.
There should be a musical instrument next to the baby's crib. The best thing is a synthesizer that a small musician can reach with his hands. According to Tyulenev, such early acquaintance with musical sounds will have a positive effect on the baby.
Cards with notes and keyboard. Such cards, on which not only notes would be written, but also parts of the keyboard showing where these notes are played, should, according to the author of the method, be in the baby’s field of vision from seven to six months. Thus, early playing with notes will become as common for him as early reading.
The time of classes and their duration are determined by the child himself. Parents create conditions for the child’s development by selecting the right educational games for him. And when to use these games and for how long, the child decides independently. In general, the direct participation of parents in the educational process, according to Tyulenev, is less significant than in other pedagogical systems.
Nothing extra. Anything distracting must be carefully avoided around the child. P. Tyulenev especially warns against unnecessary toys and other things that are not related to the development of the baby.
Encourage your child to compose music. Everything that the child plays, inventing music himself, must be listened to carefully and positively assessed. This is a child's path to creativity.
Methods and techniques for musical education of preschool children
The following methods are used to form a musical culture:
- Contrastive comparison - a system of tasks has been developed that are based on listening to different interpretations of the same work. By contrast, students learn to understand the meaning of a work and break it down into its component parts.
- Assimilation to the character of the sound consists of an emotional adjustment to the sound and in expressing one’s attitude towards the works being listened to. Similarity can manifest itself in a variety of forms: singing along, dancing, choosing clothes, etc.
- Tactile assimilation - the teacher touches the child’s hand to set him up to listen to the musical playback for maximum insight into its essence.
- Mimic assimilation - when listening to works, children look at the teacher and expect his assessment of what is happening. To develop musical taste, you will need to show emotions that correspond to the nature of the work. For example, it is appropriate to smile, make a serious face, and show passion. Children in preschool age are subconsciously drawn to adults, copying their behavior and emotions.
- Intonation assimilation - when listening to compositions, you need to express your attitude in words and replicas. In preschool age, it is difficult for children to grasp the meaning of words, phrases or sentences if they explain the essence of the composition in difficult to understand language. Therefore, it is better to express your attitude to music in simple words that are understandable for children, but saturated with bright emotional coloring. They act directly on the subconscious, bypassing the stage of mental comprehension of what is heard.
- Color comparison - when listening to a composition, you need to show the students cards with colors and associate a certain color with the general mood of the work. For example, when listening to a calm composition, the color blue is shown; for an active and sound-rich song, you need to show the color red. When listening to subsequent melodies, you should ask the children what color this or that song is associated with.
Book by L. Peterson on mathematics for preschoolers 6-7 years old
Nikitin method
The system of early education of Boris and Lena Nikitin, who raised seven healthy, harmoniously developed, and, what is important for us, music-loving children, has been one of the most popular in Russia for more than 50 years. Here are some of its main provisions.
The first year is very important. As the Nikitins themselves said, “the year of launch.”
From birth to one year, the Nikitins “launched” all directions and, so to speak, the mechanisms of the educational process. The usual attitude among moms and dads, “Well, he’ll grow up a little bit (as a rule, this “a little bit” drags on for many years)” was excluded for Boris and Lena. Their principle is that everything starts as early as possible. What is not done today will be too late tomorrow.
Don’t push, don’t interfere, but help. This fundamental principle is quite optimistic. The main task of parents, according to Nikitin, is to create opportunities (in scientific terms, to organize a developmental environment). And then the children will move on their own.
Active physical development. Hardening, plenty of sports equipment in the house, walking barefoot, cold treatment. We stopped at this position of the Nikitin family, which seems to have no direct relation to musical education, in order to emphasize: physical education is the main thing. All other areas, including music, make sense if they do not interfere with raising a healthy child.
Parental interest. One of the most important, in the opinion of Boris and Lena, is the moment that explains why no teacher or educator can fully replace mom and dad. In other words, the higher the level of interest of elders and their love for children, the higher the result.
Modern technologies in musical education of preschool children
A special approach in this area of education requires the use of innovative methods and technologies. Modern inventions facilitate and determine the variety of activities of a teacher.
Thus, when listening to melodic compositions, presentations and videos are widely used. Such visibility and expanded capabilities allow you to better perceive and understand information conveyed through music.
When learning dance movements and rhythmic exercises, videos on relevant topics are used.
These methods arouse greater interest in children and contribute to better development of musicality.
The accumulation of musical experience and culture is facilitated by the technology of development of music perception by O. P. Radynova.
Maria Montessori system
Just a few words about the wonderful Italian teacher Maria Montessori (1870-1952). Maria was the first female doctor in Catholic Italy. She was not a musician, but for many years she ran a kindergarten, worked with children with disabilities, had a keen sense of child psychology and understood that music was an important component of education. Its main pedagogical principles are the interest of children and their free choice. In her kindergarten, Maria turned to the system of musical education that was closest to her. Towards the Carl Orff system. At the same time, she introduced some original features into the Orff system. This always happens when two viable systems come into contact: one feeds the other. Montessori considered the most important task of parents to be to organize a developing space for the child . So that everything he needs is at hand. Next, the baby will make his choice. In our case, the musical instruments recommended by Carl Orff were laid in front of the child, and he himself chose the one he liked best. At the right time for him.
In addition, Mary was a believer and believed that children most accurately and adequately express the plan of God, the plan of the Creator, and they are able to find their own path. Parents are more observers than educators.
Helen Hayner Method
Helen Hayner (Elena Nikolaeva) graduated from the Moscow Conservatory in piano, later moved to the USA, where she has been working at a music school and giving private lessons for about 30 years. With the literary help of Nikolai Kuznetsov, she wrote the book “Becoming a Musician? Easy!”, in which he shares his experience of musical education. An experience that certainly has some original moments. Including those that may be of interest to moms and dads. Let's stop at them...
Raising a good music listener is more important than raising a musician. Much depends on what goals the teacher sets for himself. Hayner believes that it is not necessary to specifically set professional tasks for the student. You shouldn’t go out of your way (as is customary in Russian music schools) to try to raise your child to a professional level.
The best way for a child to develop musically is to learn the piano. Not listening to music, not singing, but learning to play the piano. Moreover, a piano (not a violin, not a recorder, not K. Orff’s noise instruments), in Helen’s opinion, is best suited for this purpose. In other words, the best music lessons are piano lessons. Everything else (playing in an orchestra, singing in a choir) is unproductive and therefore unnecessary. Hence the conclusion: all children should be taught the piano. Moreover, Helen prefers electronic piano for learning. It can be played in different voices, which is interesting for the student. You can record and listen to your child’s play on it. Which is also important.
Teach strictly following the rule: from simple to complex. This didactic principle, according to Heiner, should form the basis of learning to play an instrument. The main thing for the teacher is to find that gradual path (without jumping over steps) along which the child can slowly but surely rise to the top. This, according to the American teacher, is his art. Anything that is overly complicated will inevitably cause a young student to have a negative attitude towards classes.
Zoltán Kodály's Four Element System
The author believed that a musical person is distinguished by his developed hearing, feelings, intellect and hands. At the same time, he believed that there are no children without musical abilities. Non-musical adults are learning-deprived babies. Hearing development takes place through recording a melody by ear and singing. Voice production is considered the main tool for developing abilities. A person may not be able to play an instrument, but he must be able to sing, believe supporters of this approach.
Singing with your voice, clapping your hands, beating the rhythm is the main task of such education, which, according to Zoltan Kodai, is not only the task of parents, but also of society as a whole. A musically developed child grows into a good person.
