Musical sensory education of preschool children. Development of musical sensory abilities in children in the process (GCD) of direct educational activities using musical and didactic games and manuals “Magic Path. Games with ma

Elena Fomenko
Development of musical and sensory abilities of preschool children

1. Characteristics musical and sensory abilities

Touch development– not an independent and isolated process. The leading path of sensory education is the pedagogical organization of the child’s perception of objects, phenomena, their various properties, and their various relationships.

The purpose of sensory education is very often considered only in terms of development organs of vision and touch and is aimed at familiarizing children with uniform, color, space. Almost no attention is paid development of auditory sensations, which underlie such important for artistic activity abilities, How musical and phonemic awareness.

In modern musicology there is a definition of the principles of artistic influence music per listener.

The first of these principles: music works best under conditions of simultaneous combined exposure to several agents musical expressiveness.

The second principle reflects the requirements for cost savings musical expressiveness and comes down to the fact that the most important of them carry several functions: expressive, formative, technical, etc. etc.

It is also necessary to take into account that in musicology There is an absolute and relative concept of height, duration of sound, etc. etc. The first of them is determined by the laws of acoustics, measures of time; the second is the relationship between sounds.

Processes accompanying perception music, are not homogeneous, since they must be adequate to the equally non-uniform and multifaceted nature musical images. Perceiving them. a child encounters a lot of variety musical means and their combinations. As a result, the dynamics of experiences arise, and the beginnings of creativity appear. At the core musically– aesthetic experience has a sensory basis.

IN musical experience, it is difficult to isolate its sensory grain, since essentially everything is sensory, starting with the simplest musical sounds and ending with the development of complex musical images; music always sensually perceived. Therefore, we can speak very conditionally about the boundaries of the sensory and aesthetic zones.

However, in a broader sense, general and special groups of sensory processes can be distinguished.

The first of them are characterized by the integrity of the perception of the medium musical expressiveness appears in diverse and complex relationships that are captured by the perceiving subject. In this case we are talking about developed forms of sensory processes.

The second group combines more private, local processes associated with the perception of individual properties musical sounds.

At the core music system lies musical sound with its four fundamental properties: height, duration, timbre, strength. For the purpose of comprehensive and harmonious musical development the child must not be left out development perception of their timbre and sound dynamics.

Into the structure musical sensory abilities includes the following components: distinguishing not only properties musical sounds, but also their expressive relationships and the quality of the examination musical phenomena.

Method for examining musical phenomena assumes: listening, recognizing properties musical sounds; comparing them by similarity and contrast; isolation from a complex of other sounds; distinguishing their expressive meaning; their reproduction with simultaneous auditory control in singing intonations, in playing an instrument, in expressive rhythmic movements; combining sound combinations; comparison with pleasant standards.

The formation of hearing occurs in the process of establishing close relationships between perception, reproduction and creativity. There is not a single type of practical musical activity, in which you can do without sensory experience.

Sensory acts are not uniform at each stage development: the simplest - distinguishing the properties of sounds in their simplest combinations; complex – perception musical images.

Each of these stages is characterized by its own tasks

purposeful perception.

2. Musically– sensory education children

Tasks:

Form auditory attention children;

Teach them to listen to a variety of things. harmonious sound combinations;

Catch the change in contrasting and similar sound relationships;

Teach methods of examining musical sound;

- develop musical and sensory abilities.

Under touch musical development refers to a certain level of auditory sensations, perceptions, ideas associated with expressive means music in their simplest combinations.

It is also assumed that there are sensory abilities: listening, distinguishing, recognizing, comparing, examining, combining pitch and rhythmic, timbre and dynamic relationships in different conditions musical practice.

Touch musical education is socially oriented. Its results are a certain level of sensory child development.

So high-altitude relationships in musical works appear before children in the form of contrasting comparisons of sounds, different in pitch, in the form of changes in the direction of movement of the melody, various intonation moves expressing a certain thought, nuances of feelings.

Familiarization with rhythmic relationships occurs by comparing durations (mainly quarters and eighths, the variable combination of which is very expressive and diverse, which allows you to modify the tasks of perception and reproduction.

Timbre properties are demonstrated by the real sound of various instruments, singing voices and onomatopoeia to the voices of animals and birds.

Dynamic zones that group the main shades, as well as other nuances aimed at expressing emotional content music, reveal their expressive meaning to children.

All these relationships and sound combinations perform expressive functions.

Initial orientation to musical phenomena requires from children:

Ability to listen attentively musical sound;

The ability to highlight a particular property musical sounds from their general complex, hear dynamic, rhythmic and other changes.

Assimilation ways listening involves presence of children:

The ability to compare similar and contrasting combinations of properties musical sounds;

The ability to attribute phenomena and properties of sounds to one group or another;

The ability to find certain properties musical sounds in different conditions musical practice.

Assimilation ways coordination of perception and reproduction requires children:

The ability to monitor the quality of one’s performance by ear during practical activities;

The ability to select, improvise, combine various combinations of sounds in their harmonious sound.

In the process of learning to sing, pitch and rhythmic hearing is well formed. But the nature of this training must meet certain requirements, including sensory ones. It is impossible to omit sensory links in the system musical development.

In the process of learning to sing, less attention is paid development dynamic and timbre hearing. Nevertheless, children should try to merge their voices when performing dynamic shades and match their timbre.

Rhythmic hearing is successfully formed by relying on motor sensations. Marching, running, clapping very well model the simplest rhythmic patterns.

Dynamic nuances musical works are naturally expressed in movement. Starting from such simple ones as a sudden change in loud and quiet sound, accompanied by a similar change in the dynamics of the claps, and ending with the more complex - strengthening and weakening of the sound music, expressed in movements of greater or lesser amplitude, their energy, changing participation in the movement of the entire team children or a small group of it - all this is good material for development dynamic hearing in rhythm classes.

But the timbre relationships can be connected:

There may be an imitation of playing instruments, and the child recreates their timbre in his imagination;

There is a change in the nature of the movement in accordance with the game on real musical instruments;

Gaming techniques aimed at solving problems of distinguishing voice timbres can be used more widely. children, various onomatopoeias.

On Musical lessons develop children's musical perception, but this should not be limited. We also need an environment in which the child could deepen what he has learned. methods of action, exercise them yourself, develop the ability to control your actions. Special educational games and toys are needed.

3. Musically– didactic games as a means development of sensory abilities.

During the games, they become familiar with standards that are easily accepted by children, since they are based on their experience. Didactic games open up a way for the child to apply the acquired knowledge in life practice.

Musically– a didactic game in its structure should include development game actions and reflect unity music and movement. The game action should help the child to hear, distinguish, and compare some properties in an interesting way. music, and then act with them.

Conventionally, we can note some of the most characteristic types and structures of games in connection with deployment game actions and setting didactic tasks.

The most common structure involves calm music playing and is in the nature of a competition in the ability to listen attentively to music. This type is reminiscent of well-known educational board games. developing a sense of form, colors, volume of objects. Here there is a distinction between properties and character musical sound. This refers not only to games - manuals (note lotto, music boxes, musical ladders and. etc., but also games with singing and movement.

Games differ in both their game actions and sensory tasks. Due to the structure musically– didactic games clearly play the role of game rules.

In general, the rules are aimed at some advantage:

They enter the house if they find out who is sitting in it and who meowed - whether the cat is big. or kitten (distinguishing height relations in the game “Whose house?”);

They become leaders if they can distinguish the timbre of the instruments ( "Tambourine with Rattle");

Act as a conductor (distinguishing the timbre of instruments in the game "Orchestra");

And vice versa, those who do not complete tasks leave the game, receive fewer points, etc. etc.

IN musically- didactic games play a special role musical works, on the basis of which game action unfolds. They must meet aesthetic requirements and evoke feelings children, positively influence their taste and especially encourage expressive movement.

The perception of music is a complex process that requires attention, memory, developed thinking, and a variety of knowledge from a person. Preschoolers don’t have all this yet. Therefore, it is necessary to teach the child to understand the features of music as an art form, to consciously focus his attention on the means of musical expression, on the properties of musical sounds, etc.

Musical sensory perception is of great importance in the development of a child, as it is characterized by extraordinary emotionality, integrity and spontaneity. In the perception of music, general and special groups of sensory processes take place. The first of them are characterized by the integrity of perception. At the same time, the means of musical expression appear in diverse and complex relationships. The second group combines processes associated with the perception of individual properties of musical sounds, namely their pitch, duration, timbre, and dynamics. There is also the sensory ability to listen to the musical fabric, recognize the properties of musical sounds and compare them by similarity and contrast.

A correct understanding of the tasks of sensory education in kindergarten and their implementation with appropriate forms of work is possible only on the basis of taking into account the patterns of the child’s sensory development. First of all, it is necessary to characterize the psychological nature of the child’s sensory development

Musical-sensory education is distinguished by its social orientation. Its results are a certain level of sensory development of children, allowing them to be more emotional and conscious about music that reflects life phenomena, to feel the beauty of its sound in unity with the thoughts and feelings expressed in it. This occurs through meaningful and varied activities, during which sensory processes, experiences and abilities are formed. It involves the following tasks: to form the auditory attention of children; teach them to listen to various harmonious sound combinations; catch the change in contrasting and similar sound relationships; teach methods of examining musical sound; develop musical and sensory abilities. As a result of sensory experience, children acquire specific ideas about musical phenomena. The content of the development of musical-sensory abilities involves nurturing in children receptivity, interest, love for music, developing emotional responsiveness to it, introducing them to various types of musical activities, which allows developing the child’s general musicality and his creative abilities.

The main requirement for the development of musical-sensory abilities is practical training in perception skills and methods of action that activate auditory attention. The organization of initial sensory experience requires the creation of models of the properties of musical sounds, since the concepts about them are too complex for preschoolers. Practical training in perception skills and methods of listening to musical sound is successful if they become visual, “material.” Modeling occurs through the use of musical teaching aids, games, and toys that encourage children to become musically independent. On this basis, children are reminded or re-introduced to the designations of the various properties of musical sounds. Obtaining this knowledge is built on a strong sensory basis and leads children to independent generalizations. External modeling helps the emergence of the first independent generalizations, which are subsequently increasingly realized without relying on a model. All this organized activity occurs in the process of musical practice: singing, listening, moving, playing musical instruments.

I.L. Dzerzhinskaya, in her joint work with N.A. Vetlugina, writes that a program of musical sensory education is being planned, which involves the development of not only musical sensory skills in the classroom, but also the independent development and activity of the child. We can conclude that the need to form the perception of individual properties of musical sounds is very high, and it is also said that with the help of this it is possible to increase the culture of musical perception. Therefore, it is necessary to teach the child to understand music and its features as a form of art. It is worth noting that understanding the tasks of sensory education in kindergarten and their implementation with appropriate forms of work is possible only on the basis of taking into account the patterns of the child’s sensory development. It must be emphasized that there is a very close relationship between the development of a child’s perception and sensory development. The process of forming children's perception goes through a long and complex path of development, and the process itself does not occur spontaneously, but through learning to understand the surrounding reality.

While forming the ability to perceive, it is necessary to simultaneously develop in children the ability to express their impressions and emotions; this is all connected with the enrichment of children’s speech and increased vocabulary. It is worth noting that the formation of ideas and fixed words is a very important factor in the development of children. As already mentioned, the formation of musical ideas is closely related to perception. Musical sensory development occurs most successfully and favorably with specially organized upbringing and training. Children’s assimilation of methods of sensory actions, when properly organized, leads to the activation and development of the child’s musical experiences. It is important to know that musical-sensory abilities are understood as those that develop the quality of perception, that is:

Distinguishing the properties of musical sounds;

Distinguishing their expressiveness of relationships;

Quality of examination of musical phenomena.

The examination of musical phenomena involves: listening; recognizing the properties of musical sounds; comparing them by similarity and contrast; isolation from a complex of other sounds; distinguishing their expressive sound; reproduction with simultaneous auditory control in singing or playing a musical instrument; combining sound combinations; comparison with accepted standards. Musical-sensory education is distinguished by its social orientation. Its results are a certain level of sensory development of children, allowing them to be more emotional and conscious about music that reflects life phenomena, to feel the beauty of its sound in unity with the thoughts and feelings expressed in it. This occurs through meaningful and varied activities, during which sensory processes, experiences and abilities are formed. Sensory education involves the following tasks: developing the auditory attention of children, teaching children to listen to various sound combinations, catching changes in contrasting and similar sounds, and learning how to examine musical sounds. As a result of sensory experience, children acquire specific ideas about musical phenomena. The very content of musical experience provides for the development in children of receptivity, love for music, and interest, forms emotional responsiveness, and introduces them to various types of musical activities, which allows them to develop the child’s musicality and his creative abilities.

Initial sensory experience involves the creation of models of the properties of musical sounds, since the concepts themselves are too complex for preschoolers to perceive. It is worth remembering that practical training in the skills of perceiving ways of listening to musical sound is only possible if they become visual. Modeling occurs through the use of musical didactic games, toys, and aids that encourage children to engage in independent musical activity. On this basis, children are reminded or re-informed of the designation of various properties of music. Obtaining this knowledge is built on a strong sensory basis and leads children to independent generalizations, which are subsequently more and more realized by the child, but without relying on a model. All this organized activity occurs in the process of musical practice, that is, listening to music, singing, moving, and playing musical instruments. Thus, we can conclude that the main goal, role, of musical-sensory education of children of senior preschool age is practical training in skills, abilities, and methods of action that activate auditory attention.

The Germanization of public life is one of the global problems of our time. It requires humanity to revise the content of the sciences that reproduce its spiritual potential.

Understanding musical art as an integral spiritual world that gives the child an idea of reality, its laws, and himself, is possible through the formation of musical-sensory abilities, the development of which remains relevant in modern musical education.

The development of musical abilities is one of the main tasks of musical education of children. A cardinal question for pedagogy is the nature of musical abilities: whether they are innate human properties or develop as a result of the influence of the environment of learning and upbringing.

Emotional responsiveness to music can appear in children very early, in the first months of life. The child is able to react animatedly to the sounds of cheerful music - with involuntary movements and exclamations, and to perceive calm music with concentration and attention. Gradually, motor reactions become more voluntary, consistent with music, and rhythmically organized.

According to experts, preschool age is a synthetic period for the formation of musical abilities. All children are naturally musical. Every adult needs to know and remember this. It depends on him and only on him what the child will become in the future, how he will be able to use his natural gift. “Childhood music is a good educator and a reliable friend for life.”

Early manifestation of musical abilities indicates the need to begin the musical education of a child as early as possible. The time lost as an opportunity to develop the child’s intelligence, creative and musical-sensory abilities will be irreplaceable. Therefore, the area of research is the methodology of musical education of children of senior preschool age.

Of course, the very organization of the use of musical-didactic games requires the teacher to understand the significance and value of children’s musical-sensory development, great creativity and skill, the ability and desire to aesthetically produce and design the material, and not every music director has such abilities.

Music has always claimed a special role in society. Music can influence a person's emotional well-being.

It is considered proven that if the necessary conditions are created for the musical development of a child from birth, then this gives a more significant effect in the formation of his musicality. Nature has generously rewarded man. She gave him everything to see, feel, feel the world around him.

Everyone is naturally musical. Every adult needs to know and remember this, since it depends on him what his child will become in the future, how he will be able to use his natural gift. Childhood music is a good educator and a reliable friend for life. Early manifestation of musical abilities indicates the need to begin the child’s musical development as early as possible. The time lost as an opportunity to develop the child’s intelligence, creative, and musical abilities will be irreplaceable.

Musical abilities manifest differently in all children. For some, already in the first year of life, all three basic abilities manifest themselves quite clearly and develop quickly and easily. This indicates the musicality of children. For others, abilities are discovered later and are more difficult to develop. The most difficult thing for children to develop is musical-auditory understanding - the ability to reproduce a melody with a voice, accurately intoning it, or select it by ear on a musical instrument.

Most preschoolers develop this ability only by the age of five.

The environment in which a child grows up (especially in the first years of life) is of great importance. The early manifestation of musical abilities is observed, as a rule, in children who receive sufficiently rich musical impressions.

It is for this purpose that musical and didactic aids are used, which, having a comprehensive effect on the child, cause visual, auditory and motor activity in him, thereby expanding musical perception as a whole.

All benefits are divided into three groups:

Benefits, the purpose of which is to give children an idea of the nature of music (cheerful, sad), musical genres (song, dance, march). “Sun and Cloud”, “Choose Music”

Manuals that give an idea of the content of music and musical images. “Find out a fairy tale”, “Pick up a picture”

Aids that form children's understanding of the means of musical expression. “Musical House”, “Whom the Gingerbread Man Met”.

As practice has shown, the systematic use of manuals arouses in children an active interest in music and tasks and contributes to the rapid mastery of the musical repertoire by children.

Musical didactic aids contribute to a more active perception of music by preschoolers and allow them to familiarize them with the basics of musical art in an accessible form.

The types of independent activities of a child in kindergarten are varied. Among them is music. In their free time from classes, children organize singing games, play children's musical instruments independently, and organize theatrical performances. One of the most important means of developing children’s independent musical activity is musical-didactic games and manuals. This is another purpose that these games and manuals serve.

The main purpose of musical didactic games and aids is to develop children's musical abilities; in an accessible playful way, help them understand the relationship of sounds in height; develop their sense of rhythm, timbre and dynamic hearing; encourage independent action using the knowledge gained in music classes.

Musical-didactic games and manuals enrich children with new impressions, develop their initiative, independence, ability to perceive, and distinguish the basic properties of musical sound.

The pedagogical value of musical and didactic games and aids is that they open up a way for the child to apply the acquired knowledge in life practice.

Musical and didactic games should be simple and accessible, interesting and attractive. Only in this case do they become a kind of stimulator of children’s desire to sing, listen, play, and dance.

In the process of playing, children not only acquire special musical knowledge, they develop the necessary personality traits, primarily a sense of camaraderie and responsibility.

The use of musical and didactic games and aids in the lesson makes it possible to conduct it in the most meaningful and interesting way.

Through games, children quickly master the program requirements for the development of singing and musical-rhythmic movements and in the field of listening to music. Games that are played in classes act as a separate type of musical activity and are educational in nature.

Musical tasks performed with the help of musical-didactic games and manuals arouse interest and activity in children, develop independence in musical activity, which acquires a creative character.

Research by famous scientists and teachers proves the possibility and necessity of developing a child’s memory, thinking, and imagination from a very early age.

The possibility of early development of musical abilities in children is no exception. There is data that confirms the influence of music on the developing fetus during a woman’s pregnancy and its positive impact on the entire human body in the future.

Music has always claimed a special role in society. In ancient times, music and medical centers treated people from melancholy, nervous disorders, and diseases of the cardiovascular system. Music influenced intellectual development, accelerating the growth of cells responsible for human intelligence. Music can influence a person's emotional well-being.

The emotional impact of harmonious sound combinations is enhanced many times over if a person has fine hearing sensitivity. A developed ear for music places higher demands on what is offered to it. Heightened auditory perception colors emotional experiences in bright and deep tones. It is difficult to imagine a more favorable period for the development of musical abilities than childhood. The development of musical taste and emotional responsiveness in childhood creates “the foundation of a person’s musical culture, as part of his general spiritual culture in the future.” (15; p. 200)

Teachers and musicians have come to the conclusion that everyone has the makings of musical activity. They form the basis of musical abilities. The concept of “non-developing ability,” according to scientists and specialists in the field of studying problems of musicality, is in itself absurd.

Special or basic abilities include: pitch hearing, modal sense, sense of rhythm. It is the presence of them that fills the music a person hears with new content; it is they that allow one to rise to “the heights of a deeper knowledge of the secrets of musical art.”

At different historical stages of the formation of musical psychology and pedagogy, and at present, in the development of theoretical, and, consequently, practical aspects of the problem of the development of musical abilities, there are different approaches.

B. M. Teplov in his works gave a deep, comprehensive analysis of the problem of developing musical abilities. He clearly defined his position on the issue of innate musical abilities. The musical abilities necessary for the successful implementation of musical activity, according to Teplov, are combined into the concept of “musicality.” And musicality is “a complex of abilities required for practicing musical activity, as opposed to any other, but at the same time associated with any type of musical activity.”

A person also has general abilities that manifest themselves in different types of activities. The qualitative combination of general and special abilities forms the concept of musical talent, which is broader than musicality.

Each person has an original combination of abilities that determine the success of a particular activity.

Music is the movement of sounds, different in height, timbre, dynamics, duration, organized in a certain way in musical modes (major, minor), having a certain emotional coloring and expressive capabilities. In order to deeply perceive musical content, a person must have the ability to differentiate moving sounds by ear, distinguish and perceive the expressiveness of rhythm.

Musical sounds have different properties: they have pitch, timbre, dynamics, and duration. Their discrimination in individual sounds forms the basis of the simplest sensory musical abilities.

The duration of sound is the basis of musical rhythm. The sense of emotional expressiveness, musical rhythm and its reproduction form one of the musical abilities of a person - the musical-rhythmic sense. Pitch, timbre and dynamics form the basis of pitch, timbre and dynamic hearing, respectively.

Modal sense, musical-auditory perception and sense of rhythm constitute the three basic musical abilities that form the core of musicality.

Fret feeling. Musical sounds are organized in a certain mode.

Modal feeling is an emotional experience, an emotional ability. In addition, the modal feeling reveals the unity of the emotional and auditory sides of musicality. Not only the mode as a whole has its own color, but also the individual sounds of the mode. Of the seven degrees of the scale, some sound stable, others - unstable. From this we can conclude that modal feeling is the distinction not only of the general nature of music, the moods expressed in it, but also of certain relationships between sounds - stable, completed and requiring completion. The modal feeling manifests itself when perceiving music as an emotional experience, “felt perception.” Teplov B.M. calls it "the perceptual, emotional component of musical hearing." It can be detected when recognizing a melody and determining the modal coloring of sounds. In preschool age, indicators of the development of modal sense are love and interest in music. And that means modal feeling is one of the foundations of emotional responsiveness to music.

Musical and auditory performances.

To reproduce a melody with a voice or on a musical instrument, it is necessary to have auditory representations of how the sounds of the melody move - up, down, smoothly, in jumps, that is, to have musical-auditory representations of pitch movement.

To reproduce a melody by ear, you need to remember it. Therefore, musical-auditory representations include memory and imagination.

Musical-auditory representations differ in the degree of their arbitrariness. Voluntary musical-auditory representations are associated with the development of internal hearing. Inner hearing is not just the ability to mentally imagine musical sounds, but to voluntarily operate with musical auditory ideas. Experimental observations prove that to arbitrarily imagine a melody, many people resort to internal singing, and students learning to play the piano accompany the presentation of the melody with finger movements that imitate its playback on the keyboard. This proves the connection between musical and auditory ideas and motor skills; this connection is especially close when a person needs to voluntarily remember a melody and retain it in memory.

“Active memorization of auditory ideas,” notes B. M. Teplov, “makes the participation of motor elements especially significant.”

The pedagogical conclusion that follows from these observations is the ability to involve vocal motor skills (singing) or playing musical instruments to develop the ability of musical-auditory performances.

Thus, musical-auditory perception is an ability that manifests itself in reproducing a melody by ear. It is called the auditory or reproductive component of musical hearing.

The sense of rhythm is the perception and reproduction of temporal relationships in music.

As evidenced by observations and numerous experiments, during the perception of music a person makes noticeable or imperceptible movements that correspond to its rhythm and accents. These are movements of the head, arms, legs, as well as invisible movements of the speech and respiratory apparatus.

Often they arise unconsciously, involuntarily. Attempts by a person to stop these movements lead to the fact that either they arise in a different capacity, or the experience of rhythm stops altogether. This indicates the presence of a deep connection between motor reactions and the perception of rhythm, the motor nature of musical rhythm. But the feeling of musical rhythm is not only motor, but also emotional in nature. The content of the music is emotional. Rhythm is one of the expressive means of music, with the help of which the content is conveyed. Therefore, the sense of rhythm, like the sense of modality, forms the basis of emotional responsiveness to music.

The sense of rhythm is the ability to actively (motorly) experience music, feel the emotional expressiveness of the musical rhythm and accurately reproduce it.

So, Teplov B.M. identifies three main musical abilities that form the core of musicality: modal sense, musical-auditory perception and sense of rhythm.

N.A. Vetlugina names two main musical abilities: pitch hearing and a sense of rhythm. This approach emphasizes the inextricable connection between the emotional (modal feeling) and auditory (musical-auditory perceptions) components of musical hearing. The combination of two abilities (two components of musical ear) into one (pitch hearing) indicates the need to develop musical ear in the interrelation of its emotional and auditory bases.

Researchers often face the question: in what types of activities do musical-sensory abilities develop?

For example, emotional responsiveness to music can be developed in all types of musical activity: perception, performance, creativity, since it is necessary for feeling and understanding the musical content, and, consequently, its expression.

The modal sense can develop during singing, when children listen to themselves and to each other, and control the correctness of intonation with their ears.

Musical-auditory concepts develop in activities that require distinguishing and reproducing melody by ear. This ability develops primarily in singing and playing high-pitched musical instruments.

The sense of rhythm develops, first of all, in musical-rhythmic movements that correspond in nature to the emotional coloring of the music.

Timbre and dynamic hearing, performing and creative abilities.

Timbre and dynamic hearing are types of musical hearing that allow you to hear music in the fullness of its expressive, colorful means. The main quality of musical hearing is the discrimination of sounds by height. Timbre and dynamic hearing are formed on the basis of pitch hearing. The development of timbre and dynamic hearing contributes to the expressiveness of children's performance and the fullness of their perception of music. Children recognize the timbres of musical instruments and distinguish dynamics as an expressive means of music. With the help of musical didactic games, the pitch, timbre and dynamic properties of musical sounds are modeled.

Most preschoolers develop this ability only by the age of five. But this is not, according to B.M. Teplov, an indicator of weakness or lack of abilities.

It happens that if any ability lags behind in development, then this can inhibit the development of other abilities. Therefore, recognizing the dynamism and developability of musical abilities, it makes no sense to conduct any one-time tests and, based on their results, predict the child’s musical future. According to L. S. Vygotsky, constant observations of children with diagnostic cross-sections of development are needed. Diagnostics of musical abilities, carried out 1-2 times a year, makes it possible to judge the qualitative uniqueness of the development of each child and adjust the content of classes accordingly.

Planning and recording work on music education, as a rule, only includes monitoring the program skills and abilities acquired by children. In order for training to be developmental in nature, it is important to control not only the development of skills and abilities, but first of all the musical abilities of children.

The main carriers of the content of music are pitch and rhythmic movements. Their sensory basis lies in recognition, comparison of moving sounds (different in pitch, dynamics, duration, timbre) and their reproduction. Thus, sensory musical abilities are understood as qualities that distinguish auditory perception, which underlies the knowledge of music.

This is expressed by the following characteristics:

· Differences in the properties of musical sounds;

· Difference in their expressive relationships;

· The quality of examination of musical phenomena, which involves recognizing the properties of musical sounds, comparing them by similarity and contrast;

· Isolation of other sounds from a complex;

· Difference in expressive sound;

· Reproduction with simultaneous auditory control in singing or playing a musical instrument;

· Combination of sound combinations;

· Comparison with accepted standards.

In accordance with these, musical-sensory education assumes (N.A. Vetlugina, O.P. Radynova, etc.):

· Formation of children's auditory attention;

· Concentration of attention on various sound combinations;

· Ability to detect changes in contrasting and similar sounds and sound complexes.

Musical sensory development is most successful, according to scientists, with a special organization of the process of education and training - in perception, singing, movement, playing musical instruments. At the same time, not a single type of musical activity is complete without sensory experience. Therefore, musical activity, like any other, is sensual, i.e. To summarize, we note that scientists point to the importance and significance of musical-sensory development, during which the following occurs:

· Holistic development of the child’s senses;

· Formation of sensory processes;

· Inducement to emotional aesthetic experiences i.e. development of the child's personality.

Age-related characteristics of the manifestation of musicality in preschoolers 5-6 years old.

In order to provide favorable conditions for the development of musical abilities, it is necessary to know the features and signs of their manifestation.

Musical abilities are characterized by very early manifestations (up to 2 years).

5th year of a child’s life: determine the mood of music, recognize familiar songs and melodies, grasp rhythmic patterns, try to expressively convey play images in motion; coordinate their singing with other children; The vocal cords are strengthened, vocal-auditory coordination is improved, and auditory perceptions are differentiated.

6th year of a child’s life: the emergence of a stable interest in music, the height, strength, and timbre of sounds expand: they understand the task assigned to them and independently follow instructions; perception becomes purposeful and can simultaneously pay attention to the nature of the music, form and some means of expression; show elements of creativity in singing; expressively convey musical images; analyze, make generalizations and simple conclusions; express their ideas in verbal form; plan their game actions.

Characteristics of age characteristics of children 5-6 years old.

Physical development.

In older preschool age, intensive development of the intellectual, moral-volitional and emotional spheres of the personality occurs. The development of personality and activity is characterized by the emergence of new qualities and needs: knowledge about objects and phenomena that the child did not directly observe is expanding. Children are interested in the connections that exist between objects and phenomena. The child’s penetration into these connections largely determines his development. The transition to the older group is associated with a change in the psychological position of children: for the first time they begin to feel like the oldest among other children in kindergarten. The teacher helps preschoolers understand this new situation. It supports a sense of “adulthood” in children and, on its basis, causes them to strive to solve new, more complex problems of cognition, communication, and activity.
Based on the characteristic need for older preschoolers for self-affirmation and recognition of their capabilities by adults, the teacher provides conditions for the development of children's independence, initiative, and creativity. He constantly creates situations that encourage children to actively apply their knowledge and skills, sets more and more complex tasks for them, develops their will, supports the desire to overcome difficulties, bring the work they have started to completion, and aims to find new, creative solutions. It is important to provide children with the opportunity to independently solve assigned problems, to direct them to search for several options for solving one problem, to support children’s initiative and creativity, to show children the growth of their achievements, to instill in them a feeling of joy and pride from successful independent actions.
The development of independence is facilitated by children mastering the ability to set a goal (or accept it from a teacher), think about the path to achieving it, implement their plan, and evaluate the result from the position of the goal. The task of developing these skills is set broadly by the educator and creates the basis for children’s active mastery of all types of activities.
The highest form of independence for children is creativity. The teacher’s task is to awaken interest in creativity. This is facilitated by the creation of creative situations in gaming, theater, artistic and visual activities, manual labor, and verbal creativity. All of these are mandatory elements of the lifestyle of older preschoolers in kindergarten. It is in exciting creative activities that a preschooler faces the problem of independently determining the plan, methods and forms of its implementation. The teacher supports children's creative initiatives and creates an atmosphere of collective creative activity in the group based on their interests.
The teacher pays serious attention to the development of cognitive activity and interests of older preschoolers. The whole atmosphere of children's lives should contribute to this. An obligatory element of the lifestyle of older preschoolers is participation in solving problem situations, in conducting basic experiments (with water, snow, air, magnets, magnifying glasses, etc.), in educational games, puzzles, in making homemade toys, simple mechanisms and models . The teacher, by his example, encourages children to independently search for answers to emerging questions: he pays attention to new, unusual features of the object, makes guesses, turns to children for help, and focuses on experimentation, reasoning, and assumptions.
Older preschoolers are beginning to show interest in future schooling. The prospect of schooling creates a special mood in a group of older preschoolers. Interest in school develops naturally through communication with the teacher, through meetings with the teacher, joint activities with schoolchildren, visiting school, and role-playing games on a school theme. The main thing is to connect children’s developing interest in a new social position (“I want to become a schoolchild”) with a feeling of growth in their achievements, with the need to learn and master new things. The teacher strives to develop children’s attention and memory, forms basic self-control, and the ability to self-regulate their actions. This is helped by a variety of games that require children to compare objects according to several criteria, look for errors, memorize, apply a general rule, and perform actions with conditions. Such games are played daily with a child or with a subgroup of older preschoolers.
Organized training is carried out for older preschoolers mainly in the form of subgroup classes and includes cognitive cycle classes in mathematics, preparation for mastering literacy, familiarization with the outside world, development of artistic and productive activities and musical and rhythmic abilities. In independent activity, in the teacher’s communication with children, opportunities are created for children to expand, deepen and widely variably apply the content mastered in the classroom.
A condition for the full development of older preschoolers is meaningful communication with peers and adults.
The teacher tries to diversify the practice of communication with each child. By entering into communication and cooperation, he shows trust, love and respect for the preschooler. At the same time, he uses several models of interaction: by the type of direct transfer of experience, when the teacher teaches the child new skills and methods of action; according to the type of equal partnership, when the teacher is an equal participant in children’s activities, and according to the “guarded adult” type, when the teacher specifically turns to children for help in solving problems, when children correct mistakes “made” by adults, give advice, etc.
An important indicator of the self-awareness of children aged 5–6 years is their evaluative attitude towards themselves and others. For the first time, a positive idea of his possible future appearance allows the child to think critically about some of his shortcomings and, with the help of an adult, try to overcome them. The behavior of a preschooler in one way or another correlates with his ideas about himself and what he should or would like to be. A child’s positive perception of his own self directly affects the success of activities, the ability to make friends, and the ability to see their positive qualities in interaction situations. In the process of interacting with the outside world, the preschooler, acting as an active person, gets to know it, and at the same time gets to know himself. Through self-knowledge, the child comes to a certain knowledge about himself and the world around him. The experience of self-knowledge creates the prerequisites for preschoolers to develop the ability to overcome negative relationships with peers and conflict situations. Knowing your capabilities and characteristics helps you come to an understanding of the value of the people around you.

Mental development

A 5-year-old child’s interest is increasingly directed towards the sphere of relationships between people. The adult's assessments are subject to critical analysis and comparison with one's own. Under the influence of these assessments, the child’s ideas about the real self and the ideal self are more clearly separated.

The development of volition and volitional qualities allows the child to purposefully overcome certain difficulties specific to a preschooler. Interest in arithmetic and reading appears. Based on the ability to imagine something, a child can solve simple geometric problems.

The child can already remember something purposefully.

In addition to communication, the ability to plan one’s actions develops, i.e. the child learns to consistently and logically organize his actions and talk about them. Self-instruction develops, which helps the child organize his attention in advance on the upcoming activity.

An older preschooler is able to distinguish the entire spectrum of human emotions, and he develops stable feelings and relationships. “Higher feelings” are formed: intellectuality (curiosity, inquisitiveness, sense of humor, surprise), moral (a sense of pride, shame, friendship), aesthetic (a sense of beauty, a sense of heroism).

Against the background of emotional dependence on the assessments of an adult, the child develops a desire for recognition, expressed in the desire to receive approval and praise, to confirm his importance.

Quite often at this age, children develop such a trait as deceit, i.e. deliberate distortion of the truth. The development of this trait is facilitated by a violation of parent-child relationships, when a close adult, with excessive severity or a negative attitude, blocks the child’s development of a positive sense of self and self-confidence. And in order not to lose the trust of an adult, and often to protect himself from attacks, the child begins to come up with excuses for his mistakes and shift the blame onto others.

The moral development of an older preschooler largely depends on the degree of adult participation in it, since it is in communication with an adult that the child learns, comprehends and interprets moral norms and rules. It is necessary to form the habit of moral behavior in a child. This is facilitated by the creation of problematic situations and the inclusion of children in them in the process of everyday life.

Social development

A 5-6 year old child strives to know himself and another person as a representative of society, gradually begins to realize the connections and dependencies in social behavior and relationships of people. At 5-6 years old, preschoolers make positive moral choices (mainly in the imaginary plane). People are starting to use more precise vocabulary to denote moral concepts more often - polite , honest , caring, etc.

At this age, the behavior of preschoolers develops the possibility self-regulation, that is, children begin to make demands on themselves that were previously placed on them by adults. This way they can, without being distracted by more interesting things, finish unattractive work(put away toys, tidy up the room, etc.). This is made possible thanks to awareness children generally accepted norms and rules of behavior and the obligatory nature of their implementation. The child emotionally experiences not only the assessment of his behavior by others, but also his own compliance with norms and rules, the compliance of his behavior with his moral ideas. However, compliance with norms (playing together, sharing toys, controlling aggression, etc.), as a rule, at this age is possible only in interaction with those who are the most sympathetic, with friends.

At the age of 5 to 6 years, changes occur in the child’s ideas about himself; the assessments and opinions of their comrades become significant to them. The selectivity and stability of relationships with peers increases. Children explain their preferences by the success of a particular child in the game (“It’s interesting to play with him,” etc.) or his positive qualities (“She’s good,” “He doesn’t fight,” etc.). Children communication becomes less situational. They willingly talk about what happened to them: where they were, what they saw, etc. Children listen carefully to each other and emotionally empathize with their friends’ stories.

At 5-6 years old, the child develops primary gender identity system according to essential characteristics (feminine and masculine qualities, features of the manifestation of feelings, emotions, specific behavior, appearance, profession). When justifying the choice of peers of the opposite sex, boys rely on qualities of girls such as beauty, tenderness, affection, and girls rely on qualities such as strength and the ability to stand up for another.

Opportunities are increasing life safety child 5-6 years old. This is due to the growth of awareness and arbitrariness of behavior, overcoming the egocentric position (the child becomes able to take the position of another).

Musical development.

A child of 5-6 years old has already accumulated musical experience, independence is growing, so he becomes an active participant in dance, singing and instrumental activities. It is important to teach him to use the means available to him (voice, movements, techniques of playing instruments) to create his own musical images, characters, moods. Therefore, in middle age it is especially important to teach children the techniques of singing, dancing, and playing music. The selection of methods, forms, methods, and repertoire is important in order to maintain the child’s interest in music as a means of self-expression.

At an older age, the source of musical impressions becomes not only the teacher, but also the big world of music itself. Children can make connections with literature, painting, and theater. The peculiarities of the mental processes of an older preschooler allow the formation of his artistic taste and musical erudition. He not only feels, but also knows music, its genres, forms, and composer's intonations. The natural basis for acquiring knowledge is the experience with music accumulated in primary and secondary preschool age. The culture of listening perception allows a child to become a full-fledged spectator - a listener of concerts and musical performances accessible to his age.