Pedagogical interaction between the educator and the music director in order to improve the process of musical development of children. Consultation "Interaction between the educator and the music director in solving the problems of musical education

Sections: Working with preschoolers

The problem concerning the peculiarities of the interaction between the educator and the music director is not new. The issues of professional cooperation of teachers were considered in the works of Vetlugina N.A., Zimina A.N., Radynova O.P., Gogoberidze A.G. and etc.

At present, when one of the requirements of the FGT is the integration of all educational areas and, consequently, the activities of the entire kindergarten team in the process of forming the integrative personal qualities of children, the issues of cooperation between the participants in the pedagogical process are highlighted most acutely. In this regard, it is necessary to build a system of work on the interaction of teachers of preschool educational institutions.

The inspirer and organizer of the process of musical education and development of a preschool child in kindergarten is the music director with the helping participation of the teacher. However, in practice, such interaction is not always carried out.

Causes of problems in the implementation of mutual cooperation:

Musical director	caregiver
1. Does not know (or does not know well) the peculiarities of the general cultural competence of teachers in a particular kindergarten, their musical needs and interests, and also poorly represents their role in the pedagogical process.	1. Does not know (or does not know well) the functional duties of the music director, his role in the pedagogical process of the preschool educational institution.
2. There is no professional help and support for each other, joint solution of the problems of upbringing and development of the child through music (often it all comes down to preparing matinees and entertainment).
3. Self-withdrawal from the pedagogical process in the preschool educational institution (does not participate in methodological work, drawing up an annual plan, etc.)	3. Does not know his duties in the process of conducting a music lesson.
4. Does not have enough knowledge of the basics of pedagogy and psychology of preschoolers.	4. Does not possess special performing skills, is poorly oriented in the world of musical art, is practically not familiar with the specifics of the children's musical repertoire. He has poor knowledge of the basics of the methodology of musical education.
5. There is no system of work with the family.

To resolve the emerging contradictions, the music director must:

• to carry out personal and professional self-development, self-education: increase in professional competence through the enrichment of general cultural, basic, special competences;
• know your professional functions (cf. Annex 1) and introduce them to educators;
• analyze your work with educators;
• to diagnose (based on observations, conversations, questionnaires) the level of basic competence of the educator on the musical education of preschoolers (see Appendix);
• plan and, as necessary, adjust their work with teachers to improve professional competence based on available data;
• together with the educator, design a holistic, but at the same time variable pedagogical process in a preschool educational institution, in which each child could manifest, develop and educate as much as possible;
• to work with the educator in the system, taking into account the characteristics of the preschool educational institution and a particular teacher;
• actively participate in the methodological work of the preschool educational institution.

One of the leading areas of professional interaction should be mutual enrichment of the professional experience of teachers . We must not allow it to be only one-sided, for example, in the traditional sense - from a music director to an educator.

The commonality of professional and pedagogical tasks as the basis for cooperation and co-creation of the musical director and educator of the preschool educational institution
(according to Gogoberidze A.G.)

caregiver	Musical director
1. The study of the individual characteristics and capabilities of the child, including those related to the musical activities of a preschooler.	1. The study of the individual characteristics and capabilities of the child in the context of musicality.
2. Taking into account the individual characteristics and capabilities of children in a holistic educational process.	2. Same
3. Tracking the nature of the changes that occur with the child during the educational process of the kindergarten, the nature of his progress in development, including	3. Tracking the nature of the changes that occur with the child during the educational process of the kindergarten, his progress in musical development.
4. Determining the effectiveness of the impact of pedagogical conditions implemented in kindergarten on the versatile development of a preschooler.	4. Determination of the effectiveness of the influence of the pedagogical conditions implemented in the kindergarten on the musical development of a preschooler.
5. Design and organize a holistic educational process that contributes to the holistic development of a preschool child.	5. Design and organize a holistic educational process that contributes to the holistic musical development of a preschool child.
6. Familiarization with the repertoire for listening and performing by children in order to assist in the work of a music teacher.	6. Acquaintance with the pedagogical tasks of the general development of preschoolers of a given age.
7. Knowledge of the tasks of musical education and development of preschoolers, analysis of their solution from the point of view of the basic competence of the music director.	7. The study of the characteristics of the general cultural competence of a kindergarten teacher, knowledge of his musical needs and interests.
8. Provision of professional assistance and support to each other, joint solution of the problems of upbringing and development of the child, including the tasks of musical education.	8. Providing professional assistance and support to each other, jointly solving the problems of raising and developing a child through music and musical activities.
9. Creation of a single cultural and educational space in the teaching staff of an educational institution, in a kindergarten, a pupil's family, in a kindergarten and cultural institutions.	9. Creation of a single cultural and educational musical and aesthetic space in the teaching staff of the educational institution, in the kindergarten and the family of the pupil, in the kindergarten and cultural institutions, commonwealth with the musical institutions of the city, district of the distance education.
10. Creation of a developing musical and educational environment in kindergarten as one of the most effective conditions initiating the processes of holistic musical (artistic) development and upbringing of a child.	10. Creation of a developing educational environment in kindergarten as one of the most effective conditions initiating the processes of holistic development and upbringing of a child.
11. Personal and professional self-development, self-education: increasing professional competence through the enrichment of general cultural, basic, special competences.	11. Same

Forms of interaction between the music director and the educator:

• development of unified diagnostic maps of the child's musicality; joint discussion of the results of diagnostics and individual musical manifestations of the child in the conditions of the lesson and in everyday life;
• joint design of work plans, their adjustment as the solution of common tasks;
• mutual consultations on the use of musical material in the educational process of preschool educational institutions, in solving various problems of education and development;
• mutual attendance of classes with subsequent discussion;
• musical lounges and evenings of meetings with music organized in the DOW;
• joint preparation of workshops on the problem of holistic education and development of a preschool child by means of music;
• joint organization of parent meetings on the problem of musical education and development of the child;
• joint design of the musical and educational environment in preschool educational institutions, in groups;
• organization of review competitions for projects of a musical development environment in a preschool educational institution, in a separate group;
• compiling a professional music library, a bank of pedagogical techniques and technologies for using music in solving various problems of educating and developing preschoolers;
• interaction with the methodological service of the preschool educational institution.

Due to the fact that many teachers who do not have special preschool education currently work in preschool institutions, the music director needs to conduct active educational work. He must, in a short time, give teachers specific knowledge on the methods of musical education, form their basic level of performing skills, introduce them to the repertoire (of the group on which the teacher works). An effective form of work to improve the professional competence of educators are workshops (see Appendix). They must be planned together with the methodologist of the preschool educational institution and reflected in the annual tasks.

Another effective form of work of the music director with educators is competitions. They activate the creative potential of teachers, children, parents. One of the options is a review competition of musical corners (see appendix). Music centers are organized in each age group. This work is carried out by educators with the active assistance of the music director.

The music teacher must:

• tell educators about the requirements for organizing musical zones, their content (in accordance with age characteristics);
• provide a list of literature on the manufacture of variants of instruments for a noise orchestra and various attributes;
• note the need to involve parents and children (especially of older preschool age) in the design of the music zone;
• to acquaint with the position of the review-competition.

Summing up the above, I would like to note once again that the modern goals and objectives of preschool education, outlined in the FGT, cannot be implemented by each participant in the pedagogical process separately. Therefore, the problem of cooperation between specialists and teachers in the context of the holistic development of the child must be solved in every kindergarten.

Interaction with teachers
"Educator and Music"

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

How actively do kindergarten teachers participate in the musical education of children? And do they all realize the importance of such participation? Alas, often the educator considers it his duty to just be present at the music lesson - in order to maintain discipline. And some do not even consider it necessary to be present - they say, during this time they will be able to do some business in the group ... Meanwhile, without the active help of the educator, the productivity of music lessons is much lower than possible. The implementation of the process of musical education requires a lot of activity from the teacher. Raising a child by means of music, teachers - "preschoolers" should understand well its significance in the harmonious development of the individual. To do this, one must clearly and distinctly imagine by what means, methodological techniques one can lay the foundations for the correct perception of music.

The educator needs to:

1. Know all program requirements for musical education.
2. Know the musical repertoire of your group, be an active assistant to the music director in music classes.
3. To assist the musical director in mastering the program musical repertoire by children, to show examples of the exact execution of movements.
4. Conduct regular music lessons with the children of the group in the absence of a musical director.
5. Learn movements with lagging children.
6. Deepen the musical experience of children by listening to music in a group with the help of technical means.
7. To develop the musical skills and abilities of children (melodic ear, sense of rhythm) in the process of conducting didactic games.
8. Possess elementary skills in playing children's musical instruments (metallophone, timbre bells, wooden spoons, etc.).
9. To carry out the musical development of children, using all sections of the work: singing, listening to music, musical and rhythmic movements, playing on the DMI, musical and didactic games.
10. Take into account the individual capabilities and abilities of each child.
11. To develop independence, initiative of children in the use of familiar songs, round dances, musical games in the classroom, a walk, morning exercises, in independent artistic activities.
12. Create problem situations that activate children for independent creative manifestations.
13. Involve children in creative games that include familiar songs, movements, dances.
14. Use the children's musical skills and abilities in the classroom for other activities.
15. Include musical accompaniment in the organization of classes and regime moments.
16. Take a direct part in the diagnostic examination of their pupils to identify musical skills and abilities, the individual capabilities of each child.
17. Take an active part in the preparation and holding of holidays, entertainment, musical leisure, puppet shows.
18. Prepare thematic collections of poetic material for entertainment and musical matinees.
19. Assist in the manufacture of attributes, musical design
hall for holidays and entertainment.
20. Be artistic, inventive, emotionally mobile.
At a music lesson
The role of the educator, the alternation of his active and passive participation, are different depending on the parts of the lesson and their tasks.
Listening to music:
1. By personal example, he brings up in children the ability to listen carefully to a piece of music, expresses interest;
2. Monitors discipline;
3. Assists the music director in the use of visual aids and other methodological material.
Singing, singing:
1 . Does not participate during rapid interrogation exercises;
2. Does not participate in chanting, so as not to knock down children;
3. Sings with children, learning a new song, showing the correct articulation;
4. Supports singing while performing familiar songs, using the means of mimic and pantomimic expressiveness;
5. When improving the learning of a song, he sings along in difficult places;
6. Does not sing with children with independent emotional and expressive
singing (exception - singing with children of early and younger age);
Musical-rhythmic movements and games:
1. Participates in showing all kinds of movements, giving appropriate recommendations to children;
2. Gives accurate, clear, aesthetic standards of movement (exception -
exercises for the development of children's creative activity);
3. Takes a direct part in the performance of dances, dances, round dances. In older preschool age, familiar dances and dances are performed by children on their own;
4. Corrects the performance of movements by individual children during the dance
or dancing;
5. Explains and controls the fulfillment of the conditions of the game, contributing to the formation of behavioral skills during the game;
6. Takes one of the roles in the story game;
7. Monitors discipline throughout the entire music session.

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

Professional tasks of the musical director of the preschool educational institution

Tasks of musical education of preschoolers, solved by the educator

1. Organization and conduct of classes in each age group. 2. Organization and holding of holidays, entertainment programs in kindergarten. 3. Guiding the work of the educator in the field of musical development of children through consultations and group classes. 4. Organization of pedagogical meetings

1. Help in the process of conducting music lessons: sing and move with the children, help learn new songs, dance moves, monitor the completion of tasks. 2. Organization of pedagogical conditions that contribute to the development of independent musical activity of preschoolers. 3. Selection of musical and didactic material for solving various problems of upbringing and development of children. Organization of independent musical and creative activities of children

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

A kindergarten teacher	Musical director
Diagnostic tasks
1. The study of the individual characteristics and capabilities of the child, including those related to the musicality of a preschooler. kindergarten, the nature of its progress in development, including musical. 4. Determining the effectiveness of the impact of the pedagogical conditions implemented in kindergarten on the diversified development preschooler	1. The study of the individual characteristics and capabilities of the child in the context of musicality. 2. Taking them into account in the holistic educational process of the preschool educational institution. 3. Tracking the nature of the changes that occur with the child during the educational process kindergarten, his progress in musical development. 4. Determining the effectiveness of the impact implemented in the children's garden of pedagogical conditions for musical education and development of the preschooler
Tasks of pedagogical design of the educational process
6. Familiarization with the musical repertoire for children to listen to and perform in order to assist in the work of a music teacher. 7. Knowledge of the tasks of musical education and development of preschoolers, analysis of their solution in terms of basic competence musical director. 8. Provision of professional assistance and support to each other, joint solution of the problems of upbringing and development of the child, including the tasks of musical education and development. 9. Creation of a single cultural and educational space in the teaching staff of an educational institution, in a kindergarten and a pupil's family, in a kindergarten and established	6. Acquaintance with the pedagogical tasks of the general development of preschoolers of a given age. 7. Studying the features of the general cultural competence of a kindergarten teacher, knowledge of his musical needs and interests. 8. Providing professional help and support to each other, joint solution of the problems of upbringing and development of the child through music and musical activities.
The tasks of designing and organizing a developing educational environment for a preschool educational institution
10. Creation of a developing musical and educational environment in kindergarten as one of the most effective conditions initiating the processes of holistic musical (artistic) development and upbringing of a child	10. Creation of a developing educational environment in kindergarten as one of the most effective conditions initiating the processes of holistic development and upbringing of a child
The tasks of developing the subject position of the educator, enriching professional competence
	11. Personal and professional self-development, self-education: Increasing professional competence through the enrichment of general cultural, basic, special competences

Innovative forms of cooperation and co-creation of the musical director and educator of the preschool educational institution

The tasks of professional cooperation and co-creation of the educator and musical director	Forms of cooperation and co-creation
1. The study of the individual characteristics and capabilities of the child in the context of musicality	Development of unified diagnostic maps of the child's musicality; joint discussion of the results of diagnostics and individual musical manifestations of the child in the conditions of the lesson and in everyday life
2. Taking them into account in the holistic educational process of the preschool educational institution	Joint design of work plans, their prompt adjustment as common tasks are solved; creation of complementary pedagogical conditions in the preschool educational institution that contribute to the musical education and development of children
3. Tracking the nature of the changes that occur with the child during the educational process of the kindergarten, his progress in musical development	Creation of intermediate diagnostics, diagnostic methods to assess the nature of the child's progress in musical development; joint discussion of the features of the child's advancement in musical development at thematic seminars, pedagogical consultations, business games; joint discussion of the influence of the process of musical development on the overall development of the child
4. Determining the effectiveness of the influence of the implemented pedagogical conditions in kindergarten on the musical education and development of a preschooler	Joint discussion of the effectiveness of the influence of pedagogical conditions on the nature of the child's progress in musical development, general development at thematic seminars, pedagogical consultations, business games, meetings of the accompaniment service
5. Design and organization of a holistic educational process that promotes the holistic musical development of a healthy preschool child in kindergarten	Mutual consultations, the creation of professional "cheat sheets" (tips) on the use of musical material in the educational process of preschool educational institutions, in solving various problems of education and development
6. Studying the features of the general cultural competence of kindergarten teachers, knowledge of their musical needs and interests	Organization by the music director of diagnostics of preschool education teachers and self-diagnosis for the study of musical culture, erudition (app. 5)
7. Knowledge by the educator of the tasks of musical education and development of preschoolers, analysis of their solution by the music director in terms of basic competence	Mutual attendance of classes, other forms of professional interaction with the child on musical content, followed by analysis and joint discussion of the effectiveness of solving the problems of raising and developing the child
8. Providing professional assistance to each other, jointly solving the problems of raising and developing a child through music and musical activities	Musical lounges and evenings of meetings with music organized in preschool (app. 4); joint organization of holidays by the teaching staff of the preschool educational institution; joint preparation of thematic seminars and workshops on the problem of holistic education and development of a preschool child by means of music, the use of new pedagogical tools and techniques in musical education and development of children
9. Creation of a single cultural and educational musical and aesthetic space in the teaching staff of the educational institution, in the kindergarten and the family of the pupil, in the kindergarten and cultural institutions, commonwealth with the musical institutions of the city, district of the preschool educational institution	Collective trips to the Philharmonic, Conservatory, Chapel, Theater; joint creation of a poster for the academic year for the professional teaching staff, parents of children, preschoolers with recommendations on the repertoire; joint organization of parent meetings on the problems of musical education and development of the child; creation of a stand or corner for parents and teachers “Music in the life of our family”, “We and music”, “I want you and your child to listen”, etc .; invitation to kindergarten musical and theater groups for children
10. Creation of a developing musical and educational environment of a kindergarten as one of the effective conditions initiating the processes of holistic musical (artistic) development and education of a child	Joint design of the musical and educational environment in preschool educational institutions, in groups; organization of a competition for projects of a musical developmental environment in a preschool educational institution, in a single group, in a child's family
11. Personal and professional self-development, self-education, building up professional competence through the enrichment of general cultural, basic, special competencies	Professional recommendations and advice to each other in the form of diaries, consultations, equipped methodological portfolios, invitations to concerts and performances; mutual recommendations on the musical repertoire and its use in the educational process of preschool educational institutions; compiling a professional music library, a bank of pedagogical techniques and technologies for using music in solving various problems of educating and developing preschoolers

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

Successes in the musical development of children, their emotional perception of music are closely related to the work of the educator. It is the educator who has a broad outlook, a certain musical culture, who understands the tasks of musical education of children, is the conductor of music in the daily life of the kindergarten. A good business relationship between a music director and an educator has a beneficial effect on children, creates a healthy, friendly atmosphere, equally necessary for both adults and children.

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

this is an artistic and pedagogical process that contributes to the development of the child's musicality, the formation of his personality and the development of reality through musical images. Music lessons play an important role in the development of endurance, will, attention, memory, in the education of collectivism, which contributes to the preparation for schooling. They carry out systematic education of each child, taking into account his individual characteristics.

Conducting music lessons is not the monopoly of the music director, but is part of the pedagogical work that the teacher is doing.

The participation of the educator in a musical lesson depends on the age group, the musical preparedness of the children and the specific tasks of this lesson. It is especially important for the teacher to participate in work with younger groups, where he plays the main role in the game, dance, song. The younger the children, the more active the educator has to be - to help each child, to make sure that the children are not distracted, to be attentive, to observe who and how manifests himself in class. In the senior and preparatory groups, children are given more independence, but the help of a teacher is still needed. He shows the movements of the exercises together with the music director, performs a dance with a child who does not have a partner, monitors the behavior of children, the quality of the performance of all program material. The teacher should be able to sing songs, show any exercise, game or dance, know the music for listening from the children's repertoire. During music lessons, the teacher monitors the posture of children, the pronunciation of words in the song, the quality of assimilation of the material. The role of the educator varies depending on the content of the music lesson. If the lesson plan outlines an acquaintance with a new song, the teacher can sing it if he first learns it with the music director. This option is also allowed: the music director performs the song for the first time, and the educator again. The teacher monitors whether all the children actively sing, whether they convey the melody of the song correctly, pronounce the words. Since the music director is near the instrument, he is not always able to notice which of the children sang this or that word incorrectly. If the lesson is devoted to listening to music, the teacher can talk about the content of the piece of music that the music director will perform, during the performance, monitor how the children perceive the music. When children speak little about what they hear, the teacher helps them with leading questions. When conducting musical and rhythmic movements with children of younger groups, the teacher plays with them, shows dance and imitation figures. In older groups, he carefully monitors whether the children perform the movements correctly and which of them needs help. Being present at the lessons, actively participating in them, the educator not only helps the children, but also learns the material himself. It is necessary that both teachers take turns attending the classes. Knowing the repertoire, they can include certain songs, games in the daily life of children.

The life of a child becomes more colorful, fuller, happier, if not only in music lessons, but also in the rest of the time in kindergarten, conditions are created for the manifestation of his musical inclinations, interests, and abilities.

Skills acquired in the classroom must be consolidated and developed outside of them as well. In various games, on walks, during the hours allotted for independent activity, children, on their own initiative, can sing songs, dance, listen to music, pick up the simplest melodies on the metallophone. Thus, music enters the child's life, musical activity becomes a favorite pastime.

At music lessons, new information about musical works is communicated, singing and musical-rhythmic skills are formed, and consistent musical development of all children is ensured according to a certain system. In the daily life of the kindergarten, the emphasis is on individual work with children - the development of their musical abilities, the formation of pure intonation, teaching children to play DMI. The leading role here belongs to the educator. Taking into account the age of children, he determines the forms of including music in the daily routine. Many aspects of kindergarten life allow a connection with music and acquire great emotional fullness from this.

Music can be used in plot-role-playing creative games for children, morning exercises, during some water procedures, during a walk (in summer), entertainment evenings, before going to bed. It is allowed to include music in classes for various types of activities: visual, physical education, familiarization with nature and speech development.

A game, of course, is the main activity of the child outside of classes. The inclusion of music in the game makes it more emotional, interesting, attractive. There are various options for using music in games.

In some cases, it is, as it were, an illustration of the actions of the game. For example, while playing, children sing a lullaby, celebrate housewarming, dance. In other cases, children reflect in games the impressions received at music lessons, holidays. Conducting role-playing games with music requires a very careful and flexible guidance of the educator. He, watching the course of the game, encourages children to sing, dance, play on DMI. Many role-playing games arise only when children are given a toy TV, a piano, a theater screen. Children begin to play "musical classes", "theater", perform concerts on "television".

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

MUSIC CLASSES AND THE ROLE OF THE EDUCATOR.

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

In music classes, a versatile education of children is carried out (mental, aesthetic, physical)

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

Moral-volitional:The feeling of love for the mother, the Motherland is brought up, the skills of cultural behavior are formed (in organizational moments), the ability to listen, sing, dance in a team is brought up. Purposefully engaged, the ability to bring the work started to the end, to overcome difficulties

Physical: Dancing and games form certain motor skills that develop certain muscle groups.

Aesthetic: To be able to listen and understand music, you need to feel it, to know the beautiful.

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

Types of musical activity:

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

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

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

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

Music lesson consists of several sections:

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

2. Listening to music

3. Singing and songwriting -

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

5. Dance

6. Game

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

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

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

Misunderstanding of the educational tasks of music by the educator can nullify all the efforts of the music director. Where the educator loves music, loves to sing, and children are very interested in music lessons. In addition, in the "Movement" section, music. the leader is shackled by the instrument and here the teacher must show the movements.

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

Teachers often make the following mistakes in class:

1. The teacher sits with a blank look

2. The teacher interrupts the performance

3. Give verbal instructions on a par with music. leader (although there cannot be two centers of attention)

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

The activity of the educator depends on three factors

1. From the age of the children: the smaller the children, the more the teacher sings, dances and listens on an equal basis with the children.

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

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

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

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

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

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

4. The teacher must be able to play all the instruments that are used by children in music classes in order to be able to correctly show the children how to produce sound on each instrument

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

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

7. Knows the tricks of puppetry

The more actively the educator does this work, the more new children can learn in music lessons, otherwise music lessons turn into an endless repetition of the same thing, i.e. "trampling in place"

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

There are 2 forms of work of a music director with a teacher

1. Individual consultations:held once every 2 weeks

• Acquaintance with the tasks of the upcoming classes
• Assimilation of the repertoire (it is checked how the teacher performs children's songs, dances)
• Thinking through the forms of individual work with children
• Thinking about bringing music into everyday life
• Conversations about the activity of the educator at the music. classes

2. Group consultations:

• Acquaintance with new methodological issues (song creativity, motor creativity, learning to play instruments)
• Composition of the scenes of the holiday
• Thinking about surprises
• Discussion of various issues
• Open music lessons (for young teachers)
• Learning songs to listen to or to sing at parties (paying attention to purity of intonation and diction)
• Improving the culture of movement (in addition to children's games, dances, exercises, educators make more complex movements that contribute to the development of coordination of their movements and overall musical development)
• Performing independent tasks (compose a dance or exercise to a certain music)
• Teaching educators to use a player, tape recorder, improve knowledge in the field of musical literacy so that he can perform a children's song on musical instruments from notes, sing it
• Training in puppetry

The role of the host at the festival

The role of leader is very important. The presenter is the person who manages the festive matinee, unites all the elements of the holiday into an organic whole, explains to the children what is happening, and is the link between the audience and the performers. The mood of the children at the holiday, the interest of the program being performed depends to a large extent on the presenter.

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

Before the matinee, the host must lay out all the attributes necessary according to the scenario, check their number, put the required number of chairs.

At the matinee, the leader should be free, naturally. It shouldn't be verbose. What needs to be communicated to children should be stated simply and clearly. An appropriate joke, a question for children, teachers, guests (for example: Have you seen how our kids dance with handkerchiefs?)

At the matinee, you need to speak loudly enough, clearly and expressively. The leader not only informs what songs, dances will be performed, but also explains what is happening. The matinee should be held at a good pace. Lengthy performances and pauses - tire the guys

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

It is necessary for the host to learn how to finish the holiday in an organized way! After the treat - thank the guest (adult character), say goodbye to him, be sure to remind everyone on what occasion they gathered in the hall (once again congratulate everyone on the holiday), invite the children to leave the hall in an organized manner (if the scenario does not provide another option) i.e. stand one after another or in pairs and go out to the music, and not run to your parents

A teacher who does not play any roles is with the children of his group. He sings and dances with the children. The teacher should also know the program and the entire course of the holiday well and be responsible for the area of ​​\u200b\u200bwork assigned to him (prepare attributes, details of costumes, change clothes for children in time, adjust costumes if necessary).

Great pleasure gives children solo and group performances of educators (songs, dance, character). Adult characters also participate in games and dances (pair up with children)

Costumes for the holiday are taken by educators in advanceso that you can check everything: wash, hem, make the missing parts. If parents are instructed to sew or decorate a costume, prepare attributes, parents must bring them in advance so that educators can check them, otherwise it may happen at the holiday that the elastic bands on the parsley caps will break, the attributes will break, etc.

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

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

Parents are welcome guests at the celebration. The manager and the educator (parent) allocated to help him greet the guests warmly and place them in the hall. Parents must be warned that they need to bring a change of shoes. After the matinee, educators offer parents to write down their impressions in the "Book of Reviews"

It is good to hold discussions of the past holiday on a ped. meeting, where the positive aspects of the holiday and the mistakes made are discussed.

Oksana Ptukh
Consultation "Interaction between the educator and the music director in solving the problems of musical education"

The practice of a modern kindergarten shows that the main issues musically- aesthetic development of preschoolers decides music director, A educator plays the role of his assistant.

What is this help?

On music class educator not only discipline. He is an active participant in singing, games, dancing. caregiver must know the lyrics, dance movements, in a word, the whole musical repertoire used in class. For this, a notebook is started musical education or a folder for repetition and consolidation with children in a group learned in music. material lessons.

Unfortunately, musical classes cannot fully meet the needs of children in music, musical development. That's why caregivers should find time during the day to repeat songs, games, dance moves. But this is not the main thing. Pedagogical interaction between the music director and the educator. Here are some of the principles interactions.

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

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

3. The principle of problematization lies in the fact that the muses. leader and educator should be aware of the need for close the relationship of the tasks of the musical and overall development of the child. For example, the development of singing skills is the task is not only muses. education, but also physical

From all of the above, it follows that the meeting of children with music should not be limited music lessons. Every group needs musical corner - musical instruments, books, albums, musical and didactic games. Saturation musical corner is a necessary condition not only in work educator but also the opportunity for each child to independently choose the type of activity that meets his interests. caregiver has great opportunities to involve children in music:

1. Actively participates in the process of teaching children to music lessons. For example, in the younger groups educator sing with children (not drowning out children's singing). In the middle and senior groups, it helps to learn songs and, together with the muses. leader evaluates the performance of a piece already learned. In addition (if educator sings clearly and expressively, can sing a new song with piano or audio accompaniment.

When teaching children musically-rhythmic movements in younger groups educator participates in all types of movements, thereby activating the kids. Sometimes, if the material is not very difficult, children perform tasks on their own without showing an adult. In the middle, senior and especially preparatory groups, the role educator other: he acts as needed, showing some kind of movement, recalling this or that construction, or giving separate instructions to children in dancing, playing, etc.

2. Guides self children's musical activities, includes music in games, walks, labor process, using learned music. head material.

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

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

Other children, on the contrary, are very drawn to this activity, but they are timid, indecisive, they only look at the children playing music. It is important to create optimal, most favorable conditions for everyone. Based on my observations educator organizes each child, tries to interest each musical activity. Basic line of conduct educator in the leadership of the musical independent activity is his complicity in it. An adult consults with children: “How can we better decompose musical instruments so that everyone can comfortably take them and play? "This is how I play", - the adult says and shows the reception of playing the instrument and immediately leaves. The child realizes his mistake and continues to play. “Do you know what song I like? - speaks educator and plays the disc.

It would be nice if we could make a CD library. Can be cut into discs (or take old, unnecessary disks) and draw on them what he is playing about music. There are many such examples. caregiver sometimes he joins in a joint game, sometimes he shows his skills, sometimes he regulates the participation of inactive or, conversely, overly active children, etc.

Planning appointments music making guides, educator outlines the following moments: what needs to be done new, in the equipment musical activity(tools, manuals, homemade toys, etc.); in what order it is advisable to do this, who needs to be observed in order to find out the interests and inclinations of children; what type of activity children prefer and whether their interests are one-sided.

The more active teacher is working the more new children can learn on music lessons, otherwise musical classes turn into an endless repetition of the same thing, i.e. "trampling in place".

Related publications:

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

Modern health-saving technologies in the joint work of an educator and a music director Slide number 2) Preschool childhood is the time for the most optimal introduction of the child to the world of beauty. Children strive to communicate with the art of music.

Interaction between the educator and the music director at the matinee 1. Know the order of numbers by heart. 2. Follow the discipline to correct children correctly. 3. Know the poems and the children who read them, prompt in time.

Consultation for parents "Features of the conditions for the musical education of children in the family" Features of the conditions of musical education of children in the family. Many music directors want to see their parents as their allies, assistants.

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

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

Music director portfolio Explanatory note I have been carrying out professional activities in MBDOU No. 66 "Barvinok" as a music director since 2015.

Joint work of the educator and the music director in the implementation of the educational area "Artistic and aesthetic development" At present, when one of the requirements of the Federal State Educational Standard is the integration of all educational areas and, consequently, the activities of everything.

The key setting of the preschool education standard is to support the diversity of childhood. When working on standards, the uniqueness of the preschool period should be taken into account: the flexibility of the child's development, the different options and speed of its development, the credulity and involuntary perception.

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

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

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

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

Silent games: Since we are faced with the task of preserving the health of the child, we must pay attention in particular to his hearing. Being in noise for most of the day, an adult loses his hearing, and for a child who is developing a hearing aid, noise in large quantities is harmful many times over. I recommend arranging the so-called “Minutes of Silence”, but filled with meaning. At the same time, the ear rests, reorganizes itself for an attentive perception of external sounds - not stimuli, rhythm, fantasy turns on, timbre, rhythmic and dynamic hearing develops. Also, these games are already useful because they are games, all children without exception can participate in them, that is, we create the very conditions for the simultaneous development of all children, without restricting their individuality by any rigid framework.

1. "Deaf phone" - attention is activated, fantasy is turned on, vocabulary is replenished.

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

3. "Who called me?" - develops timbre hearing, attention.

4. "Who sings like?" The skill of onomatopoeia is formed, the expressiveness of intonation, figurative perception develops.

5. "Ears back" - attention, imagination.

6. "What instrument was played?" - timbre hearing, attention and memory (the child learns what he once remembered).

7. "Rhythmic echo" - rhythmic hearing, attention.

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

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

If speak about maintaining health, then very useful breathing exercises, they should always be used before singing in a music class and used in other activities. Breathing exercises: "Snowflake", "Wind and Breeze", "Noise Makers", "Ball", "Silent TV". Very helpful "psychogymnastics" in which the ability to express and convey emotions is formed, and "logarithmics" which develops speech and diction.

Musical and rhythmic movements and dances- one of the most favorite types of musical activity for children. If during singing the child is deprived of the opportunity to move, then in dance-rhythmic activity he satisfies his natural need - to actively move. To avoid the tedious learning of dances, you should use game techniques. These are game plastics and dance rhythms. For several years now I have been using elements of the partial program of Anna Iosifovna Burenina and the program of Sergei and Ekaterina Zheleznov. On Thursdays, instead of morning exercises, we conduct “Rhythmic Gymnastics”. Children under special musical accompaniment for the show, most often in a circle, perform dance-rhythmic compositions. The so-called "3 D" effect is turned on. Children listen, see the movement performed by others and perform it themselves. Moreover, comments and corrections are reduced to a minimum. Children freely, to the best of their ability, perform movements, commensurate them with others. The compositions are accessible and interesting, they may well be used by the educator for other activities as physical minutes. I recommend using dance movements in the complexes of morning exercises and physical culture activities. For example, dance types of steps and jumps. At the same time, the tasks of physical education are not violated, but are integrated with musical tasks. In a group, you can use a technique such as "Seated Dance". This is a method of assimilation, which helps to understand the character of music through the “language of one’s own body”, as well as to consolidate the ability to clearly convey the rhythm. Music sounds, and children perform claps, clicks, wiggles, slaps, stomps, “steps” with their fingers, etc. There is a process of active perception!

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

Music in regime moments: this is morning exercises to music, music for falling asleep and waking up, relaxation to the sounds of nature, musical round dance games for a walk. And this does not mean that musical accompaniment is required on the street. Usually dance games with singing are very simple to perform and are sung "a cappello", that is, without accompaniment.

In musical activity, the child becomes more sociable(And this is again an important factor in the implementation of the standard). Singing in a choir is communication, dancing in pairs is communication, round dance is communication. By the way, when a child first joined hands in a round dance - this is one of the first experiences of communicative activity! I want to say a special word about the round dance. I introduce round dances almost from the first steps of a child in kindergarten. The older the children get, the more I use the round dance principle not only for solving musical problems, but also for developing associative thinking, creative skills, accumulating super-subject knowledge and enriching children's speech. For example, when building a round dance, ask the children what it looks like? So many different options! We sing a folk song in a round dance - ask the children to come up with simple pictorial movements for the text - it turns out a very interesting interpretation, creativity develops. And round dance games with singing and roles are just a storehouse for the development of individuality.

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

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

Nelipa Natalia Nikolaevna

music director

MDOU "Tavrichesky d / s No. 2"

(1 slide)

Music director interaction

with educators and specialists of preschool educational institutions

Such authors as O. P. Radynova, N. A. Vetlugina, E. P. Kostina, L. S. Zamytskaya, N. B. Krasheninnikova spoke about the interaction of a musical director and educator.

The general and musical and aesthetic development of preschoolers in kindergarten is carried out by a music director who is well versed in the theory and methodology of the pedagogical process, and a teacher who has a general musical background. The work of teachers is complex, varied, and should be carried out in close, mutual understanding and contact.

(2 slide) Music lessons in kindergarten are the main form of organization of children's musical activities. A music director with a teacher participates in the preparation of music lessons. It is important that the educator knows his role in each activity. It should help children learn the program repertoire. If required, the teacher shows the children exercises, movements, dances, helps to work out the quality of their performance. A more passive role is assigned to them when listening to music, learning to sing, i.e. in activities that require special musical education.

(3 slide) Music lessons can start in a group where something fun for the kids happens. Thus, children are motivated, interested in musical activities. All this is thought out and implemented by teachers together.

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

involvement in musical activity brings children only positive emotions;

thought out humane-personal approach, providing emotional comfort for children;

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

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

The use of music in the daily life of children in the conditions of our kindergarten is carried out by teachers who take into account the general goals and objectives of education, the possibilities and interests of children. With the help of a musical director, the educator of each age group selects the musical repertoire, assuming its inclusion at different moments in the child's life. Music in various activities of pupils is widely used due to the active organizational activity of the music director.

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

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

(7 slide) Forms of interaction between the music director, educator and specialists include:

joint design of work plans, their adjustment as the solution of common tasks;

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

mutual attendance of classes with subsequent discussion;

organization of musical drawing rooms and evenings of meetings with music;

joint preparation of workshops on the problem of holistic upbringing and development of the child by means of music;

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

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

organization of competitions, projects;

compiling a professional music library;

joint discussion of the results of diagnostics and individual musical manifestations of the child in the conditions of classes and in everyday life.

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

Finding the right place for music in various activities creates the necessary mood, atmosphere, brings up a moral and aesthetic attitude to the environment, develops thought, creative initiative, and makes a significant contribution to the formation of the child's personality.

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

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

The development of imagination in the process of creative activity, increasing creative activity;

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

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

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

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

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

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

When getting acquainted with the surrounding world, the educator can turn to music, which characterizes natural phenomena, contributes to the manifestation of emotional responses, enrichment and deepening of ideas about the object under study.(11 slide)

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

The sound of music in the background during critical moments (receiving children in the morning, getting ready for classes, getting ready for bed, getting up, etc.) creates an emotionally comfortable climate in the group.Educators of younger groups use audio recordings of lullaby tunes at bedtime for babies, especially during the adaptation period. Songs are heard during the conduct and education of cultural and hygienic skills. (15, 16, 17, 18, 19, 20 slide)

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

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

Playing time

Dominant emotional tone

7.30 – 8.00

joyfully calm

8.40 – 9.00

Confident, active

12.20 – 12.40

Calm, gentle

15.00 – 15.15

Optimistic-enlightened, calm

The involuntary auditory experience of children should be replenished on the basis of the best examples of musical culture.

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

C. Debussy - "Clouds"

A.P. Borodin - "Nocturne" from string quartet

K.V. Gluck - "Melody"

L. Beethoven "Moonlight Sonata"

Tonic (increasing vitality, mood)

E. Grieg - "Morning"

J.S. Bach - "Joke"

P.I. Tchaikovsky - "The Seasons" ("Snowdrop")

activating (exciting)

W. A. ​​Mozart - "Little Night Serenade" (final)

M.I. Glinka - "Kamarinskaya"

W. A. ​​Mozart - "Turkish Rondo"

P.I. Tchaikovsky - "Waltz of the Flowers" (ballet "The Nutcracker")

soothing (calming)

M.I. Glinka - "Lark"

A.K. Lyadov - "Musical snuffbox"

C. Saint-Saens "Swan"

F. Schubert - "Serenade"

Organizing (promoting concentration of attention in organized activities)

J.S. Bach - "Aria"

A. Vivaldi "The Seasons" ("Spring", "Summer")

S.S. Prokofiev "March"

F. Schubert - "Musical moment"

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

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

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

In their free time, children arrange games in which music plays a significant role, playing "concert", "theater", "circus" children perform familiar songs, dances, round dances, improvise. Often they use various musical instruments in order to give a signal for the departure of a train, steamer. A cheerful song performed by children can accompany their "journey" in a car. The boys, playing "soldiers", clearly march to the sound of the drum. On children's birthdays, music sounds, congratulations, independent singing, children dance. All this develops the musical abilities of children, teaches them to take care of each other, to show attention.

It is interesting to stage dramatizations with musical instruments that the guys use to characterize any character in a fairy tale.(28 slide)

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

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

(33 slide) In groups, conditions are created for the development of the creative activity of children in theatrical activities, in an accessible place there are attributes, masks, costumes, a flannelgraph with characters.(33 slide) Introducing children to theatrical culture, educators try to acquaint them with different types of theaters: table, shadow, finger, b-ba-bo, on the carpet(35, 36, 37, 38 slide) .

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

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

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

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

(44 slide) Music plays an important role in the organization of physical culture and health-improving work. Accompanying morning exercises and physical education, music activates children, creating a joyful and cheerful mood, significantly improves the quality of their exercises, gives them softness and smoothness, expressiveness and rhythm, improves the plasticity of movements.(45 slide)

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

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

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

For the effective work of the music director and the speech therapist, it is necessary to select the material so that in chants and songs the tasks of developing speech breathing, automating and differentiating those sounds that the speech therapist is working on at this stage are solved. For pupils of compensatory groups for children with severe speech disorders, joint activities are built especially emotionally, with a quick change of activity so that children do not get tired. To practice breathing and loosen the clamped lower jaw, preference is given to chants in vowels.

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

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

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

(55 slide) We wish you creative success!