A child who has experienced the joy of creativity even to the smallest extent becomes different from a child who imitates the acts of others.
B. Asafiev
Our time is characterized by the humanization of the educational process, appeal to the child’s personality, development of his best qualities and communication skills. This means that education should form students’ cognitive interests, develop their abilities, encouraging creative activity. Right now, in modern psychological and pedagogical science, in the education system, the search for new approaches, unclaimed reserves of cultural achievements, effective technologies of education and training with the aim of developing creativity from the beginning of a person’s journey, from childhood, nurturing spirituality, self-realization and self-development is becoming relevant and significant.
In its ability to evoke creative activity in a person, art takes first place among all the diverse elements that make up the complex system of human upbringing.
The need to use music to develop the creative abilities of students is due to the important role of musical art in the education of the younger generation. As an integral part of artistic culture, music has great potential in developing in schoolchildren a sense of respect for spiritual and cultural values, a readiness to protect them and create new ones.
Musical education views education as a process that depends on many factors. A person’s musical culture is formed under the influence of not only school. The environment finds different refractions in the consciousness of the pupil and influences his spiritual world.
It is the school that should help in the formation and development of children’s musical interests and abilities, in the formation and expression of their creative abilities, since the value of creativity and its functions lie not only in the productive side, but also in the creative process itself.
Mastering the inexhaustible cultural experience of humanity, captured in music, children bring it into their own lives, feeling, perceiving, analyzing it through the prism of the values and relationships that are revealed to them.
One of the important problems remains the improvement of the system of work of school institutions for the musical and creative education of children. Its solution is possible through the use of active forms of learning, game techniques and methods, integrated lessons as forms of rational construction of the musical pedagogical process that contribute to the unification of different types of musical creativity and the introduction of schoolchildren to them. This approach will make it possible to effectively solve educational problems, among which the education of a holistic personality and the development of the creative potential of each child are of particular importance.
Play is of great importance in a child's life. The game only outwardly seems carefree and easy, but in fact it imperiously demands that the player give it the maximum of his energy, intelligence, endurance, and independence. In play, the child’s abilities are especially fully and sometimes unexpectedly revealed, so outstanding teachers rightly paid attention to the effectiveness of using games in the process of teaching and upbringing.
Game forms of teaching and upbringing allow the use of all levels of knowledge: from reproductive activity through transformative activity to the main goal - creative search activity, during which students learn learning techniques.
The technology of interactive learning, in particular, the game in its various manifestations, as one of the forms of organizing the educational process, contributes to the development of creative abilities, imagination, fantasy, emotional empathy and emotional anticipation, the ability to transform, in younger schoolchildren.
Theoretical aspects of the use of gaming technologies
in the pedagogical process
Without play there is not and cannot be full-fledged mental development. Play is a huge window through which a life-giving stream of ideas about the world around us flows into the child’s spiritual world.
The game is a spark that ignites the flame of inquisitiveness and curiosity.
V.P. Sukhomlinsky.
The principle of the child’s activity in the learning process has been and remains one of the main ones in didactics. This concept means a quality of activity that is characterized by a high level of motivation, a conscious need to acquire knowledge and skills, and effectiveness. This kind of activity in itself does not occur often; it is a consequence of the use of pedagogical technology.
Pedagogical technology is understood as a set of means and methods for reproducing theoretically based processes of teaching and upbringing, which make it possible to successfully implement the set educational goals. The word “technology” entered the lexicon of pedagogical science when the attention of specialists turned to the art of influencing a child’s personality. Meanwhile, this word, which came to us from the Greeks, was intended for more universal use. "Technos" - art, skill, "logos" - teaching. Any technology has means that activate and intensify the activities of students, but in some technologies these means constitute the main idea and the basis for the effectiveness of the results. Such technologies include gaming technologies. Gaming technologies are an integral part of pedagogical technologies.
Play, along with work and study, is one of the main types of human activity, an amazing phenomenon of our existence. The game is of great educational importance, as it is closely connected with learning in the classroom and with observations in everyday life. It occupies an important place in the system of physical, moral, labor and aesthetic education. While playing, children learn to apply their knowledge and skills in practice and use them in various conditions. This is an independent activity in which children interact with peers. They are united by a common goal, joint efforts to achieve it, and common experiences. Play experiences leave a deep imprint on the child’s mind and contribute to the formation of good feelings, noble aspirations, and collective life skills.
The technology of game forms of education is aimed at teaching students to understand the motives of their learning, their behavior, that is, to form goals and programs for their own independent activities and anticipate its immediate results.
The creative nature of the game is confirmed by the fact that the child does not copy life, but, imitating what he sees, combines his ideas. At the same time, he conveys his attitude towards the depicted, his thoughts and feelings. This relates play to art, but the child is not an actor. He plays for himself, and not for the audience, he does not learn the role, but creates it as he plays. When a child enters the image, his thoughts are active, his feelings deepen, and he sincerely experiences the events depicted.
Many artists speak about the creative nature of children's play. K.S. Stanislavsky advised actors to learn from children, whose acting is distinguished by “faith and truth.” The famous film director G.L. Roshal wrote: “Every children's game is always a world of illusions. In this world of illusions, the child, however, never loses his real self. Jumping on a horse - a chair, the child does not think that the chair under him is really a horse, or a table, which he climbs like a mountain. In his acting, he resembles an actor (it is not for nothing that the art of an actor is called acting)… So, a child’s game can be called a theatrical game, and the illusion of a child’s game can be called a theatrical illusion.”
But creativity does not appear by itself, it is nurtured, it develops as a result of long-term systematic work of teachers.
The development of gaming creativity is manifested, first of all, in the gradual enrichment of the content of the game. The development of the concept and means of depicting the concept depends on the richness and nature of the game’s content. The game gradually develops purposefulness of actions. If in the fourth year of life children often have a predominant interest in action, which is why the goal is sometimes forgotten, and in the fifth year of life children can be taught to deliberately choose a game, set a goal and distribute roles, then children aged 5-7 years develop an interest in various life events, to different types of work of adults; favorite book characters appear, whom they strive to imitate. And the ideas of games become more persistent
The interest that has arisen in the use of game techniques in education is not accidental. Educators and psychologists have seen in the game a powerful potential for overcoming crises in education and have been successfully using it in their activities for many years. Some countries have even decided on directions: America, for example, “specializes” in game-based teaching methods, France is included in the sphere of activity of theatrical play (a narrow area of gaming technology). However, for French scientists, theatrical play is the same as for our domestic ones - role-playing game. This is somewhat incorrect. Each of these games has its own individual characteristics. In Israel, teachers without knowledge of gaming technologies are not allowed to work with children at all. All this data allows us to say that gaming technologies are of interest to teachers.
The game allows you to make the work of students in the pedagogical process interesting and exciting. The entertaining nature of the game world is a positively emotionally charged monotonous activity of memorizing, repeating, consolidating or assimilating information, and the emotionality of the game action activates all the mental processes and functions of the child. Another positive side of the game is that it promotes the use of knowledge in a new situation, that is, the material acquired by students goes through a kind of practice, introducing variety and interest into the learning process.
By teaching through play, we teach children not how it is convenient for us adults to give educational material, but how it is convenient and natural for children to take it. A game for children is, first of all, an exciting activity. Everyone is equal in the game, it is available to every student. Moreover, a weak student can become the first in the game: resourcefulness and intelligence here turn out to be more important than knowledge of the subject. A sense of equality, an atmosphere of passion and joy, a sense of the feasibility of tasks - all this allows children to overcome shyness and has a beneficial effect on learning outcomes. The material is absorbed imperceptibly, and at the same time a feeling of satisfaction arises.
Game – freedom of self-discovery, self-development based on the subconscious, mind and creativity
Confucius wrote: “Teacher and student grow together.” Game forms of learning allow both students and teachers to grow.
Experience in using gaming technologies in music lessons
A child is a subject of creativity, a little artist. No one except him knows the right solution to the creative task facing him. And the teacher’s first job is to try to ensure that the child always faces a creative task...
A.A. Melik-Pagshaev
A music lesson is an art lesson. Musical art is a special form of reflection of reality, in which the most important role is played by feelings and the emotional sphere. A distinctive feature of a musical lesson is the obligatory unity of the emotional and conscious; each element of the lesson should evoke an active, interested attitude in children.
Music. This word contains a huge world of emotions, feelings, experiences, thoughts, ideas for every person. Music has its own language, words are often powerless, where music “speaks.” It is capable of expressing and revealing the most subtle shades of human feelings, thoughts, moods, experiences; it can take you into the distant past and look into the future. Music has a special purpose for the spiritual improvement of a person; it actively shapes a person’s attitude, worldview and worldview.
A lot is said about the role of music in education and personality formation. One can recall Ancient Greece, where music stood alongside rhetoric and logic, and the triune chorea - music, dance and word - served as a means of purifying and elevating the soul. And you can recall the studies of psychologists who say that music lessons help the development of mathematical abilities. In any case, broadening your horizons, developing your musical taste, the ability to form your own point of view and the ability to defend it - these qualities are worth taking up music.
Increasing the effectiveness of each music lesson means, first of all, making it an event for the student. Bright emotional colors, saturated with the creative activity of the students themselves. Lesson - isn't it a fairy tale? And aren’t these the kinds of lessons children dream about when they go to school? Students feel disappointed in learning if all the lessons are “the same”, if the fairy tale does not happen. Where does the fairy tale live? The fairy tale lives in the game.
Introduction of games into the educational process allows you to:
Create a favorable atmosphere in the classroom;
Increase the intellectual and emotional activity of students;
Feel success in a gaming situation;
Develop a complex of different abilities.
Play and art have common roots. This kinship has been distinguished by many philosophers, psychologists, teachers and artists since the time of Plato. The greatest philosophers Kant and Schiller considered play, like art, to be an aesthetic activity. Psychologists A. Vygotsky, D. Uznadze, esthetician G. Reed interpret play as a child’s artistic creativity, and play activity as a mechanism for the formation of his aesthetic culture.
Play is, first of all, a type of informal activity that can turn into artistic activity and thus influence the organic development of the child.
In primary school music lessons, almost any didactic technique can be indiscriminately attributed a playful character, only on the grounds that it is associated with movement, rhythm, works of children's folklore (teasers, counting rhymes, etc.), attributes and symbolism. However, for the children themselves, such techniques and forms of work will never seem like a game if they do not demonstrate the main components of gaming technology: complete freedom and children’s interest in intrigue, mystery, unpredictability of the result and the possibility of self-expression and success.
Game rules never constrain the child’s creative freedom, which manifests itself in improvisation, competition, fantasy, etc. It is impossible to force someone to play the game. A game imposed by a teacher with serious didactic goals is bad, unreal, “it is a hidden form of coercion.” Therefore, it is very important to inspire children to play, to create a playful atmosphere of fairy tales, riddles, adventures, secrets, and magic in the classroom.
All this helps the teacher conduct a music lesson at a high level. After such a lesson, students look forward to their next encounter with music. Such lessons require from the teacher artistry, speech intonation, plastic, facial expression, and the ability to immerse children in different emotional states.
A sure-fire way to maintain interest in educational activities during a music lesson in primary school is a game. There is a method of “figurative entry into music.” It consists of creating imaginative play situations that require children to transform, have rich imagination, and imagine.
In addition to the traditional understanding of the game as a pre-planned process and action distributed according to roles, the game can be filled with the meaning that it has long had in folk art: to perform a song means to play a song. The so-called script of the game-song (game-dance) is unknown to children in advance, so they choose their own role and find those expressive means that, in their opinion, they need to implement them. The teacher, along with the children, composes and plays his role. Playing a song means expressing the traditions of oral folk art, when the accumulated musical and poetic wealth was passed on from heart to heart, from mouth to mouth, and therefore lives for so long.
Fairy tale elements are very popular in music lessons, with the help of which the teacher creates the effect of surprise and attracting attention and interest to the new material. After all, a fairy tale is the most favorite genre of children. A fairy tale activates educational and cognitive activity and helps students easily comprehend the laws of music.
In pedagogical practice, musical and didactic games have increasingly begun to be used, which make it possible, in a simple, accessible way, to give an idea of music, its expressive capabilities, and to teach how to distinguish between various ranges of feelings.
In specially targeted games, we can and must address issues such as the development of special, and in some cases, musical abilities. Special musical abilities include: music. rhythm, music hearing, music memory, music creativity and performance.
There are many games that help develop a sense of rhythm and music. memory; games that develop diatonic timbre hearing; games to determine the shape of musical works; games for developing vocal and choral skills; games that help you perform rhythmic movements to a song.
Of great interest to younger schoolchildren are games that make them think, provide an opportunity to test and develop their abilities, involve them in competition, in solving problems, puzzles, and crosswords.
The game approach to music teaching is not limited to one or another number of games used by the teacher. It is a multi-component system for organizing the musical educational process. The modern music curriculum aims the teacher at using a playful approach with an intriguingly imaginative formulation of themes; the presence of an active-communicative basis: composer-performer-listener.
The game approach makes it easier for children to learn music as a living art, makes it exciting, and acts as a form of artistic communication between children in intonation language with works of art, with the teacher, and with each other.
The purpose of musical games is to develop the child’s intellect, memory, ear for music, voice, creative activity, sense of rhythm, broadening his horizons, and developing skills. The value of the game cannot be exhausted and assessed by its entertainment possibilities. This is the essence of its phenomenon: being entertainment and relaxation, it can develop into learning and creativity.
In musical creativity, the leading role is played by the synthesis of emotional responsiveness with thinking, abstract and concrete, logic and intuition, creative imagination, activity, and the ability to quickly make decisions. Children's creativity is associated with independent actions, with the ability to operate with known musical and auditory concepts, knowledge, skills, and apply them in new conditions and different types of musical activities.
Children's creativity in music lessons is a cognitive and exploratory musical practice. The creativity of students is valuable because they themselves discover something new, previously unknown to them in the world of music.
Creativity in younger schoolchildren can manifest itself
in singing the simplest motives, often arising involuntarily;
in composing a melody to the proposed text;
in expressive movements to music, conveying various moods of the works;
in creating rhythmic accompaniment to plays for listening to music;
in evaluative judgments about the music heard;
in meaningful performance of songs with elements of interpretation;
in your own creativity.
Children's musical improvisation, where does it begin? What skills are needed for it?.. The value of improvisation as a methodological technique in working with children is not in the ability to create musical structures, but in the need, readiness to express a state of mind, an important thought, an impression. Only with such a beginning of improvisation as a creative process can one predict the emergence of not a theoretically programmed, completed on the basis of rules, modeled after a musical form, but, albeit timid and naive, but an independent “cultivation” of musical thought, which can sometimes be expressed in an unexpected form.
“Plastic intonation”- this is one of the ways, one of the possibilities of “living” images, when any gesture or movement becomes a form of emotional expression of the content. Gesture, movement, plasticity have a special property of generalizing the emotional state. The teacher’s ability to find such generalizing movements that would express the main thing: the state of mind reflected in music - this ability decides a lot, because these movements can become so understandable, so “infect” children with emotions that there is literally no need for lengthy conversations about the nature of music... If from an early age we developed in children the ability to “internally play” music, “plastically sing” it with every cell of their body, their soul, how much more meaningful and effective would children’s mastery of music be, how much more emotional would its performance be!..
Plastic intonation is any movement of the human body caused by music and expressing its image. It is associated with all types of performing arts - the musician’s movements sometimes “find out” the secret meaning of the music, which only this musician hears. Sometimes plastic intonation occurs spontaneously (from an “excess” of feelings), but, knowing the inseparability of musical and plastic expressiveness, the teacher should encourage children to perceive music not only by ear, but also with the help of musical-rhythmic movement.
Movements can be different - from flexible downward movement of the hand to imitation of playing musical instruments in the nature of music (“The Cheerful Musician” by A. Filippenko); from body swaying (the chorus of the song “Children of the Whole Earth Are Friends” by D. Lvov-Kompaneets) to joyful dancing (its chorus); from a light step to a round dance (r.n.p. “There was a birch tree in the field”).
Children more often wait to be shown a ready-made version of plastic expression than to come up with it themselves. Therefore, it is better to limit yourself only to hints and tips that can help the child. Freedom of creativity is important.
In my lessons, I often use the technique of performing music with movement and gesture - “plastic intonation”. This helps children to feel the length of a phrase or the asymmetry of phrasing, to feel the character of a particular piece in the pulsation, to show the features of the development and unfolding of music, and also to express themselves in creative search.
So in the second grade, the children, having listened to a fragment from Grieg’s “Morning,” do an excellent job of showing with their movements how the music developed (the children’s hands smoothly rise up, showing how the sun rises).
We can cite the example of a conductor - a person who, without playing an instrument himself, at the same time “plays” such a colossal instrument as an orchestra. This means that there is something in the conductor’s gesture that makes one feel the intonation-figurative meaning of the music. Movement is visible music; it is no coincidence that plastic interpretations of many instrumental and vocal works have now appeared on the stage. Playing music with movement allows the teacher to see how each student hears music. At the same time, performing music with movement liberates the children and forces them to listen to the piece from beginning to end without “switching off.” When the character of the music changes, you can immediately see how sensitively the children caught these changes, which means how attentive they were.
The ancient Romans believed that the root of the teaching was bitter. But when the teacher calls on interest as an ally, when children become infected with a thirst for knowledge, a desire for active, creative work, the root of learning changes its taste and causes a completely healthy appetite in children. Interest in learning is inextricably linked with the feeling of pleasure and joy that work and creativity give a person. Interest and joy of learning are necessary for children to be happy.
The development of cognitive interest is facilitated by such an organization of learning in which the student acts actively, is involved in the process of independent search and discovery of new knowledge, and solves problems of a problematic, creative nature. Only with the active attitude of students to the matter, their direct participation in the “creation” of music, interest in art is awakened.
A huge role in the implementation of these tasks is played by the presence of various musical instruments in the music classroom and their use in the process of work, taking into account the capabilities of the students and their age.
Instrumental music playing is a creative process of perceiving music through playing musical instruments available to the child. I would like to once again emphasize the idea of the interpenetration of all types of musical activity in the process of active perception of music. Thus, instrumental music-making is closely related to listening to music, vocal and choral performance, and improvisation.
When introducing children to music through instrumental music playing, to promote their creativity, it is necessary to remember the following:
The student acts as his musical intuition tells him;
The teacher helps you choose a musical instrument that matches the style and musical image of the piece;
The teacher helps the student find a performance technique.
An example of using this in my lessons is “Seven Little Goats” from M. Koval’s opera “The Wolf and the Seven Little Kids”. Children's creativity begins with an “examination” of the sound capabilities of the instruments that I offer them. The choice is made - a tambourine and a triangle. First, we remember (our acquaintance took place earlier) how to carefully pick up an instrument and perform your mood on it (instrumental improvisation). Over the course of several lessons, vocal and choral work was carried out on the performance of the choir, and the children accumulated emotions and feelings. And here's the result - I play the piano in an ensemble with one of the students, and the guys help me accompany me with their small orchestra. Our performance should decorate M. Koval's music.
More and more often the music of great classics is heard performed by children studying at a music school. They show a desire to speak to the kids in their class right in class, to interest their classmates, and to give them a piece of their soul. It's quiet in the classroom. It’s as if spellbound children listen to little musicians.
I think that playing instruments is an interesting and useful musical activity for children. This allows you to decorate a child’s life, entertain him and arouse his desire for his own creativity. In the process of learning to play instruments, auditory perceptions, a sense of rhythm, timbre, and dynamics are well formed. The child develops independence in his actions, his attention and organization.
Observing that instrumental music-making evokes delight and joy in my students, and the desire of everyone to try their hand, I often use this activity for general musical and creative development.
Using interdisciplinary connections
Music is one of the types of art, which constitutes the main content of the subject.
Introducing children into the world of art means not only revealing to them your attitude towards it, but also helping them develop their own views on a piece of music. Works of fine art and artistic expression help to convey the depth of feelings and ideas embodied in music, and to understand the essence of creativity. Music can evoke moods and experiences consonant with many works of painting and literature.
Integrated lessons contribute to the development of fine and musical skills, allow for the systematization of knowledge, and contribute to the development, to a greater extent than ordinary lessons, of aesthetic education, imagination, attention, memory, and students’ thinking (logical, artistic-imaginative, creative). Having a large information capacity, they help increase the pace of learning operations, allow each student to be involved in active work at every minute of the lesson and promote a creative approach to completing an educational task.
Literature - music
The artistic word, its rhythmic sound, thematic expression allows you to develop interest and the desire to read a literary work, understand more deeply its essence and at the same time penetrate the mystery of musical sound, be able to comprehend its genre peculiarity. In the process of studying the interpenetration of works, moral and aesthetic feelings and beliefs, musical tastes and needs, musical and creative abilities develop.
As a result of joint activity, through the efforts of the children, a creative product is created in the form of a verbal drawing for the interpretation of a musical work, musical and rhythmic movements according to its content.
Literary creativity, reflecting the impressions of the music listened to, at a higher stage of students’ development appears in three forms: poetry, prose miniatures, analytical written works that reveal the means of musical expression.
Music - fine art
Illustrations and reproductions of paintings that are in tune with the theme and figurative content of musical works help create the responsiveness necessary for the perception of music and encourage students to create independent drawings and illustrations that convey their vision of the musical work.
Integrated extracurricular activities- one of the forms of organizing circle work, in which colleagues are also involved. In class, students create a dance pattern to accompany a song. This is always a joint creativity of teacher and student.
Conclusion
“To create is to live twice.”
A. Camus
Children's musical creativity- an important factor in the development of a child’s personality. It can manifest itself in all types of musical activities: singing, dancing, playing children's musical instruments.
Having considered the use of gaming technologies in the creative development of students, a number of generalizations and conclusions can be made:
an active means of developing students’ creative activity are creative tasks in the form of games;
in game situations it is easier to organize song creativity, performances, dramatizations;
the game improves subject activity, logic, thinking techniques, forms and develops skills in business interaction with people;
a game form of classes is created in lessons with the help of game techniques and situations that act as a means of inducing and stimulating students to learning activities;
usage role playing games helps to involve students in the co-creation process. During the game, the child becomes either a composer, or a performing musician, or a listener, or a dancer, or a stage director, or a conductor, or a set designer;
games in music lessons contribute to the general creative development of the individual, which, in turn, fosters responsiveness, artistic imagination, figurative and associative thinking, activates memory, observation, intuition, and shapes the child’s inner world;
The game improves subject activity, logic, thinking techniques, forms and develops skills in business interaction with others.
Literature
Besova M.A. To understand the world through play. - M., 1995.
Bulanova-Toporkova M.V., Dukhavneva A.V., Kukushkin V.S., Suchkov G.V.. Pedagogical technologies. M., 2004.
Mironova R.M. Game in the development of children's activity. - M., 1989.
Selevko G.K. Modern educational technologies. - M., 1998.
Besova M.A. Cognitive games for junior schoolchildren. - M., 2005.
Magazine collection “Read, learn, play.” - M., 2002.
Bogdanova O.S., Petrova V.I. Methods of educational work in primary classes. - M., 1985.
Vilkin Y.R. Belarusian folk festivals. - M., 1988.
Vygotsky L.S. Pedagogical psychology. - M., 1991.
Starzhinskaya N.S. We are friends and play together. M., 1994.
Pedagogical workshop. Music and education. M., 2005.
Grishanovich N.N. Music at school. M., 2006..
Yurkevich V.D. Didactic musical games and exercises. M., 1995.
Nemov R.S. Psychology, book 2. M., 2003.
Fragment of a lesson on the topic “Dynamic colors of music.”
Teacher: And now, guys, I want to tell you another secret, which plays an important role in music. This is the secret of sound. As you yourself have already noticed. Music comes in different sounds: loud and quiet. Of course, you can never confuse loud and quiet sounds, but if you listen carefully to the sound of music or human speech, you will notice that the sound is rich in shades. After all, we never speak only loudly or only quietly. The same word can be said very loudly, loudly, a little quieter, quietly and very quietly.
There is a play on words with dynamic shades.
Teacher: We heard different shades in the voice, and the shades in the music are unique colors that paint the music in different colors and make it sound more expressive.
The teacher reads “The Tale of a Cat” with dynamic shades, changing the strength of the voice on the highlighted words.
A fairy tale about a cat.
There lived a cat Vasily. The cat was lazy!
Sharp teeth and a fat belly.
He always walked VERY QUIETLY.
LOUDLY, insistently asked to eat,
Yes, I snored A LITTLE QUIETTER on the stove -
That's all he could do.
A cat once had a dream like this:
It was as if he had started a fight with mice.
Screaming LOUDLY he scratched everyone
With your teeth, your clawed paw.
In fear, the mice QUIETLY prayed:
Oh, have pity, have mercy, do mercy!
Then the cat exclaimed A LITTLE LOUDER: “Scram!” -
And they scattered.
(And in fact, while our Vasily was sleeping, this is what happened.)
The mice QUIETLY came out of the hole,
Crunching LOUDLY, they ate the bread crusts,
Then they laughed A LITTLE QUIETTER at the cat,
They tied his tail with a bow.
Vasily woke up, suddenly sneezed LOUDLY,
He turned to the wall and fell asleep again:
And the mice climbed onto the back of the lazy man,
They made fun of him LOUDLY until the evening.
Teacher: Tell me, how did the cat Vasily ask for food? How did you snore on the stove? And how did the mice come out of the hole when the cat was sleeping?
Student: The cat Vasily loudly and insistently asked to eat. He snored a little more quietly on the stove. The mice quietly came out of the hole.
Teacher: Guys, let’s show these dynamic shades in a performance of the song “With Us, Friend,” already known to us.
Working on the shades of works.
Teacher: Imagine that summer has come, you are in a forest clearing, and in the forest, if you shout “Ay,” then an echo will respond to us, which can be heard far, far away and therefore it sounds quiet. Let's sing our song “With Us, Friend,” in which phrases and words are repeated like an echo.
One group of children begins to sing, and the second echoes them like an echo.
Teacher: Well done, you completed the task. Now let’s play a game called “Loud, Quiet Binge.”
We play the game: “Loudly and quietly binge drinking”
Sing familiar songs, increasing and decreasing the sound.
Game tasks: Guided by the volume of the song (performed by children), the driver must find a hidden toy: the sound intensifies as it approaches the place where the toy is located, or weakens as it moves away from it.
Equipment: Toy.
Teacher: We played well, had fun, and now I propose to sing a song about a cheerful person. Who is this man?
Students: Musician.
Teacher: Let’s remember with you what instrument the musician played.
Student: The musician played the violin, balalaika, and drum.
Teacher: What do you think a violin, balalaika, drum sounds like?
Student: The violin is not very quiet, the balalaika is not very loud, the drum is loud.
Students perform the song “The Cheerful Musician” and dramatize it.
Teacher: Well done. Let's summarize our lesson. What secret did you learn about in class today?
Student: We got acquainted with the secret of the sound of music.
Teacher: So what can music sound like?
Student: Loud, quiet, not very loud, not very quiet.
Teacher: Right.
Lesson conclusion: The power of any sound is one of its most important properties, one of its features.
3. “Musical collection of words”
"Musical piggy bank of words" serves to ensure that after listening to music, students can fully express their feelings, emotions, and moods in words. This game is used to expand vocabulary and allows, through a game situation and clarity, to stimulate children to express their creative imagination.
Municipal budgetary general education
municipal institution Plavsky district
"Molochno-Dvorskaya secondary school"
Methodological problem:
“Interactive teaching technologies in musical art lessons as a necessary condition for the formation of creative activity and personal self-realization”
Pedagogical work experience music teachers
Shendrikova Elena Vladimirovna
December 2013
Musical art is a special subject. It intertwines many lines of the educational process. The main objectives of the integrated subject “Musical Art” are to introduce students to spiritual values, to form a personality with creative thinking, to assimilate by schoolchildren the values of musical culture, and to cultivate an aesthetic attitude towards reality. I am sure that aesthetic education should be inextricably linked with moral education. Aesthetics without ethics is dead. In this regard, I believe that the tasks of aesthetic and moral education are especially relevant now, in our time. And in carrying out these tasks, I, as a teacher of the aesthetic cycle, have a special role to play.
The tasks of both the modern school and the subject “Musical Art” are serious and difficult. How to “fulfill them, how to start them?” After all, we, teachers, feel especially acutely that in our time there has been an unprecedented gap between culture and education. “During the years of study, a graduate must not only prepare for adult life, but also catch up with humanity in its cultural development, and then create himself according to the laws of culture,” writes V.A. Domansky, Doctor of Pedagogical Sciences, in the article “Living not only in society, but also in culture.”
In the 21st century, the approach to modern school has changed. Questionsintensifying learningschoolchildren are among the most significant problems of education at the present time and help solve some problems not only in the teaching, but also in the educational process of schoolchildren. I want the music lesson to be no exception, so I chose this methodological problem.
primary goal is to form the creative activity of students’ personality and its self-realization. In my opinion, this will help children choose the right guidelines in the future, show their individuality and take their rightful place in life.
To implement and achieve results on this problem, I set myself the following tasks:
- Creating conditions for creative activity of schoolchildren;
- Development of cognitive interest and encouragement for independent
student activities;
3. Training in successful communication skills (the ability to listen and hear each other, build a dialogue);
4. Formation of universal human values;
5. Organization of an atmosphere for personal self-realization.
Recently, interactive learning technologies have become widespread, which have become a priority for me now and form the basis of my work with students. Every time I use them, I am convinced that they help to see and reveal the potential of each student, provide an opportunity to increase their activity, and contribute to the health of schoolchildren.
Interactive learning in music lessons partly solves another significant problem of today - student workload. The flow of information, technological communications, and computerization put enormous pressure on our children.
In my lessons, I try to help students cope with this problem. We are talking about relaxation, relieving nervous stress, switching attention, changing forms of activity and real live communication between students.
"Interactive"(from English inter - mutual, act - to act) -it is learning immersed in communication. Maintains the final goal and main content of the subject, but modifies the forms and techniques of teaching.
Interactive method diagram
In my work I try to use interactive methods. Specific recommendations can be seen in the developments of the musical art lessons I compiled, presented below, and in the video clips. All developments include the use of various interactive technologies at different stages of the lesson.
In my work, I rely on scientific achievements and the experience of famous teachers, musicologists, and psychologists. In preparation for my lessons, I study technologies:
Humane and personal education Sh.A. Amonashvili;
Intensive developmental training L.V. Zankova;
Problem-based learning A.M. Matyushkina.
I turn to the works of D.B. Kabalevsky, N.A. Vetlugina, T.N. Zavadskaya. These teachers focus on the importance of music lessons as a source for co-creation between students and teachers.
In my opinion, interactive methods and techniques- This is one of the main ways to develop the personal orientations of schoolchildren.
“You can’t teach a person something, you can only help him make this discovery for himself”Galileo Galilei.
I am sure that in order to raise the importance of the subject “Musical Art” in a modern school, to arouse children’s interest in art, it is necessary to look for new methodological approaches to teaching the subject in the conditions of the rapid development of modern youth.
The system of creative interaction in the classroom also requires high pedagogical skills from me. I am constantly looking for new ideas. I work on myself to maintain psychological balance and emotional state for my students. I try to be open, tolerant, and adhere to a democratic style of communication with children.
I maintain emotional coloring throughout the educational process, depending on the topic of the lesson.
- The simplest and most common way to “reach out” to
Each student is served with a simple introduction:“Imagine that...”
To create a relaxed, trusting atmosphere in the classroom, I often use the following phrases:“I invite you, young friends, to ...” or “Today we are visiting ...”
These techniques I also use it when interpreting musical works. This allows children to think creatively, analyze, fantasize and reveals the emotional side of students.
- "Oh, eureka!" (heuristic conversation).This method encourages
students to independent activity. The question can be raised as problematic at the beginning of the lesson. The problem can be formulated before listening and interpreting a piece of music, before becoming familiar with a new song. Students can also be asked to draw a conclusion at the end of the lesson. In any case, the student must take a step in his development.
- Work in pairs. One way to get everyone involved
student's work isorganizing questions for each other. This activates interest, evokes a spirit of competition, and enhances motivation to learn.
Another type of work in pairs - discussion of a problematic topicdevelops skills for successful communication between peers, on the other hand, develops the ability to defend one’s opinion. For example,lesson in 8th grade in the section “Music in dialogue with modernity”on the topic “Our Great Contemporaries”.The title of the topic is the main problem of the lesson.
Key words for discussion in pairs: 1. “Ours” (What does the word “ours” mean?); 2. “Great” (Why “great”?); 3. “Contemporaries” (Who can be considered “contemporaries”?).
- "Battle". If the previous technology is used in work
small groups, then we can call it"Battle".
- Work in groups.This technology helps to establish
communication among students and leads to a consensus. I use it here oftentechnique: “Whoever is friendlier is faster!”
- "Brainstorm"develops the ability to think, find
non-standard solutions to educational and creative problems.
For example, in 5th grade on the topic “Music and Art” words" in the lesson “Literature and Music about the Crimea”, after listening to the suite “Crimean Sketches” by A. Spendiarov, I demonstrate the names of all parts of the suite and invite the children to choose the name of the part they heard, justifying their answer.
Part 1 Part 2 Part 3 Part 4
Dance Elegiac song Table Khaitarma
- Method of artistic and pedagogical dramaturgy
allows you to combine other methods and techniques and smoothly move from one stage of work to another in the same way as a piece of music is constructed. The artistic title of the lesson helps to penetrate deeper into the topic of the semester and to attune the students emotionally. And the epigraph to the lesson is its ideological seed.
- Active-role-playing (game) organization of training.
My favorite method is a game , as it serves as an excellent way to involve the whole class in the work, removes students’ fear of giving the wrong answer, and liberates students.
Psychologists believe:“Gaming activity is a special sphere of human activity in which a person does not pursue any other goals other than obtaining pleasure from the manifestation of physical and spiritual forces.”
Due to the variety of games, this method can be used not only in primary school, but also in secondary school. I use these in my lessonstypes of games:plot, role-playing, simulation, dramatization.All types of games perform a health-saving function.
In my work I use interactive didactic games as a means of teaching, education and development. The main educational impact belongs to didactic handouts, game actions, which, as it were, automatically lead the educational process, directing the children’s activity in a certain direction. I use it in classgames differ in the nature of the pedagogical process:
Educational
The essence of the educational lotto: after reading the question, you need to select the correct answer on the educational game board and cover it with a fragment of the picture. If all the answers are correct, a picture will form. This technology helps students consolidate and generalize the material they are studying and reduces emotional anxiety when answering.
Cognitive
For example, searching for the necessary information in textbooks or additional sources, or independently composing questions based on the proposed material. This can be work individually, in pairs or in small groups. This arouses interest in students’ independent cognitive activity.
In 8th grade, studying the theme of the first semester “Reflection of eras in musical art”,you need to find the necessary information and come up with questions for it (work in pairs). A the task is as follows: prove Beethoven’s belonging to his era (XVIII-XIX centuries), and the direction of “Viennese classicism”.This technology can be classified as elementsproject activities.
Creative
This is creating your own options for ending a fairy tale, composing melodies or poems (for younger schoolchildren there may be an assignment to compose two lines to two proposed lines), composing rhythmic exercises.
Generalizing
Use and discussionstory illustrationsand drawings for music lessons. “Visiting the donkey”, “Haven’t you been...?” (a character from an animated film is a parrot). “New Year gathered friends”, etc.
Developmental
Using story-based illustrations, I try to develop the thinking, imagination, and memory of elementary school students. For example, I suggest the children remember the donkey’s musical friends (musical means of expression) or choose a picture that includes rhythm, meter (drum), register (bird).
Thus, any type of interactive game has a certain result, which is its ending. For me, the result of the game is always an indicator of the level of student achievement or knowledge acquisition, as well as the ability to apply this knowledge in other school subjects and, of course, in life. I am convinced of this in every lesson. Children take great pleasure inparticipation in various activities games.
It is in active gaming activity that the interpenetration of forms, methods and techniques of interactive learning occurs.
A following methods, The methods I use allow me to create a situation of student success in the classroom. The preparatory work of these methods takes about two to three weeks. But no matter how laborious the work is before the lesson, so great is the feeling of satisfaction after it. And the guys are experiencing real creative excitement!
- Student performance as an accompanist or presenter
This method helps children show their independent activity. Reveals the creative and performing capabilities of students. Helps them feel more confident in the classroom and on stage.
- Dramatizations allow students to relaxincrease self-esteem and develop creativity.
- Exhibitions and presentationshelp students “prove themselves”
on lessons. Showcasing one’s own work increases the child’s authority,
his self-confidence and self-esteem.
12. Project method. As a rule, in your lessons you manage to use only part of the project activity, its elements. At the same time, the project can have a long-term effect, have its continuation and become creative homework for students.
- Integrated Lessonshelp to reveal and find different sides of students’ personalities. For example, a binary lesson in musical art and geography solves the problem of non-humanitarian schoolchildren and helps to demonstrate their abilities and knowledge in the discipline of natural sciences.
Conclusions:
Interactive forms and methods are innovative and contribute to the activation of students’ cognitive activity in musical art lessons and independent comprehension of musical material.
They help solve problems of aesthetic and moral education.
They form the creative activity of students in academic and extracurricular activities.
They are a condition for self-realization of students’ personality in the modern world.
Thus, the goal of this methodological problem is achieved. The children take part in school life with pleasure: they realize their abilities not only in music lessons, but also in extracurricular activities, and participate in regional competitions. Students use some techniques and game moments taken from music lessons in class, which they prepare on their own. And that's great! I work with creative and gifted children. I am the leader of a vocal circle, where I am happy to meet my students again. Observing students throughout school life, I note an increase in the success of the children by high school. I am sincerely happy for them, seeing good results, and I am delighted with the joy and smiles on the faces of my students!
Bibliography:
- Avdulova T.P. “Psychology of play: a modern approach” - M.: Publishing Center “Academy”, 2009.
- Aliev Yu.B. “Handbook for a school teacher-musician” - M., Vlados, 2002.
- Arzhanikova L.G. “Profession - music teacher” - M., Education, 1985.
- Bugaeva Z.N. “Fun music lessons” - M., Ast, 2002.
- Kabalevsky D.B. “Education of the mind and heart” - M., Education, 1989.
- Kritskaya E.D., Shkolyar L.V. “Traditions and innovation in musical and aesthetic education” - M., 1999.
- Lakotsenina T. P. “Modern lesson” Part 5. Innovative lessons. "Teacher", 2007.
- Latyshina D.I. “History of Pedagogy” - Gardariki, 2005.
- Lyaudis V.Ya. “Innovative training and science” - M., 1992.
- Romazan O.A. “Music lessons in secondary school” - Simferopol: “Hatikva”, 2011.
- Smolina E.A. “Modern music lesson” - Yaroslavl, Development Academy, 2006.
Internet resources:
- http://900igr.net/datas/stikhi/V-gostjakh-u-skazki.files/0032-032-Skazka-o-tsare-Saltane.jpg
- http://www.balletart.ru/rus/news/2006/img/b06_06_3.jpg
- http://img-fotki.yandex.ru/get/4703/dioseya.26/0_482c4_4f175f16_L
- http://www.operaballet.net/content/files/photoalbums/77/image.image8420.jpg
- http://img1.liveinternet.ru/images/foto/b/3/55/2204055/f_13187638.jpg
- http://img0.liveinternet.ru/images/attach/c/2/69/23/69023861_1294607115_IMG_4240_.jpg
- http://www.kordram.ru/spektakli/schelkunchik/afisha.jpg
Nowadays, children prefer video images to audio media. Often, in search of an answer to a question, students use Internet search engines without checking the reliability of the sources. Students prefer to use modern technologies and active learning.
Carefully study all the features of the interactive whiteboard before you start using it. Ask the technical support department to connect the Internet to access search media systems, the YouTube video site and other information and educational sites.
Allow children to use the interactive board themselves and involve them in the creative process. They can help you play music or a presentation. Don’t always be the “leader,” let students be independent.
Assignments for music lessons
- Connect your interactive whiteboard to your online gaming portal and launch Guitar Hero or Rock Band. These educational and entertaining games will help students develop an understanding of the terms: rhythm, tempo and musical meter. Go through the app yourself, then involve your children in the gameplay.
- Show students two different versions of the same piece of music. On the YouTube Video portal you can select versions of performances on various musical instruments or in modern arrangements. Students can write descriptions of what they heard. After listening, you should compare and contrast these versions.
- Analysis of a piece of music. After familiarizing themselves with a piece of music presented in the form of a presentation on the interactive board, students are asked to “draw the music.” Using colored markers or felt-tip pens, children draw their perception of music, make rhythmic patterns, and depict.
- Learning the names of instruments. Split the interactive whiteboard screen in half. On one of the parts place a list of the names of the instruments, on the other - their images. Add a sound file to accompany the task. Have the children match the names and pictures of the instruments.
- Classification: strings, brass, and percussion instruments. Divide the screen into 4 parts and label the type of instrument. Children suggest the name of an instrument for a particular category, the teacher adds their images to the board.
- Place the sentences or individual words from the song in the wrong order on the board. Children must write them down in the appropriate order. To check, run a music file with a performance of this song.
“I try to ensure that children take an active part in the lesson and use search techniques. With the help of modern technology, software requirements are learned faster. Children are accustomed to a fast pace of classes and frequent changes of activities during the lesson. Today's innovations make it possible to meet the needs of today's students."
Lesson format: educational quest game.
Lesson type: lesson of repetition, systematization and generalization of knowledge, consolidation of skills
Target- deeper assimilation of knowledge, high level of generalization and systematization.
Tasks:
- educational: identify the quality and level of mastery of knowledge and skills acquired in previous lessons, summarize the material as a system of knowledge.
- educational: to cultivate a common culture and aesthetic perception of the environment; create conditions for real self-esteem of students, their realization as individuals, and cultivate students’ ability to work in a team.
- developing: develop spatial thinking, the ability to classify, identify connections, and formulate conclusions; develop communication skills when working in groups, develop cognitive interest; develop the ability to explain features, patterns, analyze, compare, compare.
Methods: gaming, verbal, conversation, sound and visual clarity, modeling of the artistic and creative process, musical and dance communication.
Form of work: group
Methodological equipment: piano, computer, projector, screen.
Used DSOs: Visual range - computer presentation, video clips.
Quest structure:
1. Organizational moment
2. Introduction (plot)
3. Tasks (stages, questions, role-playing tasks)
4. Evaluation (results, awards, emotions)
Stages and course of the lesson:
1. The teacher welcomes students and asks them to take their places at their desks. A paper travel map has been specially prepared for each desk.
2. Introduction (slides 1-5)
The teacher tells that during the lesson there will be an exciting journey to Music City; in this city there is a huge number of cultural institutions that are supposed to be visited. A travel map is shown, on which the children consider the stops, beginning and end of the route.
3. Stages of the quest.
First stop- museum - slides 6 - 11. Students’ knowledge of what a museum is, what types of museums there are, how museums are related to music is summarized. In order to move on, students must complete the task on slides 12-13. Students are given a task on attention and knowledge of musical instruments. After the task is completed, the class receives a reward - a medal note (located on slide 14, you can also make a paper medal note). The map shows the further route of travel.
Second stop- library, what we can learn about music in the library (slides 15-17). It is proposed to guess riddles about the composer, performer and listener (slides 18-21). The class receives another medal award (slide 22). The map shows the further route of travel.
Third stop- circus, music in the circus (slides 23-24). Students are offered tasks (slides 25-26): determine from the picture what genre of music (song, march, dance) is depicted. The second task is to choose from three proposed dance names the one that, in their opinion, is the clown dancing in the picture (carried out in an interactive version: incorrect answers disappear when you click on them, and the correct answer increases in size). Slide 27 shows the next medal award and the future path.
Fourth stop- music school (slide 28). It tells what knowledge and skills every child can gain here (slides 29-31). Students are given the task: to dance a cheerful dance made in the form of a physical exercise video clip (slide 32, video clip “Dance of the Little Ducklings”). Slide 33 shows the further direction of the route and the reward medal.
Fifth stop- cinema (slides 34-35). The children are asked to answer the questions: what musical instruments did the heroes of fairy tales and films play? (slides 36-39). Slide 40 shows the further direction of the route and the reward medal.
Sixth stop- musical theater (slide 41). Assignment: guess riddles about musical performances (slides 42-45). The riddles contain questions about the opera, orchestra, soloist, and choir. Slide 46 - another medal and the direction of the travel route.
Seventh stop- concert hall (slide 47).
4. Evaluation. End of the journey game (slides 47-48). The results of the trip are summed up, the teacher evaluates the work of the students, and notes the most active ones. The medals earned are counted. Since all the problems have been solved, the children will receive a reward - to attend a concert (video fragment of a children's concert performance). Slides 49-50 - final words from the teacher.
Dzyuba Elena Nikolaevna, MBOU “Secondary School”, Kotovsk, Tambov Region, music teacher
To download material or!Games for listening to music lessons
In light of new educational standards, the curricula of Russian children's music schools and music departments of art schools have undergone significant changes. The traditional clock schedule was revised, and new subjects appeared in the curriculum. In the cycle of theoretical disciplines, a subject called listening to music, which precedes the traditional course of musical literature, received the right to registration. The established didactic principles in teaching in connection with innovations required the search for new twists and revision of a number of pedagogical techniques.
Having started classes on the subject of listening to music, the teacher immediately faces a number of tasks that should be understood in the broad sense of the word, namely:
promote interest in this subject;
push the boundaries of students’ musical and auditory impressions;
apply such types of practical forms of work that cement the gap between practical musical subjects and passive, at first glance, listening to music.
In a narrower sense of the word, the main tasks of the initial period of training are
formation of auditory skills and abilities of students;
developing skills to competently express one’s own impressions of music;
memorizing and recognizing by ear the material covered.
One of the ways to solve the above problems is to use games included in the organization of the educational process. The game is a powerful means of self-education and self-improvement for students. By choosing play forms of work in which the child feels quite free and comfortable, it is possible to create conditions for the activity and self-realization of students in educational, creative and communicative activities.
The games proposed for work in a music listening lesson can be divided into three groups and used in various combinations:
- author's;
- electronic;
- on paper.
Let's start with the simplest ones. For example, from a game called “Music Boxes”. It requires a box made of paper, or a stylized small box.
A game "Music boxes" causes a kind of competition among children. A kind of excitement arises: who has collected more material, who has more beautiful and colorful drawings, who remembers more musical themes.
A game "Musical Lotto" requires students to quickly and correctly find cards that depict elements of musical speech that correspond to the piece of music they listened to. In this case, you can use one of the ready-made educational games for children's music schools called "Musical Dictionary"(author E.V. Novikova) from the “Musical Rainbow” series. The positive aspects of this game are the participation of the entire group of students and the ability to simultaneously check the level of mastery of the material by each student.
To liberate the children, relieve stress in the lesson and develop verbal communication skills, a game is offered "Bell".
In the game "Bell" the simplest skills of analyzing a musical work are formed. It helps to create conditions under which it becomes possible not to be afraid to speak out loud, express your impressions, or discuss a piece of music you have listened to. A presenter is selected who rings a bell or makes a sound using a triangle and names several pre-selected musical terms. After the bell has sounded, the first participant in the game identifies in the listened work any means of musical expression named by the leader and its features. Similar actions are carried out with the remaining participants.
To analyze the structure of a piece of music, you can use the assignment in class "Musical ornament". At their first attempts, students are usually limited to depicting schematic geometric figures. Subsequently, students expand the means of embodiment and create ornaments from flowers and drawn objects. To make the geometric pattern even more whimsical and original, it is proposed to design figures from colored paper, the so-called color modeling. You can use combinations of multi-colored cubes, large and small.
To solve problems related to memorizing and recognizing musical material, you can use sophisticated game forms. The game tasks here are grouped depending on the students’ abilities and the period of study:
1. memorizing musical material (“Try to collect”, “Favorite melodies”);
2. recognition of music (“Musical path”)
In Game "Try to collect" Students are offered a number of cards on which the names of composers, titles of works are indicated, and musical examples of musical themes are given. The children’s task is, after listening, to quickly and correctly create a chain corresponding to the given musical material: the name of the composer, the title of the work, the theme.
On task "Favorite Melodies" Students perform musical themes for each other. They themselves sing the melodies of the works they like; the most capable ones play them on the piano or synthesizer.
A game "Musical Path" is in many ways similar to a music quiz, but is conducted in a more accessible, entertaining form. This game ensures the creation of a situation of success when completing a task in the narrow sense (as one of the forms of work) and in general in the lesson, since each student wants to complete the task faster and more correctly than others, come first and do everything possible to achieve the goal.
For the game “Musical Path”, the children come up with two or more objects: for example, a fairy-tale city, a wonderful clearing, a mysterious forest. In this game, students “pave” the way from guessed names of musical works to an object created by the children’s imagination, from paper bricks. The one who remembered the most, heard the most musical themes, had the longest road, and won.
To broaden the horizons of students, sets of paper lotto games from the series can be used as an additional teaching aid in music listening lessons. "Musical Rainbow" - "3 pillars of music", "Musical instruments", "The fabulous world of ballet" Using a scanner or printer, it’s easy to make them yourself. The package should include large A4 size cards with printed images on the chosen theme of the game in two copies. One of them is cut along the dotted lines into small cards with tasks. Award cards with prize places are produced separately.
How does the lotto game work? "3 pillars of music"? These are 3 copies of large cards with the corresponding genres and a set of small ones with varieties of songs, dances and marches. According to the teacher’s instructions, when listening to a musical excerpt, players pick up cards with answers on small cards, or, the second option, fill out large cards with a set of small ones according to the genre. Whoever fills out their card the fastest wins. To auditorily consolidate the material covered, musical examples are used for different types of songs, dances and marches, specifying the genre type of the musical excerpts listened to in the form of cards distributed.
Let us give as an example the rules of two of the 5 existing variants of the game “Musical Instruments”.
1 game:
Players are dealt large cards. Small cards with the names of the instruments are placed in the center in a disorderly manner. The players' task is to cover large cards with pictures with corresponding musical instruments as quickly as possible.
Game 2:
Players are dealt large cards. Everyone comes up with a riddle about one of the depicted instruments. The rest must guess what it is about. For example, the riddle: “It has three strings, made of wood, the body is triangular. What is this?" (balalaika) or “A musical instrument for which F. Chopin very often composed. What is this?" (piano).
A game "The Fairytale World of Ballet" introduces students to the characters and content of the world's best ballets based on fairy-tale plots. In this case, it is “The Nutcracker”, “Sleeping Beauty” and “Swan Lake” by P.I. Tchaikovsky. When preparing for the game, out of 12 large cards, 6 need to be cut into 36 small ones with the characters depicted on them. Large cards are distributed to children. The presenter has small colored cards.
Option 1.
The teacher shows and names the hero of the fairy tale ballet to the children. The students’ task is to find this character and cover it with a small card. The first one to cover the entire big card wins.
Option 2.
The teacher shows the image. Students must name the ballet hero. The one who found this character on his big card covers it with a small card.
Option 3.
Large cards are distributed to students. Small cards are laid out on the table with the pictures facing up. After getting acquainted with the content of, for example, the ballet “The Nutcracker,” the players are asked to find the characters of this ballet on their cards and cover them with small cards. After this, the players take turns naming the ballet characters. The winner is the one who names all the ballet characters correctly. The characters of “Sleeping Beauty” and “Swan Lake” are played out in the same way.
Option 4.
Large cards are dealt to children. Small cards are laid out on the table with the pictures facing up. At the teacher’s command, children must close small cards on their cards as quickly as possible.
characters from “The Nutcracker” only;
heroes of “Sleeping Beauty” only;
heroes only from Swan Lake.
For musical acquaintance with the content of the ballets of P.I. Tchaikovsky can also use the literary and musical compositions “The Nutcracker”, “Sleeping Beauty” and “Swan Lake” in a simplified arrangement for piano, and then combine the sounding musical excerpts with the conditions of the “Musical Path” game described above.
A good help in a modern lesson can be tasks from licensed interactive music games in the series of educational children's programs “Playing with Music” for memorizing music and developing timbre hearing:
- “The Nutcracker” based on the work of Tchaikovsky;
- "The Magic Flute" by Mozart;
- "Alice and the Seasons" by Vivaldi.
1. mastering subject material and relieving psychological stress, creating a situation of success, and developing positive motivation;
2. development of the imagination and fantasy of students, the formation of a new view of the world, the education of an open and free personality, capable of knowledge, experience, and active action;
3. creative entry into musical reality, creating opportunities for self-expression of students, opening a field of creativity;
4. activating students’ attention;
5. provide scope for the teacher’s creative initiative, allowing him to combine classical teaching traditions with advanced ones in his work