To establish the level of development of the modal sense:

Exercise 1. Observing the emotional perception of music. Talk about the content of the music. A conversation about the expressive meaning of dynamics. The nature of melodic intonations, expressive timbres of instruments, conveying the character of the music. You can ask children to depict the character of music in motion.

Task 2. Composing a melody to a given text. Finish the melody on the tonic. You can use a question and answer form.

Task 3. Exercises for distinguishing modes.

To establish the level of development of musical and auditory perceptions

Exercise 1. Recognize the direction of movement of the melody up, down, in place (above or below)

Answer on which word the melody changed. (For example, in the songs “Cornflower” or “Cockerel” r. n. melody).

Task 2. Sing your favorite song, first with accompaniment, then without musical accompaniment. Purely intoning the melody.

Task 3. Repeat a specially played unfamiliar melody.

To establish the level of development of the sense of rhythm

Exercise 1. After listening to a simple melody (8 bars), invite the children to tap out its rhythm, and when performing it again, independently reproduce it by clapping or on children’s musical instruments.

Task 2. After listening to the plays: “The Moth” by Maikapar, “Polka”, “March”, the children should portray “The Moth” (light, graceful and gentle), a cheerful dance, a decisive, important confident march. Emotionally, rhythmically depict musical strokes - legato, staccato, non legato, feel accents, highlight phrases in movements.

Give genre characteristics of musical works.

Task 3. The teacher improvises on the piano. Feel changes in the character and tempo of the music, convey these changes in movements.

The criteria for the levels of development of musicality can be used proposed by UML methodologist, associate professor, PKRO of Moscow S. Merzlyakova.

Criteria for assessing the levels of development of musical abilities

High level - creative assessment, its independence, initiative; quick comprehension of the task, accurate, expressive execution without the help of an adult; pronounced emotionality (in all types of musical activities)

Average level - emotional interest, desire to get involved in musical activities.

However, the child finds it difficult to complete the task. Requires teacher help, additional explanation, demonstration, repetitions.

Low level – little emotional, “even”, calm attitude towards music, towards musical activity, no active interest, indifferent. Not capable of independence.

Critical level – (rarely encountered assessment) – negative attitude towards music, musical activity. This is usually associated with deviations in the development and health of the child or with pedagogical neglect (usually due to the fault of the family).

By checking the musical data of children at the ascertaining stage, you can make appropriate graphs and diagrams ( Appendix 2).

The selection of children into the vocal group is made at the request of the children and at the request of the parents. The situation of checking vocal abilities and musical ear- normal situation. It is necessary to consider whether the student is constrained, whether he is embarrassed to sing, move, or strives to overcome difficulties.

The task of a music teacher is to determine the range of each student’s voice, musical memory, and level of development of musical abilities.

Vocal group tasks:

1. Formation of a sustainable interest in singing

2. Learning expressive singing

3. Teaching singing skills

6. Development of musical abilities: modal sense, musical-auditory perception, sense of rhythm

7. Preservation and strengthening of children’s mental health

When carrying out individual work, it is necessary to take into account the characteristics of each child; one needs to draw out sounds, sing higher (reach). For others, how to give the correct position to the lips and mouth. The third is to sing louder, bolder, or vice versa, softer and quieter.

Based on the results of the diagnostic map of the development of musical abilities, a further path of work is outlined, depending on which components of musical ear need to be developed by a particular student.

Classes with the vocal group at our school are held periodically, twice a week. In addition, taking into account the fact that children differ from each other in the acuity of auditory attention, the degree of coordination of hearing and voice, and their skills in singing and musical-rhythmic performance, I work with each student who is enrolled in a vocal group individually. To do this, using the rich experience in the field of music pedagogy of D. B. Kabalevsky, N. A. Vetlugina, T. M. Orlova, V. Emelyanov, D. Ogorodny, as well as advanced pedagogical experience taken from the magazines “Music at School” , when working with children I use:

1. Special exercises for the development of all three components of musicality according to B.M. Teplov.

Exercises to develop modal sense

Exercises to develop musical auditory perceptions

Exercises to develop a sense of rhythm

2. Music therapy chants on the formula for increasing self-esteem, prevention and development of proper breathing.

3. A system of work built on the integration of different types of arts:

Exercises for the development of musical abilities using fine arts (drawing to music);

Musical and choreographic exercises to develop a sense of rhythm and emotional responsiveness to music;

Artistic word;

In my plan I certainly include the simplest definition of the nature of music, the stability or instability of sounds, their inclination towards the tonic. Exercises on the ability to maintain intonation. I always point out to children incorrect, unclean singing, incorrect or unclear pronunciation of consonants. I definitely note the positive aspects of their work.

When singing exercises or songs, I pay great attention to the process of singing breathing, reminding where it needs to be taken, thereby regulating the breathing process and managing it. This accustoms the student’s hearing and voice to distinct intonation. I pay special attention to the intonation of intervals.

For the vocal group “Bell”, diagrams of the vocal group have been drawn up. ( Appendix 3;Appendix 4;)

Since auditory coordination, singing voice and musical abilities are interconnected, in vocal group classes great attention is given to the production singing voice. The main criterion should be not the quantity, but the quality of the material learned and never show at open events musical works that are not sufficiently vocal and technically proven.

Gradually, in the process of work, I try to achieve:

Singing with a natural sound without tension;

Pure intonation in a comfortable range;

Singing without musical accompaniment, to the accompaniment of a piano, to a soundtrack;

Hear and convey in singing the gradual and spasmodic movement of the melody;

Hear and evaluate correct and incorrect singing;

Get into tonic yourself;

Emotionally perform songs appropriate to age and vocal abilities, in a vocal group and individually;

Feel and follow the meter rhythm in singing.

The development of children's voices in classes should be gradual, without haste, gradually expanding the range. Use only those sounds that do not cause tension in the yet unformed vocal apparatus. Under no circumstances should you overload your voice or try to sing louder than its capabilities allow, otherwise you may simply ruin your voice. In addition, it is necessary to ensure that children do not get carried away with singing the adult repertoire and do not acquire bad vocal habits, which will then be difficult to correct.

Repertoire selection:

1. The repertoire, of course, should be selected in such a way that it contributes to the development and strengthening of the child’s voice, on the basis of which one can practice the skills of proper breathing, sound production, diction, and train the vocal apparatus.

2. For work, it is necessary to take not one, but several contrasting works, songs of a diverse nature (cheerful, calm, lyrical, comic, funny) and different in theme.

3. Use little-known songs in your work that are not “sung” in the school classroom.

4. The song repertoire should be accessible to understanding and a range of moods, images, expand the “intonation baggage” of students, accustoming them to the perception of modern examples of harmony and other means of musical expressiveness.

5. Use folk songs and works of folklore as one of the perfect means musical education children.

6. It is imperative to include in the repertoire a number of simple classical musical works arranged for a children’s choir. (P. I. Tchaikovsky, J. Brahms, G. Ivashchenko, J. Bizet, J. S. Bach, S. Rachmaninov, etc.)

7. If possible, perform samples of church music, as an example of the highest achievement of musical art.

8. When choosing songs, take into account educational goals, the vocal capabilities of schoolchildren, and their interests.

9. All songs must correspond to the vocal capabilities, age, physiological and musical capabilities of children.

Having chosen a song, the teacher must use methods and techniques that create a desire to perform it, and before showing the song, carefully learn it, having mastered the melody and lyrics. Think through all the dynamic nuances (where is faster, where to replace the tempo, dynamics, what phrases and words to highlight, where to take the breath), and also carefully learn the accompaniment.

In order for children to definitely like the song, a bright artistic display is necessary. You can listen to the song performed by the choir on audio recording or on a music disc.

Before learning, first identify the most difficult places in the melody and practice them separately. Identify and practice unfamiliar and difficult to pronounce words. Pay attention to clean intonation, unison alignment, natural sound, without forcing the sound, articulation and emotional performance.

When learning songs I always stick to the plan:

1. Discussion of the nature and content of the song. Stopping at strange places.

   If there are difficult melodic turns, a rhythmic pattern, a pause, a dotted rhythm, sing separately. To do this, play the difficult part 1 or 2 times. Then the children repeat together with the teacher, then alone (possibly without musical accompaniment). At the initial stage, somewhat exaggerate the desired quality of singing. In the process of learning, children remember.

   Provide instructions for correcting errors. Sing for several people or separately for girls and boys. Use the demonstration of purely intonating children.

   Singing a melody on a certain syllable (without words) or with your mouth closed.

   Work on diction, pauses, dynamic nuances.

   An expressive performance of the song with all the musical touches.

In my singing work, I pay special attention to building unison when performing a melody on one sound, as well as to the formation of vowel sounds.

The main principle of learning is to prevent mistakes. It is better to once again show the work correctly to the children, invite them to sing it several times, including “to themselves,” to isolate complex intonation, complex rhythm, difficult syllables, but not allow incorrect singing.

For complex works You can use the method of “Stepped” learning of a song repertoire in your work, i.e., after learning a piece, the teacher can leave it until the time when the children are able to continue working on it at a new level of mastery of vocal and choral skills, but during this entire time (say, one academic year) repeat the work in batches, practice its individual phrases and sentences.

Here it is necessary to choose a work that would not bore children and would not cause them to become overwhelmed. Return to the already mastered piece and perform it at concerts. Those songs on which more time, effort, attention and energy are spent become closer and more beloved to students.

It is also important during vocal group classes how to seat them more conveniently, taking into account the individual characteristics of the children. This is necessary for the development of purity of intonation.

In the second row we have purely singing children who have shown high and average indicators of development of singing skills, and in the first row there are children who still find it difficult to independently intone a melody purely.

In working on the development of children's musical abilities, much attention is paid to singing and learning exercises that contribute to the development of pitch hearing, modal tonal hearing, a sense of attraction to the tonic, a sense of rhythm, diction, articulation and facial expressions, and timbral hearing of breathing.

Considering that children of primary school age still love playful moments, I select exercises in such a way that each exercise has an interesting content or element of play that can interest children, because it is interest that helps children understand the expressive features of singing. These exercises prepare schoolchildren to overcome various singing difficulties and help develop their musical ear and voice. In the process of work, children learn to distinguish shades of music, modes, and develop a sense of attraction to the tonic in song creativity. They come up with their own versions of melodies and perform them emotionally and expressively, using various methods of singing - legato, staccato, non legato. For example, in the exercises:

“Boy and finger”

The boy is crying, he hurt his finger. (Come up with a melody in a minor key) A-A-A-A…………..

They tied the finger and the boy laughed. (Come up with a melody in a major key) Ha – Ha – Ha – Ha……….

Since Baba Yaga is the favorite character of all children and evokes vivid emotions in children, you can use improvisation with a mirror with younger students. The student puts on a Baba Yaga wig, and he comes up with a melody to the words: “ I can’t stop looking at the beautiful Yaga“Each student develops his own image of a fairy-tale character.

For some children it turns out to be evil, for others it turns out funny, for others it turns out to be kind and cheerful. Everyone has their own, unique one.

An emotional performance of a song is a guarantee that children will love it and sing willingly and expressively. In addition, without the emotional component of musical hearing, it is impossible to develop children's musical abilities. For this purpose, you can offer children the exercise “ Broken TV”, which is advisable to conduct with the entire group at the same time. Before performing the exercise, setting up students for expressive singing, invite the children to imagine. That they were performing on TV, but for technical reasons the TV was damaged (there was no sound). Moms, dads, grandmothers, etc. watch their children on TV and must, without sound, by the articulation, facial expressions and mood of the children, find out what the song is about and understand the words.

When performing a similar game “ Foreigner”, the children, when singing, pretend to be a foreigner who has come to visit, who must understand what the children are singing about by the mood and emotions on the children’s faces. If the song is cheerful, then the children’s eyes should sparkle with joy, and if they are sad, their eyebrows should be lowered and knitted together, and sadness is visible on their face.

Exercise " Through the glass” has the goal of singing in such a way that through the glass, through the lips, not only the words, but also the character of the song are clear.

The exercise “ helps develop emotionality, song creativity, the ability to clearly intonate a melody, and feel the tonic. Spider and flies”

Eight pairs of flies danced on the floor

We saw a spider and fainted!

During the task, children learn the ability to maintain intonation on one sound. In addition, sing expressively, conveying the character of the song.

To develop a sense of rhythm in younger schoolchildren, there are also interesting game exercises aimed at developing this component of musical abilities. Children play the game with interest.” Repeat the rhythm" One child performs the rhythm by clapping, stamping, or playing a musical instrument (say, a tambourine), and everyone else repeats. In Game " Rhythm cube” children can be divided into subgroups. Various combinations of rhythmic patterns are graphically depicted on the sides of the cube. Children take turns throwing the dice and hitting the appropriate rhythm. To more accurately reproduce the rhythm when learning a song, we use the game of conductor. One of the children uses a “magic wand” to suggest the rhythm when performing a melody.

Singing lessons should not only bring joy and positive emotions, but also have a psycho-prophylactic effect and create an opportunity for self-expression. Special chants for music therapy by V. N Petrushin increase vitality, children’s mood, emotional well-being, and the ability to relax. These self-esteem formula exercises help insecure and shy children.

You can also train your breathing with the help of interesting exercises that teach you how to properly distribute your breathing, relax the muscles of the diaphragm, and develop dynamic hearing.

“Balloons”

This is how you inflate the balloon, and check it with your hand (inhale).

The balloon burst, we blow it out, we relax our muscles (exhale).

Children should imagine a big balloon and try to inflate it. What should you do first? Show me how to blow correctly? Quiet music is playing. At the crescendo, children “inflate the balloon,” inhaling and exhaling briefly until it bursts. The strong beat is inhalation, the weak beat is exhalation, the louder the music, the larger the ball. At first the breaths are short, like a small ball, then long.

This is how our children gradually become accustomed to musical art, learn to sing beautifully, and this is very important, since along with musical abilities, children develop new knowledge and interests. Their spiritual world becomes richer and more diverse.

Natalia Kvitka

Project in artistic and aesthetic development« Development of a sense of musical rhythm in preschool children in musical and rhythmic movements».

Relevance. A modern preschool educational institution is a unique educational institution of a new type, completely different from the kindergarten of ten years ago. In the context of modernization of education, variability of programs and types preschool institutions are increasingly emphasizing the need to solve the problem of holistic child development. A necessary condition harmonious development the child is full-fledged musically- aesthetic education, development of the fundamentals of music perception. About it testifies obligation of artistic and aesthetic education and child development, prescribed in the Federal State Educational Standard preschool education (FSES DO).

Preschool age- one of the most crucial periods in the life of every person. It is during these years that the foundations of health, harmonious mental, moral and physical are laid. child development, a person’s personality is formed.

Musical education for preschool children is important both for intellectual development, and for the physical. For development of musical abilities require more than just singing or listening music, but also musical rhythmic movements.

Musical and rhythmic movements serve the purpose of the child’s knowledge of the surrounding reality and, at the same time, are a means of expression musical images, character musical works. Outstanding music teacher A. D. Artobolevskaya, in the book “First meeting with music" States that children's musical abilities manifest themselves and develop, first of all, through movement with music.

Through the child develops music and movement not only artistic taste and creative imagination, but also the child’s inner spiritual world is formed.

Talking about development of musical abilities in musical-rhythmic activities mean, first of all, the ability to sense rhythmic originality in music and pass it on in your movements. Therefore, the teacher is faced with the task of teaching to perceive development of musical images and coordinate your movement.

Seeing beauty movements in games, dancing, round dances, trying to fulfill movement as beautiful as possible, more elegant, coordinate it with music, child develops aesthetically, learns to see and create beauty.

Meaning musical and rhythmic movements in a child's life is that They:

1. enrich the emotional world children and develop musical abilities;

2. develop cognitive abilities;

So the topic musical-rhythmic development of children in musical-rhythmic movements is relevant in preschool pedagogical process.

Purpose of the study: to select methodological recommendations for developing a sense of musical rhythm in musical and rhythmic movements in children of primary preschool age.

Object of study: content and organization educational activities at the level preschool education.

Subject of study: a sense of musical rhythm and its development in children of primary preschool age in musical and rhythmic movements.

Research hypothesis: if you use .

Considering the object, subject and purpose of the study, we focused on solving the following tasks:

1. Analyze the psychological, pedagogical and methodological literature on this issue.

2. Develop research diagnostics;

3. Develop a methodology.

4. Conduct a pedagogical experiment in three stages.

Research methods:

Theoretical:

1. Analysis of scientific, methodological, pedagogical literature.

Empirical:

1. Observation.

2. Conversation.

3. Pedagogical experiment in three stages.

Research base: MDOU combined type kindergarten No. 2 "Star" Lyubertsy municipal district Moscow region.

Project designed for 3 months.

Project involves holding one lesson per week of circle work, as part of the traditional musical and rhythmic activity, individual work, as well as work during free time and work in the afternoon.

Lesson duration – 15-20 minutes

Stage 1 – preparatory (1 Week)

Analysis of scientific, methodological, pedagogical literature.

Scientific research in the field musical pedagogy and experience of many preschool institutions, and historical experience indicate that, What musical education has an impact on the overall personal development. Founder modern theory rhythmic education was Swiss musician, teacher, pianist and conductor Jacques-Émile Dalcroze (1865-1950, who believed that a child must first experience what he must subsequently learn.

In our country the system rhythmic education was developed by N. G. Alexandrova, E. V. Kononova. Special studies were carried out by N. A. Vetlugina, A. V. Keneman, B. M. Teplov.

B. M. Teplov at work "Psychology musical abilities» defined the concept « sense of rhythm» . Musical-rhythmic feeling- perception and reproduction of temporary relationships in music. This is the ability to actively experience music, feel emotional expressiveness musical rhythm and reproduce it accurately. Rhythm- one of expressive means music, through which content is transmitted.

The sense of rhythm develops, first of all, in musical and rhythmic movements, corresponding in nature to the emotional coloring music. Consistency rhythm of movements and music is also one of the conditions necessary for development of this ability. Classes rhythm allows you to feel and express in movements the change of moods in a piece of music, improve sense of rhythm through coordination movements and music.

Musical and rhythmic education(rhythm) - this is a special item that aims to activate children's musical perception through movement, instill in them the skill of a conscious attitude towards music, helps to identify them musical Creative skills. While studying rhythmic, children actively participate in the transmission of character music, its tempo, dynamics, rhythm, forms. Development of a sense of rhythm- this is the main task rhythms.

Working with parents

It is difficult to achieve the desired result through the efforts of a teacher alone in the classroom without the support of parents.

The purpose of working with parents: involving the family in the formation positive emotions And child's feelings, maintaining the interest and initiative of parents in the life of the kindergarten.

Musical education and development child in the family depends on the conditions

which are determined by congenital musical inclinations, the family’s way of life, its traditions, attitude towards music, common culture. Questioning parents at the beginning helps to study these conditions. project activities

Questioning parents "My child and music» :

Questions Results

1. What place does your child occupy in his life? music?

2. Does he like to listen to her? Which prefers music?

3. What is your child's favorite piece? And yours?

4. Does he love this song? music move, dance? 5. Does he understand the content? music?

6. Does it transmit to movement character music, her rhythm?

7. How emotional is the child?

reacts to music?

8. How is this expressed?

10. What is your participation in child's musical development:

Is there a children's music library at home?

music? Do you attend children's performances? Do you watch on TV musical programs with your child?

Do you discuss them?

Conclusion: Most parents are not interested musical education of children, don't know their loved ones musical works, don't see them musical abilities.

Solution: properly organize work according to musical

education in the family, conduct conversations, consultations about music, joint holidays and leisure activities, involve parents in active participation in the life of the preschool educational institution and the group in particular. Based on the results of the survey, forms of cooperation are selected.

A plan for working with parents is drawn up, the successful implementation of which depends on the activity and initiative on the part of the parents, the focus and differentiated approach to cooperation with the family on the part of the preschool educational institution.

Forms of work with parents:

Individual conversations; Leisure and entertainment;

Design of visual material, didactic games;

Parent meetings and consultations;

Open days;

Hometasks;

Blogging on the MDOU website.

Stage 2 - research stage (2.5 months)

16 pupils of the junior group of MDOU No. 2 d/s took part in the experimental study "Star". The research work took place in three stage: ascertaining, formative and control.

The purpose of the experimental work: identifying the initial level development of a sense of musical rhythm in children of primary preschool age and development and testing of methods for developing a sense of musical rhythm in children of this age through musical rhythmic movements.

Level detection (ascertaining experiment)

Target: Definition of entry level development of a sense of musical rhythm in children of primary preschool age.

Tasks:

1. Develop diagnostic tasks;

2. Carry out level diagnostics development of musical and rhythmic sense;

3. Create criteria for assessing the level developing a sense of rhythm;

4. Process the result.

To identify the level developing a sense of musical rhythm we used the diagnostic technique of O. P. Radynova and carried out two diagnostic tests tasks: first - for execution rhythmic drawing using clapping, and the second - dancing to music.

Diagnostics sense of rhythm

1 task. Playback in claps rhythmic "Oh you canopy" (audio recording).

The teacher invites the children to listen to the melody of Russian folk song "Oh you canopy", then slams rhythmic sequence. After this, the teacher invites the children to clap themselves melody rhythm.

(in points):

3 points - accurate execution rhythmic pattern.

2 points - allows for minor inaccuracies.

1 point - rhythmic the pattern doesn't match the melody.

Task 2. Correspondence movements to the nature of the music, correspondence the rhythm of the movements the rhythm of the music.

Excerpts from three works are played.

1) T. Lomova "Melody",

2) M. Zhurbin "March",

3) A. Grechaninov "My horse".

The child is given a task - to dance to music. Children must hand over to movements character of music, rhythm.

Criteria and assessments for completing the task (in points):

3 points - expressive movement, shift movements according to character music and rhythm.

2 points - there is a desire to move under music, But movement not always consistent with character music.

1 point – the child begins to do movements to music, but they do not convey character and rhythm of music.

In accordance with the criteria, we have identified three levels developing a sense of rhythm: high, average and below average.

High - 6 points

Average - 4-5 points

Below average – 3-1 point

Analysis of the results of ascertaining diagnostics is presented in Table 1.

Table 1.

1 Varvara B. 2 2 4

2 Daniil B. 1 2 3

3 Varvara V. 2 2 4

4 Anastasia E. 2 2 4

5 Semyon K. 2 2 4

6 Gregory K. 1 2 3

7 Ivan K. 2 2 4

8 Ulyana P. 1 2 3

9 Roman S. 1 2 3

10 Natalya S. 2 2 4

11 Sofia S. 2 2 4

12 Evelina S. 2 2 4

13 Artem S. 1 2 3

14 Taisiya T. 1 1 2

15 Anna T. 1 2 3

16 Denis L. 2 2 4

Based on the results of completed tasks, taking into account the overall score, we distributed and obtained the following results, presented in Table 2.

Table 2.

No. Child’s first and last name Total score Levels

1 Varvara B. 4 C

2 Daniil B. 3 NS

3 Varvara V. 4 C

4 Anastasia E. 4 C

5 Semyon K. 4 S

6 Gregory K. 3 NS

7 Ivan K. 4 S

8 Ulyana P. 3 NS

9 Roman S. 4 S

10 Natalya S. 4 S

11 Sofia S. 3 NS

12 Evelina S. 4 S

13 Artem S. 3 NS

14 Taisiya T. 2 NS

15 Anna T. 3 NS

16 Denis L. 4 C

The diagnostic results in percentage terms are presented in the diagram Figure 1.

As can be seen from Table 2 and Figure 1, 9 children(56%) are at an average level, 7 children(44%) have no children.

Analyzing each indicator separately, we can state that the greatest difficulty lies with children called the first task. Rhythmic pattern, although with minor inaccuracies, performed 9 children(56%, and the rest 44% rhythmic the drawing didn't match the rhythm of a given melody.

We danced with pleasure and desire to music 15 children, but they didn't have a shift movements depending on the character piece of music, his rhythm. One child could not reproduce the claps rhythmic drawing a melody and perform movement, corresponding to the character music.

Development of a sense of musical rhythm in children of primary preschool age in musical rhythmic movements (formative experiment)

Based on the results of the ascertaining experiment, we have outlined further work on developing a sense of musical rhythm.

For further research activities we divided this group children into two subgroups, 8 people each (experimental and control).

At the beginning of the formative experiment, we formulated and set the goal of further work.

The goal of the formative stage of experimental work is to develop a sense of musical rhythm in children of primary preschool age in musical rhythmic movements.

To achieve this goal, it is necessary to solve the following tasks:

1. Develop tasks for developing a sense of musical rhythm.

2. Conduct an experimental study.

An important role in developing a sense of rhythm, first of all, fulfill musical and rhythmic exercises, and music games. In them, children reflect and transmit to movement rhythmic pattern of sounding music. Also in music games are evolving speed of motor reaction, ability to quickly change movements according to character music.

In our work we used the following tasks: developing a sense of musical rhythm:

"Legs and Feet" music V. Agafonnikova

Audio recording used "Legs and Feet" music V. Agafonnikova.

Methodology: The teacher invites the children to take a walk, but notices that it has rained and puddles have formed on the ground. To avoid getting your feet wet, you need to step over puddles. Children walk together with the teacher "big feet". Then the teacher informs that there is a path ahead and they need to run along it. Children are running "little legs". Then movements are performed to music accompanied by the singing of the teacher. (Text songs: “Big feet walked along road: top-top-top top-top-top. Little feet ran along path: top-top-top-top-top, top-top-top-top-top.") When children master movements while singing, the exercise is carried out only with instrumental music.

“Legs are knocking merrily” music G. F. Vikhareva.

“Legs are knocking merrily” music G. F. Vikhareva.

Methodology: The teacher lets the children listen new song, which is called “Legs are knocking merrily”, together with the children, determines that the song is funny. Then he invites the children to dance. The teacher shows movement in accordance with the lyrics of the song, and the children repeat. Pays attention children on the rhythm of music saying what to do movements need to be together, all together. In the first verse ( “How our guys’ feet clatter merrily”) - they stomp with one foot; in the second ( “And the legs are tired, they clap palms» ) – clap their hands; in third ( “And then the children dance side by side in a squat”) – perform "spring"; and in the fourth ( “And once they start running, no one can catch them”) - run "flock" round. Children spin in choruses "stomp". At the end of the dance, the teacher praises everyone children.

"Matryoshka" edited by L. E. Kazantseva.

An audio recording of the song was used "Matryoshka" edited by L. E. Kazantseva, tumbler doll.

Methodology: The teacher tells the children that a tumbler doll has come to visit us. The children watch her swing. Then the teacher asks children swing too like a doll. Children perform movement, alternately lifting your legs off the floor (transmits metric pulsation). After this, the teacher invites the children to dance to music. Children dance according to the teacher's instructions, performing movements rhythmically, according to the text songs: “We are nesting dolls, these are the crumbs, both ours and ours are clean palms"- show palms; “We are nesting dolls, these are the little ones, And we, and we have new boots.”- place the foot on the heel; “We are nesting dolls, these are the little ones, We want to dance, dance a little”- perform "spring"; “Oh, we’re tired of dancing, now we’ll rest”- they shake their heads. At the beginning of each verse, the children sway from foot to foot, imitating nesting dolls.

"Rosy cheeks" music G. F. Vikharevoy

An audio recording of the song was used "Rosy cheeks" music G. F. Vikhareva.

Methodology: the teacher invites the children to listen to the song "Rosy cheeks" and determine character music. The melody is very cheerful. Then the teacher invites children to dance. Children perform movements rhythmically in accordance with the lyrics of the song as shown by the teacher. In the first verse (text songs: “Baby, little ones - pink cheeks. And with us, and with us - sonorous palms") - children clap their hands rhythmically, in the second ( text: “Baby, little ones - rosy cheeks. And our fists are like hammers") – rhythmically hit fist on fist, in the third ( text: “Baby, little ones - rosy cheeks. And with us, and with us, it’s fun in the little garden!”) – perform "spring", and in the fourth verse ( text: “Baby, little ones - rosy cheeks. And with us, and with us, our mouths are sealed!”) - forefinger rhythmically applied to lips.

Music game"Sun and Rain" music M. Rauchwerger.

An audio recording of the melody was used "Sun and Rain" music M. Rauchwerger.

Methodology: The teacher is having a conversation about what children do on a walk when the sun is shining (walk, play). What will they do if it suddenly rains? (they will hide under an umbrella or under a roof). Then the children listen music"Sun and Rain". After this, the teacher invites take the kids for a walk. The music sounds calm, melodiously. Singing teacher T: the sun looks out the window, shines into our room, and the children calmly walk in different directions, transmitting a metric pulsation with their steps. Next teacher sings: we will clap in palms, very happy about the sun. Children, together with the teacher, clap their hands, passing melody rhythm. To the sounds of a metallophone, the teacher opens his umbrella and sings along "It is raining", and all the children hide under the umbrella. And the teacher asks: “No one got wet by the rain, did everyone manage to hide?” As a result, this game can be used while walking.

Checking the effectiveness of the work done at the formative stage of the experiment (control experiment)

In order to determine the effectiveness of the developed methodology for development of a sense of musical rhythm in musical rhythmic movements A control experiment was conducted with experimental and control groups.

Test tasks experiment:

1. Identify dynamics development of a sense of musical rhythm in children of primary preschool age.

2. To determine the effectiveness of the developed methodology for developing a sense of musical rhythm in children of primary preschool age in musical and rhythmic movements.

On at this stage The same diagnostic material and evaluation criteria were used as at the ascertaining stage of the experiment.

The results of control diagnostics in the experimental and control groups are shown in Table 4 and Table 5.

№ Name, surname of the child Task 1 Task 2 Total score

1 Varvara B. 3 2 5

2 Daniil B. 2 2 4

3 Varvara V. 3 3 6

4 Anastasia E. 3 2 5

5 Semyon K. 3 3 6

6 Grigory K. 2 2 4

7 Ivan K. 3 2 5

8 Ulyana P. 2 2 4

№ Name, surname of the child Task 1 Task 2 Total score

1 Roman S. 1 2 3

2 Natalya S. 2 2 4

3 Sofia S. 2 2 4

4 Evelina S. 2 2 4

5 Artem S. 1 2 3

6 Taisiya T. 1 1 2

7 Anna T. 1 2 3

8 Denis L. 2 2 4

The individual dynamics of the effectiveness of control diagnostics in the control and experimental groups is presented in the diagram Figure 2 and in the diagram Figure 3.

Figure 2. Individual dynamics of control diagnostic results children experimental group.

Figure 3. Individual dynamics of control diagnostic results in control group children.

As can be seen from the histograms, changes occurred in the experimental group. The results of two people especially improved children. Based on the results of their diagnosis overall result increased by two points. The rest children the result improved by one point.

Analyzing individual changes in the control group, we can conclude that changes in results at the control stage of the experiment children this group did not happen.

General distribution picture children control and experimental groups by levels developing a sense of musical rhythm can be seen in Table 6 and Table 7.

Table 6.

Results of control diagnostics in the experimental group.

1 Varvara B. 5 C

2 Daniil B. 4 C

3 Varvara V. 6 V

4 Anastasia E. 5 S

5 Semyon K. 6 V

6 Gregory K. 4 S

7 Ivan K. 5 S

8 Ulyana P. 4 C

Table 7.

Results of control diagnostics in the control group.

No. Last name, first name of the child Number of points Level

1 Roman S. 3 NS

2 Natalya S. 4 S

3 Sofia S. 4 S

4 Evelina S. 4 S

5 Artem S. 3 NS

6 Taisiya T. 2 NS

7 Anna T. 3 NS

8 Denis L. 4 C

There are two in the experimental group children moved to high level, three improved their results to the average level. And three children remained at the average level, but they experienced changes in the results of individual indicators.

In the control group children no level changes occurred developing a sense of musical rhythm.

Distribution children by levels of development of a sense of musical rhythm Based on the results of control diagnostics in the experimental group, you can see in the diagram Figure 4.

Figure 4. Distribution children experimental group by levels developing a sense of musical rhythm

From the above we can conclude about the effectiveness of the work we did at the formative stage of the experiment.

Stage 3 is the final stage.

Summing up the implementation project

In the process of experimental research work, we observed the children, had a conversation about the nature of the listening music and conducted a pedagogical experiment in three stages.

At the ascertaining stage of the experiment, we identified the level development of a sense of musical rhythm in preschool children. Two diagnostic tasks were used for diagnosis. First clapping task rhythmic drawing of the melody of a Russian folk song "Oh you canopy", and second – compliance movements to the nature of the music, correspondence the rhythm of the movements the rhythm of the music.

As a result, we found that 56% children are at the average level, 44% children below average. With a high level have no children.

During the formative experiment, we developed and carried out targeted work on developing a sense of musical rhythm in children of primary preschool age in the process of musical rhythmic movements. At this stage, the hypothesis “If we use musical-rhythmic movements in music games, then this will contribute developing a sense of musical rhythm».

The purpose of the control experiment is to identify the dynamics development of a sense of musical rhythm in children of primary preschool age control and experimental groups. Diagnostic results testified about the effectiveness of the methodology developed and carried out at the formative stage.

Thus, by comparing the data of the ascertaining and control experiments, we found that the use of musical-rhythmic movements in musical games contributes to the development of a sense of musical rhythm in children of primary preschool age.

As a result, the goal set at the beginning of the research work “to select methodological recommendations for the development of a sense of musical rhythm in musical and rhythmic movements in children of primary preschool age” was achieved. Hypothesis proven research: if used musical-rhythmic movements in music games, then this will contribute developing a sense of musical rhythm. The assigned tasks have been solved.

Diag nostics of the level of development of musical abilities of preschool children

The structure of musical abilities.

1. An analysis of music-pedagogical and psychological literature shows that currently there is no common understanding among scientists of the essence and structure of musical abilities.

Teplov B.M.: modal sense + auditory perceptions + sense of rhythm + emotional responsiveness to music as the basis of musicality.

Tarasova K.V.:

emotional responsiveness is the main indicator of musicality;

Cognitive musical abilities – sensory, intellectual + private abilities.

She classifies as sensory: musical hearing: melodic, timbre, dynamic, harmonic;

To the intellectual: musical thinking (reproductive and productive) + musical memory, + musical imagination;

Particular abilities include: absolute pitch, sensorimotor performance data.

Research Vetlugina N.A. and its employees the structure of musical abilities was determined in accordance with the main types of musical activity of preschool children: perception, performance, improvisation (composition) of music. The structure of the muses of abilities, in their opinion, consists of:

Ability to perceive music holistically and differentiatedly;

Performing abilities (purity of singing intonation, consistency and expressiveness of plastic movements; the ability of creative imagination, manifested in song, instrumental, dance (plastic) improvisations.

Anisimov V.P. Structural components of musicality: pitch, tempo-rhythmic, dynamic, timbre feeling + formative feeling + emotional responsiveness to music as the center of musicality.

2. Psychodiagnostics (from the Greek Psyche - soul, diagnosis - recognition) - a branch of psychology that studies the principles and methods of identifying individual psychological characteristics of a person.

Pedagogical diagnostics is carried out on the basis of the principles and methods of diagnostic research developed in psychological science.

Diagnostics, as a scientific field of psychology and pedagogy, gives the teacher “tools” for measuring certain parameters of children’s musical abilities, and makes it possible to identify both strong and weakly developed components of them. This is necessary so that the teacher can identify the real state of the required quality in children and direct his professional activities towards organizing appropriate assistance to the child.

Analysis of modern music pedagogical practice determines areas of application of music diagnostics:

- Planning, implementing and assessing the quality of music education and training cannot be carried out without reliable information about the prerequisites, progress and results musical development child (or group of children);

Diagnostic methods are needed when deciding on a child’s special (for gifted children), general or remedial music education;

Management of the music-pedagogical process needs appropriate comparative information on the effectiveness of traditional and innovative technologies for music education(Anisimov V.P. Diagnostics of the muses of children’s abilities - M., 2004).

The objectives of modern diagnostics are aimed at, as far as possible, differentially studying the level of development of each structural component of a child’s musicality. This allows not only to predict the potential of the quality being studied (personality traits), but also to more accurately determine the content of subsequent work (Anisimov, p. 53).

Need for diagnostics the level of development of children's musical abilities is relevant primarily for practicing musicians.

There are standard diagnostic conditions:

- preparation of a diagnostic study(selection of musical material, development of evaluation criteria, etc.);

- carrying out diagnostics and data recording(description of the procedure, logging and registration of the progress of the diagnostic study);

- data analysis What do we diagnose?

Determining diagnostic objects is the answer to the questions: “What to develop?” and “What to diagnose?” Determining a diagnostic method is the answer to the question “How to study and by what means?”

Anisimov V.P. notes(this is confirmed by practice) that, as a rule, in the traditional diagnosis of muses abilities are not taken into account:

The main component of musicality is emotional responsiveness to music;

Personal need to perceive music and play music, i.e. child motivation;

Already existing experience in performing activities and the ability for creative self-expression– child’s musical creativity. Thus, value orientations are practically not taken into account.

3. Barysheva T.A. ( Head of the Department of Aesthetic Education, Institute of Childhood, Russian State Pedagogical University named after. A.I. Herzen) identifies the following as objects for diagnosing child development in the field of artistic education:

Motivation (aesthetic, artistic interests, needs); general (universal) artistic abilities; creative personality traits; special artistic abilities (Diagnostics of aesthetic development of personality - St. Petersburg, 1999, p. 6).

Using diagnostic tools, the effectiveness of pedagogical and artistic influences is determined, the dynamics and process of musical and aesthetic development of the individual are monitored, and correction is carried out. Many diagnostic methods can be used as technologies and means of enhancing the aesthetic development of the individual (i.e. as educational ones).

Test tasks for diagnosing the musical abilities of preschool children

Prepared by:

Yarysh Nadezhda Nikolaevna

musical director of MADOU

"Kindergarten No. 87 "Buratino"

general developmental type"

highest qualification

Velikiy Novgorod 2013

The development of tasks and tables to determine the level of musical abilities of children of each age group in kindergarten is based on Olga Radynova’s diagnostic methodology, taking into account the knowledge and skills requirements of the traditional program, intended for preschool educational institutions using the “Childhood” education and training program

I believe that the diagnostic method developed by O. Radynova, as well as the evaluation criteria, is the most objective and convenient in practical work with preschoolers, I just divided it into areas of activity and added tasks to the tests that correspond to Vasilyeva’s program.

in the second younger group

Beginning of the year

High level 18 points

closer to high 14-17

Average level 12 points

closer to low 7-10

Low level 8 points

The end of the year

High level 18 points

closer to high 14-17

Average level 12 points

closer to low 7-10

Low level 8 points

younger group.

Beginning of the year

Fret feeling

Task No. 1:

"3"

motor reaction.

There are children who listen attentively, but do not outwardly

show their emotions.

"2"

Almost all children do not know how to listen to music. Emotional

There is no reaction to the music.

"1"

Task No. 2:

"3"

"2" .

"1"- no interest, almost does not react to music.

The end of the year

Fret feeling

Task No. 1: Listen to two different works and, based on the children’s reactions, select the appropriate score.

Kabalevsky " Sad rain", M. Glinka "Children's Polka".

"3"- listens carefully to the work from beginning to end, bright

external impressions, emotional responsiveness and

motor reaction.

"2"- listens inattentively, gets distracted. Manifestation of emotional

"1"- no interest, almost does not react to music.

Task No. 2: Listen to the song “Zainka” by M. Kartushina

"3"- listens to the song carefully, understands the lyrics and can say what it is about.

"2"- listens inattentively, is distracted, but can tell the content of the song. .

"1"- no interest, almost does not react to the song.

Beginning of the year

Task No. 1: Sing along with the teacher to a familiar song with musical accompaniment.

"3"

"2"

"1"

singing along.

Task No. 2: Sing the song “Ladushki”, performing the singing movements at the end, saying “Yes”, to everyone at the same time.i.

"3"

"2"

"1"- no intonation, no emotional reaction

singing along.

The end of the year

Musical and auditory performance.

Task No. 1: Sing a familiar song with musical accompaniment together with the teacher (3-4 people each).

"3"- singing the entire phrase or motive.

"2"- singing along with individual words or endings of words, 1-2 sounds.

"1"- no intonation, no emotional reaction

singing along.

Task No. 2:

"3"- singing the entire phrase, performing the task correctly.

"2"- singing along with individual words or endings of words, 1-2 sounds, but completing the task.

"1"- no intonation, no emotional reaction

singing along.

Beginning of the year

Sense of rhythm.

Task No. 1:

melodies of 3-5 sounds. R.n.song “Cockerel”

"3"

"2"- not entirely accurate.

"1"-failed to complete the task

Task No. 2:

“Cheerful Legs” R.N.Melody,

“March” by E. Telicheeva,

"3"

"2"

"1"

The end of the year

Sense of rhythm.

Task No. 1:

"3"- precise execution of the rhythmic pattern.

"2"- not entirely accurate.

"1"-failed to complete the task

Task No. 2:

Excerpts from three works are played. The correspondence of the emotional coloring of movements to the nature of the music, the correspondence of the rhythm of movements to the rhythm of the music is assessed.

a) Lomov “Melody”,

b) “March”,

c) Grechaninov “My Horse”.

"3"

"2"

changing movements to music.

"1"

DIAGNOSTICS OF MUSICAL ABILITIES

in the middle group

beginning of the year

High level 21 points

closer to high 17-20

Average level 15 points

closer to low 7-10

Low level 8 points

The end of the year

Tasks for diagnosing children's musical abilities

In the middle group.

Beginning of the year

Fret feeling

Task No. 1: Listen and distinguish between two plays, different in genre. (march, dance), using the manual, show the corresponding picture.

"3"- listens carefully to the work from beginning to end, bright

external impressions, emotional responsiveness, correct choice of card.

"2"- listens inattentively, gets distracted, but chooses cards correctly.

"1"

Task No. 2: Listen to an unfamiliar song, determine its character and content.

"3"- listens carefully, can determine the character, tell what the song is about.

"2"- listens inattentively, cannot talk about the content, but can determine the character.

"1"

The end of the year

Fret feeling

Task No. 1: Listen to the play “The Cheerful Clown” by Kabalevsky, and clap to mark the change of parts in a two-part work.

"3"- listens carefully to the work from beginning to end, can complete the task correctly.

"2"- listens inattentively, is distracted, can determine the end of a phrase with the help of a teacher.

"1"- no interest, almost do not react to music.

Task No. 2: By using didactic game“Bear, Hare and Sparrow”, determine the register, lay out the corresponding card.

"3"- listens attentively to the music. fragments, detects register, performs the task correctly.

"2"- listens inattentively, is distracted, but can complete the task. .

"1"- no interest, does not complete the task or does it incorrectly

Beginning of the year

Musical and auditory performance.

Exercise: Sing a familiar song yourself with musical accompaniment.

"3"- sings the entire phrase, the diction is clear, the intonation is close to correct.

"2"- singing along with individual words, diction is not legible.

"1"

Task No. 2: Sing an unfamiliar song, with the support of a teacher and accompaniment, performing the singing movements.

"3"- singing the entire phrase, performing the task correctly.

"2"- singing along with individual words or endings of words, but completing the task.

"1"- no intonation, no emotional reaction

singing along.

Task No. 3: The child is given a task - to name the proposed instruments and play a song on the metallophone.

"3"

"2"

"1"- shows no interest in the task, does not complete the task

The end of the year

Musical and auditory performance.

Task No. 1: Name your favorite song, motivate the choice, perform it with musical accompaniment in an ensemble. (3-4 people each).

"3"- sings a song, hears a neighbor singing, tries to sing in an ensemble.

"2"- doesn’t sing the whole song, forgets the words, but tries to sing along with everyone.

"1"- no intonation, emotional reaction without singing along.

Task No. 2: Sing the song “Silent and Loud Bells”, performing in singing dynamic shades.

"3"- singing the entire phrase, performing the task correctly.

"2"- singing along with individual words or endings of words, 1-2 sounds, but completing the task.

"1"- no intonation, emotional reaction without singing along.

Task No. 3: The child is offered a task - from the proposed instruments, choose the most favorite one, perform a familiar song.

"3"- can name instruments, plays a song on a metallophone with the help of a teacher.

"2"- there is a desire to play instruments, not everyone can name them, the game is chaotic, disorderly.

"1"- shows no interest in the task, does not complete the task.

Beginning of the year

Sense of rhythm.

Task No. 1: Clap the simplest rhythmic pattern,

melodies of 3-5 sounds. R.n.song “We are coming”

"3"- precise execution of the rhythmic pattern.

"2"- not entirely accurate.

"1"-failed to complete the task

Task No. 2: The child is given the task of moving according to the musical fragment. The child's ability to respond in time to a change in musical phrase is assessed. Fragments of two works are played.

“Cheerful Legs” R.N.Melody,

“March” by E. Telicheeva,

"3"- changing movements to music, movements of the head, hands, feeling the pulse.

"2"- there is a desire to move to the music, there are no emotional

movements, there is no change of movements to the music.

"1"- small motor reaction to music.

The end of the year

Sense of rhythm.

Task No. 1: Play a simple rhythmic pattern on a metallophone, melodies of 3-5 sounds.

"3"- precise execution of the rhythmic pattern.

"2"- not entirely accurate.

"1"-failed to complete the task

Task No. 2: The child is given a task - to dance to music.

The performance of dance movements is assessed (springing, jumping, moving in pairs in a circle, circling alone and in pairs)

"3"- expressive pantomime, changing movements to music, performing all given movements.

"2"- there is a desire to move to the music, there are no emotional movements, no

changing movements to music, not performing all movements correctly.

"1"- little motor reaction to music

DIAGNOSTICS OF MUSICAL ABILITIES

in the senior group

beginning of the year

High level 36 points

closer to high 27-34

Average level 24 points

closer to low 13-20

Low level 12 points

the end of the year.

Tasks for diagnosing children's musical abilities

In the older group.

Beginning of the year.

Fret feeling

Task No. 1: Listen to the work by L.V. Beethoven “Finale of Concerto No. 5 (fragment), determine the nature of the work, expressing your thoughts in full sentences..

"3"- listens carefully to the work from beginning to end, bright

external impressions, emotional responsiveness, clear expression of thoughts. "2"- listens inattentively, is distracted, but can determine the character.

"1"

Task No. 2: Listen to the song “We are Bandito”, determine the nature and content of the song.

"3"- listens carefully to the song, understands the text and can say what it is about, determine the nature of the music.

"2"- does not listen carefully, is distracted, but can tell the content of the song and determine the character .

"1"- no interest, almost no reaction to the song.

Task No. 3: Using the didactic game “Bird Concert”, identify registers in mixed and pure sound.

"3"- listens attentively to the music. fragments, understands register, lays out cards correctly.

"2"- listens inattentively, is distracted, but can identify the upper, middle and lower register. .

"1"

Task No. 4: Listen and distinguish three plays of different genres (march, dance, lullaby), using a didactic game, lay out cards according to the genre of the work being performed.

"3"- listens attentively to the music. fragments, determines the genre and completes the task without prompting.

"2"- listens inattentively, is distracted, but can determine the genre of a piece of music and lay out cards. .

"1"- no interest, performs the task incorrectly.

The end of the year.

Fret feeling

Task No. 1: Listen to and distinguish three plays of different genres (march, dance melody, lullaby), show the corresponding movement. Knowledge of genres in music and independence in changing movements in accordance with the three-part form of musical phrases are assessed.

"3"- listens carefully to the work from beginning to end, bright

external impressions, can name genres, performs the task correctly.

"2"- listens inattentively, is distracted, but completes the task correctly

"1"- no interest, does not complete the task correctly.

Task No. 2: Listen to the work “In the Cave of the Mountain King” by Grieg, determine which instruments are performing, the character and content. The children's ability to hear the sound of various instruments and the ability to express their thoughts in detail are assessed.

"3"- listens carefully to the work, understands the content, identifies the instruments, can say what it is about, and determine the nature of the music.

"2"- listens inattentively, is distracted, but can talk about the nature and content of the work, name the instruments, although not all.

"1"- no interest, almost no reaction to the song.

Task No. 3: Using the didactic game “Bird and Chicks”, identify high and low sounds within a fifth.

"3"- listens attentively to the music. fragments, identifies high, medium and low sounds, lays out cards correctly.

"2"- listens inattentively, is distracted, but can identify high and low sounds .

"1"- no interest, performs the task incorrectly.

Task No. 4: Invite children to compose a story or fairy tale after listening to Mozart’s “Little Flute”, enriching their story with movements to the music.

"3"- listens carefully to the work, can come up with a story, depict it with movements character traits Main character.

"2"- listens attentively, but comes up with a story with the help of an adult, depicts it with movements according to the prompt. .

"1"- no interest, does not want to complete the task.

Beginning of the year

Musical and auditory performance.

Task No. 1:

"3"

"2"

"1"

Task No. 2: Perform a short song without accompaniment, in a comfortable range.

"3"- he sings, purely intoning the movement of the melody.

"2"

"1"

Task No. 3:

"3"

"2"

Task No. 4:

"3"

"2"

"1"

The end of the year

Musical and auditory performance.

Task No. 1: Name your favorite song, motivate the choice, perform it exactly after the introduction to musical accompaniment.

"3"- he sings, purely intoning the movement of the melody.

"2"- sings, not exactly, gets distracted, but hears the end of the introduction.

"1"- no intonation, inaccurate text.

Task No. 2:

"3"

"2"

"1"- no intonation, inaccurate text, many pauses.

Task No. 3: Determine the number of simultaneously sounding sounds “How many of us are singing?” Behind the screen I play two instruments at once and perform a familiar song with my voice.

"3"- names correctly, identifies instruments by sound, sings, purely intoning the movement of the melody.

"2"- he names it correctly, but the song doesn’t work out.

“1” - cannot name the instruments, hits the hammer chaotically, randomly.

Task No. 4: Name the proposed instruments (metallophone, tambourine, drum, etc.), show techniques for playing various instruments, offer to independently choose a familiar song on the metallophone.

"3"

"2"- names correctly, knows how to play, but the song doesn’t work out.

“1” - cannot name the instruments, hits the hammer chaotically, randomly.

Beginning of the year

Sense of rhythm.

Task No. 1: Clap the simplest rhythmic pattern, melodies of 5-7 sounds. R.n. song “Burn, burn clearly”

"3"- precise execution of the rhythmic pattern.

"2"- not entirely accurate.

"1" -

Task No. 2: The child is given the task of moving in accordance with the three-part form of a piece of music. The child's ability to respond in time to a change in musical phrase is assessed.

"3"- changing movements to music, movements of the head, hands, feeling the pulse.

"2"

"1"- small motor reaction to music.

Task No. 3: Stage the song “About Me and the Ant” on your own. The diversity of the chosen movements is assessed, without imitating each other. Change movements in accordance with the lyrics of the song.

"3"

"2"

"1"

Task No. 4: Fulfill dance moves(alternately throwing legs forward in a jump, half squats with the foot on the heel, step in place, moving forward and circling .

"3"

"2"

"1"- the motor reaction to music is small, there is no desire to complete the task.

The end of the year

Sense of rhythm.

Task No. 1: Clap the simplest rhythmic pattern, melodies of 5-7 sounds. R.n. song “Burn, burn clearly”

"3"- precise execution of the rhythmic pattern.

"2"- not entirely accurate.

"1" - not completing the task, no interest.

Task No. 2: The child is given the task of moving in accordance with the three-part form of a piece of music. The child’s ability to react in time to a change in musical phrase, to move correctly, perform the movement, emotionally, clearly is assessed.

"3"

"2"- there is a desire to move to the music, there are no emotional movements, there is no change of movements to the music.

"1"- small motor reaction to music.

Task No. 3: Dramatize the song “About Me and the Ant” on your own. The diversity of the chosen movements, not imitating each other, changing movements in accordance with the text of the song is assessed.

"3"- performs movements expressively, feels the change of movements to the music, performs various elements.

"2"- there is a desire to move to the music, there is no variety of elements performed, there is no change of movements in accordance with the lyrics of the song.

"1"- the motor reaction to music is small, there is no desire to complete the task.

Task No. 4: Invite the child to dance to a Russian dance song, performing familiar dance movements (alternately throwing the legs forward in a jump, half-squats with the foot on the heel, stepping in place, moving forward and twirling) . The correct execution of all elements, the variety of selected movements, and improvisation based on music are assessed.

"3"- performs movements expressively, performs all elements correctly, and can invent his own.

"2"- there is a desire to move to the music, not all movements are performed correctly, he cannot come up with his own.

"1"- the motor reaction to music is small, there is no desire to complete the task.

DIAGNOSTICS OF MUSICAL ABILITIES

V preparatory group

beginning of the year

High level 36 points

closer to high 27-34

Average level 24 points

closer to low 13-20

Low level 12 points

The end of the year.

Tasks for diagnosing children's musical abilities

In the preparatory group.

Beginning of the year.

Fret feeling

Task No. 1: Listen to the anthem Russian Federation, determine the general mood, the nature of the work, highlight individual means of expression: tempo, dynamics, timbre, determine instrumental accompaniment.

"3"- listens carefully to the work from beginning to end, bright

external impressions, clearly expresses his thoughts, can identify means of expression and hears accompaniment instruments.

"2"- listens inattentively, is distracted, but can determine character and highlight means of expression.

"1"- no interest, cannot cope with the task.

Task No. 2: Listen to the plays “The Doll’s Disease”, “The New Doll” by P.I. Tchaikovsky, invite the child to choose a picture from the proposed ones that are most suitable for the sound of the pieces, and motivate his choice. The ability to hear visual moments in music and relate them to a visual image is assessed.

"3"- listens carefully to plays, can identify visual means and selects the picture most accurately.

"2"- does not listen carefully, is distracted, but can tell about the character and chooses the right picture.

"1"- no interest, almost no reaction to plays.

Task No. 3:

"3"

"2" .

"1"- no interest, performs the task incorrectly.

Task No. 4:

"3"

"2"

"1"- no interest, performs the task incorrectly.

The end of the year

Fret feeling

Task No. 1: Recognize the anthem of the Russian Federation from the introduction, determine the general mood, the nature of the work, highlight individual means of expression: tempo, dynamics, timbre, determine instrumental accompaniment.

"3"- recognized the hymn from the introduction, listens carefully to the work from beginning to end, vivid external impressions, clearly expresses his thoughts, can determine the means of expression and hears the accompanying instruments.

"2"- listens inattentively, learned from a hint, but can determine the character and identify means of expression.

"1"- no interest, cannot cope with the task.

Task No. 2: Listen to “Summer” by A. Vivaldi, invite the child to choose a picture from those proposed that is most suitable for the sound of the work and come up with a fairy tale, based on the visual image and the musical one. The ability to hear visual moments in music and relate them to a visual image is assessed.

"3"- listens carefully to plays, can identify visual means and most accurately selects a picture, easily comes up with the plot of a fairy tale.

"2"- does not listen carefully, is distracted, but can tell about the character and correctly selects the picture, invents a fairy tale with the help of an adult.

"1"- no interest, almost no reaction to the work.

Task No. 3: Using the didactic game “Ringing Bells”, identify the parts of a musical work..

"3"- listens attentively to the music. fragments, identifies parts correctly, lays out cards correctly.

"2"- listens inattentively, is distracted, but can identify parts of the play. .

"1"- no interest, performs the task incorrectly.

Task No. 4: Listen and determine to which genre the listened piece belongs (march, dance, lullaby in orchestral arrangement), and on what instrument it is performed.

"3"- listens carefully to fragments of orchestral works, determines the genre and identifies the instruments.

"2"- listens inattentively, but can determine the genre of a piece of music and name selective instruments.

"1"- no interest, performs the task incorrectly.

Beginning of the year.

Musical and auditory performance.

Task No. 1: Name your favorite song, motivate the choice, perform it exactly after the introduction to musical accompaniment. Identify parts of a song

"3"

"2"- sings, not exactly, gets distracted, but hears the end of the introduction, doesn’t identify the parts.

"1"- no intonation, inaccurate text.

Task No. 2: Perform a short song without accompaniment, in a comfortable range.

"3"- he sings, purely intoning the movement of the melody.

"2"- sings, not accurately, gets distracted, needs help from an adult.

"1"- no intonation, inaccurate text, many pauses.

Task No. 3: Determine the number of simultaneously sounding sounds “How many of us are singing?” Behind the screen I play two instruments at once and perform a familiar song with my voice.

"3"- names correctly, identifies instruments by sound, sings, purely intoning the movement of the melody.

"2"- he names it correctly, but the song doesn’t work out.

"1"- cannot name the instruments, beats with a hammer chaotically, randomly.

Task No. 4: Name the proposed instruments (metallophone, tambourine, drum, etc.), show techniques for playing various instruments, play the song “The Blue Sky” in small groups and one at a time..

"3"- names correctly, masters playing techniques, performs a popevka along with singing. sings, purely intoning the movement of the melody.

"2"- names correctly, knows how to play, but the song doesn’t work out.

"1"- cannot name the instruments, beats with a hammer chaotically, randomly.

The end of the year

Musical and auditory performance.

Task No. 1: Name your favorite song, motivate the choice, perform it exactly after the introduction to musical accompaniment, and use the manual to lay out a diagram of the song.

"3"- sings, purely intoning the movement of the melody, performs the task correctly.

"2"- sings, not accurately, gets distracted, but hears the end of the introduction, cannot complete the task.

"1"- no intonation, inaccurate text.

Task No. 2: Repeat individual sounds of a short, familiar song from the teacher’s voice, and come up with a new ending for it.

"3"- he sings, purely intoning the movement of the melody, and completes the task with pleasure.

"2"- he sings, not exactly, he can’t come up with an ending without the help of an adult.

"1"- no intonation, inaccurate text, many pauses.

Task No. 3: Determine the number of simultaneously sounding sounds “How many of us are singing?” Behind the screen I play two instruments at once and perform a familiar song with my voice.

"3"- names correctly, identifies instruments by sound, sings, purely intoning the movement of the melody.

"2"- he names it correctly, but the song doesn’t work out.

"1"- cannot name the instruments, beats with a hammer chaotically, randomly.

Task No. 4: Name the proposed instruments (metallophone, tambourine, drum, etc.), show techniques for playing various instruments, offer to independently choose a familiar song on the metallophone. Perform simple songs solo and in an ensemble on children's musical instruments.

"3"- names correctly, knows the techniques of the game, completes the task, with the support of an adult.

"2"- names correctly, knows how to play, but the song doesn’t work out.

“1” - cannot name the instruments, hits the hammer chaotically, randomly.

Beginning of the year

Sense of rhythm.

Task No. 1: Play a simple rhythmic pattern on a drum, melodies of 5-7 sounds. R.n. song “Burn, burn clearly”

"3"- precise execution of the rhythmic pattern.

"2"- not entirely accurate.

"1" - not completing the task, no interest.

Task No. 2: The child is given the task of moving in accordance with the three-part form of a piece of music. The child’s ability to respond in time to a change in musical phrase and expressive performance of all movements are assessed.

"3"- changing movements to music, movements of the head, hands, feeling the pulse.

"2"- there is a desire to move to the music, there are no emotional movements, there is no change of movements to the music.

"1"- small motor reaction to music.

Task No. 3: Dramatize the song “Chick and Chicky-Brick” on your own. The diversity of the chosen movements is assessed, without imitating each other. changing movements in accordance with the lyrics of the song.

"3"- performs movements expressively, feels the change of movements to the music, performs various elements.

"2"- there is a desire to move to the music, there is no variety of elements performed, there is no change of movements in accordance with the lyrics of the song.

"1"- the motor reaction to music is small, there is no desire to complete the task.

Task No. 4: Perform dance movements (step with stomp, side step with squat, spring step, side gallop, variable step). The correct execution of all elements, the variety of selected movements, and improvisation based on music are assessed.

"3"- performs movements expressively, performs all elements correctly, and can invent his own.

"2"- there is a desire to move to the music, not all movements are performed correctly, he cannot come up with his own.

"1"- the motor reaction to music is small, there is no desire to complete the task.

The end of the year

Sense of rhythm.

Task No. 1: Play a simple rhythmic pattern on a metallophone, melodies of 5-7 sounds. R.n. song “Burn, burn clearly”

"3"- precise execution of the rhythmic pattern.

"2"- not entirely accurate.

"1" - not completing the task, no interest.

Task No. 2: The child is given the task of moving in accordance with the three-part form of a piece of music. The child’s ability to respond in time to a change in musical phrase, to move correctly, performing the movement, emotionally, clearly is assessed.

"3"- changing movements to music, the movements are performed correctly, there is a feeling of the pulse.

"2"- there is a desire to move to the music, there are no emotional movements, there is no change of movements to the music.

"1"- small motor reaction to music.

Task No. 3: Invite your child to use a didactic game to determine the strong and weak parts. The correct implementation of the rules of the game is assessed.

"3"- listens carefully to the play and completes the task correctly.

"2"- does not listen carefully to the piece, does not always highlight strong beats.

"1"- completes the task without desire, does not show interest.

Task No. 4: Improvise to the given melody “Dance of the Bear and Cubs.” The variety of selected movements, the expressiveness of movements, and the ability to convey the image of the hero through movement are assessed.

"3"- performs movements expressively, feels the change of movements to the music, performs various elements.

"2"- there is a desire to move to the music, there is no variety of elements performed, there is no change of movements in accordance with the lyrics of the song.

"1"- the motor reaction to music is small, there is no desire to complete the task.

Tasks for diagnosing children's musical abilities

In the early age group

Beginning of the year

Fret feeling

Task No. 1: Listen to two different works and, based on the children’s reactions, select the appropriate score.

D. Kabalevsky “Sad Rain”, M. Glinka “Children’s Polka”.

"3"- listens carefully to the work from beginning to end, bright

external impressions, emotional responsiveness and

motor reaction.

"2"- listens inattentively, gets distracted. Manifestation of emotional

"1"- no interest, almost do not react to music.

The end of the year

Fret feeling

Task No. 1: While listening to the lullaby and dance melody, show the corresponding movements with the doll.

"3"- listens carefully, understands musical fragments what needs to be done, and completes the task correctly.

"2"- listens inattentively, is distracted, but completes the task correctly. .

"1"- no interest, almost do not react to music

Beginning of the year

Musical and auditory performance.

Task No. 1: Sing along familiar phrases with the teacher

"3"- singing the entire phrase or motive.

"2"- singing along with individual words or endings of words, 1-2 sounds.

"1"- no intonation, no emotional reaction

singing along.

The end of the year

Musical and auditory performance.

Task No. 1: Sing the song “Ladushki”, performing the singing movements and saying “Yes” at the end.

"3"- singing the entire phrase, performing the task correctly.

"2"- singing along with individual words or endings of words, 1-2 sounds, but completing the task.

"1"- no intonation, no emotional reaction

singing along

Beginning of the year

Sense of rhythm.

Task No. 1: Clap your hands to the sound of a dance song.

"3"- precise execution of the rhythmic pattern.

"2"- not entirely accurate.

"1"-failed to complete the task

Task No. 2: The child is given the task of moving according to the musical fragment. With the help of a teacher, perform simple dance movements.

"3"- change of movements to music, according to the show.

"2"- there is a desire to move to the music, there are no emotional

movements, there is no change of movements to the music.

"1"- small motor reaction to music.

The end of the year

Sense of rhythm.

Task No. 1: Play the game on the metallophone after showing an adult.

"3"- precise execution of the rhythmic pattern.

"2"- not entirely accurate.

"1"-failed to complete the task

Task No. 2: The child is given a task - to dance to music, together with the teacher. Fragments from three works are played. The correspondence of the emotional coloring of movements to the nature of the music, the correspondence of the rhythm of movements to the rhythm of the music is assessed.

a) Lomov “Melody”,

b) "March"

c) Grechaninov “My Horse”.

"3"- expressive pantomime, changing movements to music,

movements of the head, hands, feeling of pulse.

"2"- there is a desire to move to the music, there are no emotional movements, no

changing movements to music.

"1"- little motor reaction to music.

Used Books

O.P. Radynova “Musical education of preschoolers”

N.A. Vetlugina “Musical education in kindergarten”

M.A. Vasilyeva: Education and training program in kindergarten

Diagnostics of musical development

The problem of diagnosing musical abilities remains the most relevant for modern psychological and pedagogical science, despite the fact that the first attempt to solve it dates back to 1883 and belongs to K. Stumpfon, the founder of musical psychology. Why is this problem still relevant today?

Firstly , because the musical abilities themselves, the structure of a person’s musicality, still remain a problem.

Secondly , musical abilities are a complex combination of natural (innate), social and individual.

Third , because the manifestation of abilities is always individual, which should be reflected in the diagnosis and interpretation of its results.

Fourth , existing diagnostics require clarification in some cases, and in others, the search for new adequate diagnostic methods.

First of all, let’s clarify the role of diagnosing musical abilities, i.e., answer the question: what is it for?

The study of musical abilities will allow us to holistically and synthetically study the uniqueness of a child’s musicality and determine the individual path of its formation in kindergarten.

The purpose of diagnosing the musical abilities of preschoolers is associated with the study of the child’s musicality and the study of its individual structure. The diagnostic results will allow teachers to competently develop the child’s musical abilities in the logic of his individual development, his individual capabilities.

In modern scientific and pedagogical literature, fundamental characteristic features pedagogical diagnostics

1. Pedagogical diagnostics takes into account those changes in personality traits that occur under the influence of a purposeful educational process.

2. Pedagogical diagnostics approaches research not only for the sake of study, but also for the sake of transformation. Thus, the teacher acts simultaneously as a diagnostician and as an executor of his recommendations.

3. Pedagogical diagnostics are always personal.

Taking into account the highlighted principles, the main tasks of diagnosing musical education and development of preschool children are:

1. studying the subjective characteristics and capabilities of preschool children in musical activities;

2. study of originality musical experience child and musical subculture, which involves research into the characteristics of children’s musical interests and preferences in musical types the child’s activities in kindergarten and at home; studying general and special musical-performing, musical-creative skills of preschool children;

3. studying the uniqueness of musicality of preschoolers of a certain age;

4. studying the characteristics of a child’s self-expression and self-display through music;

5. studying the characteristics of the attitude of a preschool teacher to the art of music and children's musical activities; studying the characteristics of professional competence;

6. studying the effectiveness of pedagogical conditions promoting musical education and development of preschool children, and individual children in the real pedagogical process.

The presence of such diagnostics will allow the teacher to competently carry out the process of musical education and development, making it as effective as possible, based on:

1. based on the results of self-analysis musical culture teacher and his professional competence;
2. on ideas about the uniqueness of the child as a subject of children's musical activity;
3. on ideas about the characteristics of the musical experience of children of a certain preschool age and a specific child;
4. on ideas about musicality and the musical capabilities and abilities of each preschooler;
5. on information about the conditions of the pedagogical process;
6. on the forecast of the development of musical activity of children and the development of the individuality of each child through the means of this activity in the pedagogical process of a preschool educational institution.

Thus, diagnostics will allow the educator, music director, parents to design a holistic, but at the same time variable process of musical education and development of a preschool child in educational institution, in which pedagogical conditions will be created that allow each child to express himself, open up, and therefore develop as much as possible.

All diagnostic tasks in preschool age are carried out in a playful manner.

In the diagnosis of musical education and development of preschool children, two main areas can be distinguished:diagnostics of children's musical abilities and diagnostics of children's musical activity.

Diagnostics of musical abilities

Musical ability- this is a set (system) of psychomotor, sensory-emotional and rational functional properties of an individual, manifested in his emotional responsiveness to music and the successful implementation of musical activities.

In the study of musical abilities, it is necessary to use not only specific (actually musical) methods, but also general psychological tools for studying personality traits.

Diagnostics of musical abilities includes diagnostics:

1. sense of tempo and rhythm
2. modal feeling
3. pitch sense (melodic and harmonic hearing)
4. sense of timbre
5. dynamic feeling
6. feelings musical form
7. emotional responsiveness to music
8. cognitive, operational and motivational components of children's musical and aesthetic tastes

How is the musical abilities of a preschooler diagnosed in kindergarten?

In the diagnostics proposed by N.A. Vetlugina in the fifties of the last century, there are many ideas that require revival and return to modern kindergarten practice. For example, in the study of musical abilities Special attention was devoted to the behavior of children, a description of their individual characteristics, manifestations of musicality, which were compiled by the teacher, observing the child in everyday life and in the process of musical lessons.

For diagnosis, the researcher used musical games and game tasks, organized in the form of classes with a small subgroup of children (3 - 4 people). Later, special tests were created to diagnose the musical abilities of children. musical instruments and manuals, which, of course, should include the “Musical Primer” (M., 1989), which deserves high pedagogical praise. We recommend this manual to be used primarily by preschool teachers and parents who want to study their child’s musicality and understand its characteristics.

Among the methods of examining musical phenomena N.A. Vetlugina includes: listening, recognizing the properties of musical sounds; comparing them by similarity and contrast; distinguishing their expressive meaning; their reproduction with simultaneous auditory control in singing intonations, playing instruments, expressive rhythmic movements; combining sound combinations; comparison with accepted standards.

Indicators of the manifestation of children’s musical abilities in the process of musical games according to N. A. Vetlugina are as follows.

1. The ability to perceive music, feel its rhythmic expressiveness, directly and emotionally respond to it, expressed by:

1. in interested, attentive listening to music, which can be judged by observation external behavior children;
2. in distinguishing changes in music, alternating its expressive means;
3. in catching the line of development artistic images, "musical story" sequences.

2. The ability to move expressively, naturally, rhythmically to music, manifested by:

1. in passion for movement to music, in readiness to perform assigned tasks related to music and movement;
2. in the direct, sincere transmission of the game image, in attempts to embody this image, in the search for truthful, natural movements that correspond to the nature of the music and the plot of the game;
3. in the arbitrariness of movements (the ability to subordinate them to the rhythm of music, “place” them in time and space, while showing quick reaction, initiative, resourcefulness);
4. in the rhythm of movements, indicating the correct sensations of metro-rhythmic pulsation, rhythmic pattern, accents, strong fractions of the meter, musical form; in the manifestation of creative initiative, invention, expressed in inventing, “composing” individual elements of the game.

3. The ability to appreciate the beautiful in music and movement, rhythmic expressiveness, to show musical taste within the limits possible for a given age, which is expressed by:

1. in freely distinguishing the nature of music and its connection with the nature of movement;
2. in the correct distinction of the form of the work, the most striking means of its expressiveness in combination with similar features of movement;

To a greater extent, I would like to draw attention to the diagnosis of the musical experience of preschool children, which includes the study of:

1. experience of a child’s emotional and value-based attitude to music, i.e. interest in music, children's musical preferences and tastes of a preschooler, personal involvement in musical culture;
2. experience in knowledge of music, i.e., the child’s musical horizons (orientation in musical works) and elementary musical erudition;
3. experience of skills to interact with music, namely generalized methods of musical activity of children necessary in any type of musical activity (adequately respond to the nature of music; carry out artistic and emotional perception of a musical image; understand - decode a musical image; actively express an emotional attitude to a musical image; interpret musical images in different types artistic and play activities); this also includes special (technical) skills of children - singing, instrumental, dancing, the study of which is carried out in the process of diagnosing the musical abilities of preschoolers and with targeted observation musical director kindergarten during the school year;
4. experience creative activity or creative inclusion in musical activity, which accumulates in the process active participation child in different types of musical activities; this also includes interpretations of musical images in accessible and interesting types activities, attempts at musical composition.

Sample tasks for diagnosing musical abilities

Diagnosis of the metric sense

"Steps of a Giant, Sasha and a Dwarf"

Target: identifying the level of development of the sense of meter.

Stimulating material:an alarm clock (metronome) and marks on the floor indicating the direction of the track. The distance between them corresponds to the child’s free step (15-20cm). There are 16 footprints in total. The path is laid out with turns after every 4th step (for example, along the perimeter of a square). Music in 4/4 time at a moderate tempo.

Musical director:Let's play fairy steps with you. In the Land of Clocks, all the inhabitants walk like clockwork (the child is given an alarm clock, the sound of which “Tick-tock” is clearly heard, or a metronome is placed nearby) Boy Sasha walks calmly (the teacher demonstrates: step - to the sound of the clock “tick” and an additional step to the sound of the clock “tak”), the steps of his little gnome friend are agile and playful (to the sound of the clock “tick” - a step and an additional step, to the sound of the clock “tak” - the same). The giant walks sedately and importantly (one step per tick-tock clock tick and one additional step at the next tick-tock tick-tock clock tick).

The music is played in 4/4 time at a moderate tempo. The child walks four beats like Sasha, four beats like a gnome, and four beats like a giant.

Criteria for evaluation:

3 points – exact designation of the steps of the “giant, Sasha and the gnome” throughout all 4 “beats” (a beat is equal to four steps, a total of 16 additional steps);

2 points – reproduction of steps with two or three violations of metric coordination. (acceptable limits of violations – from 2 to 8 untimely steps out of 16);

1 point – inconsistent metric execution of steps (from 9 to 12 mismatches).

Diagnosis of the sense of rhythm

Target: identify the level of development of the sense of rhythm.

Musical director: Please clap (or tap) the rhythm of the melodies played on the instrument. (First, a sample of the rhythm is shown to ensure that the child correctly understands the meaning of the task).

Criteria for evaluation:

1 point – weak level of rhythmic regulation. An even row of half durations, an even row of quarter durations.

2 points – average level of rhythmic regulation. Ability to use half, quarter, eighth notes and notes with a dot, i.e. elements of dotted rhythm.

3 points – high level of rhythmic regulation. Use of dotted, syncopated rhythm and pauses.

Diagnostics of pitch hearing

"Cat and Kitten"

Target: identify the level of formation of the pitch sense of pitch relationships.

Musical director:Cat and kitten lost in dark forest. Listen, this is how a cat meows (performed to the first octave), and a tka is a kitten (performed to the G of the first octave). Help them find each other. Tell me when a cat meows and when a kitten meows.

Sounds are performed sequentially.

Algorithm for presenting the test and assessment criteria: first, task 1.3 is given. Next, if the answer is correct - task 2.3, then task 3.3. If the child’s answer turns out to be incorrect, the task is simplified - 1.2. (where 2 points are awarded for each correct answer), if this task is also performed incorrectly, task 1.1 is given. (1 point) and so on for each block.

Diagnosis of dynamic feeling

The sense of dynamics is determined by the individual’s adequate auditory-motor reaction to the strength of the influencing sound, both in its contrasting presentation and in the gradual strengthening (crescendo) or weakening (diminuendo) of sound dynamics.

Target: determination of the ability of an adequate auditory-motor reaction to dynamic changes in instrumental and vocal-instrumental stimuli.

Musical director:Let's play loud and quiet with you. I will play the piano, and you will play the drum. Play like me: I am loud and you are loud, I am quiet and you are quiet (A. Alexandrov’s play “Drum” is performed). Adequate performance of contrasting dynamics “forte - piano” is assessed as 1 point.

And now the music will gradually increase or decrease. You will also need to perform it on the drum. (E. Parlov’s play “March” is performed). Adequate execution of the 1st phrase in the dynamics of “crescendo” is estimated at 2 points and the 2nd phrase – “diminuendo” is estimated at 2 points.

Criteria for evaluation:

1 point scored – a weak level of development of the dynamic sense, is assessed as 1 point.

2 – 3 points scored - the average level of development of the dynamic sense, assessed as 2 points.

4 – 5 points scored - a high level of development of the dynamic sense, assessed as 3 points.

Diagnostics of modal-melodic feeling

"Chorus Girls"

Target: identify the level of development of the modal-melodic sense, the reflexive ability to distinguish the modal functions of a melody.

Musical director:I will play the songs of the cheerful and sad girls, and you listen carefully and tell me which song the cheerful girl sang and which the sad girl.

The songs are composed according to the principle of contrast and comparison of modal functions of the melody. Three singing melodies are presented. For each correct answer, 1 point is awarded.

Criteria for evaluation:

1 point – low level of development of modal and melodic sense. The child identified all the melodies incorrectly or identified only one correctly.

2 points – average level of development of modal and melodic sense. The child gave two correct answers.

3 points – high level of development of modal and melodic sense. The child gave all the correct answers.

Diagnostics of musical activity

It includes diagnostics of skills and abilities in all areas of musical activity:

1. Perception
2. Development of musical ear and voice
3. Singing
4. Musical and rhythmic movements
5. Music playing
6. Musical creativity

Sample tasks for diagnosing musical activity

I Junior group

Low level 1 – 1.7

Average level 1.8 – 2.4

High level 2.5 – 3

II Junior group

Low level 1 – 1.7

Average level 1.8 – 2.4

High level 2.5 – 3

Middle group

Low level 1 – 1.7

Average level 1.8 – 2.4

High level 2.5 – 3

Senior group

Low level 1 – 1.7

Average level 1.8 – 2.4

High level 2.5 – 3

Preparatory group

Low level 1 – 1.7

Average level 1.8 – 2.4

High level 2.5 – 3