Interaction between the music director and the teacher in the context of the implementation of the Federal State Educational Standard. Interaction between a speech therapist and a music director in correctional and educational work. Plan of interaction between educators and a music director.

Interaction with teachers
"Teacher and Music"

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

How actively do kindergarten teachers participate in the musical education of children? And do they all understand the importance of such participation? Alas, often the teacher considers it his duty to simply attend a music lesson - in order to maintain discipline. And some don’t even consider it necessary to be present - they say, during this time they will be able to do some things in the group... Meanwhile, without the active help of a teacher, the productivity of music classes turns out to be much lower than possible. Carrying out the process of musical education requires great activity from the teacher. When raising a child through the means of music, preschool teachers must clearly understand its importance in the harmonious development of the individual. To do this, you need to clearly and distinctly understand by what means and methodological techniques you can lay the foundations for the correct perception of music.

The teacher-educator needs:

1. Know all program requirements for music education.
2. Know the musical repertoire of your group, be an active assistant to the music director in music classes.
3. Assist the music director in children’s mastering of the program musical repertoire, showing examples of precise execution of movements.
4. Conduct regular music lessons with the children of the group in the absence of a music director.
5. Learn movements with lagging children.
6. Deepen children's musical impressions by listening to musical works in a group using technical means.
7. Develop children’s musical skills (ear for melody, sense of rhythm) in the process of conducting didactic games.
8. Possess basic skills in playing children's musical instruments (metallophone, timbre bells, wooden spoons, etc.).
9. Carry out the musical development of children, using all sections of work: singing, listening to music, musical and rhythmic movements, playing children's musical instruments, musical and didactic games.
10. Take into account the individual capabilities and abilities of each child.
11. Develop children’s independence and initiative in using familiar songs, round dances, musical games in classes, walks, morning exercises, and in independent artistic activities.
12. Create problem situations that activate children for independent creative expression.
13. Involve children in creative games, including familiar songs, movements, and dances.
14. Use children’s musical skills and abilities in classes for other types of activities.
15. Include musical accompaniment in the organization of classes and routine moments.
16. Take direct part in the diagnostic examination of your students to identify musical skills and abilities, the individual capabilities of each child.
17. Take an active part in the preparation and holding of holidays, entertainment, musical leisure, and puppet shows.
18. Prepare thematic selections of poetic material for entertainment and musical matinees.
19. Provide assistance in the manufacture of attributes, musical design
hall for celebrations and entertainment.
20. Be artistic, inventive, emotionally mobile.
At a music lesson
The role of the teacher, the alternation of his active and passive participation, varies depending on the parts of the lesson and their tasks.
Listening to music:
1. By personal example, instills in children the ability to listen carefully to a piece of music and expresses interest;
2. Maintains discipline;
3. Assists the music director in the use of visual aids and other teaching materials.
Chanting, singing:
1 . Does not participate during quick questioning exercises;
2. Does not participate in chanting, so as not to confuse the children;
3. Sings with children, learning a new song, showing correct articulation;
4. Supports singing when performing familiar songs, using means of facial and pantomimic expressiveness;
5. When improving song learning, he sings along in difficult places;
6. Does not sing with children when expressing emotions independently
singing (with the exception of singing with children of early and young age);
Musical and rhythmic movements and games:
1. Participates in demonstrating all types of movements, giving appropriate recommendations to children;
2. Gives accurate, clear, aesthetic standards of movements (exception -
exercises to develop children's creative activity);
3. Takes direct part in the performance of dances, dances, and round dances. In older preschool age, children perform familiar dances and dances independently;
4. Corrects the execution of movements by individual children during dance
or dancing;
5. Explains and monitors compliance with the conditions of the game, promoting the formation of behavioral skills during its implementation;
6. Takes one of the roles in the story game;
7. Observes discipline throughout the entire music lesson.

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

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

Innovative forms of cooperation and co-creation of the music director and preschool teacher

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

Success in children's musical development and their emotional perception of music are closely related to the work of the teacher. It is the teacher, who has a broad outlook, a certain musical culture, and understands the tasks of musical education of children, who is the conductor of music in the everyday life of the kindergarten. Good business relationships between the music director and the teacher have a beneficial effect on children and create a healthy, friendly atmosphere, equally necessary for both adults and children.

The main form of musical education and training of a child in a preschool institution is music classes. In the process of classes, children acquire knowledge, skills, and abilities in listening to music, singing, musical-rhythmic movements, and playing the musical instrument. Music classes –

This is an artistic and pedagogical process that contributes to the development of a child’s musicality, the formation of his personality and the mastery of reality through musical images. Musical classes play an important role in the development of endurance, will, attention, memory, and in nurturing collectivism, which contributes to preparation for school. They carry out the systematic education of each child, taking into account his individual characteristics.

Conducting music classes is not a monopoly of the music director, but forms part of the pedagogical work conducted by the teacher.

The teacher’s participation in a music lesson depends on the age group, the musical preparedness of the children and the specific objectives of the lesson. It is especially important for the teacher to participate in working with younger groups, where he plays the main role in games, dances, and songs. The younger the children, the more active the teacher has to be - provide assistance to each child, make sure that the children are not distracted, are attentive, and observe who and how they express themselves in the lesson. In the senior and preparatory groups, children are given more independence, but the help of a teacher is still necessary. He shows the movements of the exercises together with the music director, performs the dance with a child who does not have a partner, monitors the children’s behavior and the quality of execution of all program material. The teacher must be able to sing songs, demonstrate any exercise, game or dance, and know music to listen to from the children's repertoire. During music lessons, the teacher monitors the children’s posture, pronunciation of words in the song, and the quality of learning the material. The role of the teacher changes depending on the content of the music lesson. If the lesson plan involves introducing a new song, the teacher can sing it if he first learns it with the music director. The following option is also allowed: the music director performs the song for the first time, and the teacher performs it again. The teacher monitors whether all the children are actively singing, whether they convey the melody of the song correctly, and pronounce the words. Since the music director is near the instrument, he is not always able to notice which of the children sang this or that word incorrectly. If the lesson is devoted to listening to music, the teacher can talk about the content of the musical piece that the music director will perform, and during the performance, monitor how the children perceive the music. When children do not speak out much about what they hear, the teacher helps them with leading questions. When conducting musical-rhythmic movements with children of younger groups, the teacher plays with them, shows dance and imitation figures. In older groups, he carefully monitors whether the children perform the movements correctly and which of them needs help. By being present at classes and actively participating in them, the teacher not only helps the children, but also learns the material himself. It is necessary that both educators alternately attend classes. Knowing the repertoire, they can include certain songs and games in children’s daily lives.

A child’s life becomes more colorful, fuller, and more joyful if conditions are created not only in music classes, but also in the rest of the time in kindergarten for the manifestation of his musical inclinations, interests, and abilities.

The skills acquired in classes must be consolidated and developed outside of them. In a variety of games, on walks, and during the hours allotted for independent activity, children, on their own initiative, can sing songs, dance in circles, listen to music, and select simple melodies on a metallophone. Thus, music enters into the child’s everyday life, musical activity becomes a favorite pastime.

In music classes, new information about musical works is provided, singing and musical-rhythmic skills are formed, and the consistent musical development of all children according to a certain system is ensured. In the daily life of the kindergarten, the emphasis is on individual work with children - developing their musical abilities, forming pure intonation, teaching children to play the musical instrument. The leading role here is given to the teacher. Taking into account the age of the children, he determines the forms of including music in the daily routine. Many aspects of kindergarten life allow a connection with music and gain greater emotional fulfillment from this.

Music can be used in children's role-playing creative games, morning exercises, during some water procedures, while walking (in the summer), evening entertainment, and before bed. It is allowed to include music in classes for various types of activities: fine arts, physical education, familiarization with nature and speech development.

A game, is certainly the child’s main activity outside of class. Including music in a game makes it more emotional, interesting, and attractive. There are various options for using music in games.

In some cases, it is like an illustration of the actions of the game. For example, while playing, children sing a lullaby, celebrate housewarming, and dance. In other cases, children reflect in games the impressions gained during music classes and holidays. Conducting role-playing games with music requires very careful and flexible guidance from the teacher. He, watching the progress of the game, encourages children to sing, dance, and play the DMI. Many role-playing games arise only when children are given a toy TV, a piano, or a theater screen. Children begin to play “music classes”, “theater”, and perform concerts on “television”.

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

MUSICAL CLASSES AND THE ROLE OF THE TEACHER.

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

Music classes provide comprehensive education for children (mental, aesthetic, physical)

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

Moral-volitional:A feeling of love for the mother and Motherland is fostered, skills of cultural behavior are formed (in organizational aspects), and the ability to listen, sing, and dance in a group is cultivated. Purposefully engaged, the ability to complete the work started, to overcome difficulties

Physical: In dancing and games, certain motor skills are formed that develop certain muscle groups.

Aesthetic: To be able to listen and understand music, you need to feel it, to experience beauty.

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

Types of musical activities:

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

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

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

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

The music lesson consists of several sections:

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

2. Listening to music

3. Singing and song creativity -

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

5. Dance

6. Game

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

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

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

Failure to understand the educational tasks of music by a teacher can nullify all the efforts of the music director. Where the teacher loves music, loves to sing, and the children take great interest in music lessons. In addition, in the “Movement” section, music. the leader is constrained by the instrument and the teacher must demonstrate the movements.

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

Teachers often make the following mistakes in the classroom:

1. The teacher sits with an indifferent look

2. The teacher interrupts the performance

3. Give verbal instructions along with musical instructions. leader (although there cannot be two centers of attention)

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

The activity of the teacher depends on three factors

1. Depending on the age of the children: the smaller the children, the more the teacher sings, dances and listens along with the children.

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

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

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

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

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

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

4. The teacher must be able to play all the instruments that children use in music classes in order to be able to correctly show children how to make sounds on each instrument.

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

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

7. Knows puppeteering techniques

The more actively the teacher does this work, the more new things children can learn in music classes, otherwise music classes turn into an endless repetition of the same thing, i.e. "treading water"

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

There are 2 forms of work between a music director and a teacher

1. Individual consultations:are held once every 2 weeks

• Introduction to the objectives of upcoming classes
• Mastering the repertoire (checked how the teacher performs children's songs and dances)
• Thinking through forms of individual work with children
• Thinking through the introduction of music into everyday life
• Conversations about the activity of the teacher in music. classes

2. Group consultations:

• Introduction to new methodological issues (song creativity, motor creativity, learning to play instruments)
• Composing holiday scenes
• Thinking about surprises
• Discussion of various issues
• Open music classes (for young teachers)
• Learning songs for listening or for performing them at holidays (paying attention to the purity of intonation and diction)
• Increasing the culture of movement (in addition to children's games, dances, exercises, teachers make more complex movements that contribute to the development of coordination of their movements and general musical development)
• Performing independent tasks (composing a dance or exercise to certain music)
• Training teachers to use a record player, tape recorder, improve knowledge in the field of musical literacy, so that he can perform a children's song on musical instruments from the notes, and sing it
• Training in puppeteering techniques

The role of the host at the holiday

The role of the presenter is very responsible. The presenter is the person who leads the festive matinee, combines all the elements of the holiday into an organic whole, explains to the children what is happening, and is the link between the audience and the performers. The mood of the children at the holiday and the interest in the program being performed largely depend on the presenter.

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

Before the matinee, the presenter must lay out all the attributes required by the scenario, check their quantity, and place the required number of chairs.

At a matinee, the presenter should behave freely and naturally. He shouldn't be verbose. What needs to be communicated to children should be presented simply and clearly. The presenter’s speech is greatly enlivened by an appropriate joke, a question for children, teachers, guests (for example: Have you seen how our kids dance with handkerchiefs?)

At a matinee, you need to speak loudly enough, clearly and expressively. The presenter not only tells what songs and dances will be performed, but also explains what is happening. The matinee should be carried out at a good pace. Extended speeches and pauses tire the guys

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

The host needs to learn how to end the holiday in an organized manner! After the treat, thank the guest (an adult character), say goodbye to him, be sure to remind him of the occasion for which everyone gathered in the hall (once again congratulate everyone on the holiday), invite the children to leave the hall in an orderly manner (unless another option is provided for in the script), i.e. stand one after another or in pairs and go out to the music, and not run to your parents

The teacher, who does not play any role, is with the children of his group. He sings and dances with the children. The teacher must also know the program and the entire course of the holiday well and be responsible for the area of ​​​​work assigned to him (prepares attributes, details of costumes, changes clothes for children on time, adjusts costumes if necessary).

Children get great pleasure from solo and group performances by teachers (songs, dance, character). Adult characters also participate in games and dances (they pair up with children)

Costumes for the holiday are taken by teachers in advanceso that there is an opportunity to check everything: wash, hem, make missing parts. If parents are tasked with sewing or decorating a costume, preparing attributes, parents must bring them in advance so that teachers can check them, otherwise at the holiday it may happen that the elastic bands on the parsley caps are torn, the attributes are broken, etc.

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

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

Parents are welcome guests at the holiday. The head and the teacher (parent) assigned to help him warmly welcome the guests and place them in the hall. Parents must be warned that they need to bring replacement shoes. After the matinee, teachers invite parents to write down their impressions in the “Book of Reviews”

It’s good to discuss the past holiday on ped. a meeting where the positive aspects of the holiday and mistakes made are discussed.

Oksana Ptukh
Consultation “Interaction between the teacher and the music director in solving the problems of music education”

The practice of modern kindergarten shows that the main issues musically- decides the aesthetic development of preschool children musical director, A teacher is assigned the role of his assistant.

What does this help consist of?

On music lesson teacher not only monitors discipline. He is an active participant in singing, games, and dancing. Educator must know the lyrics of songs, dance movements, in a word, the whole musical repertoire, used in class. This is why you start a notebook. musical education or a folder for repeating and reinforcing with children in a group what they have learned in music. lessons material.

Unfortunately, musical classes cannot fully satisfy children’s needs for music, musical development. That's why educators must find time during the day to repeat songs, games, and dance movements. But this is not the main thing. Pedagogical interaction between music director and teacher. Here are some principles for this interaction.

1. The principle of dialogization is that they are equal cooperating subjects in matters musical development of children, i.e. musical director conducts music. activities, entertainment, ind. classes, group work. The teachers, being in constant contact with children, should, as often as possible, use music in the everyday life of a kindergarten, in classes on speech development, fine arts, etc.

2. The principle of individualization is that music director and teacher must have strong skills musical activity. The music director is a specialist, which has musical education, which presupposes the presence of professional and creative skills. Educator must be able to sing simple children's songs, musically-rhythmic movements, play on children's musical instruments.

3. The principle of problematization is that music. leader and educator must realize the need for close relationship between musical tasks and overall development of the child. For example, developing singing skills is the task is not only for music. education, but also physical

From all of the above it follows that meeting children with music should not be limited music lessons. A must for every group music corner - musical instruments, books, albums, musical educational games. Saturation musical corner is a necessary condition not only in work teacher, but also the opportunity for each child to independently choose the type of activity that suits his interests. Educator has great opportunities to introduce children to music:

1. Actively participates in the process of teaching children music lessons. For example, in younger groups teacher sings with the children (without drowning out the children's singing). In the middle and senior groups, it helps to learn songs and music together. head evaluates the performance of an already learned piece. Besides this (if teacher sings clearly and expressively, can sing a new song with piano or audio accompaniment.

When teaching children musically-rhythmic movements in younger groups teacher participates in all types of movements, thereby activating the kids. Sometimes, if the material is not very difficult, children do tasks independently without the presence of an adult. In the middle, senior and especially preparatory groups the role teacher other: he acts as needed, showing any movement, recalling this or that formation, or giving children individual instructions in dancing, playing, etc.

2. Directs self-direction children's musical activities, includes music for games, walks, labor process, using learned from music. supervisor material.

3. Participates in the selection of music. material, using it in gymnastics classes, visual arts, speech development and familiarization with the environment.

On the first days of every new year teacher looks closely at children: who is interested in what (singing, playing instruments, dancing, are there any children who do not take part in playing music at all. The teacher should be concerned, Why is this happening. Sometimes the leading roles go to the same children. This happens not only because the child shows interest in playing music, but also because he wants to lead.

Other children, on the contrary, are very drawn to this activity, but they are timid, hesitant, and only glance at the children playing music. It is important to create optimal, most favorable conditions for everyone. Based on my observations teacher organizes each child, tries to interest everyone musical activity. Basic line of behavior teacher in music management independent activity is his participation in it. The adult seems to be consulting with children: “How can we better arrange musical instruments so that it would be convenient for everyone to pick them up and play?” “This is how I can play”, - says the adult and shows how to play the instrument and immediately leaves. The child understands his mistake and continues to play. “Do you know what song I love? - speaks teacher and plays the disc.

It would be nice for us to make a library of disks. You can cut out circles (or take old, unnecessary disks) and draw on them what the game is about music. There are many such examples. Educator sometimes he joins in a joint game, sometimes he shows his skills, sometimes he regulates the participation of inactive or, conversely, overly active children, etc.

Planning Receptions music management, teacher outlines the following moments: what new things need to be added to the equipment musical activity(tools, manuals, homemade toys, etc.); in what order is it advisable to do this, who should be observed in order to find out the interests and inclinations of the children; what type of activity do children prefer and whether their interests are one-sided.

The more active the teacher does the work, the more new children can learn on music lessons, otherwise musical classes turn into endless repetition of the same thing, i.e. "treading water".

Publications on the topic:

Organization of work on the use of the museum’s interactive exhibition in solving the problems of patriotic education of preschool children Preschool age is the foundation of a child’s overall development, the starting period of all high human principles. Providing spiritual and moral.

Modern health-saving technologies in the joint work of a teacher and a music director Slide No. 2) Preschool childhood is the time for the most optimal introduction of a child to the world of beauty. Children strive to communicate with the art of music.

Interaction between the teacher and the music director at the matinee 1. Know the order of numbers by heart. 2. Monitor discipline and correct children correctly. 3. Know the poems and the children reading them, give prompt advice.

Consultation for parents “Features of the conditions for musical education of children in the family” Features of the conditions for musical education of children in the family. Many music directors want to see their allies and helpers in their parents.

Report by the music director on the features of the developing subject-spatial environment of the music hall Report of the music director of MBDOU kindergarten No. 1 Art. Staroshcherbinovskaya T. L. Turchaninova about the features of developing subject-spatial.

Memo for educators “Issues of successful cooperation between the educator and the music director of a preschool educational institution” MEMO FOR TEACHERS “Issues of successful cooperation between the teacher and the music director of a preschool educational institution in the context of the implementation of the Federal State Educational Standard” Prepared by.

Music Director Portfolio Explanatory note I have been carrying out my professional activities at MBDOU No. 66 “Barvinok” as a music director since 2015.

Collaboration between a teacher and a music director to implement the educational field “Artistic and Aesthetic Development” At present, when one of the requirements of the Federal State Educational Standard for Education is the integration of all educational areas and, consequently, the activities of everything.

I invite you to look at one of the current problems concerning the peculiarities of interaction between the music director and the teacher in the classroom.

The fact that such cooperation is necessary and should exist in the holistic educational process of a kindergarten is beyond doubt. The question remains: what should it be and how to organize it? To answer this, let us turn to an analysis of the existing experience of such cooperation.

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Music director interaction

and the teacher in the classroom.

Prepared by: music director

MDOU d/s No. 8 Labutina N.V.

Dear teachers, today we will look at one of the current problems concerning the peculiarities of interaction between the music director and the teacher in the classroom.

The fact that such cooperation is necessary and should exist in the holistic educational process of a kindergarten is beyond doubt. The question remains: what should it be and how to organize it? To answer this, let us turn to an analysis of the existing experience of such cooperation.

Pedagogical interaction between the teacher and the music director is characterized by a unity of purpose, which is the musical development of the child as the main object of pedagogical relations.

Pedagogical interaction should be based on the following principles:

– The principle of dialogization. The point is that the teacher and music director must take a personally equal position in matters of musical development of preschool children. To implement this principle, each participant in the interaction must have strong musical skills.

Teacher, musical figure, one of the authors of the methodology for musical education of preschoolers Olga Petrovna Radynova, put forwarduniform requirements for the personal qualities of a music director and teacher:

· passion for music, musical erudition, creative abilities;

· inquisitiveness;

· initiative;

· artistry;

· resourcefulness;

· ingenuity;

· organization;

· responsibility;

· love for children;

· culture of communication;

And if these requirements are met by the personal and professional qualities of teachers, then their interaction will be connectedwith mutual enrichmentprofessional experience.

– Consider the following principleindividualization –This is the use by each participant of the interaction of significant advantages in performing certain types of activities. The inspirer and organizer of the process of musical education and development of a preschooler in kindergarten is the music director, with the assisting participation of the teacher.

Let's consider the tasks of the professional activities of a music director and teacher.

Traditional approach to professional collaboration

and co-creation of the music director and preschool teacher

Slide captions:

Consultation for educators “Interaction between the music director and the teacher in the classroom” The material was prepared by the music director Labutina N.V. Municipal preschool educational institution kindergarten No. 8 of a combined type in Severomorsk

Principles of pedagogical interaction. The principle of dialogization. The teacher and music director must take a personally equal position in matters of musical development of preschoolers.

Unified requirements for the personal qualities of a music director and teacher. O. P. Radynova · passion for music, musical erudition, creative abilities; · inquisitiveness; · initiative; · artistry; · resourcefulness; · ingenuity; · organization; · responsibility; · love for children; · culture of communication;

The principle of individualization. The use of significant advantages by each participant in the interaction in performing certain types of activities.

A traditional approach to professional cooperation and co-creation of the music director and preschool teacher. Professional tasks of the music director of a preschool educational institution Tasks of musical education of preschoolers, solved by the teacher 1. Organization and conduct of classes. 2. Organization and holding of holidays and entertainment programs in kindergarten. 3. Guiding the work of the teacher in the field of musical development of children through consultations and group classes. 4. Working with parents. 1. Assistance in the process of conducting music classes. 2. Organization of pedagogical conditions that promote the development of independent musical activity of preschool children. 3. Selection of musical and didactic material for solving various problems in the upbringing and development of children. 4. Organization of independent musical and creative activities of children. 5. Working with parents.

The principle of problematization. This is to ensure the integrity of the educational process, which is expressed in the joint planning of work on the musical development of children.

Forms, types of musical activity Tasks Area of ​​activity for teachers Greetings. Organize the children. The teacher welcomes the music director with the children.

Forms, types of musical activity Musical repertoire Tasks Area of ​​activity of teachers Musical and rhythmic movements. Exercise "Stomp". Russian folk melody Learn to coordinate movements with music. Music the leader reminds the children of the movements, plays the piano. The teacher moves to the music with the children, evaluates the children’s activities, and works on the movements.

Forms, types of musical activity Musical repertoire Objectives Area of ​​activity of teachers Listening. “Mice” by A. Zhilinsky Develop musical memory, sense of pitch, emotional responsiveness to music. Musical director – conducts a conversation, performs a piece on the piano. The teacher listens to the work with the children.

Forms, types of musical activity Musical repertoire Tasks Area of ​​activity for teachers Singing. “Snow Song” by D. Lvov - Kompaneets Teach children to sing with a light sound at a lively tempo, conveying the cheerful nature of the song. Musical director – conversation, performance. Educator - performing together with children.

Forms, types of musical activity Musical repertoire Tasks Area of ​​activity for teachers Dance. “Turn around, turn around.” Karelian folk melody Teach children to move easily, clearly performing clapping and stamping movements. Musical director - reminds children of dance movements. Working on his movements. The teacher dances together with the child if necessary.

Forms, types of musical activity Musical repertoire Tasks Area of ​​activity of teachers Game. "Catch me!". Any cheerful tune. Develop children's dexterity and attention. Create a joyful atmosphere. Musical director explains the rules of the game. Plays the piano or plays an audio recording. The teacher participates in the game.

LITERATURE 1. “Preschool education” No. 5 - 2007 2. “Methods of music education in kindergarten”, ed. N. A. Vetlugina, M., 1982 3. “Musical education of preschool children” O. P. Radynova, A. I. Katinene, M. P. Palavandishvili, M., 1994

(1 slide)

Music director interaction

with teachers and preschool specialists

Such authors as O. P. Radynova, N. A. Vetlugina, E. P. Kostina, L. S. Zamytskaya, N. B. Krasheninnikova spoke about the interaction between the music director and the teacher.

The general and musical-aesthetic development of preschool children in kindergarten is carried out by a music director who has a good command of the theory and methodology of the pedagogical process, and a teacher who has general musical training. The work of teachers is complex, varied, and must be carried out in close, mutual understanding and contact.

(2 slide) Music classes in kindergarten are the main form of organizing children's musical activities. The music director and the teacher participate in the preparation of music lessons. It is important that the teacher knows his role in each activity. It should help children learn the program repertoire. If required, the teacher shows the children exercises, movements, dances, and helps to practice the quality of their performance. They play a more passive role when listening to music, learning to sing, i.e. in activities that require special musical education.

(3 slide) Music lessons can begin in a group where something interesting is happening for the children. This creates motivation and interest in musical activities in children. Teachers think through all this and carry it out together.

The music director and educator must provide for the integrity of music education: training, education, development. All these tasks can be implemented only if the following conditions are met:(4 slide)

involvement in musical activities brings children only positive emotions;

a humane and personal approach has been thought out to ensure emotional comfort for children;

A comfortable musical and educational environment has been created in all forms of organization.

(5 slide) The sound environment in which our children find themselves is an important means of aesthetic education. Music permeates the entire life of the kindergarten and is a source of special children's joy.

The use of music in the everyday life of children in our kindergarten is carried out by teachers who take into account the general goals and objectives of education, the capabilities and interests of children. With the help of a music director, the teacher of each age group selects a musical repertoire, intending to include it at different moments in the child’s life. Music is widely used in various activities of students thanks to the active organizational activities of the music director.

Musical education of children is carried out during educational activities, independent games, walks, morning exercises, during leisure hours, at holidays and entertainment. (6 slide)

The use of music in other classes enriches children's creativity, causes a joyful, upbeat mood, makes the life of children in a group more interesting and meaningful, unites all children with positive emotional experiences, and promotes the development of communication between children. Therefore, the music director organizes, coordinates and manages the work of all specialists on the issue of music education in kindergarten.

(7 slide) Forms of interaction between the music director, teacher and specialists involve:

joint design of work plans, their adjustment as common tasks are solved;

mutual consultations on the use of musical material in the educational process of preschool educational institutions, in solving various problems of education and development;

mutual attendance at classes followed by discussion;

organizing music lounges and evenings with music;

joint preparation of workshops on the problem of holistic education and development of a child through music;

joint organization of parent meetings on the issue of musical education and child development;

joint design of a musical and educational environment in preschool educational institutions, in groups;

organization of shows, competitions, projects;

compilation of a musical and professional music library;

joint discussion of diagnostic results and individual musical manifestations of the child in classroom conditions and in everyday life.

The use of these forms helps to clearly define the role of each specialist in the educational process.

Correctly finding the place of music in different types of activities creates the necessary mood, atmosphere, fosters a moral and aesthetic attitude towards the environment, develops thought, creative initiative, and makes a significant contribution to the formation of the child’s personality.

One of the options for using the potential of musical art is associated with background music - music that sounds in the background without the intention of conscious perception in classes and in free activity. The use of background music is one of the accessible and effective methods of psychological and pedagogical influence on a child in an educational institution and helps to solve many problems:(8 slide)

Creating a favorable emotional background, eliminating nervous tension and preserving the health of children;

Development of imagination in the process of creative activity, increasing creative activity;

Activation of mental activity, improving the quality of knowledge acquisition;

Switching attention while studying difficult educational material, preventing fatigue and exhaustion;

Psychological and physical relaxation after training load, during psychological breaks, physical education minutes.

The teacher, including music in the direct educational activities of various areas, can focus on the possibility of active and passive perception of it by children. With active perception, he deliberately pays attention to the sound of the music, its figurative and emotional content, means of expression (melody, tempo, rhythm, etc.). With passive perception, music acts as a background to the main activity; it sounds quietly, as if in the background. The degree of activity in music perception during a specific activity is determined by the teacher.

Thus, in classes on the formation of elementary mathematical concepts, in order to enhance intellectual activity, increase concentration, and concentrate attention, only the sound of music is used in the background.(9 slide)

Through active perception and evaluation of musical impressions in speech development classes, they enrich the “vocabulary of emotions” and activate children’s evaluative vocabulary in everyday life.(10 slide)

When getting acquainted with the surrounding world, the teacher can turn to music that characterizes natural phenomena, contributing to the manifestation of emotional responses, enriching and deepening ideas about the object being studied.(11 slide)

In joint educational activities to familiarize oneself with fiction and visual arts, music also has wide application. The teacher accompanies the introduction to Russian folk tales by singing short songs of fairy tale heroes that characterize the characters, uses various musical instruments, and the fairy tale is more vividly perceived by the children. In children's drawings, music helps to convey the characteristic features of the artistic image and enriches children's impressions. In the process of productive performance activities, active perception of a musical work can be used. During a music lesson, children get acquainted with a work that characterizes a character, discuss the existing image, then during a lesson on productive activities, together with the teacher, listen to the work again and reproduce the established image in a craft.(12 slide) , and while drawing according to the model, you can offer musical works for passive perception of music in the background(13 slide) . Listening to music affects the expressiveness of the images created in children's works, their originality and color scheme.(14 slide)

The sound of music in the background during routine moments (reception of children in the morning, getting ready for classes, getting ready for bed, getting up, etc.) creates an emotionally comfortable climate in the group.Teachers of younger groups use audio recordings of lullabies before babies go to bed, especially during the adaptation period. Songs are played during the implementation and education of cultural and hygienic skills. (15, 16, 17, 18, 19, 20 slide)

Music also has an educational effect during walks, stimulates activity, independence, evokes various emotional experiences, creates a good mood, and revives accumulated impressions. During the walk, the teacher helps the children organize outdoor games with singing: “By the bear in the forest”, “Teremok”, “We went to the meadow”, etc. (21, 22 slide)

(23 slide) Approximate schedule for playing background music (music playing time is adjusted for each group according to the age of the children):

Playing time

Predominant emotional tone

7.30 – 8.00

Joyfully calm

8.40 – 9.00

Confident, active

12.20 – 12.40

Peaceful, gentle

15.00 – 15.15

Optimistic, enlightened, calm

Children's involuntary auditory experience should be replenished based on the best examples of musical culture.

(24 slide) Approximate repertoire of background music (for children of senior preschool age):

A.P. Borodin - “Nocturne” from string quartet

K.V. Gluck – “Melody”

L. Beethoven “Moonlight Sonata”

Tonic (increasing vitality, mood)

E. Grieg – “Morning”

J.S.Bach – “Joke”

P.I. Tchaikovsky – “Seasons” (“Snowdrop”)

Activating (stimulating)

W.A.Mozart – “Little Night Serenade” (final)

M.I.Glinka – “Kamarinskaya”

W.A.Mozart – “Turkish Rondo”

P.I. Tchaikovsky – “Waltz of the Flowers” ​​(ballet “The Nutcracker”)

Calming (calming)

M.I.Glinka – “Lark”

A.K.Lyadov - “Musical snuffbox”

C. Saint-Saens "Swan"

F. Schubert – “Serenade”

Organizing (promoting concentration of attention during organized activities)

J.S.Bach – “Aria”

A. Vivaldi “The Seasons” (“Spring”, “Summer”)

S.S. Prokofiev “March”

F. Schubert – “Musical Moment”

The teacher and music director create a subject-development environment, which is carefully thought out by them. The subject-development environment is given fundamental importance in the pedagogical process of a children's educational institution.

Understanding the educational power of music, teachers take care of creating conditions for its constant use in the life of the group. In kindergarten, as well as in each group, an audio library should be collected with recordings of classical music for children, sounds and noises of nature, children's songs and fairy tales with musical accompaniment(25 slide) . By listening and performing them with children, and using them in other classes, the teacher instills the skill of listening to musical works and expands the musical horizons of children.

It is important for children to have their own “musical corner”.(26 slide) Children have musical instruments at their disposal: rattles, bells, metallophones, tambourines, triangles, musical cubes; non-traditional musical instruments, various homemade products: sheet music, a piano with a painted keyboard, a balalaika, on which they sing songs, songs learned in kindergarten or heard somewhere, they can “compose” their own.(27 slide)

In their free time, children organize games in which music plays a significant role, playing “concert”, “theater”, “circus”; children perform familiar songs, dances, round dances, and improvise. Various musical instruments are often used to give a signal for the departure of a train or ship. A cheerful song sung by children can accompany their “journey” by car. Boys, playing “soldiers”, clearly march to the sound of a drum. On children's birthdays there is music, congratulations, independent singing, and children dance. All this develops children's musical abilities, teaches them to take care of each other and show attention.

The dramatizations with musical instruments, which the children use to characterize a fairy tale character, are interesting.(28 slide)

The teacher maintains interest in musical activities and reinforces the techniques of correct sound production on musical instruments in the group.(29 slide)

Musical and didactic games play a significant role in the musical education of children.(30, 31 slides) They develop an ear for music, the child’s creative abilities, the ability to perceive, distinguish the basic properties of musical sound, and help to learn the initial elements of musical notation in a fun way. In everyday life, the teacher repeats, consolidates the knowledge acquired by children and introduces them to new musical and didactic games(32 slide)

(33 slide) In groups, conditions are created for the development of children's creative activity in theatrical activities; attributes, masks, costumes, and a flannelograph with characters are available in an accessible place.(33 slide) Introducing children to theatrical culture, educators try to introduce them to different types of theaters: tabletop, shadow, finger, bi-ba-bo, carpet(35, 36, 37, 38 slide) .

(39 slide) Theatrical performances have a positive impact on the overall development of the child, his imagination, creative initiative, development of musicality, development and improvement of speech

(40 slide) Role-playing games are created by the children themselves, with some guidance from the teacher, and occupy a significant place in their lives. The teacher must be close to the children and a welcome participant in their games. Using the content and rules of the game, his playing role, he tactfully directs the course of the game, the relationships of the players, without suppressing their initiative. Music contributes to a more dynamic course of the game, organizing the actions of children.(41, 42 slide)

The ability to transfer the experience gained in music classes to other conditions helps the child find a sense of self-confidence, show activity and initiative. In joint activities, friendly relations develop between children, and their creative ideas are realized. Independent activity fosters perseverance, passion, and gives the joy of discovery.

(43 slide) In order to skillfully guide the musical activities of children in the group, the music director systematically works with teachers: learns musical works, improves their own performance of the children's repertoire, advises on certain issues of methodology, and also provides practical assistance in guiding the musical and independent activities of preschoolers in order to maintain work on a certain aesthetic level, but at the same time, tactfully controlling them.

(44 slide) Music plays a big role in organizing physical education and health activities. Accompanying morning exercises and physical education classes, music activates children, creating a joyful and cheerful mood, significantly improves the quality of the exercises they perform, gives them softness and smoothness, expressiveness and rhythm, and improves the plasticity of movements.(45 slide)

It is known that the sound of musical works increases the performance of the cardiovascular, muscular, and respiratory systems of the body. When performing exercises with musical accompaniment, pulmonary ventilation improves and the amplitude of breathing exercises increases. At the same time, we can talk about the development of musicality in children, its main components - musical responsiveness and hearing. Here too, the child learns to perceive music, distinguish its dynamic shades, determines the rhythm, tempo, and also tries to subordinate his movements to all musical changes; movements acquire greater accuracy, clarity, and smoothness.(46 slide)

(47 slide) When preparing sports events, entertainment, and fun competitions, complete coordination is necessary between the physical education specialist and the music director and teacher. Thoughtful use of music, careful selection of musical works expands the sphere of pedagogical influence on the comprehensive development of preschool children, promotes the manifestation of positive personality traits, raises vitality, and develops creative initiative. Throughout the holiday, music “leads” the program, inspires and calms children, makes them rejoice and worry - it resonates in the child’s soul.

(48 slide) Particular attention is paid to the joint work of the music director with speech therapists. Speech, music, movements are closely interconnected and complement each other. Thanks to these three components, the child’s muscular system is actively strengthened, his vocal abilities develop: vocal range, purity of intonation, expressiveness in singing. In addition, the coherence of these components helps develop children's emotions, facial expressions, communication skills, and stimulates thought and imagination.

For the music director and speech therapist to work effectively, it is necessary to select material so that the chants and songs solve the problems of developing speech breathing, automation and differentiation of those sounds that the speech therapist is working on at this stage. For pupils of compensatory groups for children with severe speech impairments, joint activities are especially emotional, with quick changes of activities so that children do not get tired. To practice breathing and loosen a tight lower jaw, preference is given to chanting vowels.

In correctional work with children, mobile and finger games, play massage, breathing games and exercises, and articulatory gymnastics are used, which speech therapists and educators plan according to lexical topics and offer as reinforcement. The music director, in turn, offers his material. This helps to enrich the vocabulary, form the lexical and grammatical structure of speech, and establish proper breathing.(49,50,51,52,53 slide)

Poetic and song material used at holidays and entertainment is selected (and, if necessary, adapted) by the speech therapist and music director strictly in accordance with the speech and psychological capabilities of the children. The effectiveness of correctional work increases if group teachers have a regular opportunity to selectively reinforce the material that is introduced in music classes. These can be the words of songs, games with movements, round dances, etc.(54 slide) .

Thanks to the joint work of the music director with all kindergarten specialists and the use of various forms of interaction, music not only fills the life of each child with new content, but also promotes independent creative expression.

(55 slide) We wish you creative success!

The key setting of the preschool education standard is to support the diversity of childhood. When working according to standards, the uniqueness of the preschool period must be taken into account: the flexibility of the child’s development, different options and speed of his development, gullibility and involuntary perception.

A child acquires his first skills in drawing, singing, dancing, and reading through children's games of various types, cooperation, and dialogue with children and adults. A child needs games through which he can learn. If we look at the requirements for the results of mastering the preschool program, then many targets are directly related to the tasks of music education: imagination, fantasy, the ability to control one’s movements, express emotions and desires, creativity, experimentation with sounds. The main approach to the implementation of standards is systemic and activity-based. A system must work where the integration of various types of activities is determined by a clear goal and works to simultaneously perform several pedagogical tasks, while being within the framework of gaming activities. Musical education in kindergarten has always been built on integration, since the art of music is a universal art, penetrating into many areas of human existence. Through musical activities one can influence the solution of many problems in the development of speech, the formation of attention, the development of memory, imagination, and fantasy. Music works to strengthen and preserve physical and mental health, and affects the emotional sphere of a person. Therefore, it is very important to find ways to interact between the music director and the teacher. There are traditional ways of interaction - this is directly at a music lesson and at matinees and entertainment. If we talk about musical classes, then the teacher should have the main goal - to help children overcome difficulties that arise when engaging in various types of musical activities, observing and monitoring the individual characteristics of their students! For what? In order to, if necessary, work with the child on what did not work out. This is another principle of working according to the standard - we are obliged to create a situation of SUCCESS for all children! This is additional individual work of a musician, teacher and parent outside of music classes.

What ways of working can be offered to educators during the day?

First, the group must have musical and theatrical corners. There are certain requirements for them: the music corner must be accessible to the child, equipped with a music center for playing audio material, a set of age-appropriate musical instruments, and it must be filled with non-traditional instruments (bottles, “rustles”, “rattlers”, preferably made by the children themselves together with parents), a small screen. It’s good if the corner for performing theatrical activities is located next to the music one. This creates conditions for the integration of two types of arts, which is quite natural. Theatrical activity combines the development of speech, creativity, music, dancing, the ability to express emotions with a voice, convey an image, the child plays a role, he is liberated because he is playing. Storytelling, retelling, dramatization can be made much more useful and interesting for a child if you combine the telling of a fairy tale with music. Sound it with traditional and non-traditional musical instruments, sounding household objects, and a huge number of pedagogical tasks will immediately be completed, including experimenting with sounds. The play of children in the musical and theatrical area should be carefully monitored by the teacher. It is necessary to encourage children to take meaningful actions in this area. You can help children organize for role-playing games: “Orchestra”, “Concert”, “Rehearsal”, etc. Children show creativity, some play the role of artists, directors, musicians, others - the role of spectators. Instruct a child who knows a song or plays an instrument better to conduct a rehearsal before the concert, and the children will be happy to participate in this, at the same time, they will use the acquired skills and abilities, and at the same time help other children to repeat or better master the songs, dances and games on instruments.

Musical and educational games are an important factor for the development of not only musical abilities, but also for the overall development of the child. Therefore, using them throughout the day is very useful and necessary! They are quite accessible to the teacher and do not require special musical training. You can repeat musical didactic games used in music classes, or you can include others. Such games, of course, carry a musical task, but along the way they develop many other abilities. I recommend some of them:

Quiet games: Since we are faced with the task of preserving the health of the child, we must pay attention in particular to his hearing. Being in noise for most of the day, an adult loses hearing, and for a child whose hearing aid is developing, noise in large quantities is many times harmful. I recommend organizing so-called “Minutes of Silence,” but filled with meaning. At the same time, the hearing rests, adjusts to the attentive perception of external sounds - not irritants, rhythm, imagination is turned on, and timbre, rhythmic and dynamic hearing develops. Also, these games are useful because they are games, all children without exception can participate in them, that is, we create the very conditions for the simultaneous development of all children, without squeezing their individuality into some rigid framework.

1. “Deaf phone” - attention is activated, imagination is turned on, vocabulary is replenished.

2. “Different silence” - Clasp your ears with your hands and say that you heard - your inner hearing, imagination, associative thinking, and the ability to talk about your feelings develop.

3. “Who called me?” — timbre hearing and attention develops.

4. “Who sings like that?” The skill of onomatopoeia is formed, the expressiveness of intonation and figurative perception are developed.

5. “Ears back” - attention, imagination.

6. “What instrument did you sound?” - timbre hearing, attention and memory (the child recognizes what he once remembered).

7. “Rhythmic echo” - rhythmic hearing, attention.

Development of rhythmicity- one of the most important tasks in the development of not only musicality, but also a task that works to preserve mental health. There are works by scientists that prove that the lack of a sense of rhythm in a person leads to some mental disorders. Please note that children who are hyperactive and vice versa - inhibited - most often cannot correctly reflect the rhythm, they have an imbalance with the internal rhythm of their heartbeat, because everything in the world is built in a certain rhythm (pulse, operation of mechanisms, sounds of nature.)

Very useful game-experiment “Heart is a motor”. After active running, after loud screaming, invite the children to listen to their pulse. Then, after quiet activity, compare the pulse with the one previously listened to. Ask questions: “What did you notice?”, When was the pulse?” “Why do you think this was so?” Children find answers on their own. This is a kind of experiment, they form concepts about human physiology using their own example, learn to talk about their feelings and analyze their internal state, and at the same time reinforce musical concepts "Rhythm" and "Tempo".

If speak about maintaining health, then very useful breathing exercises, they should always be used before singing in a music class and used in other activities. Breathing exercises: “Snowflake”, “Wind and Breeze”, “Noise Makers”, “Ball”, “Mute TV”. Very helpful "psycho-gymnastics", in which the ability to express and convey emotions is formed, and "logorhythmics", with the help of which speech and diction develop.

Musical and rhythmic movements and dances– one of the most favorite types of musical activities for children. If when singing a child is deprived of the opportunity to move, then in dance and rhythmic activities he satisfies his natural need to move actively. To avoid tedious learning of dances, you should use game techniques. These are igroplasty and dance rhythmics. For several years now I have been using elements of the partial program of Anna Iosifovna Burenina and the program of Sergei and Ekaterina Zheleznov. On Thursdays, instead of morning exercises, we conduct “Rhythmic gymnastics.” Children, accompanied by special musical accompaniment as shown, most often in a circle, perform dance and rhythmic compositions. The so-called “3D” effect is activated. Children listen, see the movement performed by others and perform it themselves. Moreover, comments and corrections are reduced to a minimum. Children freely, to the best of their ability, perform movements, comparing them with others. The compositions are accessible and interesting; they can easily be used by the teacher for other activities as physical exercises. I recommend using dance movements in morning exercises and physical education activities. For example, dance types of steps and jumps. In this case, the tasks of physical education are not violated, but are integrated with musical tasks. In a group you can use a technique such as “Seated Dance”. This is a method of assimilation that helps, through the “language of one’s own body,” to understand the nature of the music, as well as consolidate the ability to clearly convey the rhythm. The music plays, and the children clap, click, rock, slap, stomp, “step” with their fingers, etc. A process of active perception is taking place!

What are singing skills? These are correct breathing, diction, intonation expressiveness, rhythm, emotionality, correct posture, artistry, pitch hearing, dynamic hearing, memory. Methods for strengthening singing skills in a group: “Clap the rhythm of a familiar song”, “Guess the melody”, “Musical ladder”.

Music in special moments: These are morning exercises with music, music for falling asleep and waking up, relaxation with the sounds of nature, musical round dance games while walking. Moreover, this does not mean that musical accompaniment is required on the street. Typically, round dance games with singing are very simple to perform and are sung “a cappello,” that is, without accompaniment.

In musical activity, the child becomes more sociable(and this is again an important factor in the implementation of the standard). Singing in chorus is communication, dancing in pairs is communication, round dancing is communication. By the way, when a child holds hands for the first time in a round dance, this is one of the first experiences of communicative activity! I want to say something special about the round dance. I introduce round dances almost from the first steps of a child in kindergarten. The older the children get, the more I use the round dance principle not only to solve musical problems, but also to develop associative thinking, creative skills, accumulate subject-specific knowledge and enrich children’s speech. For example, when you are building a round dance, ask the children what it looks like? There will be so many different options! We sing a folk song in a round dance - ask the children to come up with simple figurative movements to match the text - we get a very interesting interpretation, and creativity develops. And round dance games with singing and roles are simply a treasure trove for the development of individuality.

Working with parents: One of the most difficult aspects of being a teacher. Modern parents are most often pedagogically illiterate themselves. The standards state that the parent is a participant in the educational process. Unfortunately, parents began to understand this as an increase in their rights and nothing more. It is necessary to patiently bring home to the parents that this participation is, first of all, their responsibility, they are interested in their child becoming successful, and their correct behavior is the key to this success. A child does not attend kindergarten regularly - this happens for various reasons, sometimes due to the fault of the parents. If you want this not to affect your child’s participation in matinees, help your child: learn a dance or song with him at home, and the child will painlessly enter into the general process. A parent must understand that his child is individual, he may have his own developmental characteristics, and there is no need to demand from him equal success in everything. Explain to parents that kindergarten is a model of an adult society, which has its own rules, that ability to obey different rules and social norms is also specified in the targets of the federal standard, and this is legal. When working with parents in different areas, include music and creativity. You can conduct a survey to find out the conditions in the family for the development of musicality: do parents have a musical education, do they have musical instruments, a special children's music library, do they often attend cultural events, what creative hobbies do family members have. Having clarified these conditions, you can give individual consultations on musical development in the family. You can use the “homework” method: “learn a ditty”, “What did we hear on the way to kindergarten?”, make non-standard musical instruments, learn songs and dances at home, congratulate relatives on the holiday, etc.

“We all come from childhood” and, if all participants in the educational process work with love, trust and respect for each other, trying to use every minute for the development of the child, then this unique period - preschool childhood - will become a strong base and basis for the further success of not only an individual child, but also society as a whole.

Nelipa Natalya Nikolaevna

musical director

MDOU "Tavrichesky d/s No. 2"