Kuzmina Irina Ivanovna
Educational institution: State Autonomous Institution "Regional Children's Art School" Ulyanovsk
Brief job description: This paper examines the issues of educating the motor-intonation orientation of the violinist’s hand and fingers on the fretboard, mastering the skills of playing in positions at the initial stage of training. Based on many years of practical experience in the violin class, methods have been identified that allow solving this problem most effectively. Methodological development is addressed
Publication date: 2016-09-01 Development of a violinist’s musical and auditory perceptions Kuzmina Irina Ivanovna State Autonomous Institution "Regional Children's Art School" Ulyanovsk

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Development of a violinist’s musical and auditory perceptions

State autonomous institution

additional education

« Regional children's art school »

G.Ulyanovsk

Methodological development on the topic:

“Development of the violinist’s musical and auditory perceptions”

Completed by teacher

State Autonomous Educational Institution "Regional Children's Art School"

Kuzmina I.I.

G.Ulyanovsk

2016

Annotation

This paper examines the issues of educating the motor-intonation orientation of the violinist’s hand and fingers on the fretboard, mastering the skills of playing in positions at the initial stage of training. Based on many years of practical experience in the violin class, methods have been identified that allow solving this problem most effectively. The methodological development is addressed to teachers of stringed instruments in children's art schools, especially those who are just starting their teaching career.

Explanatory note

It is known that some musical specialties require performers to have a highly developed ear for intonation. Unlike pianists, performers on stringed instruments, in the words of N. Garbuzov, “create intonations” and do not use ready-made sounds. This means that children learning the violin or cello must have a fine, well-developed ear for music. But in practice, children with average, even weak musical abilities are quite often encountered at school. Such difficulties are an incentive to search for ways to activate the development of students’ musical abilities directly in the course of teaching them to play stringed instruments.

The accuracy of intonation on a violin is determined by many factors. In addition to developed intonation hearing, the condition of the playing apparatus, motor technique, volitional qualities and much more are of great importance. However, the defining moment is that the student has an idea of ​​the pitch of the sounds that he will have to extract from the instrument. Thus, the main task of the teacher is the development of musical and auditory concepts, i.e. the ability to mentally hear a melody. After all, if a student, not having a sufficient stock of musical ideas, begins to play from notes, his playing skills are acquired by him mechanically, without the active participation of the ear.

How to ensure that before playing, the student “imagines” the future melody? How to eliminate any possibility of mechanical play?

Target of this work - based on many years of practical experience in the violin class, to show methods for the effective development of musical and auditory concepts simultaneously with the acquisition of basic skills in playing the instrument.

The proposed methodological development is addressed to teachers of stringed instruments in children's art schools, especially those who are just starting their teaching career.

The main objectives of methodological development:

– demonstrate the specifics of working in the class of stringed instruments;

– systematize information related to this problem;

– make the work of a novice teacher easier with brief recommendations on organizing the learning process.

Methodological development

An effective means of developing musical and auditory concepts is selection by ear and transposition. The development of musical ear should go simultaneously with the acquisition of basic skills in playing an instrument.

Selecting by ear should begin at a very early stage, when the student is just mastering production skills. For this purpose, short melodies based on progressive movement are used. The songs are studied in the following sequence:

1. The teacher introduces the student to the song, performing it alternately with his voice, on the piano, or on the violin (changing the timbre is very useful for ear development).

2. The student memorizes the words and melody of the song, sings it with the support of the teacher until he begins to intonate correctly.

3. The student sings the song independently.

4. The teacher shows the sound on the piano, and the student selects a song from the given sound and at the same time sings it out loud.

Later, when the student begins to acquire the skills of placing his fingers on the string, picking by ear and transposing are performed directly on the instrument. Let’s take for example M. Magidenko’s song “Cockerel”. Having learned it in the above sequence, the student plays it on the instrument. Then we repeat it with the same fingering on other strings. In the process of performing this piece on the other three strings, the student becomes familiar with the simplest type of transposition - transferring the melody to a fifth. At the same time, it is necessary to draw the student’s attention to the fact that the song, while maintaining its melody, acquires a different color (the tonality and timbre sound changes).

At the next stage of work, when the student has completed this task, you can use another type of transposition - playing a melody from another sound, suggesting which finger is more convenient to start with. Using the same “Cockerel” as an example, you can invite the student to play it with 1 finger, then with 2 fingers. In this case, the student should pay attention to the fact that both the tonality and fingering change. Before playing a song on an instrument, you need to sing it with your voice, tuning in a new key.

Playing a song from a different sound with different fingers is a difficult task, but its benefit is that the student has to actively relate to each sound and find new techniques and sensations associated with changing the fingering.

Musical material for this work can be found in the “Anthology of Pedagogical Repertoire for Violin. 1-2 grade", "Young violinist" I issue Pieces such as: r.n.p. are very convenient. “Like under a hill, under a mountain”, r.n.p. “A bunny walks in the garden”, T. Mukhamedov “Christmas tree”, etc.

Mastering the skills of playing in positions must begin at the initial stage of training. With the help of selection by ear and transposition, the student naturally, easily and imperceptibly begins to study the game in positions.

First of all, you need to teach the student to find open strings with 2 fingers. For example: G string and G with 2 fingers on the D string. Before you look for the desired sound, you must sing it.

Then, we learn to find octaves with other fingers. For example: string “D” - look for the note D with 1 finger on the “A” string and 2 fingers on the “G” string. Before playing, be sure to sing the sound you are looking for.

When the student learns to find octaves quite cleanly with different fingers, you can use another type of transposition - playing pieces in the same key, but with a different fingering. For example: “Cockerel” we play from the open “D” string (as written in the notes), then we look for the octave with 1 finger on the “A” string and play the piece from 1 finger. As always, before you play, you need to sing a song. After this, we find “D” alternately with fingers 1 and 2 on the G string and play the piece from these fingers, not forgetting to sing the song first. It is also useful to play pieces by sliding 2 fingers along the string along the fingerboard (without moving to other strings).

Thus, the student, starting to play in positions, learns to find the same sounds and their combinations in different places on the fingerboard, guided precisely by auditory ideas.

It is very useful for ear development to use transposition by an octave without transitions in position. This type of transposition will be of particular benefit to the student when he masters the major and minor tetrachords and begins to study scales. For example: r.n.p. “Like Downhill” is performed from the open “D” string, then played from the 3rd finger on the “A” string. Octave transport requires auditory activity and entirely new performance skills to select.

The process of selecting by ear and transposing requires the student to constantly and closely pay attention to his actions, concentration and composure. The development of these qualities occurs throughout the entire training process, but is especially important during the initial period of mastering the instrument. A student with a well-developed ear for music and intonation will be able to continue working independently at home.

So, selecting by ear and transposing contribute to the formation of musical-auditory concepts, educates the student’s inner ear, develops the motor-intonation orientation of the left hand and fingers on the fingerboard, and has a great influence on the formation of production skills.

References:

1. K. Mostras. Intonation on the violin." – M., 1960

2. A. Gotsdiener. Selection and transposition by ear when learning to play the violin. // From the experience of educational work in a children's music school. - M., 1969

3. E. Kamilarov. On the technique of the violinist’s left hand. - L., 1961

4.G. Turchaninova. On the initial stage of development of the violinist’s virtuoso technique.// Questions of musical pedagogy. – M., 1980. Issue 2.

5. M. Berlyanchik. Ways to activate the intonation-melodic thinking of a beginning violinist.// Issues of musical pedagogy. – M., 1980. Issue 2.

6. Reader of pedagogical repertoire. 1

Sections: Working with preschoolers

At the present stage of development of society, musical and auditory representations in the pedagogical process are increasingly considered as a basis that has rich potential for a beneficial effect on the child’s personality. Recent scientific research has outlined a tendency to interpret musical and auditory concepts as a complex of human personality traits that arose and developed in the process of the emergence, creation and assimilation of musical art. Musical art has great power of influence on a person, directly addressing his soul, the world of his experiences and moods. Musical art plays a huge role in the process of nurturing spirituality, a culture of feelings, and the development of the emotional and cognitive sides of a person’s personality. Musical and auditory perceptions manifest themselves in various life situations: when perceiving, experiencing and comprehending speech intonations and other natural sound phenomena; in the manifestation of voluntary attention and various types of auditory memory; when stimulating psychoenergetic capabilities (his performance) and creative needs of a person (his imagination, imaginative associations); in the formation of value orientations of the individual. The formation of musical and auditory ideas contributes to the preservation and strengthening of the child’s psycho-emotional health, the development of his internal factors of protection from the provoking - aggressive influence of society, adaptive capabilities and compensation for the positive aspects of human life. Thus, the relevance of the problem of the formation of musical-auditory concepts is supported by the needs of music-pedagogical practice.

Musical abilities are a unique combination of abilities on which the success of musical activities depends. Musical-auditory representations as an integral part of musical abilities are the ability to voluntarily use auditory representations that reflect the pitch movement of a melodic line, expressed in the ability to memorize a piece of music and reproduce it from memory. Musical-auditory concepts mean both pitch, timbre, and dynamic hearing. Pitch hearing is the ability to perceive and distinguish high and low sounds, mentally imagine a melody and correctly reproduce it in the voice. Timbre hearing is the ability to perceive and distinguish the specific color of sound. Dynamic hearing is the ability to perceive and distinguish the strength of sound, a gradual increase or decrease in sound strength. Psychologists note that children develop hearing sensitivity early. According to A.A. Lyublinskaya, on the 10th–12th day of life, a baby develops reactions to sounds. A peculiarity of development in children of middle preschool age is that musical abilities develop in ontogenesis as a single system, but the modal sense is ahead of musical-auditory concepts in development.

The methodological basis for the study of singing activity as a means of forming musical and auditory ideas is the works of: A.E. Egorova, E.I. Almazov, B.M. Teplov, V.P. Morozov, O.V. Ovchinnikova, A.E. Varlamov , N.A. Metlova. The relationship between musical and auditory perceptions (as pitch hearing) and the singing voice is one of the central problems of musical psychology and pedagogy. Many researchers in our country and abroad are directly or indirectly engaged in it. Many works emphasize the importance of musical ear as a factor necessary for the development of the singing voice: controlling vocal intonation, developing singing skills and monitoring sound quality. Preschool age is extremely favorable for the formation and development of musical abilities, musical-auditory perceptions and singing skills. A.E. Varlamov, a wonderful composer and teacher, one of the founders of the Russian vocal school, spoke about the need for early training in correct vocalization. He believed that if you teach a child to sing from childhood (while being careful in your lessons), his voice gains flexibility and strength. Research in the field of voice physiology using a special apparatus has shown that the main indicators of sound production - pitch, sound dynamics - are determined by the work of two muscle groups: vocal (vocal) muscles, which contract the vocal cords, and anterior ones, which tighten the vocal cords. In kindergarten, children are taught the simplest singing skills: correct sound production, correct breathing, good diction, and clean intonation. Singing is the active process of reproducing a melody with the voice and experiencing the content of the song. Singing activity is the main type of musical activity of preschool children. When choosing songs, it is necessary to take into account the age of the children, their vocal capabilities, level of musical development, as well as the educational orientation of the content of the songs. In order to teach children to sing correctly, one should follow a singing attitude. An equally important condition when teaching children to sing is the singing skill: sound production. This is a way of producing sound. Children should sing with a natural, high, bright sound, without shouting or straining. Singing activity includes 3 successive stages.

Stage 1 – (preparation for singing activity) – familiarization with the song. The goal of the first stage of training is to interest children, reveal the content of a musical work, and identify musical means of expression.

Stage 2 – learning the song. At this stage, the main work on teaching children singing skills takes place.

Stage 3 – (creative performance of the song). Work on recreating the musical and artistic image of the song, on its emotional and expressive performance.

The formation of musical and auditory ideas best occurs at the preparatory stage of singing activity with the use of stimulating material. The work is based on the position of V.P. Anisimov that musical-auditory ideas are manifested in the reflection of the sensation of the pitch of sounds and changes in their relationships in intonations (of a given melody), distinguishing modal functions, timbre and dynamic complexes, reactions to changes in one of voices of polyphonic presentation of the melody. In my work, I modified the methods and techniques proposed by V.P. Anisimov, aimed at the formation of musical and auditory ideas in the process of singing activity using stimulating materials. The stimulating material consists of exercises - images, simple chants or songs, learned in advance by the child or proposed by the teacher in the mode of individual vocal performance in a range convenient for the child. “Cat and Kitten”, “Where does the melody go?”, “How many sounds?”, “Cheerful and sad gnome”, “Girls’ mood”.

Principles for selecting stimulating material:

1. Highly artistic and informative musical text;

2. Simplicity, brightness and diversity in figurative content;

3. Correspondence of the melody of the material to the vocal capabilities of children in terms of range;

4. Moderation of tempo performances;

5. The rhythm of the stimulating material is simple and accessible;

6. Simplicity and accessibility of the rhythmic pattern;

7. Sound pitch presentations are selected based on contrast.

Stimulating material meets didactic requirements: accessibility, systematicity and consistency, awareness, activity.

After using exercises on breathing, diction, and articulation, children are offered a series of exercises using stimulating material in stages.

Stage 1 – the formation of ideas about the pitch position of musical sounds in a melodic line. For this stage, a series of exercises has been selected that develop in children the skills of an adequate sense of the relationship between the pitch of sounds. The exercise used is the image of V.P. Anisimov “Cat and Kitten”. Similar to this exercise using stimulating material, exercises have been developed - the images “Duck and Ducklings”, “Family”. As stimulating material, we used specially selected musical accompaniment, performed on the piano within the first and second octave. Appendix 1.

Stage 2 – formation of a sense of pitch by determining the direction of the melody.

Based on the research of musicians-teachers, when perceiving music, movement of the vocal cords is observed, the perception of height is associated with the participation of vocal motor skills, with movements of the vocal apparatus. Anisimov V.P. offers an exercise - the game “Musical guesses”. Appendix 2.

Since the feeling of the movement of the melodic line is very important when reproducing a melody with a voice, we propose to reproduce the forward movement of the melody in stimulating material - an exercise - the “Matryoshka” chant, proposed by N.A. Metlov. Appendix 3.

Stage 3 – formation of voluntary auditory-motor representations of the vocal type , those. the ability to control (coordinate) the muscles of the vocal cords in accordance with the auditory representations of the intonation standard of the melody. Appendix 4.

After completing the preparatory stage of singing activity in which we used exercises - images, exercises - games, songs and chants aimed at developing musical and auditory perceptions, we move on to working on the singing repertoire as part of a musical lesson.

As a result, after the work aimed at the formation of musical-auditory concepts in children of middle preschool age with an average level of formation of musical-auditory concepts, the following are observed:

– positive changes in the quality of pitch hearing;
– the ability to perceive and imagine the direction of a melody.

Children with a fairly high level of development of musical and auditory concepts developed:

Exercises using stimulating material can be used as additional material by the music director in classes at preschool educational institutions.

Introduction
Among many types of art, music rightfully occupies a special place in aesthetic and artistic education and in the entire system of formation of a comprehensively and harmoniously developed person.
The palette of music is rich, its language is flexible and diverse. Everything that is not subject to words, does not find its expression in it, is reflected in music. She especially vividly sings of the great harmony of nature.
Preschoolers show a special love for the art of music and can be involved in activities that are feasible for their age, the goals of which are to develop interest in music, correct perception of its content, structure, form, as well as awakening the need for constant communication with it and the desire to actively express oneself in this sphere.
Under the guidance of an adult, a child learns to empathize, fantasizing and imagining in the process of perceiving music; he strives to express himself in singing, dancing, and playing musical instruments. Everyone is looking for a unique character of movement, depicting a cheerful bird and a buzzing bumblebee, a clumsy bear and a cunning fox.
Experience has shown how useful it is for the overall development of children to involve them in independent activities and to cultivate a creative attitude towards music. By teaching children, we develop their interest and imagination, that is, spontaneity of action, enthusiasm, desire to convey the image in their own way, to improvise in singing, playing, dancing.
In the process of listening to music, children get acquainted with instrumental and vocal works of a different nature, they experience certain feelings. Listening to music develops interest and love for it, expands musical horizons, increases children's musical sensitivity, and develops the rudiments of musical taste.
Music lessons contribute to the overall development of a child’s personality. The relationship between all aspects of education develops in the process of various types and forms of musical activity. Emotional responsiveness and a developed ear for music will allow children to respond to good feelings and actions in accessible forms, help to activate mental activity and, constantly improving movements, will develop preschoolers physically.

1. Theoretical part.
1.1The problem of the development of musical and auditory concepts in children in psychological and pedagogical literature.
Psychology is increasingly invading the theory and practice of music education. Almost any issue of training and education requires the joint participation of teachers and psychologists. Until recently, both sciences developed separately, and we found confirmation of this in the study of this problem. In preschool pedagogy, questions about the influence of ideas in a child’s mastery of all types of musical activities are poorly addressed. It is well known that a child’s development occurs only in activity (D. B. Elkonin, L. N. Leontyev). One of the leading processes of activity is the thought process. Thought processes are also considered in theories about specific types of activity (A. V. Zaporozhets), as well as in the theory about the role of musical activity in the development of musical abilities (B. M. Teplov). Based on the theory of the artistic and figurative basis of musical activity (N. A. Vetlugina), using research on the interaction of arts (M. S. Kagan), we were convinced of the importance of the role of ideas in the harmonious development and education of a person, since spiritual life consists of three main spheres - thoughts, feelings, ideas. Literature, music and painting cover these spheres “comprehensively and completely” since they have adequate means of expression for this, and various combinations and interactions of the arts can convey the “interconnection of processes” taking place in spiritual life.
Representation is a thought process, without the formation of which it is impossible to master the three main ways of mastering the world: cognition, comprehension, transformation. A child perceives music based on a stock of life impressions, personal experience: sensory, kinesthetic, social. Music is an important and irreplaceable means of shaping a person’s personal qualities and his spiritual world. In order to comprehend the specifics of art - the generalization of life phenomena in artistic images - it is necessary to simply navigate the world around us, have ideas about the objective and sensory world, correctly use the designation of words, and be fluent in speech.
The musical image is difficult to describe in detail. To understand the unique language of musical works, it is necessary to accumulate minimal listening experience and acquire some ideas about the expressive features of musical language. Throughout the history of mankind, certain systems, regularly constructed series of shapes, sizes, colors, sounds, etc. received a certain speech designation. A word itself is a representation of something. Cognition of object properties is carried out in the process of developing the child’s ideas about standards and practical actions with objects. Establishing relationships between the subjects being studied occurs by performing logical operations. comparisons, classification, etc. According to P. Ya. Galperin, the ability to isolate individual features from a whole object, select the most significant of them and find them in other objects, identify connections that exist between objects and phenomena is an important condition for a child’s understanding of the world around him.
Without the formation of ideas, the mental development of a child is impossible. The lack of clear representations of external objects affects the child’s perception, and the lack of ideas about the existing connections between objects complicates the thinking process. No matter how simple the actions are (listen to a play, sing, dance), they are practical musical activities. Therefore, ideas are formed and developed through repeated repetition of various actions. The activity consists of numerous actions (external and internal) aimed at solving immediate problems (for example: learning and performing a song). The child listens carefully to the introduction to the song, tries to start it on time, catches the given tempo and nuances, and finishes the performance at the same time as his peers. Without musical and auditory perceptions, it is unlikely that a child will cope with a simple task. At the stage of formation, ideas can be detached from current activities, acquiring relative independence and their own logic of development. Representations, in particular, can anticipate practical actions, ensuring their regulation.
To master musical knowledge (consistent, orderly, refined, systematized), a child must receive a clear understanding of its purpose and properties, which cannot be accumulated without systematic training.
Musical-auditory performance is an ability manifested in the reproduction of melodies by ear. It is called the auditory or reproductive component of musical hearing. This ability develops primarily in singing, as well as in playing high-pitched musical instruments by ear. It develops in the process of perception that precedes the reproduction of music. To activate musical-auditory ideas, the connection with the perception of the just sounding melody is important; “to continue an already sounding melody in the imagination,” writes B. M. Teplov, is incomparably easier than imagining from the very beginning” (Teplov B. M. Psychology of musical abilities , pp. 163-164), that is, without relying on her perception. In addition, since movements contribute to the memorization of melodies, they can be used to develop musical and auditory concepts - internal singing, modeling the relationships of sounds in height using the hands, etc.
To reproduce a melody with your voice or on a musical instrument, you need to have auditory representations of how the sounds of the melody move - up, down, smoothly, in jumps, whether they are repeated, i.e. have musical and auditory perceptions (pitch and rhythmic movement). To reproduce a melody by ear, you need to remember it. Therefore, musical-auditory representations include memory and imagination. Just as memorization can be involuntary and voluntary, musical-auditory representations differ in the degree of their voluntariness. Voluntary musical and auditory representations are associated with the development of internal hearing. Inner hearing is not just the ability to mentally imagine musical sounds, but to voluntarily operate with musical auditory ideas.
Experimental observations prove that to arbitrarily imagine a melody, many people resort to internal singing, and those who teach piano play accompany the presentation of the melody with finger movements (real or barely recorded), simulating its playback on the keyboard. This proves the connection between musical and auditory perceptions and motor skills. This connection is especially close when a person needs to voluntarily remember a melody and keep it in memory. “Active memorization of auditory ideas,” notes B. M. Teplov, “makes the participation of motor elements especially significant.” The conclusion that follows from the above material: the activation of musical and auditory ideas is the main link of musical abilities, their constant development is one of the necessary factors in the development of musical thinking.

1.2 Development of musical and auditory concepts in preschool childhood.
The child’s abilities develop in the process of active musical activity. Correctly organizing and directing it from early childhood, taking into account changes in age levels, is the task of the teacher. Otherwise, developmental delays are sometimes observed. For example, if you do not teach children to distinguish musical sounds by pitch, then by the age of 7 a child will not be able to cope with a task that a younger child can easily complete. The most significant features of musical development are:
· auditory sensation, musical ear;
· quality and level of emotional responsiveness to music of various types;
· simple skills, actions in singing and musical-rhythmic performance.
First year of life. Psychologists note that children develop hearing sensitivity early. According to A.A. Lyublinskaya, on the 10th-12th day of life, a baby develops reactions to sounds. In the second month, the child stops moving and becomes quiet, listening to the voice, to the sound of the violin. At 4-5 months, there is a tendency to some differentiation of musical sounds: the child begins to react to the source from which the sounds are heard, to listen to the intonations of the singing voice. From the first months, a normally developing child responds to the nature of music with the so-called revival complex, rejoicing or calming down. By the end of the first year of life, the baby, listening to the singing of an adult, adapts to his intonation by humming and babbling.
Second year of life. When perceiving music, children show brightly contrasting emotions: cheerful animation or a calm mood. Auditory sensations are more differentiated: the child distinguishes between high and low sounds, loud and quiet sounds, and even timbre coloring (a metallophone or drum is playing). The first, consciously reproduced singing intonations are born; Singing along with an adult, the child repeats after him the endings of the musical phrases of the song. He masters the simplest movements: clapping, stamping, spinning to the sound of music.
Third and fourth years of life. Children have increased sensitivity and the ability to more accurately distinguish the properties of objects and phenomena, including musical ones. Individual differences in hearing sensitivity are also noted. For example, some kids can accurately reproduce a simple melody. This period of development is characterized by the desire for independence. There is a transition from situational speech to coherent speech, from visual-effective thinking to visual-figurative thinking, and the muscular-motor system is noticeably strengthened. The child develops a desire to play music and be active. By the age of 4, children can sing a little song on their own, with a little help from an adult. They master many movements that allow them to dance and play independently to a certain extent.
Fifth year of life. It is characterized by the active curiosity of children. This is a period of questions: “why?”, “why?”. The child begins to comprehend the connection between phenomena and events and can make simple generalizations. He is observant, able to determine: the music is cheerful, joyful, calm; sounds high, low, loud, quiet; in the piece there are parts (one fast and the other slow), on what instrument the melody is played (piano, violin, button accordion). The child understands the requirements: how to sing a song, how to move in a calm round dance and how to move in a moving dance. The voice at this age acquires ringing and mobility. Singing intonations become more stable, but require constant support from an adult. Vocal-auditory coordination is improved. Mastering the basic types of movement - walking, running, jumping - enables children to use them more widely in games and dancing. Some strive, without imitating each other, to play a role in their own way (for example, in a story game), others show interest in only one type of activity, depending on the individual inclinations and abilities of each.
Sixth and seventh years of life. This is the period of preparation of children for school. Based on the acquired knowledge and impressions, children can not only answer the question, but also independently characterize a piece of music, understand its means of expression, and feel the various shades of mood conveyed by the music. The child is capable of a holistic perception of a musical image, which is very important for developing an aesthetic attitude towards the environment. But does this mean that analytical activity can harm holistic perception? Research conducted in the field of sensory abilities and musical perception of children has shown an interesting pattern. The holistic perception of music is not reduced if the task is to listen attentively, highlight, and distinguish the most striking means of “musical language.” The child can identify these means and, taking them into account, act in accordance with a certain way when listening to music, performing songs and dance movements. This promotes musical and auditory development, mastering the necessary skills to prepare for singing from notes.
In children 6-7 years old, the vocal apparatus is further strengthened, the range expands and equalizes, and greater melodiousness and sonority appear. Songs, dances, and games are performed independently, expressively and to some extent creatively. Individual musical interests and abilities are revealed more clearly. This period is characterized by: expansion of acquired experience under the influence of education and improvement of sensations characteristic of this period. A.V. Zaporozhets notes “that sensations continue to improve mainly due to the development of the activity of the central part of the analyzers.” A direct dependence of auditory sensitivity on systematic music lessons has also been established. When perceiving phenomena, children at this age are able to coordinate their perception with the verbal instructions of the teacher. Moreover, they are able to verbally formulate the tasks facing them. The growth of a child’s life development in the period of senior preschool age is clearly revealed not only in the characteristics of age-related characteristics of perception, but also in changes in the nature of his activities, in particular play.
Understanding the age-related characteristics of musical development allows the teacher to clarify the sequence of tasks and content of musical education of children at each age stage.
Thus, a preschool child, with active participation in musical and practical activities, makes a huge leap in both general and musical development, which occurs:
· In the field of emotions - from impulsive responses to the simplest musical phenomena to more pronounced and varied emotional manifestations.
· In the field of sensation, perception and hearing - from individual distinctions of musical sounds to a holistic, conscious and active perception of music, to differentiation of pitch, rhythm, timbre, dynamics.
· In the area of ​​manifestation of relationships - from unstable hobbies to more stable interests, needs, to the first manifestations of musical taste.
· In the field of performing activities - from actions of display, imitation to independent expressive and creative manifestations in singing and musical-rhythmic movement.
1.3 Methodology for organizing music listening, which accompanies the development of musical-auditory concepts in preschool children.
The complex process of developing children's musical perception involves the use of artistic performance of works, the teacher's words and visual aids. Artistic performance of music is expressive, simple, precise. Various kinds of simplifications and distortions that deprive children of the necessary emotional experiences are unacceptable here. Since preschoolers listen to vocal and instrumental works, it is important that the sonority and tempo be moderate (without spectacular variety), and that the sound be natural and soft.
The teacher’s speech about music should be brief, vivid, figurative and aimed at characterizing the content of the work and the means of musical expression. Live perception of sound should not be replaced by unnecessary conversations about music and its features. Conversations that encourage children to give formal answers can be considered devoid of pedagogical meaning: the music is loud, quiet, fast, etc. But before listening to songs and plays, a guiding word from the leader is necessary.
The teacher’s word should clarify, reveal feelings and moods expressed through musical means. Even the teacher’s voice when explaining is emotionally colored depending on the nature of the work. Warmly, affectionately tells about a lullaby, joyfully, with enthusiasm about a festive, solemn march, playfully, cheerfully about a dance.
The forms of verbal guidance are different: short stories, conversations, explanations, asking questions. Their use depends on specific educational and educational tasks, the type of musical work (vocal, instrumental), the moment of familiarization (initial or repeated listening), genre, nature of the work, and the age of young listeners.
Directing children's attention to the perception of vocal music, the teacher builds a conversation based on the unity of the musical and poetic text. Introducing instrumental music, he makes small explanations of a more general nature. If a play has a program, it is usually expressed in the title, for example “March of the Wooden Soldiers” by P. Tchaikovsky. Performing it for the first time, the teacher explains: “The music is clear, light, because the soldiers are small, wooden - it’s a toy march.” When you listen again, you notice that when the soldiers come closer, the music sounds louder, and when they leave, the sound fades out. Later, children independently distinguish dynamic shades, comprehending their expressive meaning.
The teacher’s explanations in classes with children are extreme, short, and focused on the main image. “The music is cheerful, dancing, and our dolls are dancing happily,” says the teacher, performing a folk dance melody, or reminds: “Yesterday we were walking and heard birds singing. How do they sing, how do they tweet? The children answer. The teacher finishes: “And I’ll sing you a song about a bird.” After this, he first performs the piano accompaniment of M. Rauchwerger’s song “Bird”, so that the children feel the visual nature of the music, and then the entire song. Let us note that the musical introductions and conclusions of songs from the repertoire of junior kindergarten groups are often of a figurative nature. Brief explanations from the teacher, immediately accompanied by musical examples, help children feel the artistic image.
The teacher’s explanations, based on visual musical examples, attract the children’s attention to the features of the piano presentation, conveying the images of a cockerel, a bird, and a little drummer.
When working with children of middle and especially older preschool age, conversations are more detailed, attention is paid to the development of artistic image, and the expressive purpose of musical means is explained.
Let us consider, for example, P. Tchaikovsky’s play “Kamarinskaya”. It is built on a folk melody, presented in the form of variations. Each variation changes the melody in its own way, and children are able to perceive these expressive features. The play very figuratively and vividly conveys the character of a perky Russian dance, which gradually develops and, as if breaking off, ends. The sound volume increases and decreases. Therefore, in a conversation, the teacher can note musical shades and explain their expressive meaning. Children are told that the dance begins with light, graceful movements, which then become wider and faster. Suddenly the sound fades, as if the dancer is slowing down and ending the dance. In the conversation, one can note the figurative nature of the music, conveying the sound of folk instruments. In the first variation they play the pipe, in the second it is joined by a balalaika, then a harmonica.
The conversation is accompanied by the playing of individual variations and musical phrases. Music is perceived in a developing form, children begin to feel and understand “musical speech.”
In verbal instructions, the teacher repeatedly (with the help of a figurative short story or an expressively read poem) notes the connection between music and the phenomena of life that are reflected in it.
The use of visual techniques to enhance musical perception depends on the source of additional information about the music. If this is a literary work (poems, a quote from a poetic text of a song, from a story, a riddle, a proverb) or a fragment of a performed work (remember the musical introduction to the songs “Cockerel”, “Bird”), then we can talk about the use of visual-auditory techniques. These techniques appeal to the child's hearing. Visualization is understood as a method of learning music. Living contemplation is not necessarily visual. For the development of musical perception, musical and literary quotations aimed at emphasizing any characteristic features of music are very valuable. Using a gramophone record is also helpful.
It should be noted that direct communication with the performer makes it easier for the child to perceive. But listening to recorded music also has its advantages. If children listen to a piece performed by a teacher several times, then, hearing it in an orchestral presentation, they will receive additional visual representations that will significantly expand and enrich their horizons.
Fine illustrations, artistic toys, manuals, i.e., visual-visual techniques will also help the perception of musical works.
In the methodology of working with children, artistic toys are widely used; they “move”, “talk” to children, and participate in various events. It looks like small theatrical performances, during which children listen to music. Book illustrations and prints are more often used in working with older preschoolers. Poetic pictures of nature, human labor, social events, conveyed through the means of visual and musical art, complement children's performances.
Various methodological aids that activate musical perception can also be used, for example, small cards depicting dancing and marching children (while listening to a dance or march, the children show a card with a symbol), a running boy and a slowly walking man (perceiving a two- or three-part form a play characterized by a change in tempo, children mark the beginning of each part with a corresponding image on a flannelgraph).
You can also focus on the muscular-motor sensations of children in order to form visual ideas about some musical phenomena. While listening to cheerful or calm music in younger groups, you can use movements with sticks, flags, and cubes. In older groups, asking children to distinguish parts, phrases of a work, high, middle, low registers, rhythmic features, you can also use various motor elements: tapping, clapping, raising, lowering hands, etc.
Listening to the same plays and songs must be repeated many times, providing a method so that each time the child is happy and learns something new about them.
The first acquaintance with music involves a holistic perception, comprehension of its general mood. Therefore, it is important to expressively perform the work as a whole, give a brief description of the content, and note its most striking features.
When listening repeatedly, the attention of children (especially older ones) is drawn not only to the artistic embodiment of the general concept, but also to individual means of musical expression. At each lesson, new tasks are set that activate children's perception.
Work on developing music listening skills is carried out in classes, entertainment, and during the child’s independent activities. Listening to music in class should be given great importance. The results of this work are not as obvious as in singing and rhythm. However, it is necessary to introduce children to musical works, developing their hearing, expanding their horizons, and cultivating an active listener consistently and systematically in each lesson.
A very important form of emotional enrichment for young listeners is concerts. They fill you with impressions and create an upbeat, festive mood. The content of the concerts is usually associated with the lesson program. They, as if summing up the material covered, introduce new interests into the circle. For example, concerts dedicated to a composer (P. Tchaikovsky, D. Kabalevsky) allow the teacher to widely and comprehensively introduce preschoolers to the work of the great master. The “Musical Instruments” concert gives children the opportunity to learn about various musical instruments, how to play them, and their sound features. Such concerts include various “Musical mysteries” and record recordings are used.
The next form of work is the use of music in the child’s independent activities. In order for the process of musical perception to have a developing, continuous impact on children, the teacher must have a kind of music library in the group room. It should contain a set of records with recordings of program works appropriate to the children’s age, cards with drawings illustrating the content of instrumental pieces or songs, etc. Knowing the material available in the library, children look at it, choose their favorite works, and listen to them. Sometimes the initiative belongs to the teacher, who suggests listening to music, guessing a musical riddle, talking with the children about a particular piece.
The effectiveness of the results of organizing music listening is achieved through the expressive performance of musical works, the interaction of verbal and visual methods, and the consistent presentation of various tasks that activate children's perception.
2. Practical part.
2.1 Determination of the effectiveness of the methodology for organizing music listening, which contributes to the development of musical-auditory concepts in preschool children.
The development of musical performances is carried out in a complex and close relationship with the solution of educational problems. Musical educational activities are aimed at mastering basic information about music, its language, means of expression, its genres, as well as acquiring a certain stock of skills in various types of performance.
Managing the process of musical education of preschoolers is impossible without taking into account the general level of musical development of all children in the group, as well as without attention to the individual characteristics of the musical development of each child.
To this end, we diagnosed the level of musical development of children, asking them to complete certain tasks that would reveal the level of development of children’s musical abilities, as well as the degree to which they have mastered the necessary skills in various types of musical activities.
Diagnosis of a child’s musical abilities should be based not so much on their one-time assessment, but on identifying their changes compared to the past and, accordingly, readiness for improvement in the future.
The subject of the survey was the musical development of children in general, which includes:
a) development of musical abilities;
b) assessment of knowledge, skills and abilities in the field of music perception and performing musical activity;
The objects of the study were children of senior preschool age. The validity and reliability of the diagnostic results was achieved through the use of instrumental approaches that corresponded to the goals and objectives of the study. From all the modern methodological literature on the musical education of children, we chose a convenient form and methods for recording diagnostic results. They suit us as diagnosticians, are quick and easy to use, and take into account our individual characteristics and professional capabilities.
To identify the levels of musical development of children, we compiled diagnostic cards and developed diagnostic tasks - one for each indicator of musical development. We evaluate children’s performance of diagnostic tasks using a three-point system, based on criteria for the quality of the child’s mastery of a particular ability, i.e.

High level – 3 points;
Average level – 2 points;
Low level – 1 point.

We use tables to record the observation results.
Based on the diagnostic results at the beginning of the year, conclusions are drawn about how each child develops and to whom to focus special attention. If a child has noticeable new successes, then they need to be developed until they are fully developed. If, on the contrary, the child finds it difficult in some way, help him by choosing the right methods and techniques for developing his abilities.
Diagnostic tasks.
(senior group)
Task No. 1.
Purpose: to determine the level of development of the modal sense.
The music director performs a chant or a familiar song on the piano or metallophone. First, the song is performed in full, and the second time the teacher asks to hear what has changed in his playing. The child must determine whether the melody has ended or the teacher has not played it to the end (to the tonic).
Repertoire: r.n.p. “Once upon a time there lived a gray goat with my grandmother.”
Task No. 2.
Goal: to identify the level of development of musical and auditory perceptions.
The music director plays any simple song on the piano or metallophone. The child’s task is to pick it out by ear, sing it or play it on the piano or metallophone.
Repertoire: r.n.m. "Andrew the Sparrow" or "Cockerel".
Task No. 3.
Goal: to identify the level of development of the sense of rhythm.
The music director plays a song on a metallophone or piano. The child’s task is to repeat the rhythmic pattern of the chant by clapping, stamping, or using percussion instruments.
Repertoire: “Knock, knock, hammer”, “Drip-drip” or “Tick-tick-tock”.
Task No. 4.
Goal: to identify the child’s knowledge of musical genres (song, dance, march).
Game material: cards with images of marching soldiers, singing and dancing children. Phonograms or piano performances of the following works:

P.I. Tchaikovsky “March of the Tin Soldiers”;
P.I. Tchaikovsky “Polka”;
R.n.p. “There was a birch tree in the field.”

The child is given cards. The music director plays the piano or plays a soundtrack of musical pieces that correspond to the content of the pictures on the cards. The child must recognize the work by genre, pick up the corresponding card and answer the teacher’s questions:

What genre of work was performed?
What can you perform to it?
Characteristic features.

Task No. 5.
Goal: to determine a child’s abilities to perceive a piece of music using color indicators of emotional states.
Game material: cards of three colors (red, blue, green), soundtracks or performance of musical works.
The starting point for constructing such a diagnosis is the correspondence of certain color shades to various emotional states of a person, established in psychology.
While listening to a short excerpt from a piece of music, the child is asked to choose a card of the exact color in which he would draw this melody.
The child’s task is to create a color image of a musical composition (cheerful, perky - red; sad, mournful - blue; light, lyrical - green.)
By introducing color symbolism, the emotional reaction to three different melodies is tested.
Repertoire: “Kamarinskaya”, “The Doll’s Disease” by P.I. Tchaikovsky, “Sweet Dream” by P.I. Tchaikovsky.
Task No. 6.
Goal: to identify the child’s ability to determine the form of a musical work (introduction, conclusion, chorus, chorus in a song, 2-3 parts)
The child is offered several pieces of music of different forms to listen to. After performance, the child determines how many parts are in the work and by what means of expression he understood it.

V. Shainsky “Let them run clumsily”;
V. Salmanov “Hungry cat and well-fed cat”
D. Kabalevsky “Clowns”.

etc.............

All types of auditory sensations that we have analyzed - pitch, melodic, polyphonic, harmonic, timbre-dynamic - can develop only under one condition: if the musician pays a lot of attention to the development of the so-called inner hearing and related to it musical and auditory perceptions.

The significance of musical and auditory ideas for a musician’s activity will become more clear if we analyze and analyze the role that a preliminary action plan plays in any human activity. Musical and auditory performances are the same as an architectural and construction project when building a house, a design development when building a car, a script when staging a film or theater play, or mathematical calculations of the trajectory when launching a space rocket. Errors and inaccuracies in the project, action plan, calculations inevitably and inevitably entail failure in bringing the plan to life.

Inner hearing and musical-auditory perceptions are associated with the ability to hear and experience music silently, without relying on external sound, with the ability, according to Rimsky-Korsakov’s definition, “to mentally represent musical tones and their relationships without the help of an instrument or voice.”

The ability to speculatively, internally hear music helps the performer to work on a piece without an instrument, improving the quality of the game by improving the quality and content of their auditory ideas.

The physiological basis of musical-auditory representations is the development of neural pathways, which, when repeated many times, form “traces” in the cerebral cortex, which are substrates of memory. The clarity and clarity of the traces ensures that waves of excitement flow more easily through them during the performance of the piece.

In “Advice to Young Musicians,” Schumann spoke about the importance of musical and auditory concepts: “You must get to the point of understanding all music on paper... If they put a composition in front of you so that you can play it, read it first with your eyes.”

The development of musical auditory perceptions is associated with memory function. By developing musical memory, we develop musical auditory perceptions and pitch hearing. However, when playing an instrument, the development of auditory memory is complicated by the fact that in the process of memorization other types of memory are included, and primarily motor and visual. Memorizing a piece by heart using these types of memory is often easier than memorizing a piece by ear. Therefore, as Teplov pointed out, “the path of least resistance opens up. And once this path has been opened, the mental process will always strive to be directed along it, and making it turn onto the path of greatest resistance becomes a task of incredible difficulty.”

The triad “see - hear - play” has become firmly established in the modern methodology of music teaching. The meaning of this formula is the preliminary activation of the internal hearing of the music that is to be played. If a musician hears only what he has already played, without hearing with his inner ear what he still has to play, the results are disappointing. “Think more, not play,” Arthur Rubinstein told his students. “To think is to play mentally.”

The same idea, in different variations, runs through the pedagogical instructions of all major musicians and teachers. “Piano performance as such should always be in second place,” Hoffman said in his interviews. - The student will do himself a very good service if he does not rush to the keyboard until he is aware of every note, sequence, rhythm, harmony and all the instructions contained in the notes... Only when you have mastered the music in this way can you “voice” it “on the piano... for “playing” is only an expression with the hands of what the performer knows very well.”

It was said about Liszt that he could learn a new work and play it at a concert after carefully reviewing it.

People who knew him closely said about our domestic pianist G.R. Ginzburg that he loved to practice without a piano. To do this, sitting down in a chair and focusing his attention on the images of musical and auditory representations, he “played” the program of his concert from beginning to end at a slow pace, hearing with his inner ear in great detail the entire musical fabric in detail and as a whole.

Coursework

Development of musical and auditory perceptions in children

preschool age

INTRODUCTION………………………………………………………………………………3

CHAPTER 1. SYCHOLOGICAL AND PEDAGOGICAL FOUNDATIONS OF THE DEVELOPMENT OF MUSICAL AND AUDITORY CONCEPTS IN PRESCHOOL CHILDREN……..……………..……………..……………..7

1.1 FEATURES OF MUSICAL DEVELOPMENT OF PRESCHOOL CHILDREN………..……………………………………………………………..7

1.2 FEATURES OF WORK ON THE DEVELOPMENT OF MUSICAL AND AUDITORY PERSPECTIVES IN PRESCHOOL CHILDREN...……………………… ………………………………………………………17

2.CONCLUSION………………………………………………………………………………….27
REFERENCES……………………………………………………………….………29

INTRODUCTION

Target: determine effective methods for developing musical and auditory understanding in preschool children.

Tasks:
1) Identify the theoretical foundations for the development of musical and auditory perception in preschool children.

2) Development of the general musicality of children.

Object of study: musical and auditory performance in preschool children.

Subject of research: development of musical and auditory perception of preschool children.
Research methods:
1. Analysis of psychological and pedagogical literature on this issue.

2. Pedagogical observation.

3. Pedagogical experiment.
4. Generalization of the results.

Research hypothesis: the development of musical-auditory performance will be more effective if:

Creating conditions for the development of musical and auditory performance;
- systematic examination of the degree of development of children’s musical and auditory understanding.

Relevance:

Musical development has an irreplaceable impact on overall development: the emotional sphere is formed, thinking is improved, sensitivity to beauty in art and life is cultivated. “Only by developing a child’s emotions, interests, and tastes can he be introduced to musical culture and lay its foundations. Preschool age is extremely important for further mastery of musical culture. If in the process of musical activity a musical-aesthetic consciousness is formed, this will not pass without a trace for the subsequent development of a person, his general spiritual formation” (Radynova O.P.).

It can now be considered generally accepted that man lives more in the world of feelings than in the world of reason; Both teachers and psychologists, as well as representatives of other humanitarian branches of knowledge, agree on this. And since this is so,music is the art that provides the human spirit with the opportunity for constant and intense inner life.
Music consolidates the spiritual movements of people in harmonious combinations of sounds, in which - both in ancient times and in our days - a person’s attitude to the world around him is most fully expressed. In these mental movements and relationships with the world, in fact, life consists. Just as in painting the image on the canvas acquires eternal life, so the musical expression of feelings and emotions, the experience of sensory interactions with the world experienced by a person, acquires the right to eternal existence. The reason for this is that in the subtlest, spiritual relationships, in the sensory sphere of a person, lies deep intuitive knowledge, thanks to which he perceives nature and the people around him more accurately and effectively.
It is not without reason that in ancient philosophical teachings, intuitive-innate (i.e., inherited to a person, one might say, by social inheritance) knowledge was considered the highest knowledge. And it was with his help that only a person could comprehend the essence of music.

Musical art is one of the richest and most effective means of aesthetic education; it has a great emotional impact, educates a person’s feelings, and shapes tastes.
Musical development is one of the central components of aesthetic education; it plays a special role in the holistic harmonious development of the child’s personality.
Modern scientific research indicates that the development of musical abilities, the formation of the foundations of musical culture - i.e. Musical education should begin in preschool age. The lack of full-fledged musical impressions in childhood is difficult to compensate for later.
Music has an intonation nature similar to speech.
Similar to the process of mastering speech, which requires a speech environment, in order to fall in love with music, a child must have experience in perceiving musical works of different eras and styles, get used to its intonations, and empathize with the mood.
Famous folklorist G.M. Naumenko wrote: “... a child who finds himself in social isolation experiences mental retardation, he acquires the skills and language of the one who raises him and communicates with him. And what sound information he absorbs in early childhood will be the main supporting poetic and musical language in his future conscious speech and musical intonation. It becomes clear why those children who were rocked to sleep with lullabies, brought up on nurseries, entertained with jokes and fairy tales, with whom they played while performing nursery rhymes, according to numerous observations, are the most creative children, with developed musical thinking...”

Preschoolers have little experience in understanding human feelings that exist in real life. Music that conveys the full range of feelings and their shades can expand these ideas.
The development of musical abilities is one of the main tasks of musical education of children. A very important question for pedagogy is the nature of musical abilities: whether they are innate human properties or develop as a result of exposure to the environment, upbringing and training. Abilities depend on innate inclinations, but develop in the process of education and training. All musical abilities arise and develop in the child’s musical activity. “The point,” writes the scientist, “is not that abilities are manifested in activity, but that they are created in this activity” (B.M. Teplov).
CHAPTER 1. SYCHOLOGICAL AND PEDAGOGICAL FOUNDATIONS OF THE DEVELOPMENT OF MUSICAL AND AUDITORY CONCEPTS IN PRESCHOOL CHILDREN

1.1 Features of musical development of preschool children

All children are naturally musical.

Musical art is one of the specific and complex types of art. Specificity lies in the use of special means of expressiveness - sound, rhythm, tempo, sound strength, harmonic coloring. The difficulty lies in the fact that the sound image created using the listed means of expressiveness is perceived and interpreted by each listener in their own way, individually. Of all the variety of artistic images, musical images are the most difficult to perceive, especially in preschool age, since they lack spontaneity, as in the fine arts, and do not have concreteness like literary images. However, music is a powerful means of influencing the inner, spiritual world of a child, forming ideas about basic ethical and aesthetic categories. The educational possibilities of musical art are truly unlimited, since music reflects almost all phenomena of the reality around us, especially concentrating a person’s moral experiences. The harmony of musical and aesthetic education is achieved only when all types of musical activities available to preschool age are used and all the creative capabilities of a growing person are activated.

There are general abilities, which manifest themselves everywhere or in many areas of knowledge and activity, and special ones, which manifest themselves in one area.

Special abilities are abilities for a certain activity that help a person achieve high results in it.

The formation of special abilities, according to Nemov R.S., actively begins already in preschool childhood. If a child’s activity is creative and varied in nature, then it constantly forces him to think and in itself becomes quite an attractive activity as a means of testing and developing abilities. Such activities strengthen positive self-esteem, increase self-confidence and a sense of satisfaction from the success achieved. If the activity being performed is in the zone of optimal difficulty, that is, at the limit of the child’s capabilities, then it leads to the development of his abilities, realizing what Vygotsky L.S. called it a zone of potential development. Activities not located within this zone lead to the development of abilities to a much lesser extent. If it is too simple, then it only ensures the implementation of existing abilities; if it is overly complex, it becomes impossible to implement and, therefore, also does not lead to the formation of new skills.

First of all, it is important to noteindividual nature of abilities. Abilities are not a “gift” of the same quality and different in quantity, given as if “from the outside,” butindividual characteristic inherent in a given persona feature that allows you to successfully cope with a certain task.
Thus, the abilities of different people differ not in quantitative characteristics, but, above all, in qualitative ones. Therefore, we do not begin work on developing abilities with a “diagnosis” of their presence or absence. at person, but from the study of individual characteristics himself person.
B.M. Teplov, considering the concept of “ability,” identifies three main features.

Firstly, abilities refer to individual psychological characteristics that distinguish one person from another.

Secondly, abilities are not called all individual characteristics, but only those that are related to the success of performing any activity or many activities.

Thirdly, the concept of ability is not limited to the knowledge, skills and abilities that have already been developed by a given person. It follows that ability cannot arise outside of corresponding practical activity. The point, he points out, is not that abilities are manifested in activity, but that they are created in this activity.
Musical abilities are revealed differently in all children. For some, already in the first year of life, all three basic abilities manifest themselves quite clearly, developing quickly and easily, which indicates the musicality of children, while for others, abilities are discovered later and develop more difficult.

Musical abilities are multifaceted. Actively develop in childhood
age musical and motor abilities. Various manifestations
talents in this area (they were studied by A.V. Keneman, N.A. Vetlugina, I.L. Dzerzhinskaya, K.V. Tarasova, etc.). This includes the ability to perceive music, feel its expressiveness, respond directly and emotionally to it, and the ability to appreciate beauty in music and movement, evaluate rhythmic expressiveness, and demonstrate musical taste within the limits of possibility for a given age.

The most difficult thing for children to develop is musical-auditory understanding - the ability to reproduce a melody with a voice, accurately intoning it, or select it by ear on a musical instrument. Most preschoolers develop this ability only by the age of five.

B. M. Teplov considered the main sign of musicality to be “the experience of music as an expression of some content.”

Among the main carriers of content, he identified three main musical abilities:

1. Modal feeling , i.e. the ability to emotionally distinguish the modal functions of the sounds of a melody or feel the emotional expressiveness of pitch movement.
The feeling of harmony generally manifests itself in a person as an emotional experience. Teplov speaks of it as a perceptual component of musical hearing. It can be detected when we recognize melodies, when we determine whether a melody is over or not, when we feel the modal color of sounds.

At an early age, an indicator of a modal feeling is a love of music. Since music expresses emotions, the ear for music should also be emotional. In general, modal feeling is a fundamental facet of the responsiveness of emotions to music. Consequently, the modal sense becomes noticeable in the perception of pitch movement, therefore, there is a close relationship between emotional responsiveness to music and the understanding of musical pitch.

2. Ability to use voluntarilyauditory ideas, reflecting pitch movement.

This ability can otherwise be called the auditory or reproductive component of musical hearing. It is directly manifested in the reproduction of melodies by ear, primarily in singing. Together with the modal sense, it underlies harmonic hearing. At higher stages of development, it forms what is usually called inner hearing.

This ability forms the main core of musical memory

And musical imagination.

3. Musical-rhythmic feeling, i.e. the ability to actively (motorly) experience music, feel the emotional expressiveness of the musical rhythm and accurately reproduce it.
At an early age, the musical-rhythmic sense is manifested in the fact that hearing music is directly accompanied by certain motor reactions that more or less convey the rhythm of the music. This feeling underlies those manifestations of musicality that are associated with the perception and reproduction of the temporary chorus of a musical movement. Along with modal feeling, it forms the basis of emotional responsiveness to music.

The absence of early manifestation of abilities, emphasizes B.M. Teplov, is not an indicator of weakness or, especially, a lack of abilities. The environment in which a child grows up (especially in the first years of life) is of great importance. The early manifestation of musical abilities is observed, as a rule, in children who receive sufficiently rich musical impressions.

Teplov clearly defined his position on the issue of innate musical abilities. He relied on the work of physiologist I.P. Pavlov, and emphasized that only anatomical and physiological characteristics can be congenital, i.e. inclinations that underlie the development of abilities.

Inclinations are not created in the process of development and upbringing, but they also do not disappear if the necessary conditions for their discovery were not available. Under the same external influences, inclinations change differently in different people. It is possible, for example, the so-called explosive realization of the inclination, i.e. explosive formation of ability: ability is formed within days, weeks, as happens with some child prodigies. In such cases, the speed of ability formation is considered as an indicator of the high representation of the inclination. But it is also possible for a gradual identification of the inclination, a rather slow and equally complete formation of a certain ability on its basis.

The makings of a musician’s abilities include innate anatomical, physiological, neurophysiological and psychological characteristics, which are important prerequisites for successful professional training.
Among them are:

Features of the anatomical structure of the body, larynx (for singers), facial muscles (for wind players), upper limbs (for pianists, string players, etc.);

Some properties of muscle tissue, organs of movement, breathing, hearing;

Properties of higher nervous activity (primarily those associated with the speed and subtlety of mental reactions - the sensitivity of the auditory analyzer, lability as a property of the nervous system, some features of the analyzer-effector and psychomotor systems, emotional reactivity, etc.).

Abilities, believed B.M. Teplov, cannot exist except in a constant process of development. An ability that does not develop, which a person stops using in practice, is lost over time. Only through constant exercises associated with systematic study of such complex types of human activity as music, technical and artistic creativity, mathematics, etc., do we maintain and further develop the corresponding abilities.

N.A. Vetlugina identified two main musical abilities:good pitch hearing and sense of rhythm.

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

For the successful implementation of musical activity, musical abilities are required, which are combined into the concept " musicality."

The main sign of musicality is the experience of music as an expression of some content.
Musicality - this is a complex of properties of a person’s personality that arose and develops in the process of emergence, creation, and mastery of the art of music; this is a phenomenon determined by socio-historical practice and all types of musical activity.
Musicality , according to Teplov B.M., this is that component of musical talent that is necessary for engaging in musical activity, as opposed to any other, and, moreover, is necessary for any type of musical activity. Since each person has a unique combination of abilities - general and special, and the characteristics of the human psyche suggest the possibility of broad compensation of some properties by others, musicality is not reduced to one ability: “Each ability changes, acquires a qualitatively different character depending on the presence and degree of development of others abilities."

Musicality can be considered as a collection of individual, unrelated talents, which are combined into five large groups:
musical sensations and perception;
musical performance;
musical memory and musical imagination;
musical intelligence;
musical feeling.
Musical abilities are individual psychological properties of a person that determine the perception, performance, composition of music, and learning in the field of music. To one degree or another, almost all people have musical abilities.
Pronounced, individually manifested musical abilities are called musical talent.

Musical talentIt is impossible to consider in isolation from musical ear, which can be harmonic and melodic, absolute and relative.

Giftedness a significant advance in mental development compared to age norms or exceptional development of special abilities (musical, artistic, etc.).

From the point of view of an individual’s creative potential, A.M. approaches the problem of giftedness. Matyushkin. The formulation of the concept of creative giftedness is based primarily on his own work on the development of creative thinking in children using problem-based learning methods; works devoted to group forms of creative thinking, diagnostic methods of teaching that promote the personal creative growth of gifted students. He understands creativity as a mechanism, a condition of development, as a fundamental property of the psyche. He considers the structural components of giftedness to be the dominant role of cognitive motivation and consistent, creative activity, expressed in the discovery of new things, in formulating and solving

problems. The main signs of the creative need of A.M. Matyushkin considers its stability, a measure of research activity, and selflessness.
Research activity is stimulated by the novelty that a gifted child himself sees and finds in the world around him. He emphasizes that the basis of giftedness is not intelligence, but creativity, believing that the mental is a superstructure.

Directly opposite in terms of the meaning of musicality is the concept of “amusia” (from gr. amusia - lack of culture, lack of education, lack of artistry) - an extremely low degree of musical abilities or a pathological violation of them, a deviation from the normal musical development of a person corresponding to a given culture. Amusia occurs in approximately 2 - 3% of people. It should be distinguished from delays in musical development or musical underdevelopment (there can be up to 30% of such people), which can be corrected by individual pedagogical work.

In pathopsychology, amusia is the complete loss or partial impairment of musical perception, recognition, reproduction and experience of music or its individual elements (often against the background of generally preserved speech functions). The basis of amusia is a violation of perception and experience sound relations - sequences of sounds as a semantic unity. A person does not recognize well-known melodies (for example, the national anthem), does not notice pitch distortions of the melody, cannot say whether short motifs are similar or different, does not distinguish sounds by pitch; musicians stop recognizing intervals and lose absolute pitch. Sometimes the pitch discrimination may be preserved, but the ability to perceive and recognize intervals, motifs and melodies is lost.

1.2 Features of work on the development of musical and auditory concepts in preschool children.

Musical auditory representations are primarily representations of pitch and rhythmic relationships of sounds, since it is these aspects of the sound fabric that act in music as the main carriers of meaning.
Musical-auditory concepts are often identified with the concept of “inner hearing.”
Inner hearing - the ability to think clearly submission (most often from musical notation or from memory) individual sounds, melodic and harmonic structures, as well as completed musical works; this type of hearing is associated with a person’s ability to hear and experience music “in his head,” that is, without any reliance on external sound;
Inner hearing is an evolving ability, improving in the corresponding activity, progressing in its formation from lower forms to higher ones (and this process, starting at certain stages of the formation of musical-auditory consciousness, does not actually stop throughout the entire professional activity of the musician). Developing this ability and cultivating it in teaching is one of the most difficult and responsible tasks of music pedagogy.
Musical-auditory ideas usually spontaneously arise upon more or less close contact with a musical phenomenon: their physiological basis is the making of “traces” in the cerebral cortex during the perception of sound sensations. In people who are musically gifted and have a fairly stable ear for music, these ideas are formed, other things being equal, faster, more accurately, more firmly; “traces” in the cerebral sphere have clearer and more prominent outlines here. On the contrary, weakness and underdevelopment of the internal auditory function naturally manifests itself in pallor, vagueness, and fragmentation of ideas.
It is widely believed that auditory concepts can develop independently of singing or any other equivalent musical activity and that children may have a set of circumstances where auditory concepts are well developed but the ability to realize them is lacking. This assumption is certainly false. If a child does not know how to perform any activity in which musical auditory ideas are realized, then it means that he does not yet have these ideas.
The perception of music occurs already when the child cannot engage in other types of musical activities, when he is not yet able to perceive other types of art. Perception of music is the leading type of musical activity in all age periods of preschool childhood.
E.V. Nazaikinsky says: “Musical perception is a perception aimed at comprehending and understanding the meanings that music has as art, as a special form of reflection of reality, as an aesthetic artistic phenomenon.”
The perception of music by young children is characterized by its involuntary nature and emotionality. Gradually, with the acquisition of some experience, as he masters speech, the child can perceive music more meaningfully, correlate musical sounds with life phenomena, and determine the nature of the work.
It is known that preschool childhood is a period during which the emotional sphere plays a leading role in the mental development of a child, and music is an emotional art in its very content. The relationship and interdependence of progressive changes in personality and musical-emotional development, the role of music in the aesthetic, intellectual, moral development of children has been proven by researchers in the field of pedagogy, psychology, musicology, theory and practice of music education (B.V. Asafiev, N.A. Vetlugina, L.S. Vygotsky, A.V. Zaporozhets, L.P. Pechko, V.I.
The need to introduce a child to the world of musical culture and the development of emotional responsiveness to music is emphasized in the works of N.A. Vetlugina, D.B. Kabalevsky, A.G. Kostyuk, V.A. Myasishcheva, V.A. Petrovsky, O.P. Radynova, V.A. Sukhomlinsky, T.N. Taranova, G.S. Tarasova, V.N. Shatskaya and others. The views of scientists agree that the development of emotional responsiveness to music should be carried out on the basis of activating the emotional sphere of children from an early age. Research by T.S. Babajan, V.M. Bekhtereva, A.V. Zaporozhets, R.V. Oganjanyan, V.A. Razumny, B.M. Teplova et al. showed that the most important period in the development of emotional responsiveness is the period of early and early preschool age, characterized by the high emotionality of children and the need for vivid impressions.
Musical art provides inexhaustible opportunities for expanding and enriching emotional experience.
Music most deeply captures a person and organizes his emotional being; in communication with it, a child easily finds an outlet for his emotional activity and creative initiative.
It is emotional activity that gives the child the opportunity to realize his musical abilities, becomes a means of emotional communication, and an important condition for the development of emotional responsiveness to music in preschoolers.
In the process of listening to music, children get acquainted with instrumental and vocal works of a different nature, they experience certain feelings. Listening to music develops interest and love for it, expands musical horizons, increases children's musical sensitivity, and develops musical taste.
Musical education, the content of which is highly artistic examples of world musical art, forms in children an idea of ​​the standards of beauty. Receiving full-fledged musical impressions from childhood, children master the language of intonations of folk and classical music and, like mastering their native language, comprehend the “intonation vocabulary” of works of different eras and styles.
The musical image is difficult to describe in detail. To understand the unique language of musical works, it is necessary to accumulate minimal listening experience and acquire some ideas about the expressive features of musical language.

Musical-auditory ideas usually spontaneously arise upon more or less close contact with a musical phenomenon: their physiological basis is the making of “traces” in the cerebral cortex during the perception of sound sensations. In people who are musically gifted and have a fairly stable ear for music, these ideas are formed, other things being equal, faster, more accurately, more firmly; “traces” in the cerebral sphere have clearer and more prominent outlines here. On the contrary, weakness and underdevelopment of the internal auditory function naturally manifests itself in pallor, vagueness, and fragmentation of ideas.
To reproduce a melody with your voice or on a musical instrument, you need to have auditory representations of how the sounds of the melody move - up, down, smoothly, in jumps, whether they are repeated, i.e. have musical and auditory perceptions (pitch and rhythmic movement). To reproduce a melody by ear, you need to remember it. Therefore, musical-auditory representations include memory and imagination. Just as memorization can be involuntary and voluntary, musical-auditory representations differ in the degree of their voluntariness. Voluntary musical and auditory representations are associated with the development of internal hearing. Inner hearing is not just the ability to mentally imagine musical sounds, but to voluntarily operate with musical auditory ideas.
The child’s abilities develop in the process of active musical activity.
The most significant features of musical development are:

· auditory sensation, musical ear;

· quality and level of emotional responsiveness to music of various types;

· simple skills, actions in singing and musical-rhythmic performance.
Psychologists note that children develop hearing sensitivity early. From the first months, a normally developing child responds to the nature of music with the so-called revival complex, rejoicing or calming down. By the end of the first year of life, the baby, listening to the singing of an adult, adapts to his intonation by humming and babbling.

In the second year of life, the child distinguishes between high and low sounds, loud and quiet sounds, and even timbre coloring (a metallophone or drum is playing). Singing along with an adult, the child repeats after him the endings of the musical phrases of the song. He masters the simplest movements: clapping, stamping, spinning to the sounds of music. Over the next few years, some children can accurately reproduce a simple melody; by the fourth year of life, the child can sing simple small songs. It is at this age that the desire to study music appears.
At five years old, a child is able to determine what kind of music there is (cheerful, joyful, calm), sounds (high, low, loud, quiet. He can accurately determine on which instrument a piece is being performed. Children have well-developed vocal-auditory coordination.
At six years old, a child should be able to independently characterize a work; he is capable of a holistic perception of a musical image, which is very important for developing an aesthetic attitude towards the environment.
As a child grows up, he can learn musical expression, rhythmic movements, and most importantly, listen to and perform music.
This promotes musical and auditory development, mastering the necessary skills to prepare for singing from notes.

Musical-auditory performance is an ability that develops primarily in singing, as well as in playing high-pitched musical instruments by ear. It develops in the process of perception that precedes the reproduction of music. To activate musically auditory ideas, the connection with the perception of the just sounding melody is important; “to continue an already sounding melody in the imagination,” writes B. M. Teplov, is incomparably easier than imagining it from the very beginning.”

In addition to generally accepted methods and techniques (visual, verbal, gaming, practical), in the classroom you can use the methods of forming musical-aesthetic consciousness and the foundations of musical culture discussed in the O.P. program. Radynova “Musical masterpieces”:

1) Method of contrasting comparison of works and images;

2) Method of assimilation to the nature of the sound of music (motor-motor assimilation, tactile assimilation, verbal assimilation, facial assimilation, timbre-instrumental assimilation).

To enhance children's impressions of the music they listen to, to evoke in their imagination visual images close to music, or to illustrate unfamiliar phenomena, it is necessary to use visual clarity.

The love for music and the need for it is formed in a child, primarily in the process of listening to it, thanks to which children develop musical perception and lay the foundations of musical culture. And figurative characteristics (epithets, comparisons, metaphors) evoke an emotional and aesthetic response, which is the beginning of musical and aesthetic consciousness. Therefore, in the process of talking about a work, it is necessary to intensify children’s statements, which contributes to a deeper and more conscious perception.

The development of children’s ear for music, and above all its main, pitch “component,” largely depends on the direction and organization of those types of musical activity that are a priority in this case. These, as already noted, primarily include singing - one of the main and most natural types of musical activity of preschoolers and schoolchildren.

In the practice of music training and education, this section of classes is very complex and the least developed methodologically. Existing methodological recommendations usually note the importance of working on the purity of intonation, diction and overall expressiveness of performance. This is where the instructions to practicing teachers usually end. As a rule, music directors in kindergartens and primary school teachers in general education schools are not involved in developing children's singing voices. Meanwhile, precisely the age we are talking about is most favorable for the development of basic singing skills.

A normal, healthy child is usually inquisitive, inquisitive, and open to external impressions and influences; Almost everything interests him and attracts his attention. This should be constantly used in teaching in general and in music classes in particular. There is a lot here that naturally awakens a child's curiosity. Music can depict the world around us, people, animals, various phenomena and pictures of nature; it can make you happy or sad, you can dance to it, march, or act out various scenes “from life.”
Children tend to react vividly to light, cheerful, playful music,They like humoresques, picturesque and figurative sketches, genre sketches, etc.

Musical works for children should be artistic, melodic, and bring pleasure in their beauty. In addition, they must convey feelings, moods, thoughts that are accessible to children.

It is useful to precede listening to music with an introductory speech from the teacher - concise, capacious in content, capable of attracting the interest of the children's audience. To captivate and interest the child, to focus his attention on the “object” is the primary condition for the success of musical educational work, in particular the development of the ability to perceive. This has a direct bearing on the process of listening to music. Before introducing children to a new piece of music, you can briefly tell them about the composer, about some interesting episodes of his biography, about the circumstances associated with the creation of this work (especially if they contain something remarkable that can arouse attention and interest ). It is useful to give children a “creative” task (for example, determine the nature of the music, explain what it talks about, what it depicts, compare two pieces, find the difference between them, etc.). If schoolchildren, while discussing the music they listened to, get into an argument with each other, the teacher has reason to consider this as his success, as an achievement in his work. Any dialogues, disputes regarding this or that artistic phenomenon should be encouraged and supported; namely disputes, if they are sufficientare meaningful, contribute to the formation of your own opinion, teach you to rely on your personal position, and develop your attitude to musical (and not only musical) material.
Interest in classes raises the emotional tone of students; in turn, emotions double or triple the strength and brightness of perceptions.
The perception of music is successfully formed in the active activities of preschoolers. An active form of activity includes, for example, playing the simplest musical instruments - children's xylophones, metallophones, bells, triangles, percussion instruments (such as tambourines and drums), harmonicas, etc.

2.CONCLUSION

One of the main components of musical hearing is the ability to auditorily represent musical material. This ability underlies the reproduction of a melody by voice or selecting it by ear on an instrument; it is a necessary condition for the harmonic perception of polyphonic music.
It is necessary to develop the ability to adequately perceive music in all children without exception, without dividing them into more or less gifted, musically sensitive, etc. Firstly, complete immunity is as rare a phenomenon as unique artistic talent; secondly, teacher assessments of students’ natural capabilities (both positive and negative) can always turn out to be subjective and biased. The main thing isto create conditions for the comprehensive development of each student - the development of his artistic and imaginative thinking, emotional sphere, taste, aesthetic needs and interests.
Musical auditory ideas do not arise and develop by themselves, but only in the process of activity, which necessarily requires these ideas. The most elementary forms of such activity are singing and picking by ear; they cannot be realized without musical auditory representations.
The repertoire for children should be highly artistic, since music has an aesthetic orientation.
In the process of listening to music, children get acquainted with instrumental and vocal works of a different nature, they experience certain feelings. Listening to music develops interest and love for it, expands musical horizons, increases children's musical sensitivity, and develops the rudiments of musical taste.

Music lessons contribute to the overall development of a child’s personality. The relationship between all aspects of education develops in the process of various types and forms of musical activity. Emotional responsiveness and a developed ear for music will allow children to respond to good feelings and actions in accessible forms and will help to activate mental activity.

REFERENCES:

Radynova O.P. Musical masterpieces of M.: "Publishing house Gnome and D", 2010.

Radynova O.P., Katinene A.I. Musical education of preschool children M.: Academy Moscow, 2008.

Ridetskaya O.G. Psychology of giftedness, M.: Eurasian Open Institute, 2010.

Tsypin G.M. Psychology of musical activity, M., 2011.

Teplov B.M. Psychology of musical abilities // Izbr. works: in 2 volumes. - M., 1985. - T. 1

Teplov B. M. Abilities and giftedness // Reader on developmental and pedagogical psychology. M., 1981. P. 32.

Vetlugina N.A. Child's musical development. M., 2008.

Luchinina O. Vinokurova E. Some secrets of the development of musical abilities. - Astrakhan, Project "LENOLIUS", 2010