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What is the genre of musical fairy tale. Abstract "musical fairy tale" material on the topic

Introduction 3

Chapter 1

1.1. Music as a means of developing a preschool child 5

1.2. Formation of the foundations of the musical culture of preschoolers through

world of musical fairy tale 11

1.3. The method of using a musical fairy tale in the program

O.Radynova "Musical development of preschool children 15

Chapter 2

2.1. Musical fairy tale games for preschool children 17

2.2. Creating a musical fairy tale with preschool children 19

Conclusion 27

Bibliography 28

Introduction

Music plays a special role in the upbringing of a child. A person comes into contact with this art from birth, and he receives purposeful musical education in kindergarten - and later at school. Musical education is one of the means of shaping a child's personality. In musical education, the perception of music by children is the leading activity. Both performance and creativity of children are based on vivid musical impressions. Information about music is also given based on its "live" sound. Developed perception enriches all the musical abilities of children, all types of musical activities contribute to the development of the child's abilities.

The influence and significance of fairy tales for children in preschool age is undeniable. That is why every fairy tale that is offered to a child requires attention from an adult, and the question of psychological and pedagogical expertise of modern children's literature, which would include an analysis of different types of fairy tale forms, would evaluate the quality of printed publications for children and the quality of cartoons, is increasingly being raised. as the embodiment of literary fairy-tale images.

This approach allows not only a conscious approach to the choice of a fairy tale for reading or listening from existing works, but also enables modern authors and parents to write exactly those fairy tales that will be useful and in demand by children.

Let's think about the influence of the fairy-tale form on the development of the child and outline its main features and advantages:

A fairy tale sets an assessment of the positive and negative in life, opposes the ideal and the erroneous, good and evil.

Audio fairy tales affect the emotional development of the child: a bright figurative form makes the child empathize, worry and rejoice.

The fairy tale contributes to the development of imagination, and this is necessary, among other things, for the child to solve his own problems.

It is noted that in the process of listening to fairy tales, in addition to the development of the child's sensory system, the egocentric side of speech develops intensively, very similar to the inner speech of an adult.

The relevance of research: A musical fairy tale enters the life of a child from a very early age and accompanies him throughout his childhood, and often stays with him for life.

Object of study: preschool child.

Subject of study: diagnostics and development of children's musical abilities through a musical fairy tale as a means of music.

Purpose of the study: identify, justify the influence of a musical fairy tale on preschool children.

Tasks:

1. Activate and develop children's interest in the world of fairy tales by listening to works on fairy tales.

2. Develop auditory attention with imagination.

3. Create an atmosphere of a fairy tale from the objects in the immediate environment.

Research base:

The structure of the course work: introduction, main part, which consists of two chapters, conclusion, bibliography.

Chapter 1

1.1. Music as a means of developing a preschool child

Music has the potential to influence not only adults, but also young children.

Moreover, and this has been proven, even the intrauterine period is extremely important for the subsequent development of a person: the music that the expectant mother listens to has a positive effect on the well-being of the developing child (maybe it shapes his tastes and preferences). Only by developing the emotions, interests, tastes of children, you can introduce them to musical culture, lay its foundations. Preschool age is important for the subsequent mastery of musical culture by a person. If in the process of musical activity of children their musical and aesthetic consciousness is developed, this will not pass without a trace for the subsequent development of a person, his general spiritual formation.

Music develops the child mentally as well. In addition to a variety of information about music that has cognitive significance, a conversation about it includes a description of the emotional and figurative content. The vocabulary of children is enriched with figurative words and expressions that characterize the moods and feelings conveyed in music. Musical activity involves mental operations: comparison, analysis, comparison, memorization, and thus contributes not only to musical, but also to the overall development of the child.

It is very important to create conditions for the formation of the foundations of the musical culture of preschool children. In preschool pedagogy, music is seen as an indispensable means of developing children's emotional responsiveness to all the good and beautiful that they encounter in life.

Music for a child is a world of joyful experiences. In order to open the door to this world for him, it is necessary to develop his abilities, and above all his ear for music and emotional responsiveness. Otherwise, music will not fulfill its educational functions.

Music is an art that affects a child for the first months of his life. Its direct influence on the emotional sphere contributes to the emergence of initial response actions, in which one can see the prerequisites for the formation of basic musical abilities in the future.

At a very early age, the baby distinguishes music from the sounds and noises surrounding him. He focuses his attention on the heard melody, freezes for a while, listens, reacts with a smile, cooing, separate movements, shows a “complex of animation”. Older children have already increased mental abilities. They comprehend some connections between phenomena, they are able to make the simplest generalizations - to determine, for example, the nature of music, to name, according to what signs the play played is cheerful, joyful, calm or sad. They also understand the requirements: how to sing a song of a different character, how to move in a calm round dance or in a moving dance. Musical interests are also formed: there is a preference for one or another type of activity, genre of music.

By the age of six or seven, the initial manifestations of artistic taste are observed - the ability to evaluate works and their performance. Singing voices at this age acquire sonority, melodiousness, mobility. The range is leveled, the vocal intonation becomes more stable. If four-year-old children still need constant support from an adult, then with systematic training, most six-year-old children sing without instrumental accompaniment.

The versatile development of the child's personality is ensured due to the close relationship of aesthetic education with moral, mental, and physical education. The implementation of the ideological and moral impact is helped by a properly designed program and works selected in accordance with the age capabilities of children. But the most important thing is the “school of feelings”, which are formed due to the special property of music - to evoke the empathy of listeners.

Cognitive and mental activity is also activated at music lessons. Children learn a lot by carefully listening to the work. However, they perceive only its most general features, its most vivid images. At the same time, emotional responsiveness does not lose its significance if the child is given the task of listening, distinguishing, comparing, and highlighting expressive means. These mental actions enrich and expand the sphere of feelings and experiences of the child, give them meaningfulness.

The harmony of musical and aesthetic education is achieved only when all types of musical activity available to preschool age, all the creative possibilities of a growing person are used. At the same time, by complicating pedagogical tasks, one should not abuse the special children's susceptibility. Musical art itself, its features put forward the need for a teacher to solve a number of specific tasks:

1. Cultivate love and interest in music. Only the development of emotional responsiveness and receptivity makes it possible to widely use the educational impact of music.

2. To enrich the impressions of children by introducing them in a specifically organized system to a variety of musical works and the means of expression used.

3. Introduce children to various types of musical activities, forming the perception of music and the simplest performing skills in the field of singing, rhythm, playing children's instruments. To acquaint with the initial elements of musical literacy. All this will allow them to act consciously, naturally, expressively.

4. To develop the general musicality of children (sensory abilities, pitch hearing, a sense of rhythm), to form a singing voice and expressiveness of movements. If at this age a child is taught and involved in active practical activity, then all his abilities are formed and developed.

5. Promote the initial development of musical taste. On the basis of the impressions and ideas about music received, first a selective and then an evaluative attitude towards the performed works is manifested.

6. To develop a creative attitude to music, especially in such activities accessible to children as the transfer of images in musical games and round dances, the use of new combinations of familiar dance movements, improvisation of chants. This helps to identify independence, initiative, the desire to use the learned repertoire in everyday life, play music on instruments, sing, dance. Of course, such manifestations are more typical for children of middle and older preschool age.

In order for the development of children in this direction to be successful, it is necessary to organize work on musical education, taking into account the characteristics of music and the age capabilities of children.

All musical abilities are united by a single concept - musicality. “Musicality is a complex of abilities developed on the basis of innate inclinations in musical activity, necessary for its successful implementation” (Radynova O.P. “Musical development of children”).

The core of musicality are three main abilities that are necessary for the successful implementation of all types of musical activity: emotional responsiveness, ear for music, sense of rhythm.

Emotional responsiveness to music is the center of the child's musicality, the basis of his musical activity, necessary for feeling and comprehending the musical content and its expression in performing and creative activities.

An ear for music is necessary for pure intonation when singing, a sense of rhythm is necessary for movement, dancing and playing musical instruments.

In the musical education of children, the following types of musical activity are distinguished: perception, performance, creativity, musical and educational activities. All of them have their own varieties. Thus, the perception of music can exist as an independent type of activity, or it can precede and accompany other types. Performance and creativity is carried out in singing, musical and rhythmic movements and playing musical instruments. Musical educational activities include general information about music as an art form, musical genres, composers, musical instruments, etc., as well as special knowledge about the methods of performance. Each type of musical activity, having its own characteristics, involves mastering by children those methods of activity, without which it is not feasible, and has a specific impact on the musical development of preschoolers. That is why it is so important to use all kinds of musical activities.

Musical educational activity does not exist in isolation from other types. Knowledge, information about music is given to children not by itself, but in the process of perception of music, performance, creativity, along the way, to the place. Each type of musical activity requires certain knowledge. For the development of performance, creativity, special knowledge is needed about the methods, techniques of performance, means of expression. While learning to sing, children acquire the knowledge necessary to master singing skills (sound formation, breathing, diction, etc.). In musical and rhythmic activities, preschoolers master various movements and methods of their performance, which also requires special knowledge: about the fusion of the nature of music and movements, about the expressiveness of the game image and its dependence on the nature of music, on the means of musical expression (tempo, dynamics, accents, register , pauses). Children learn the names of dance steps, learn the names of dances, round dances. Learning to play musical instruments, children also gain certain knowledge about the timbres, methods, techniques of playing different instruments.

Thus, it must be remembered that musical development has a positive effect on the overall development of children. The child's thinking improves, the emotional sphere is enriched, and the ability to experience and feel music helps to cultivate love for beauty in general, sensitivity in life. Mental operations, language, memory are also developing. Therefore, developing a child musically, we contribute to the formation of a harmoniously developed personality, which is very important. The musical activity of preschoolers is a variety of ways, means of children's knowledge of musical art (and through it, the surrounding life, and themselves), with the help of which general development is also carried out.

1.2. Formation of the foundations of the musical culture of preschoolers

through the world of musical fairy tale

Musical education plays an important role in the formation of a child's personality, the development of aesthetic feelings, artistic taste, creative activity and moral qualities. The basis of the musical culture of a preschooler is emotional responsiveness to highly artistic works of musical art. Doctor of Pedagogical Sciences O.P. Radynova emphasizes that “the development in children of emotional responsiveness and awareness of perception (emotional and evaluative attitude to music) leads to manifestations of preferences, the desire to listen to musical works that are masterpieces of art, gives rise to creative activity” .

The development of creative abilities and the formation of a harmonious personality of the child occurs through the perception of music, the ability to listen to it, analyze it, as well as through the activity of the child, which manifests itself in various types of musical activity. Children in the learning process must learn to feel the beauty of a piece of music and express their joy from its perception with words, dance, playing children's musical instruments or fine art.

This direction in the field of musical education is a priority, since reflection and analysis contribute to the development of logical and associative thinking, the formation of independent work skills. With the development of thinking, a mature personality is formed, capable of creating and creating. Practical musical activity activates the will of the child, makes the learning process more effective. In the course of music lessons, there is a natural development of speech, the ability to clearly express one's thoughts, to express emotional perceptions and sensations in words.

Everyone loves fairy tales: both adults and children. What is the secret of this universal love for fairy tales? The main thing here, probably, is that a fairy tale is the embodiment of a people's dream, the people's idea of justice, of victory over space and time, the embodiment of faith in the mighty power of their native land. Folk fairy-tale hero, the ideal of the people - the bearer of truthfulness and generosity, physical spiritual strength, constantly ready to put this strength at the service of goodness and justice.

A fairy tale, being an important means of mental development of a child, develops his imagination, helps to understand music. But music also “fills fairy-tale images with a lively heartbeat and awe of thoughts. Music introduces the child to the world of good” (V. Sukhomlinsky). The fairy tale gives a powerful impetus to the development of the kindest feelings in a little person.

In working with younger preschoolers on this topic, simple plays are used. For example, "Nanny's Tale", "Mother" from "Children's Album" by P. I. Tchaikovsky, "Evening Tale" by A. Khachaturian. Kids emotionally respond to music, hear its general mood, tempo, dynamic features, some highlight the melody. With the help of a teacher, they speak out about the nature of music, invent fairy tales, try to convey musical images in drawings and elementary movements, coordinate actions in accordance with the change of parts of a musical work. At musical entertainment with kids, they listen to, and sometimes play musical fairy tales: "Teremok" music by T. Popatenko, "Masha and the Bear" music by E. Tilicheeva. They sound both instrumental and vocal music, which makes it much easier for kids to perceive musical images in a holistic way.

To work with older preschoolers on the theme “Fairytale in Music”, cycles of integrated thematic classes have been developed, including various types of artistic activities for children (listening to music, poetry, Russian folk tales; watching video materials; musical improvisations (movement and playing musical instruments); drawing).

"Magic Lake" - a cycle of six integrated lessons for children in the preparatory group for school includes musical works by A. Lyadov "Magic Lake" and "Kikimora", P.I. Tchaikovsky "Baba Yaga", M.P. Mussorgsky's Hut on Chicken Legs.

With older preschoolers, they continue to listen and act out musical fairy tales using the best examples of classical music. For example, musical entertainment based on the fairy tale by G.Kh. Andersen "Thumbelina", where children performed dance improvisations to the music of C. Saint-Saens "Aquarium", F. Chopin "Nocturne", E. Grieg "Norwegian Dance" and "Morning", then expressed their impressions in drawings. The musical fairy tale "The Snow Queen" (based on the fairy tale by G.Kh. Andersen) was shown by children at the New Year's holiday. The music of E. Grieg "In the cave of the mountain king", "Anitra's Dance", M.I. Glinka's "Waltz-Fantasy", J. S. Bach's "Minuet" in G major, V. Rebikov's "Waltz" from the opera "Christmas Tree", F. Chopin's "Waltz".

Musical fairy tales using small instrumental pieces or excerpts from large pieces of music are a transitional stepping stone to understanding such complex genres as opera and ballet.

In music classes to introduce children to opera or ballet, reading wonderful fairy tales and looking at illustrations for them, as well as paintings by famous artists, they always try to keep the priority of music. All means used in the classroom should help the child to better understand the music, to penetrate deeper into its content.

Over the course of several years, teachers have become convinced that acquaintance with the music of opera or ballet, even with children of the same age, must be carried out in different ways, depending on the complexity, and most importantly, on the musical and general development of children. Acquaintance with literary material takes place in different ways (reading a fairy tale or using the musical and literary composition of this fairy tale), the forms of conducting classes differ.

The children were delighted with the process of preparing the performance, and, of course, the performance itself. How nice it was to see both parents and us, teachers, when the child, while still preparing for his exit, was completely transformed: a soulful face, legs in the right dance position, beautiful, correct posture. And this is especially important for our pupils, since we have a correctional preschool institution and only children with a violation of the musculoskeletal system attend it. And when the dance compositions were performed, everyone completely forgot that these children only yesterday were engaged in physical therapy, attended massage and other medical procedures. And all this happened under the influence of the most beautiful, emotional and sensual music of P.I. Tchaikovsky.

The annual diagnostic examination of children shows that integrated music listening classes, the inclusion of classical music in musical entertainment and holidays, playing musical fairy tales and staging musical performances, visiting theaters have a positive effect on the general and artistic development of children, the formation of their musical and creative abilities. And the world of a musical fairy tale is an excellent means of introducing preschoolers to classical music, developing the emotional sphere, and forming the foundations of musical culture.

1.3. The method of applying a musical fairy tale

in the program of O. P. Radynova

"Musical development of a preschool child"

Fairy tale - it is a world of fantasy intertwined with reality. To understand a fairy tale, you need to be able to fantasize, imagine. To understand music, fantasy and imagination are also needed. Thus, to some extent, a fairy tale and music have common ground in their perception. Therefore, a fairy tale can help teach how to perceive music. Immediately before starting to get acquainted with music, educators read the fairy tale itself or a literary composition with the children so that the children know its content, plot. Acquaintance with such a large work as an opera or ballet takes place over several lessons. For listening, they offer the most striking fragments in terms of music and dramaturgy.

When listening, we pay attention to the sound of the instruments of the symphony orchestra, we find the connection between the timbre of the instrument and the nature of the musical image. So for the fluffy snowflakes sparkling in the sun, the composer had to use bells, triangles, the whistling gentle timbre of the flute in the orchestration; to convey the picture of a blizzard - busts of a harp; and the “blizzard” melody was played by quivering violins. Be sure to show illustrations of these tools.

At the next stage, the children are offered to choose musical instruments for the joint performance of one or another fragment. For the "March" they choose a drum, a tambourine, pipes, rattles, and for the "Lullaby" - a metallophone, a bell, a triangle.

They select illustrations, reproductions that correspond to the plot in order to help children better imagine the scene itself and understand the music. Visual clarity, no doubt, enhances the impressions of music, evokes visual images in their imagination and encourages them to express their perception in creative movement, plasticity, and dance.

The children of the preparatory group are distinguished by an increased level of intelligence, a certain life and musical experience. This allows them to present in an accessible form a certain amount of theoretical knowledge about music. They can be given an idea not only about ballet, but also about opera, explain what an aria, choir, overture, recitative, leitmotif are. It should be emphasized that familiarization with genres and forms of music is not an end in itself. Theoretical information about music is directly related to the content and form of a musical work.

Chapter 2

preschool age

2.1. Musical fairy tale games for preschool children

Musical fairy tale games occupy a large place in the life of the kindergarten. Children play fairy tale games in their free time. Fairy tale games are often part of children's holidays. For example, the game "Pipe" can be played at the May Day holiday, the fairy tale "Cold nose, short tail" - at a holiday dedicated to the release of children to school.

Fairy tale games have a huge educational impact on children. They contribute to the development of artistic taste, singing skills, and evoke joyful emotions. Children better convey the nature of music in movements, they develop speech, clarity of diction, speech intonations.

Before inviting children to listen to a fairy tale, the music director and educator must know it well, master the text, learn the music and perform it artistically. The more expressively the music is performed, the brighter and deeper it will be perceived and the more truthfully and expressively the children will convey the images of the fairy tale.

A fairy tale is usually assimilated in several stages.

At the first stage, the teacher expressively reads the fairy tale to the children, performing the available songs and music along the way. After listening, the children share their impressions with the teachers and with each other. After some time has elapsed, after about a week or more, the hearing is repeated. Thus, children listen to a fairy tale 2-3 times, gradually assimilating and memorizing it.

At the second stage, children are actively involved in the performance of the fairy tale. Mastering and memorizing text and music can go in two ways: a fairy tale can be learned with the whole group or subgroups. It usually goes like this. The teacher reads a fairy tale, and the children - at their own request or at the request of the teacher - say the words and sing the song of this or that character.

Songs that are found in a fairy tale can also be learned with all the children, and then for performance, select those who are better at it. Learning a fairy tale at this stage should be done while sitting on chairs.

At the third stage, children learn the text of the fairy tale and melodies of songs and begin to perform them in the game. The leader gives some directing instructions, for example: where the characters should go, in which direction to move, where they should be, etc. When learning a fairy tale in a game, you should not impose fixed movements, poses on children, you should not give a ready-made model. It is advisable to encourage children to independently identify the image, their creative finds.

If children find it difficult to portray this or that character, you can recall its characteristic features (for example, the bunny is shy, cautious, jumps, looks around; the bear is clumsy, clumsy; the rooster walks with its legs high, proudly holding its head, etc.).

At the fourth stage, you can add the necessary attributes, props to the game.

At the fifth stage, the participants of the game put on full costumes or their elements. Costumes help children to deepen the image, make it more vivid, emotional.

Reading the text of a fairy tale can be entrusted to a teacher or one of the children who has a good memory and can clearly and expressively read the text. When the fairy tale is learned, the participants show it to all the children of their own and other groups. If the fairy tale is not included in the holiday, it is given as an independent performance.

You can organize your visit to this performance as a visit to the theatre. Children take tickets at the box office, controllers check tickets, indicate places where to sit, and after the third call, the performance of the fairy tale begins. It is desirable to deepen and consolidate the impressions to watch this fairy tale again after some time with the same or (even better) with other performers.

2.2. Creating a musical fairy tale with preschool children

The main goal of creating a musical fairy tale with preschool children is to develop the ability of children to freely perceive the world around them, reflect their impressions and attitudes towards the world through creative activity - the art of a musical fairy tale.

Step #1. An introduction to the world of magic.

1. Activate and develop children's interest in the world of fairy tales through reading, watching films, visiting theaters, listening to musical works on fairy themes.

2. Develop auditory attention, imagination, promote comprehensive speech development (verbal communication, literary speech, work on prosody, pronunciation clarity, pace and volume of speech, figurative speech). Learn to differentiate the sounds of the surrounding world. Develop associative thinking in the perception of the sounds of the world.

A specially selected repertoire of “magic music”, sounding in a fabulous atmosphere, allows children to evoke a vivid emotional response, allows them to talk about their ideas, experiences, the nature of the sound, timbre, and share their impressions of what they heard.

The world around is full of different sounds. To show a magical forest, a mysterious country or the singing of birds of paradise, it is necessary to develop such qualities as attention, observation and learn to differentiate the sounds of the surrounding world. For this purpose, exploratory games are held with children: “How does a tree sound”, “How does water sound”.

3. Use elementary music-making to convey feelings and emotions, characters and moods using instruments and substitute instruments to convey characteristic feelings.

Mastering the skills of playing instruments, using the ensemble in various performances.

4. Create an atmosphere of a fairy tale from the objects in the immediate environment.

A fairy-tale image or action is born in an ordinary setting and it becomes necessary to change the situation, to adapt the surrounding objects for a more vivid visual reflection of a particular fairy-tale situation. Associative thinking is included in the work. How to create a fabulous train? How to make a house for three piglets? An ordinary table turns into a hut on chicken legs, blue ribbons - into a lake, gymnastic hoops - puddles on the pavement. But the most important thing in a fairy tale is still a fairy-tale character.

Every child wants to turn into a fairy-tale hero and feels the need to change their appearance. But how to do it without a special suit. But there is a big beautiful scarf that can be a veil, a veil for a princess, it can be a cloak for a prince, a magician, if you tie it on your head you can become a grandmother, if in the form of a turban, then a magician, magician, etc. Just a wand with the help of “magic” words can become magical, and it can also be a magic flute. Pick up a transparent scarf and you are already a breeze, take a white scarf and you are an antique statue.

To feel like a beloved and famous hero of a fairy tale, some help from a teacher is needed. The teacher offers sets of items or elements of costumes, from which the child independently chooses what will help him most vividly express his favorite image. Upon careful examination of objects, it turns out that the same object can be used to identify many characters. For example: cap - Parsley, Clown, Dwarf, Stargazer. Cape - pelerine - Tsarevich's cloak, Puss in Boots, Prince's mantle. A set of hats, skirts, vests, masks - opens up unlimited possibilities for reincarnation.

For the development of associative thinking, the development of fantasy, imagination, the following games are used: "Find a Pair", "Magic Scarf", "Mask, I Know You".

Step 2. Introduction to the atmosphere of a particular fairy tale.

1. Choice of work.

How to choose a work that will really interest children, will correspond to the capabilities and characteristics of a given age, will meet developmental tasks, satisfy children's creative impulse and desire, bring children the joy of communication and reveal their individuality. The teacher will draw most of the information from the first stage of work. Thus, the individual abilities and capabilities of each child will be manifested. But how to make a collective decision, because storytelling is a team effort. Since children do not have rich literary baggage, the teacher brings out well-known and unknown fairy tales in different versions. The children have already familiarized themselves with the main part of the fairy tales at the preparatory stage.

Thus, the range of interests and desires of children is determined and the type of fairy tale that is of interest at a given age is determined.

For example, at senior preschool age, girls want to be princesses, fairies, and boys want to be fairy-tale warriors, princes. Children are invited to remember a fairy tale where the desired characters are present. Girls can name the fairy tale “Sleeping Beauty” (there is a princess and a fairy), boys can name “The Tale of Tsar Saltan” (there are 33 heroes).

2. Acquaintance with the musical arrangement of the performance.

The development of auditory attention. Auditory attention is the most difficult area of development for preschoolers. In order to listen to serious music for a long time, some preparation is necessary. Children must learn to understand where sounds come from, to distinguish them by timbre, to follow the development of sound in dynamics, to determine the nature of sound and music in general. Much attention is paid to this lesson in the preparatory period described above. Therefore, to the perception of the music of the performance, children come already prepared. Since the performance itself is not an exact copy of any fairy tale, but rather a fantasy on a theme, the music in the performance is very diverse. Classical music sounds - Tchaikovsky, Mozart, Vivaldi, Mussorgsky, Rimsky-Korsakov; modern classics - Prokofiev, Sviridov; variety compositions; folk music; children's songs and children's music.

Music can be the background on which the action develops, music helps to enter the desired emotional state, music accompanies all rhythmic actions from the simplest game or signal to the plot staged dance, and, of course, music helps to enhance and brighten imagine fairy tale characters.

Acquaintance with music can occur while reading the text of a fairy tale. Musical fragments can sound like a background, can illustrate descriptions of a character or action. Individual songs are learned while working on the image, dancing characters get acquainted with music while learning the dance, choral or ensemble singing while working on episodes. Very often, acquaintance with music and reading the text of a fairy tale occurs at the same time. Artistic word and music complement each other, reinforce the impressions of what they hear and encourage children to pick up pencils or paints and express their impressions on paper. Someone immediately in the group draws a princess in a fairy-tale castle, and someone at home is thinking about a magical forest. The next day we have our own illustrations, which will further intensify interest in our fairy tales.

Step 3. Work on the characters.

1. Starting work on the characters, the teacher relies on the imagination of the children, on the child's personal experience and memory. The child is invited to tell and show how he imagines this character. Since personal experience is not yet great, the teacher corrects and helps, suggests the most striking features of the character, helps to better understand the image. To do this, it is necessary to encourage the child to display imagination, fantasy. If you need to imagine a magician, then the “Dreamer” exercise helps, if you need to feel like a fairy, then the “Sleep Fairy” exercise helps, if a cheerful clown does not immediately turn out, then the exercise “Parsley jumps” or “Two clowns” will help to move and jump. Often there are very complex characters, special ones that children rarely meet or hear for the first time. It is the novelty of the topic that provides great opportunities for the development of memory, imagination, develops cognitive abilities, horizons. Whole complexes of group and individual exercises are selected for such characters, invented.

Having well imagined and understood his character, he voices it. The child gets acquainted with the text of the character and in the process of learning and memorizing a clear, expressive pronunciation is formed. The child begins to understand that if you imagine the subject in question well and say it expressively, then the text is remembered better and faster.

Thus, work on the character contributes to the development of mental processes - memory, imagination, fantasy, speech.

Interaction with partners and participation in the performance becomes more and more exciting. Knowing and imagining their hero well, being able to speak clearly and expressively in his words, children can easily cope with the mimic solution of the image.

Children are already familiar with the music of the play. Where music plays in the background, children can improvise and create a moving image themselves. Each hero in his own way: the music “Forest” - like Little Red Riding Hood will go through the forest, and like a wolf, the music “Ball” - how ladies dance, but like guards.

There is music for a particular character. For example, staging a dance, where a certain set of movements is already offered. In this case, the music enhances the expressiveness of the image and conveys the image in a harmonious artistic form.

Each character has its own special creative characteristic. The brightness of the image is achieved in different ways, but most of all musical. What is Little Red Riding Hood without songs? Or what oriental guests without dancing? How will the guards manage without a brave song and a cheerful march? How will Cinderella tell about her trouble? Of course, a song. To perform all these especially interesting musical numbers, it is necessary to develop musical abilities.

All the musical material that the child meets during the performance develops musical memory. Music for listening and music for performance require memorization in order to follow the progress of the performance, interact with partners, remember your musical theme and perform it.

Step 4. Creating a stage space.

To do this, you must be able to navigate in any space, be able to determine the boundaries for a given action, divide the space into sectors, lines, the main scene of action, know the sides (left, right, back, forward, diagonally), determine the middle, edges.

Games contribute to the development of orientation: “Remember your place”, “Remember your tree”, “Wind”, “Forest” (trees and animals), “Needle and thread”, “It’s boring to sit like that”, “Path”, “Decoration”, "Scout".

Various rebuilding exercises contribute to the development of orientation. In order to better imagine the pattern of rebuildings, children are offered a visual row of pictograms. Having learned to see and understand space, children quickly find a place for themselves, partners and objects with which they need to interact. Children's improvisation and associative thinking come into play. There is a need to use objects (both decorations and objects - substitutes). Interaction with partners leads to the compilation of mise-en-scenes.

It remains for the teacher to correct the creative hint of the children, not imposing his vision, but jointly “living in” the space with the children. Everything that can serve for the rehearsal of episodes finds its exact place on the site (decoration elements, props). And the elements of the costume find their artist.

Step 5. Formation of the cast (assignment of roles)

Children for some time immersed themselves in the magical world, created it themselves, learned to watch and listen to famous fairy tales and fairy tales invented by children. During this time, children's desires were formed, a circle of interests was outlined, addictions were revealed. The guys tried themselves in all roles - animate and inanimate. We played in different episodes. Now it's time to take responsibility for a specific role in order to bring the performance to the viewer. Children are given the opportunity to express their desire and try themselves in one role or another. As the performance progresses, the child evaluates himself (his abilities, degree of expressiveness, ability to interact with partners). The child is given the opportunity to feel how comfortable he is in this role, whether it is his “clothes”. On the other hand, his comrades evaluate him (mutual assistance, how convincing the image is, the ability to work with partners). The team of children expresses their wishes, determines their sympathies. The joint choice of children determines the performer of the most appropriate role.

The child is given the opportunity to try himself in the image of one or more characters, thereby developing self-confidence, communication in relation to peers. There is a need to determine the second composition of performers so that everyone can reveal their creative potential.

Step 6

The speech is the most exciting and responsible stage in our work. The child gets the opportunity to express himself and believe in himself. A sense of responsibility for the common cause is formed. The child feels the joy of communicating with peers and adults. Adults play the role of helpers and connoisseurs. The social and personal development of the child is carried out.

Step 7. Reruns.

Having received an assessment of the audience and assessing themselves, the performers want to tell the tale “in a new way” - with additions, changes, or even completely change roles. Patient viewers who for some reason did not participate in the first show can also become performers. By consolidating the acquired skills and abilities, each child is individually manifested, revealed through creative activity.

Conclusion

A musical fairy tale, being an important means of a child's mental development, develops his imagination, helps to understand music. But music also “fills fairy-tale images with a lively heartbeat and awe of thoughts. Music introduces the child to the world of good” (V. Sukhomlinsky). The fairy tale gives a powerful impetus to the development of the kindest feelings in a little person.

In musical fairy tales, the spiritual and moral content is enhanced by musical accompaniment, emotional and sensory impact. A certain attitude, attitude towards perception contributes to the awakening in the listeners of the instinct of empathy, complicity, co-creation. A musical fairy tale is a vivid, emotional presentation of fairy-tale events that have a spiritual and moral content.

Given the role of a fairy tale as a carrier of moral and social values and ideals, special attention should be paid to the content aspect, the characterological features of the characters, and dialogue speech in the work. Among the main groups of social and moral norms learned in preschool age, one can name: norms of intra-family relations, norms of behavior, social and moral norms of self-regulation and organization of interpersonal relations, preferences in choosing the ideal of development, aesthetic ideas, etc. Fairy tales presented by the language - these norms lay the ideological and moral foundation of the individual.

The work describes questions - music as a means of developing a child of preschool age; formation of the foundations of the musical culture of preschoolers through the world of a musical fairy tale; the technique of using a musical fairy tale in the program of O.P. Radynova "Musical development of preschool children"; musical fairy tale games for preschool children; creating a musical fairy tale with preschool children.

The purpose and objectives of the course work are achieved.

Bibliography

1. Vetlugina N.A. Musical education in kindergarten - M .: Education, 1981;

2. Vetlugina N.A. Music primer - M .: Prosveshchenie, 1990;

3. Zimina A.N. Fundamentals of musical education and development. – M.; "Vlados", 2000

4. Koreneva T.F. "In the world of musical dramaturgy". M. "Vlados".

5. Metlov N.A. Music for children - M .: Education, 1985;

6. Methods of musical education in kindergarten / under. ed. N.A. Vetlugina. - M, 1982;

7. Makeeva I.P., Churakova M.D., Khoreva L.A. Fairy tale education. The program of classes with children of middle and senior preschool age. Psychological-medical-social center "Phoenix" // Collection of practical materials. - M.: "Planet 2000".

8. Merzlyakova S.I. "The Magical World of Theatre". The program for the development of children's stage creativity by means of theatrical games and game performances. M. "Vlados". 1999.

9. Naumenko G.I. Folklore alphabet - M .: Publishing center "Academy", 1996;

10. Petrova V.A. "Baby". Program for the development of musicality in young children (third year of life). M. "Violanta". 1998.

11. Radynova O.P. "Musical Masterpieces". M. "Gnom-Press". 1999.

12. Radynova O.P., Katinene A.I., Polavandishvili M.L. Musical education of preschoolers / under. ed. O.P. Radynova - M .: Education: Vlados, 1994;

Mordvinova Olga Sergeevna
Job title: music director
Educational institution: MBDOU No. 104 "Geese-swans"
Locality: Ulyanovsk
Material name: article:
Subject:"Musical fairy tale or fairy tale music"
Publication date: 02.10.2017
Chapter: preschool education

Mordvinova Olga Sergeevna,

music director.

Musical fairy tale or fairy tale music.

fairy tale lies

Yes, there is a hint

Music is fabulous

Music has the potential to influence not only adults, but

and for very young children.

Moreover, and this has been proven, even the intrauterine period

extremely important for the subsequent development of man: music,

which the expectant mother listens to has a positive effect on

the well-being of a developing child (perhaps, it forms his

tastes and preferences). Only by developing emotions, interests,

tastes of children, you can introduce them to musical culture, lay it

basics. Preschool age is important for later mastery

a man of musical culture. If in the process

musical activity of children, their musical and aesthetic

consciousness, this will not pass without a trace for the subsequent development of man,

his general spiritual development. "A fairy tale in music" - comprehension

expressive meaning, makes it possible to express their impressions in

various manifestations of creativity, she reveals the theater to children.

Formation of the foundations of musical culture, and through it both artistic and

aesthetic - the most urgent task of today. Fairy tale is the form

the method of influence that the baby is familiar with from the first days of life, and

together with music, it acquires an effective way to realize

pedagogical tasks.

Everyone loves fairy tales: both adults and children. Probably because a fairy tale is

the embodiment of a dream, the idea of justice. Fairy tale, being

an important means of mental development of the child, develops his imagination,

helps to understand music. But the music "fills the fabulous images alive

heartbeat and trembling thoughts. Music introduces the child to the world of good" (V.

Sukhomlinsky). The fairy tale gives a powerful impetus to the development of the kindest feelings.

in the little man.

In musical fairy tales, the spiritual and moral content is enhanced

musical accompaniment, emotional and sensory impact.

A certain mood, an attitude to perception contributes to awakening

in listeners of the instinct of empathy, complicity, co-creation.

A musical fairy tale is a vivid, emotional presentation of fairy tales.

events that have a spiritual and moral content.

A musical fairy tale is an emotional presentation of fairy-tale events,

having a spiritual and moral content.

In working with younger preschoolers, it is possible to use simple

plays. For example, "Nanny's Tale", "Mom" from the "Children's Album" P.I.

Tchaikovsky, "Evening Tale" by A. Khachaturian.

Toddlers emotionally respond to music, hear its general

mood, tempo, dynamic features, some highlight

melody. With the help of a teacher, they speak out about the nature of music,

invent fairy tales, try in drawings and elementary movements

convey musical images, coordinate actions according to the change

parts of a musical work. At musical entertainment with

kids listen to, and sometimes play musical fairy tales: "Teremok"

music by T. Popatenko, "Masha and the Bear" music by E. Tilicheeva, where sounds and

instrumental and vocal music, which makes it much easier for kids

holistic perception of musical images.

To work with older preschoolers, it is possible to complicate tasks for

theme "Fairy tale in music" up to musical improvisations (movement and

playing musical instruments) drawing).

For example, P.I. Tchaikovsky "Baba Yaga", M.P. Mussorgsky's "Hut on

chicken legs."

Musical tales using small instrumental

pieces or excerpts from major musical works are

a transitional step towards understanding such complex genres as opera

For several years, teachers have become convinced that acquaintance

with opera or ballet music, even with children of the same age, it is necessary

be carried out in different ways, depending on the complexity, and most importantly, on

musical and general development of children. Acquaintance with

literary material (reading a fairy tale or using musical

literary composition of this tale), the forms of conducting

The world of a musical fairy tale is an excellent means of familiarization

preschoolers to classical music, the development of the emotional sphere,

formation of the foundations of musical culture.

Fairy tale - it is a world of fantasy intertwined with reality.

A-musical fairy tale is just FANTASTIC music!!!

Developing:

develop the ability to analyze, compare, generalize;
develop children's creativity and independence.

Educational:

based on the emotional perception of music by N.A. Rimsky-Korsakov to develop the imagination of children,
educate interest, the need to communicate with art
develop a student listening culture.

Equipment:

Portrait of N.A. Rimsky-Korsakov
Phonochrestomathy - Three Miracles (excerpts from the opera "The Tale of Tsar Saltan" by N.A. Rimsky-Korsakov - Squirrel, Bogatyrs, Princess Swan).
Pushkin "The Tale of Tsar Saltan" (with illustrations)
Reproduction of Vrubel's "The Swan Princess"
Shadow theater (figures of heroes, squirrels, swan, princess)

Lesson type: reinforcement lesson.

DURING THE CLASSES

1. Message of the topic and purpose of the lesson.

The children enter the classroom "" and sing the musical greeting "Good afternoon".

Teacher:

Do you love fairy tales? What is a fairy tale?

(Reference for the teacher: “A fairy tale is a folklore genre, mainly a prose work of a magical, adventurous or everyday nature with an orientation to fiction” // Encyclopedic Dictionary of V. Dahl)

Who composes them?

a) people - folk tales: “The Snow Maiden”, “The Frog Princess”, “Havroshechka”, “Ivan Tsarevich and the Gray Wolf”; Arabic - "A Thousand and One Nights," Ali Baba "; Danish "Swineherd", "Mermaid";

b) writers - the brothers Grimm, Ch. Perro, Afanasiev;

c) poets - A.S. Pushkin, P. Ershov.

Where can you hear (see) a fairy tale?

Oral story, read in a book, see a play, cartoon, film-tale; musical performance (ballet Tchaikovsky “The Nutcracker”, R. Shchedrin “The Little Humpbacked Horse”, opera “The Tale of Tsar Saltan”, “Sadko”, “Koschei the Immortal” - N.A. Rimsky-Korsakov, symphonic fairy tale “Peter and the Wolf " S. Prokofiev; paintings by artists - Vasnetsov "Three heroes", "Ivan Tsarevich on a gray wolf", "Alyonushka", etc.).

Do songs come with fabulous content? What songs did you sing in music lessons? (L. Knipper “Why the bear sleeps in winter”, A. Filippenko “Merry musician”)

What unites them? - unreality of the situation, fiction, fantastic images.

Performance of the song by L. Knipper “Why does the bear sleep in winter”.

Guys, what fairy tale formed the basis of Rimsky-Korsakov's opera "The Tale of Tsar Saltan"? (work by A.S. Pushkin “The Tale of Tsar Saltan”)

Let's remember the music from this opera.

Task: determine in which musical fragment the composer describes each of the miracles (previously, students name all three miracles - Squirrel, Bogatyri and the Swan Princess).

Hearing.

You correctly learned everything, but what prompted you? (music)

Well, if the music sounded like this, would you easily cope with this task? (Play examples on the piano in the same register and at the same tempo)

Of course, all examples have become the same, inexpressive, it becomes unclear what the music is about.

So, something helps to make music unique, special? (they call the means of musical expression). Let's put all your answers in the system.

Compare the means of musical expression and complete the table with the guys.

Fragment name	wok/instr	Genre basis	Register	Tempo, dynamics	Timbre	Leading agent
Squirrel	tool.	dance	high	fast	flute	melody, dance rhythm
Bogatyrs	tool.	march	short	slowly f	strings	marching rhythm
Swan	tool.	song	medium+	moderately, mf	harp	timbre, harmony

When listening to musical fragments again, you can use shadow theater or rhythmoplasty (to reflect the movement of fairy-tale characters with your hands).

II. With these funds musical expressiveness we meet in every work, but each time there is an independent, different, inimitable musical image. Remember how we performed the song r.n.p. "Whether in the garden, in the garden."

Singing r.n.p. “Is it in the garden...” (with dance movements and children's musical instruments)

Now compare the song and the musical passage from the opera. Let's follow her transformation. As scientists would say - metamorphosis.

(reference for the teacher: metamorphosis (from Greek - transformation) - transformation, transformation (for example, a tadpole - a frog, a chrysalis - a butterfly).

Listening to the fragment “Squirrel”

Together with students, analyze changes in music

Conclusion: from a round dance the song turns into an instrumental work, and the timbre of the flute gives a fabulous touch to the music.

III. Certainly, These fairy-tale characters are based on real creatures. Which?

What makes them fabulous? (fantasy, fiction, they all know how to do something that does not happen in ordinary life)

How did the composer suggest with music that the action is not real, fabulous? (The music clearly emphasizes the theatricality of what is happening)

A hint task before listening: how the fragment begins and what separates each musical number from the next.

Hearing (3)

Student responses:

We hear musical fragments in which there are no miracles.
The sound of the trumpets is like a fanfare. This is how they did barkers for a theatrical performance. (the teacher prompts: it is like an imitation of a puppet booth when the scenery changes behind a closed curtain).

Summary of the lesson; a fairy tale can be told by means of music without the help of words. All words and visual images (those from the field of dramatic theater) replace the means of musical expression (timbre, tempo, harmony, register, rhythm and, of course, melody). You need to be able to listen carefully to music, and it will awaken your imagination, expand and enrich your inner spiritual world.

Additional question:

- What famous instrumental number from this opera, which became an independent work, do you know? ("Flight of the Bumblebee") - hearing

Guys, don't forget that this music is from the opera. And in the opera there is action, there are costumes, scenery. Try yourself in the role of directors, decorators, costume designers.

Creative tasks (optional):

draw scenery, costumes, portraits, illustrations for this fragment of Rimsky-Korsakov's opera (impressions after listening to music);
dramatize any of these fragments.

Introduction
Chapter 1. Distinctive features of a musical fairy tale
1.1. The concept of "fairy tale" in modern literature and its classification




Chapter 1 Conclusions
Conclusion
Bibliography

Introduction

"A fairy tale is a cradle of thought,

be able to put the upbringing of the child

So that he is for life

kept the thrilling memories

about this cradle."

V.A. Sukhomlinsky

Music plays a special role in the upbringing of a child. A person comes into contact with this art from birth, and he receives purposeful musical education in kindergarten - and later at school.

Musical education is one of the means of shaping a child's personality. In musical education, the perception of music by children is the leading activity.

A musical fairy tale enters the life of a child from a very early age and accompanies him throughout his childhood, and often stays with him for life.

In this work, a musical fairy tale is taken as a basis for developing the social qualities of a younger student.

The relevance of the research problem:is that the musical fairy tale is one of the most visual forms of artistic reflection of life, based on the perception of the world through images. However, in the field of musical education of younger schoolchildren, the musical and theatrical activity of children seems to be the least developed direction, while its effectiveness is obvious, as evidenced by numerous psychological and pedagogical studies.

Based on the relevance of the research problem, we formulatedresearch topic:"Musical Fairy Tale"

Purpose of the study- identify the distinctive features of a musical fairy tale.

Subject of study: musical fairy tale.

Research objectives:

to reveal the concept of a fairy tale and a musical fairy tale in modern pedagogical literature;
trace the history of the emergence of a musical fairy tale;
consider the genres and types of fairy tales;
determine the role of a musical fairy tale in the education of children of primary school age.

When studying the issue, the following methods of theoretical research were used:

selection and reading of methodological literature;
search and analysis of literature;
comparison of the studied material;
systematization and generalization of the material.

Chapter 1. Distinctive features of a musical fairy tale

1.1. The concept of "fairy tale" in modern literature and its classification

All people perceive the word "fairy tale" in different ways and put different meanings into it. Let's try to turn to science and find out how the fairy tale is interpreted by different researchers. Here are a few definitions of the tale, taken from various sources:

Vladimir Ivanovich Dal gave the concept of a fairy tale: "A fictional story, an unprecedented and even unrealizable story, a legend."

Sergey Ivanovich Ozhegov - Russian linguist, lexicologist, lexicographer, researcher of the norms of the Russian literary language, Doctor of Philology defined the concept of "fairy tale" as"a narrative, usually folk-poetic, work about fictitious persons and events, mainly with the participation of magical, fantastic forces."

In the Dictionary of the Russian Language, a “fairy tale” is understood as a narrative work of oral folk art about fictitious events, sometimes with the participation of magical fantastic forces.

Literary encyclopedic dictionary. One of the main genres of oral folk poetry, an epic, mostly prose work of magical, adventurous or everyday nature with a fantasy setting.

Sofia Kimovna Nartova-Bochavernotes: "A fairy tale is To short instructive, often optimistic story, including truth and fiction.

Vladimir Ivanovich Anikin writes: “A fairy tale- P a work in which the main feature is the orientation towards revealing the truth of life with the help of conditionally poetic fiction that elevates or reduces reality.

More than a hundred years ago, Russian pedagogy spoke of fairy tales not only as educational and educational material, but also as a pedagogical tool, method. Thus, the unnamed author of the article “The Educational Significance of the Fairy Tale” (1894) admits that “if the same moral maxim is repeated at least a thousand times to children, it will still remain a dead letter for them; but if you tell them a fairy tale imbued with the same thought, the child will be excited and shocked by it.

Fairy tales provide rich material for the moral education of children. No wonder they are part of the texts on which children comprehend the diversity of the world. Vissarion Grigoryevich Belinsky saw in a fairy tale the deepest educational tool: “In childhood, fantasy is the predominant ability and strength of the soul, its main agent and the first mediator between the child’s spirit and the outside world of reality”

Zinkevich-Evstigneeva Tatyana Dmitrievna offers the following classification of fairy tales:

1. Artistic tales

These include fairy tales created by the centuries-old wisdom of the people, and author's stories. Actually, it is these stories that are usually called fairy tales, myths, parables.

2. Folk tales

The most ancient folk tales in literary criticism are called myths. The oldest basis of myths and fairy tales is the unity of man and nature. This includes:

fairy tales about animals
relationships between people and animals,
scary stories,
fairy tales.

4. Didactic tales

5. Psychotherapeutic fairy tales.

Fairy tales that reveal the deep meaning of the events taking place. Stories that help to see what is happening from the other side - from the side of the life of the spirit. Such fairy tales are not always unambiguous, they do not always have a traditionally happy ending, but they are always deep and heartfelt.

The tale has its own varieties:

legends,

tales,

myths,

sagas,

parables,

anecdotes - this is not a complete list of fairy-tale forms.

There are fairy tales about animals, magical, short stories.A fairy-tale image or action is born in an ordinary setting and it becomes necessary to change the situation, to adapt the surrounding objects to more vividly reflect this or that fairy-tale situation. Associative thinking is included in the work. How to create a fabulous train? How to make a house for three piglets? An ordinary table turns into a hut on chicken legs, blue ribbons - into a lake, gymnastic hoops - puddles on the pavement. But the most important thing in a fairy tale is still a fairy-tale character.

Every child wants to turn into a fairy-tale hero and change their appearance. But how to do it without a special suit. But there is a big beautiful scarf that can be a veil, a veil for a princess, it can be a cloak for a prince, a magician, if you tie it on your head you can become a grandmother, if in the form of a turban, then a magician, magician, etc. “Just a wand with the help of “magic” words can become magical, and it can also be a magic flute. Take a transparent scarf in your hands, and you are already a breeze, take a white scarf, and you are an antique statue.

1.2. The concept of a musical fairy tale in modern pedagogical literature

Musical education plays an important role in the formation of a child's personality, the development of aesthetic feelings, artistic taste, creative activity and moral qualities. The basis of the musical culture of a preschooler is emotional responsiveness to highly artistic works of musical art. Doctor of Pedagogical Sciences Olga Petrovna Radynova emphasizes that “the development in children of emotional responsiveness and awareness of perception (emotional and evaluative attitude to music) leads to manifestations of preferences, the desire to listen to musical works that are masterpieces of art, gives rise to creative activity.”

A fairy tale is a fantasy world intertwined with reality. To understand a fairy tale, you need to be able to fantasize, imagine. To understand music, fantasy and imagination are also needed. Thus, to some extent, a fairy tale and music have common ground in their perception. Therefore, a fairy tale can help teach how to perceive music.

musical fairy tale- a musical stage work in which dialogues, songs, music, dances are intertwined, while the plot, as a rule, is uncomplicated.

musical talescontribute to the development of artistic taste, singing skills, cause joyful emotions.

A fairy tale, being an important means of mental development of a child, develops his imagination, helps to understand music. But music also “fills fairy-tale images with a lively heartbeat and awe of thoughts. Music introduces the child to the world of good. The fairy tale gives a powerful impetus to the development of the kindest feelings in a little person.

In musical fairy tales, the spiritual and moral content is enhanced by musical accompaniment. A certain mood contributes to the awakening of empathy, complicity, and co-creation in listeners.

Musical fairy tales are always loved by children. Children with great pleasure transform into one or another character, experience ongoing events, fight evil and are always ready to help the weak.

In 2002, social educators of the Phoenix Psychological-Medical-Social Center Makeeva I.P., Churakova M.D., Khoreva L.A. created the Educational Fairy Tale program for children of middle and senior preschool age, where the primary task is to expand children's ideas about the world around them by introducing them to literary and musical culture and creating conditions for the active inclusion of children in speech, music, art, and play activities related to the figurative structure and plot of a fairy tale.

Merzlyakova Svetlana Ivanovna - Honored Teacher of the Russian Federation, for many years the organizer of methodological work in Moscow on the musical education of preschool children. Author of numerous printed works, including programs, teaching aids, collections containing musical and literary practical material, notes on music classes, holiday scenarios. We are interested in her program for the development of children's stage creativity by means of theatrical games and game performances "Magic World of Theater". In it S.I. Merzlyakova notes that theatrical fairy tale performances not only introduce the content, recreate specific images, but also teach to deeply feel the events, the relationship between the characters of this work. Theatrical fairy tales contribute to the development of children's fantasy, imagination, memory, all types of children's creativity (artistic and speech, music and games, dance, stage).

Staging a fairy tale is a wonderful key that opens the door to the magical world of images, colors, sounds. This is creativity, improvisation, requiring labor and imagination from children, and from adults - fiction and ingenuity in costumes and scenery.

A poetic text is remembered by children better than a prose one, therefore many fairy tales of famous writers are translated into a poetic rhythm, which greatly facilitates the work with the text. The plot of the musical fairy tale includes classical and folk music. You can also use modern pop songs available to children. In children's performance, they sound more emotional.

Music can be the background on which the action develops, music helps to enter the desired emotional state, music accompanies all rhythmic actions from the simplest game to the plot staged dance, and, of course, music helps to present fairy-tale characters more vividly.

Zimina Angelina Nikolaevna teacher, doctor of pedagogical sciences, corresponding member of the International Academy of Sciences of Pedagogical Education in the textbook "Fundamentals of musical education and development of young children" considers the basics of the theory and methodology of musical development of children, types of children's musical activity and its organizational forms. Chapter II "Types of children's musical activity" considers a musical fairy tale - as a type of musical activity of a preschooler. The main goal of creating a musical fairy tale with preschool children is to develop the ability of children to freely perceive the world around them, reflect their impressions and attitudes towards the world through creative activity - the art of a musical fairy tale.

1.3. The emergence of a musical fairy tale

A fairy tale in music is a very interesting, original genre, which owes its assertion to Russian musical culture. Although related epic instrumental genres - the ballad, the legend - were known to Western European music of the 19th century, the tale itself took shape precisely in Russian music, probably due to its deep roots in the archaic layers of folklore.

Many Russian composers turned to fairy tales in their work. Mikhail Ivanovich Glinka recalled: "Songs, fairy tales, heard by me in childhood, were the first reason that I began to develop mainly Russian folk music." Just as Pushkin opened the era of new Russian literature, so did M.I. Glinka laid the foundation for the Russian classical fairy tale (the opera Ruslan and Lyudmila). Both artists are united by a bright perception of the world. Another Russian composer, Nikolai Andreevich Rimsky-Korsakov, said this: "My kind is a fairy tale, an epic ... and certainly Russian." He knew and loved the music of M.I. Glinka. ON THE. Rimsky-Korsakov is a composer and storyteller, since nine out of fifteen operas he wrote based on the plots of Russian fairy tales and epics (the operas The Golden Cockerel, The Tale of Tsar Saltan, etc.). The initiative of N.A. Rimsky-Korsakov, who created the symphonic "Fairy Tale" in 1880, was picked up by Sergei Ivanovich Taneyev, who included the fairy tale in his Concert Suite for Violin and Orchestra (1909), and further developed by Nikolai Karlovich Medtner in his works"Elf Tale" op. 48 No. 2, Fairy tale op. 26 No. 1 with the indicative author's note Allegretto fres-camente. Some of Medtner's fairy tales are designed in the spirit of certain types of musical picture, for example, movement pictures ("The March of the Knights" op. 14 No. 2) or sound-visual ("The Bell's Tale" op. 20 No. 2, "The Birds' Tale" op, 54 no. 1). And in the fairy tale op. 35 No. 4" King Lear " features of both of these varieties are combined.Sergei Sergeevich Prokofievcomposed music for the text of Andersen's famous fairy tale "The Ugly Duckling", fairy-tale plots in the basis of the ballets "Cinderella" and "The Tale of the Stone Flower". Among the "fabulous" works of Prokofiev are the piano pieces "Tales of the Old Grandmother", the ballet "The Tale of the Jester Who Cheated on Seven Jesters", the opera based on the plot of the Italian fairy tale by Carlo Gozzi "The Love for Three Oranges". Everyone knows the symphonic fairy tale for the reader and the orchestra "Petya and wolf".

The special quality of the synthesis of plot and picturesqueness, their vivid manifestation in music in the absence of a plot program, is a remarkable specificity of the genre, distinguishing it from other programs and limiting its connection with the folk epic prototype. The musical genre conveys only a general fairy-tale atmosphere, without striving to retell any primary sources. This is his special charm, obviously, deliberately protected by the authors.

1.4. Genres of music used in musical fairy tales

In music, literature and other forms of art, various types of works have developed during their existence. In literature, this is, for example, a novel, a story, a story; in poetry - a poem, a sonnet, a ballad; in painting - landscape, portrait, still life; in music - oratorio, opera, symphony. The genre of works, their variety, often determined by typical features, within the limits of one kind of art, is called the French word genre (genus, species).

So the genre - a certain type of work, within which an unlimited number of works can be written. Over time, various genres have changed, but at the same time retained their main features, characteristic "signs" that allow us to judge the origin of the genre. Music genres differ from each other in terms of content and form, and these differences are caused by life and cultural goals that are unique for each genre.

The genres of lyrical music include a huge area of lyrics, in which there are a wide variety of its types and shades, ranging from serenely calm to dramatic ones (for example, a dramatic aria or an idyllic-light pastoral).

The vital purpose of a lullaby is to calm the child, and the music immerses us in the measured rhythm of rocking movements. A person also needs an artistic understanding of the most subtle movements of the soul. This is how gently sad elegies appear, nocturnes shrouded in the mood of the night, intimate leaves from the album, artless songs without words. The most varied feelings of a person are reflected in a romantic prelude, like a lyric poem. Fantasy pleases the listener with the looseness of the imagination, the free flight of thought. The fugue is an example of strict, concentrated reflection.

In music associated with the organization of movement or its image, the genres of the march and numerous dance genres have developed. In the march, melody, rhythm, texture and other expressive means are ideally adapted to the step.

The field of dance is boundless, its significance in music is great, because dance and song are the primary genres of all musical art. Cheerful and joyful, folk dance makes you feel briskness and enthusiasm, sedateness and solemnity. And here is a huge variety of national traits: let's compare Russian trepak and Georgian lezginka, Hungarian shardash and Latin American rumba, etc. Many dances originated as local genres of folk music and subsequently spread throughout the world. Folk dance music had a huge impact on professional art, receiving new impulses for development in its depths, enriching the arsenal of its expressive means.

Genres of high "serious" music, such as sonata, opera, symphony, instrumental concerto, require deep, concentrated perception from listeners. Their main goal is the spiritual elevation of a person, the development of spiritual culture. The symphony is one of the most capacious and complex genres. In terms of the breadth of coverage of life, the versatility of its coverage, it resembles a novel or a drama. It symbolically reflects the whirlpool of life's clashes, struggles, conflicts, reflections of a person about life.

Song and dance genres make an important contribution to the professional music of large forms. They tell her accessibility for perception, national soil, completeness of expression, vitality. Musical language becomes concrete, tangible.

The main genres of orchestral music are symphony, one-movement symphonic poem, concert overture, instrumental concerto. These are symphonic genres. Genres of choral music - choral suite, cantata, oratorio, mass, requiem. In the twentieth century, new genres arose - film music, pop music.

1.5. The role of a musical fairy tale in the education of children of primary school age

Introducing children to musical creativity in our kindergarten is carried out by creating a musical fairy tale, which makes it possible to help children discover and develop creative qualities that are so important for a modern person, frees the child from complexes, gives him a sense of his own identity, brings a lot of joyful minutes. As well as the ability to experiment, freely communicate with peers and older comrades, manage emotions, make decisions on their own - these qualities will be very useful for the guys in later life.

The main goal of introducing children to a musical fairy tale is to educate a musically developed listener and performer who is able to sensitively, emotionally perceive the world around them and express their attitude to everything that happens.

Musical fairy tales have a huge educational impact on children, they contribute to the development of artistic taste, singing skills, and evoke joyful emotions. Children better convey the nature of music in movements, they develop speech, clarity of diction, speech intonations. The development of creative abilities and the formation of a harmonious personality of the child occurs through the perception of music, the ability to listen to it, analyze it, as well as through the activity of the child, which manifests itself in various types of musical activity. Children in the learning process must learn to feel the beauty of a piece of music and express their joy from its perception with words, dance, playing children's musical instruments or fine art.

Musical fairy tales using small instrumental pieces or excerpts from large pieces of music are a transitional stepping stone to understanding such complex genres as opera and ballet.

Everyone loves fairy tales: both adults and children. The main thing here is that a fairy tale is the embodiment of a people's dream, the people's idea of justice, of victory over space and time, the embodiment of faith in the mighty power of their native land. Folk fairy-tale hero, the ideal of the people - the bearer of truthfulness and generosity, physical spiritual strength, constantly ready to put this strength at the service of goodness and justice.

Many fairy tales inspire confidence in the triumph of truth, in the victory of good over evil. The optimism of fairy tales especially appeals to children and enhances the educational value of this tool.

Chapter I Conclusions

Based on the work done, we determined that musical education is one of the means of shaping the personality of a child.

Musical fairy tales contribute to the development of artistic taste, singing skills, and evoke joyful emotions.

Fairy tales contribute to the development of children's fantasy, imagination, memory, all types of children's creativity (artistic speech, music and games, dance, stage).

Many great Russian composers turned to fairy tales in their work. Through the perception of fairy-tale material, a musically developed listener and performer is brought up, capable of sensitively, emotionally perceiving the world around him and expressing his attitude to everything that happens.

A musical fairy tale helps children develop their creative imagination, and at the same time shows by examples what character traits should be cultivated in oneself, triggers the mechanism of self-development, awakening the child's personal potential.

Conclusion

The fairy tale does its job: it helps the child navigate the world around him, enriches his spiritual life, makes him feel like a fearless participant in imaginary battles for justice, for goodness, for freedom, and when the need for it passes, the child himself destroys it. But until the age of seven or eight, a fairy tale for every normal child is the most healthy food - not a treat, but a daily and very nutritious bread, and no one has the right to take away this irreplaceable food from him. A child needs a fairy tale in order to experience this period, most useful for his mental development, as fully, magnificently, richly as possible. It is necessary to use the child's attraction to a fairy tale in order to develop, strengthen, enrich and direct their ability to creative dreams and fantasy. Those who fantasize own the future. Now it is already considered generally accepted true that a fairy tale improves, enriches and humanizes the child's psyche, because a child listening to a fairy tale feels like an active participant in it and always identifies himself with those of her characters who fight for justice, goodness and freedom. It is in this active sympathy of small children with the noble and courageous heroes of literary fiction that the main educational significance of the tale lies. The task is to awaken, educate, strengthen in the receptive child's soul this precious ability to empathize, sympathize, and rejoice, without which a person is not a person.

Only this ability, instilled from early childhood and brought to the highest level in the process of development, created and will continue to create the Bestuzhevs, Pirogovs, Nekrasovs, Chekhovs, Gorkys ...

In the course work, we plan to identify and justify the influence of a musical fairy tale on the formation of the artistic and aesthetic taste of preschool children.

Exakustidi Elena Vitalievna
Musical fairy tale as a means of introducing children to the theater

« musical fairy tale, How "

music director

Exakustidi Elena Vitalievna.

musical fairy tale, How means of introducing children to the theater

Fairy tale -"cradle of thought". This figurative expression of V. A. Sukhomlinsky is not accidental. It was the result of studying the nature of one of the most popular genres of folk art. Exactly at fairy tale the child gets acquainted with the beauty of the native word, learns its emotional colors and shades.

What's happened musical fairy tale? This fairy tale, "written" by using music, and therefore the actions-deeds, feelings-moods of the characters are manifested very clearly. And what do the children say? - This fairy tale, where the characters not only speak, but also sing, dance, play musical instruments. This is an exciting journey with music to the fairy tale world, where you can be both a spectator, and a performer, and a writer. This is a celebration of meeting with favorite heroes of well-known fairy tales.

musical tales different from the usual fairy tales for children. They are bright, original, somewhat unusual for traditional perception. Plot unfolding fairy tales accompanied by music which is characterized by simplicity and clarity. musical tales develop artistic taste, creativity, form a steady interest in theatrical art, which further creates in the child the need to turn to theater as a source of emotional empathy, creative participation. The artistic and pedagogical value of children's musical fairy tales is beyond doubt. Well-known teachers S. I. Merzlyakova, F. Z. Gershova, Z. Ya. Root, N. V. Zaretskaya, E. Churilova, L. Olifirova work on this topic.

At the same time, this genre of children's musical creativity has not been sufficiently studied, in the methodological literature there is very little data on the experience of its practical application in musical and artistic education children preschool age. Insufficient knowledge of the problem in theory and practice music education for children preschool age determines the relevance of this topic.

Based on this basic premise, goals and objectives are formulated as follows:

Goals:

The formation of an aesthetic attitude to the world around;

involve children in theatrical activities;

Develop aesthetic sense through the perception of the best examples musical and artistic culture;

To teach basic artistic knowledge, practical skills in the field theatrical art;

Develop the fundamentals of acting.

Tasks:

Improve the comprehensive development of creative abilities children by means of theatrical art.

To develop creative independence in creating an artistic image, using game, song, dance improvisations for this purpose;

Continue to activate and refine the dictionary children.

encourage children improvise on the theme of acquaintances fairy tales, invent stories of their own composition individually and collectively;

To form a desire to take an active part in holidays and entertainment, using skills and abilities, acquired in the classroom and in independent activities;

Introduce theatrical genre - musical fairy tale, through the use of all stage funds: word, music, movement, facial expressions, plasticity, improvisation.

novelty - Music + fairy tale + theater. Who does not dream from childhood about the fusion of these words into a single whole. We are trying to translate this dream into our practical activities. Musical fairy tales are always loved by children..

staging musical fairy tale is a wonderful key that opens the door to the magical world of images, colors, sounds. This is creativity, improvisation, requiring children of labor and fantasy, and from adults - inventions and ingenuity in costumes and scenery.

Stages of work:

Script writing;

Acquaintance children with fairy tale text;

Acquaintance children with the musical content of a fairy tale(full performance);

Acquaintance children with music and the text of each character separately;

Text learning fairy tales with all children the educator;

Distribution of roles, appointment of understudies;

Game exercises, etudes that contribute to the practical and emotional development of actions according to the plot;

Staging work on a holistic performance;

Show musical fairy tale.

A poetic text is remembered better than a prose one, so many fairy tales famous writers are translated into poetic rhythm, which makes it easier to work with the text. Into the plot musical fairy tale included classical and folk music. You can also use modern pop songs available to children. In children's performance, they sound more emotional.

Scenarios for matinees and entertainment are compiled as small theatrical performances, or mini-performances, where favorite heroes familiar from childhood are involved, scenario development can be conditionally called musical fantasies on fairy-tale themes. We successfully weave new, unusual characters invented by children and adults into the traditional plot. This creates a warm environment and thus helps the child to adapt to new conditions. At the holidays, children are both spectators and artists at the same time, so they are included in the action, going out directly from the auditorium and not from behind the scenes. Adults are active participants in the performance. This form of celebration allows you to create a figurative - playful Wednesday favorable for the development of the creative abilities of the child, and the presence musical and poetic material that meets a high artistic level, contributes to the development of the child's aesthetic taste.

creative activity children at matinees leads them to the fact that in the preparatory group for school they can perform a children's opera. For staging a children's opera, the choice of a literary work, which forms the basis of the libretto, is of great importance.

We choose a literary work together with the educator, taking into account knowledge and interests children. We think in advance with the educator how best to convey to the child the content of the text and music. We try to make every child interested fairy tale, expressed a desire to play a particular role.

After reading fairy tales we offer to listen to the opera in its entirety, and then we listen music under which each character operates. We analyze the character and features of the characters and compare them with the visual features music.

Then the teacher learns the text with all the children, paying special attention to the expressiveness of speech.

When assigning roles, we take into account individual characteristics children, their vocal abilities. For each role we choose an understudy.

We are creative in our work: we try to avoid patterns, cramming - this gives us the opportunity to develop all children at the same time regardless of their level of training. Our goal is not to be limited to screenwriting, directing and staging work with children - "artists", and through the whole life of the kindergarten, through all types of children's activities, to solve problems aimed at the formation of creativity in children.

Work on the opera - analysis of the content of the work, distribution of roles, game exercises, etudes that contribute to the practical and emotional development of actions in the plot, and finally, staging work on a holistic performance - we carry out in special classes (circle work, at least once a week for 25 - 30 minutes in the afternoon.

big performances (musical fairy tales, children's operas) should not be more than two, as much preparatory work is required. We mainly prepare opera productions for March 8 or for the Graduation Party, and it has also become a tradition in our kindergarten to hold at the end of April theater festival for which all groups are preparing theatrical performances. But during the year, thanks to systematic work, it is possible to use a large number of other theatrical games(board, poster, games - dramatizations). We introduce them as spectacular entertainment, as a fragment of a festive concert or matinee.

For example, in opera "Kolobok" the storyline develops based on the eponymous Russian folk fairy tales. This fairy tale introduces children into the figurative world of Russian folk characters, but at the same time, modern, genre music. The performance makes you feel the connection between poetry and music, plastics of movement and dramatization.

Genre « Tales of the Silly Mouse» can be defined as dramatization with elements of choral performance. The children's opera was created based on the work of S. Ya. Marshak, music was written by. Getalova. Children perform the work in one breath, they are located like a real choir, the action of the characters takes place against the backdrop of singing children. Changed ending fairy tales: the mouse does not die in the mouth of a cunning cat, but is saved and understands that there is no one better than his own mother. It is from this fairy tales In 2003, I started using children's opera in my work.

Musical "It was in the forest" represents a combination musically– aesthetic education and familiarization children with the basics of life safety. In a well-known to all since childhood fairy tale"The wolf and the seven Young goats" new characters were added - Cuckoo, Fox, even the trees in the forest became the main participants fairy tales. In an accessible form of an opera performance for children tells about how to behave when left at home alone, teaches mutual assistance.

Based on the opera "Fly Tsokotukha" took the clavier of the opera by Mikhail Ivanovich Krasev. Bright, cheerful creativity of Krasev is almost completely given to children. Opera "Fly Tsokotukha" occupies a special place among musical tales/libretto by the composer after the famous fairy tale Korney Ivanovich Chukovsky/. Witty, quirky, funny music was written in the difficult war year of 1942 for a children's club, which was created by Moscow guys evacuated in the Urals.

Music of this opera is accessible and expressive, full of rapid movement and very rhythmic. Our pupils managed to combine in it simplicity and lightness with well-aimed musical images.

Vaudeville "Our Good Neighbors" music e. Churilova is a continuation fairy tales C. Y. Marshak "Cat house". He develops love for his family, and respect for other families. By using music and poems, children received elementary ideas about the traditions, culture, moral principles of different families.

Musical fairy tale based on the work of C. Mikhalkov « The tale about how the bear found the pipe" talking about bad habits. In an accessible form, children are told about the dangers of smoking, about the diseases that a smoker may have, about the smoker's dependence on tobacco. The performance was attended by children sufficiently prepared: mastering elementary musical and dramatic skills.

"Fire in the Forest"- this poem on fire safety was published in the magazine « Musical director» . Solo and choral parts fit very well on children's songs written by A. Filippenko, and also used "A song about a match" music I. V. Kononova from the collection "Fire Safety Scenarios for Preschoolers".

Fairy tale"Kid - kuraist" very simple in plot and clear in concept. The image of a magical kurai personifies magical power music and gives power over the human soul. And it is very important in whose hands this power is: in good, like the Kid, or in evil, like the Fox. musical fairy tale"Kid - kuraist" written for children primary school age, but the children of the preparatory school group did an excellent job with the task: learned not only to pronounce the text well, sing and dance, but also believed that they "turn" and took things seriously. Actor's naivety and faith in the proposed circumstances is one of the main elements of stage skills.

In 2012 equipment musical The hall was replenished with a multimedia projector and a laptop, which allowed us to expand the possibilities of decorating matinees. The change of slides on the screen, according to the script of the opera, made it possible to perceive the general content brighter and deeper musical and choreographic fairy tale"Journey of a Droplet", written by a wonderful children's composer F. Z. Gershova based on Tales of Salavat Karim"Droplet". All vocal parts are written taking into account the children's performing voice, which helped a lot when learning the vocal parts of each character.

This year, the teacher of the senior group and I planned to prepare musical fairy tale based on Russian folk fairy tales"Puff - puff" composer S. I. Potapov, author of the text A. O. Kraeva ( "Directory music director» , March 2012). Fairy tale intended for the participation of all group children. In time, it lasts 10-12 minutes. The production requires a minimum of scenery and costumes, it is enough for children playing the role of vegetables to wear hats. IN fairy tale no dancing, but during the singing, the characters are in motion, in accordance with the image and the event.

Preparation musical fairy tales in kindergarten, as one of the types of choral activities, is of great importance for kindergarten students. The interpenetration of such related arts as music, dance, literature gives children the opportunity to express their creative abilities.

On a variety of song material musicalopera performances develop vocal and choral skills: various types of breathing, sound science, meaningfulness of phrasing, tasks of tempo and emotional contrasts are performed, naturalness and expressiveness of sound.

Working with pupils on a particular role, we pay great attention to the analysis of the characteristics of the characters and the expressiveness of their performance. At the same time, we have to compare and contrast the characters, their specific coloring. In the work on the expressiveness of the choral performance, we use the method of emotional-figurative analysis of the content, so that children see the relationship between the figurative expressiveness of the word and music. All this contributes to musical development of children, and mental, stimulates their interest in music.

The educational role of working on an opera is hard to underestimate. Perceiving it as something important and interesting, the children regularly attended classes, realizing how important each member of the choir is in our work. Performances in front of other pupils of the kindergarten each time organized children, and the success of the production musical fairy tale encouraged children to further work.

The educational function of children's opera is one of its genre features. Fairy tale permeates the entire structure of the opera, achieving a special effect by contrasting positive and negative. Its grain is the moral principle. Idea fairy tales teaches the child to make the right choice, thereby forming positive personality traits.

Setting value musical fairy tales were also appreciated by parents. In conversations with them, we found out that they were interested in our work, rehearsals, performances, they were pleased to see singers and dancers in their children. Parents helped a lot in preparing the costumes.

So the staging musical fairy tales very accessible in kindergarten classes, it enhances interest in choral singing, develops artistic abilities children, their fantasy, joins them to high art.

Practical significance: Our work experience has been tested for 11 years. Can be used musical leaders of preschool institutions theater studios.

musical fairy tale creates conditions for the development of creative activity children in the theater activity through singing, musical perception empathy for the characters fairy tales encourages students to improvise means of facial expressions, expressive dance movements and intonations, teaches to distinguish between moods, emotional state through music. musical fairy tale contributes to the formation of a system of value relations to the world around.

Application

How did the bear find the pipe?

The hall is decorated in the form of a forest clearing. On the left is a tall oak - a chair with a crown, on the right - a lair. Two come out storytellers.

1 STORYTELLER- The forester decided to quit smoking - he threw his pipe, tobacco pouch and homemade lighter behind a bush in the forest. And the Bear found them. Since this all started.

2 STORYTELLER- The Bear began to smoke a pipe. And he got used to her so much that he never wanted to leave. Earlier, it happened, the Bear would wake up, warm up to the river, run to swim and catch fish, and then climb into the raspberries or hollows for honey.

1 STORYTELLER- And now, a little light will open his eyes, fill his pipe, put it in his mouth, strike it with a lighter and lie under a bush, blowing smoke. So a whole kid with a pipe in his mouth and falls through. And everything would be fine, but the Bear began to get sick.

The storytellers leave. Lisa comes out.

Aria of the Fox.

The fashionista Fox came out,

Looks straight into the lake.

In the lake crystal, clean, mirror.

Oh. What a wonderful fur

I am always the prettiest. (Bear exits)

Misha! My friend! Is that you?

We haven't seen each other all summer.

How did you lose weight

It's like I haven't eaten in a year!

What's wrong with you? You are sick?

Aria Bear.

I don't know what's wrong with me!

Something makes me sick:

Wool climbs, ache in the bones,

I don't eat anything -

Appetite completely gone!

I began to go to bed earlier,

Don't sleep! Can't sleep at all!

Cough choking in the morning

Nausea in the evenings:

Pricks the heart, trembling in the paws.

FOX - Why won't you go to the Woodpecker?

You need to contact the Woodpecker!

He is such a bird:

He'll tell you right away what's what.

Do not be lazy. Go to him!

BEAR - I'll wait a week,

It gets worse, so I'll go.

Fox and Bear go in different directions. Coming out 2 storyteller.

2 STORYTELLER - It's been a week, another passed. Bear got worse. He walked like a ravine. I met the wolf.

Aria Wolf.

Listen, Misha - Michael!

What did you do? How did you live?

The sides collapsed - the skin became great!

Are you sick?

BEAR - Yes. I'm sick.

WOLF - What's wrong with you?

BEAR - I don't know...

Aria Bear.

I'm lost!

WOLF - You will be lost1

We must contact the Woodpecker!

He is such a bird!

Understand, give advice.

Yes, yes! And no, it's not!

BEAR - Tomorrow I will go to him!

WOLF - Will you find him?

BEAR - I'll find it!

The bear is walking down the hall. The wolf leaves. The bear approaches "pine"- the chair on which the Woodpecker stands.

BEAR - Woodpecker! Woodpecker! Old friend!

You go down to the lower bough!

DOOPER - Ba! Hello Toptygin!

Are you healthy?

BEAR - Apparently not!

Aria Bear.

WOODWORKER - Apparently, you smoke, if you don’t drink?

BEAR - Yes, I smoke. How do you know?

UNCLE - You stink of smoke!

Well - kA, sit under this bough!

Give - to your back. Knock-Knock!

Yes - with! Tapping is not easy

Bears of such growth!

Do not breathe and do not sniff:

You are sick, even though you are a Bear.

Well - with ... Everything seems to be clear to me ...

BEAR - Not deadly? Not dangerous?

Woodpecker - Soot has accumulated in the lungs -

Smoking is the problem!

Do you, Toptygin, want to stomp?

Quit smoking forever!

BEAR - Quit? Handset? Lighter?

And with a dry leaf pouch?

I can not! I won't quit! It's a pity!

Woodpecker - Do it - what is my advice!

And not in your lair

You will soon stretch your legs!

The woodpecker flies away. The bear is walking down the hall. He sits in the den, takes out his pipe, looks at it, puts it in his mouth. There is a knock. The bear hides the pipe, looks around, puts it in his mouth. (2-3 r).

1 STORYTELLER- All summer and all autumn, until the very winter, the Bear quit smoking a pipe, but he never quit. Winter came. Somehow the Forester went to the forest for firewood.

The Forester comes out, pulling a sled behind him. Bypasses the den, approaches the Bear.

FORESTER - Here they are! And from the den - then the smoke pours! Paws up!

Points a gun at the Bear, he cannot raise his paws. He gets up, staggers, rubs his eyes.

FORESTER - Who do you look like, Bear: shreds of wool, watery eyes from smoke, a pipe in my teeth (picks up the phone, and the pipe is mine. I didn’t wait - I didn’t guess!

He puts the receiver in his sheepskin coat, puts the Bear on the sled, drags him. The Forester comes out to meet.

FORESTER - What did you bring from the forest, Fedya?

FORESTER - Look, he brought a bear.

FOREST - Real!

FORESTER - Real! And besides, he's a smoker!

FORESTER - What do we do with him now?

FORESTER - How to do what? Let's go to the circus!

They drag the Bear together. Come out Storytellers.

1 STORYTELLER There is a bear in our circus.

Come see.

If someone passes by

With a cigarette in my mouth