Czech dance. 19th century ballroom dancing

Municipal state-financed organization additional education"The House for arts and crafts for children"

Krasnensky district of the Belgorod region

Abstract of the lesson in the group of the 2nd g.o. choreographic studio"Dina-Dance"

Theme of the lesson: "Czech folk dance".

Prepared and conducted

additional teacher

Education Deshina I.N.

Red-2017

Characteristic features of the Czech folk dance. Features of Czech folk costume. Czech polka - the main move and elements.

Purpose of the lesson: formation of a holistic view of the nature and features of Czech folk dance;

learning the basic movements of the Czech Polka dance.

Main goals:

In teaching

- give a holistic view of the features of Czech dance using the example of polka;

Learn the dance elements of Polka;

In development

- develop imaginative thinking, the ability to fantasize and move in an imaginary space;

develop ear for music, sense of rhythm;

In education

Develop the ability to work in pairs, in an ensemble;

Cultivate respect for dance culture other peoples.

Equipment used: radio, CDs, flash drive.

Course progress.

1. Introductory part.

1. Organizational moment.

The teacher asks the children - the dances of which peoples are known to them. (children's answers). Then the teacher talks about the topic of the lesson. The fact that every nation has its own history, its own music, its own dance and its own style of performance.

1. Warm up.

Children move in a circle from a toe, in a snake, with rebuilding in one column, in two columns, on half-toes, on their heels. Students perform the basic dance steps: jumping, galloping, running "horses", jumping forward, alternately on the right, on the left foot, etc. Musical accompaniment at the request of the teacher.

The musical material is selected according to the nature of the dance, it is desirable to alternate fast music with slow music.

1. Main part.

In the previous lesson, the children were given the task to work with a computer, find information about the Polka dance.

The teacher completes the story of the children, says that Polka dance doubles, musical size 2/4, tempo - fast. That Polka, truly, can be called an international dance and each nationality, having mastered the basics of Czech dance, brought its own features and color to it. Polka is both a concert and social dance. The choreographers put on a polka for demonstration on stage. And at parties, corporate parties and balls, the polka dances with any partner to the right music.

Czech dances extremely diverse and very different from each other. Czech dances are characterized by lightness, liveliness, but, along with this, smoothness, chastity.

Polka - old Czech dance. The main movement of this cheerful dance consists of half steps connected by a prefix. by the most characteristic movement is a step with a jump, which should be executed easily. The dance is usually opened by one couple, it is picked up by the second, the third and, finally, everyone dances.

The name of the dance comes from the Czech word půlka, which means "half step", because the polka rhythm requires you to move quickly from foot to foot.

The ballroom polka originated from the Czech folk dance. As is usually the case with dances of great and lasting success, the polka has strongly influenced the formation of the ballroom repertoire. The gallop polka, the cotillon, and the mazurka polka appeared. Polka has firmly entered the dance art of many peoples. Poles were written by Johann Strauss-father andJohann Strauss son.

Polka firmly entered the dancecreation many peoples. The dance changes, acquiring a national coloring, but it always retains a combination of mobility and strength.male dancing with coquettish gracefemale . There are polkasHungarian , German, Swedish, Finnish, Polish, Brazilian. Most dances in Estonia, Latvia, Lithuania are built on the basis of polka. National forms of polka live in our country: temperamental Moldavian, restrained Latvian, original and beautiful Belarusian.

1. Watching videos and listening to music "Czech Polka"
2. Costume features.

1. Learning dance elements.

The main elements of the dance "Polka"

Polka is still popular, it is danced at competitions and dance evenings.

M / R - 2/4, 4/4, the pace is moderately fast.

Preparatory and basic movements I. P. - Zp, 1p, 6p.

The most characteristic movement for the polka is the step with a jump, which is performed easily and “airy” with accents on the jumps, with a different manner of performance. The jump is the main constituent element pa polka, has several options.

At first, the movements are performed in 6p (at the same time, it is necessary to ensure that the knees and heels are closed), then in 1p and in Zp (with P.N. and with L.N.). In this case, it is necessary to achieve abduction of the knees to the sides. The knees relax only after the heel is completely lowered to the floor. In the position on the half-toes, the foot touches the floor with the entire plane of the pad. The body must remain straight.

Flexion is performed repeatedly by P. N., then L. N., and also alternately by P. N. and L. N.; according to Zp, the positions at the ankle in front and behind alternate, the foot should be extended.

Bending the leg can be combined with lifting on the half-toes: at the expense of "time" - lifting, at the expense of "and" - lowering. In the future, this movement is performed on one eighth beat.

Stepovers (one beat). Zatakt: “and” - flexion of P. N. and rise on the half-fingers of L. N.; "time" - P. N. step in place; "and" - step L. N. in place; "two" - step P. N. in place; "and" - L. N. falls into position. With the continuation of the movement, L. N. remains in the position at the ankle and the rise on the half-fingers of P. N. is performed as an off-beat movement.

Crossings are performed alternately with P. N. and with L. N. Flexion can be replaced by abduction of the leg forward, to the side or back with lifting into the air (reversible position, straight knee).

Crossings are also performed with advancement, and the first step is performed forward, to the right (P.N.), to the left (L.N.) or back. The second step is performed as a prefix step, the third step - in a given direction.

Jumps (one-eighth measure). Smalljumping on low half-toes for 6p and for Zp.

On the spot, a turn (90°) is used more often, and a full turn (360°) is performed in four movements.

With advancement, steps are usually taken to the side alternately P.N. and L.N. in a turn (180s) on each jump.

Pa polka - the main move of the dance, performed in 6p and in Zp with P.N. and with L.N. In all cases, the off-beat movement is performed beforehand.

Pa polka according to Zp. I. P. - Zp. This movement is used in the common polka. It is performed on the spot, moving forward, backward and to the side, as well as in a turn.

Zatakt: “and” - a jump on L.N., P.N. is taken to the air: forward when moving forward or in place, backward when moving backward, to the right when moving to the side. "One" - P. N. step forward; "and" - step-prefix L. N. in Zp back; "two" - P. N. step forward; "and" - L. N. bends and approaches P. N., the position at the ankle is not emphasized. With the continuation of the polka, the off-bar movement of L.N. is performed.

Pa polka on the spot is performed according to a similar scheme, the steps are performed according to Zp.

Pa polka back begins with an off-beat movement back, and the step-prefix is ​​performed in Zp forward.

Pa polka to the side is performed to the right (P. N.) and to the left (L. N.). The prefix step is executed in Zp ahead.

Pa polka in a turn is performed with rotation to the right or left on jumps. On the spot, the turn is small (45°, 90s). With the advance, a half-turn (180 °) is performed on each jump, and the steps alternate forward and backward, right and left (with P.N. and with L.N.).

In Zp polka, it is necessary to ensure that all movements are performed in reverse. Here it is especially important to achieve the accuracy of the positions. We must not forget that all steps are performed on low half-toes in the same way as jumps. The free leg is carried forward or backward, close to the supporting leg with the knee bent. When abducting the leg into the air, it should not be thrown up. Lead should be low and restrained. The knees and foot, allotted for air, should be straightened.

Pa polka 6p. I. P. - 6p. The movement is performed on the spot, moving forward, backward and turning according to the stepping pattern. The off-beat movement is performed with a jump.

Pa gallop (one quarter measure). I. P. - 6p, Zp.

The movement is performed to the right (with P. N.) and to the left (with L. N.).

"One" - step P. N. to the right; “and” - step-prefix L. N. in 6p with a slight jump from P. N. to L. N.

As you step, the ball of your foot slides across the floor. The knees are constantly relaxed. The sliding nature of the movement is emphasized by the fact that swaying up and down should not be noticeable.

In modern polka, the movement is often performed in 6p. According to Zpv I.P.P.N. in front when moving to the right, L.N. in front when moving to the left. At the step-prefix, the leg is placed in Zp back. The execution of the movement according to 1p is not excluded. The tilt of the body in the direction of movement.

Pas gallop can be repeated many times in one direction. To change direction, a step in the direction of movement (count "one") and a prefix (count "two") are used.

For a quick change of direction, instead of a step-prefix (counting “and”), a prefix or inflow is performed without transferring the weight of the body.

The gallop can be finished with a step with the foot on the heel (count "one"), followed by bending the leg to the position at the ankle behind (count "two"). At the same time, squatting on the supporting leg is maintained.

2.2. The original version of the polka - Czech polka

A dance of free composition, making extensive use of all the basic movements, positions and postures adopted in polka. The nature of the dance is cheerful, cheerful, mobile.

M / R - 2/4, the pace is moderately fast.

Basic pair positions and hand connections

Open position (D - on the right).

A. P. R. (K) and L. R. (D) are connected in 1p (Fig. 2.1. a).
B. P. R. (K) and P. R. (D) are connected in Zp (Fig. 2.1. b).

B. P. R. (K) and P. R. (D) are connected in Zp, L. R. (K) and L. R. (D) are connected in front of K (Fig. 2.2. c).

Rice. 2.1.

D. Hands are connected crosswise; L. R. (D) from above (Fig. 2.2. d). Closed position.

A. Hands are separated.

B. Both hands are connected in 2p, or P. R. (K) and L. R. (D) (Fig. 2.2. e).

B. P. R. (K) and P. R. (D) are connected in Zp (Fig. 2.3. e). Similarly, L. R. (K) and L. R. (D) are connected.

B. Left. Similarly, L. R. (K) and L. R. (D) are connected.

Rice. 2.3.

The opposite position.

P. R. (K) and L. R. (D) are connected in 2p (Fig. 2.4. i).

Free hands can be in the starting position. K can move his hand behind his back, D can support the edge with his handsskirts . In Zp, the hands should be rounded.

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Polka in open position (2 measures). I. P. - face along L. T., Zp (in front: K - L. N., D-P. N.).

Bars 1-2: two pas polkas forward (K - with L.N., with P.N.; D - with P.N., with L.N.).

Paired with. I.P. - open position (Fig. 2.1. a).

The movement is performed with a slight tilt of the head from each other and towards each other.

Bypass K (4 cycles). I. P.-face along L. T., Zp (in front: K - L. N., D - P. N.).

Bars 1-4: Four pas polkas. K - in place, starts from L.N. with a gradual turn to the left; D - forward in a small circle along L.T., starts with P.N.K.P .: K - back, D - facing C.

Paired with. I.P. - open position (Fig. 2.1.a).

D goes around K in a small circle along L. T. K. P. - closed position. Hands can be separated, as well as connected in a closed position or in 2p.

Polka with a turn (2 measures). I.P.: K - back, D - facing C, Zp (in front: K - L.N.; D -P.N.).

1 measure: pas polka along L. T. (K-s L. N. to the left; D - from P. N. to the right).

2 measure: turn (90 °) (K - to the left; D - to the right) and pas polka forward along L. T. (K - from P. N.; D - from L. N.). K. P. - face along L. T. or to repeat the movement at the end, a turn (90 °) is performed (K - to the right; D - to the left). K.P. - I.P.

Paired with. I.P. - closed position (Fig. 2.3. g). On the 2nd cycle, K and D take the open position (Fig. 2.1. a).

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Change of hands in lateral positions (2 cycles). I.P.: K - face, D - back along L.T., legs in Zp (P.N. in front).

Zatakt: "and" - off-beat movement (K-s P.N.; D - with L.N.).

1 measure: pas polka according to L. T. (K - from P. N. forward; D - from L. N. back). Rotate body to the left.

2 measure: pas polka according to L. T. (K - from L. N. forward; D - from P. N. back). Rotate the body to the right. K.P .: K - back, D - facing C.

Paired with. I.P. - closed position, hands are separated.

On cycle 1, K and D take the right lateral position, P. R. (K) and P. R. (D) are connected (Fig. 2.1. h). On the 2nd measure, K and D take the left lateral position, connect L. R. (K) and L. R. (D), etc.

Solo turn D (2 measures). I. P. - face along L. T., Zp (in front: K - L. N.; D-P. N.).

1-2 bars: K-two pas polka forward along L. T. (L. N., P. N.), D - polka in a turn to the right with P. N. K. P .: K - face, D - with his back along L. T. As the movement continues, D performs a turn (180 °) to I. P. at the end.

Paired with. I.P. - open position, hands are connected crosswise (Fig. 2.2. d).

K performs a movement with little advance. L. R. (K) and L. R. (D) separate; D performs a turn under joined hands moving slightly ahead of K.

D can perform a turn on jumps.

Paired with. I.P. - open position, hands are connected in 1p (Fig. 2.1. a).

D performs two steps with a jump in turn (180 °) to the left under joined hands. K.P. - closed position, hands are separated.

Turns can be performed in more complex combinations. For example:

Turns D under the arms (4 measures). I. P .: K - face, D - back along L. T., Zp (in front: K - L. N.; D - P. N.).

Partner (K). Bars 1-3: three pas polkas forward along L.T. begins with L.N.

Partner (D). Bars 1-2: two pas polkas in a turn (360°) to the right (back with L.N.; forward with P.N.). 3 beat: polka back with L. N. in a full turn to the left. 4 beat: P. N. step forward (K - along L. T.; D - against L. T.) and prefix L. N. in Zp (K - forward; D - back).

In polka, the right turn is more often performed.

1 step: pas polka on L. T. in a turn to the right (K - from L. N. to the left; D - from P. N. to the right). K.P .: K - face, D - back to C.

2 beat: pas polka along L. T. in a turn to the right (K - from P. N. to the right; D - from L. N. to the left). K.P. - I.P.

Paired with. I.P. - closed position, closed position of the hands.

Performing crossings, K and D go around each other against L.T. On the 1st measure, the steps are wider for K, on ​​the 2nd measure - for D. The hands do not separate, K and D must always be at the same distance from each other. At each measure, a slight tilt of the body along L.T. is performed.

Turns in pairs can be repeated many times.

Pa gallop. I. P. - 6p. It is performed in various positions in pairs and with turns.

Gallop in closed position (2 cycles). I.P .: K - back, D - facing C.

1 measure: two pas gallops along L. T. (K - to the left; D - to the right).

2 measure: step along L. T. (K - L. N. to the left; D - P. N. to the right) and prefix in Zp forward (K - P. N.; D - L. N.).

The gallop is performed with a slight inclination of the body in the direction of movement. The gallop can be performed against L.T., in which case K performs the movements of D, and vice versa.

Hands can also be joined in a closed position.

Pa gallop can be performed at any odd number measures and finish with a step with a prefix.

Gallop with turn (4 beats). I.P .: K - back, D - facing C.

1-2 bars: three steps of a gallop (K - to the left; D - to the right). At the end, a turn (180 °) is performed (K - to the left to L.N.; D - to the right to P.N.). K.P.: K - face, D - back to C. 3-4 cycles: three pas of a gallop (K - right; D - left). At the end, a turn (180 °) is performed (K - to the right to P.N.; D - to the left to L.N.). K.P. - I.P.

Paired with. I.P. - closed position, hands are connected in 2p.

At the end of the 2nd measure, the connected P. R. (K) and L. R. (D) are held forward, L. R. (K) and P. R. (D) are disconnected, K and D take the opposite position (Fig. 2.4 . and).

Compound #3 (16 bars). I. P. - closed position, hands are connected in 2p (K - back, D - facing C).

Bars 1-2: L.T. closed canter. Bars 3-4: L.T. closed canter. Bars 5-8: Two polkas with a turn. Bars 9-12: Bypass K. Bars 13-16: Two turns in a pair. With the first step, K and D assume a closed position, a closed position of the hands. K.P. - I.P.

Compound #4 (16 bars). I.P. - closed position, hands are separated (K - back, D - facing C).

1-4 bars: back transition (c-c-c). K. P .: K - face, D - back to C. 5-8 bars: transition with the back (before-for-before). K. P. - face along L. T., open position, hands are connected in Zp (Fig. 2.1. b). 9-10 bars: solo turn D. 11-12 bars: turn in pairs. Bars 13-16: Repeat the movements of bars 9-12. K.P. - I.P.

Compound #5 (16 bars). I. P. - closed position, hands in a closed position (K - back, D - facing C).

1-4 bars: two turns in a pair. K. P. - I. P. 5-8 bars: gallop with a turn. K. P. - face along L. T. Open position, hands are connected in 1p (Fig. 2.1. a). 9-11 bars: polka in the open position (P. N., L. N., P. Ntakt: solo turn D on jumps. K. P. - closed position (K - face, D - back along L. T .), hands are separated. 13-14 measures: change of hands in lateral positions. 15 measure: repetition of movements of 13 measures. 16 measure: joint turn on jumps from the lateral position. K. P. - I. P.

Compound #6 (16 bars). I.P. - open position with the face along L.T., hands are connected crosswise (Fig. 2.2. d).

1. Final part. (5 minutes.)

In the final part of the lesson, movements are performed to restore breathing, while the positions of the legs and arms are repeated.

The teacher is interested in whether the children liked the lesson, what they learned new. Thank the children for their efforts.

Bow. Leaving the hall.

List of used literature:

1. Balsevich V. K. Zaporozhanov V. A. Human physical activity. - Kyiv: Health, 19s.

2. Balsevich V. K. The concept of alternative forms of organization of physical education of children and youth // Physical Culture: upbringing, education, training No. 1. - S.23-25.

3. Kryazh V. N. Gymnastics, rhythm, plasticity / V. N. Kryazh, E. V. Vetoshkina. - Minsk: Polymya, 19s.

4. Lisitskaya T. S. Rhythmic gymnastics / T. S. Lisitskaya. - M.: Physical culture and sport, 19s.

5. Lifits A. Rhythm:tutorial for students of secondary and higherpedagogical educational institutions / A. Lifits. - M.: Academy, 19s.

6. Stepanenkova E. Ya. Theory and methodology of physical education and development in the lessons of rhythm / E. Ya. Stepanenkova. - M., 20s.

7. Tarasov N.I. classical dance/ N. I. Tarasov - M., 19p.

8. Filatov S. V. From figurative word to expressive movement / S. V. Filatov - M.: Pedagogy, 19p.

9. Franio G. Toolkit on rhythm / G. Franio, I. Lifits. - M.: Music, 19s.

10. Uralskaya V.I. Birth of dance / V.I. Uralskaya. - M.: Soviet Russia, 19s.

And dancing, what is characteristically expressed in their work? Which dance is characterized by wide heavy steps, and in which the most characteristic movement is a step with a jump, which must be performed easily? To what extent did the Czech polka become world famous?

The emergence of song and dance creativity among the peoples of Czechoslovakia refers to ancient times. Already in the XI-XIV centuries musical culture was here on high level. It was represented by the music of the privileged classes, based on chivalric romances, and folk music, permeated with bright national melodies and rhythms.

Singing and dancing in the Czech Republic was accompanied by playing the bagpipes and violin. Once popular was the folk harp, later the flute was added. AT early XIX century, orchestras appeared in the Czech countryside. They included violins, horns, cymbals, clarinets, flutes and even double basses.

On the basis of folk music, musical culture and the richest dance art. Folk songs and dances were performed on stringed (lute, Czech slavnik) and sound (gaida and duda) instruments. Cheerful, melodic folk music inspired more than one generation of Czech and Slovak composers. The names of B. Smetana, A. Dvorak, V. Novak are world famous, many of whose works are based on beautiful folk songs and dancing. Czech dances are extremely diverse and differ significantly from one another. Czech dances are characterized by lightness, liveliness, but along with this, smoothness, chastity.

For some male dances characterized by wide heavy overstepping. In addition, springboard movements, jumps, and various types of moves are often found in them. These movements are not complex, but they are transmitted strictly in character. this dance. Czech dances are mostly couples-mass, they are performed by the people, moving in a circle counterclockwise by any number of couples.

The original form of all Czech dances, ceremonial and non-ceremonial, is circular. Ancient circular dances were female, male and mixed. From circular dances, dances called sharp dances arose. Them characteristic features are the circling of the couple in place as the main movement and improvisation.

Polka is an old Czech dance. The main movement of this cheerful dance consists of half steps connected by a prefix. The most characteristic movement is the step with a jump, which should be performed easily. The dance is usually opened by one couple, it is picked up by the second, the third and, finally, everyone dances. Year of creation: 1834 Polka is funny dance from Bohemia, which is danced either in an open or in a closed position with a 2/4 rhythm. Polka by origin - Czech peasant dance from eastern Bohemia (now part of the Czech Republic). Historical annals Bohemians claim that the dance was invented by a village girl Anna Slezak in the town of Labska Tynice in 1834.

One Sunday she listened to (or sang herself) Czech folk song: "Strycek Nimra Koupil Simla" (Uncle Nimra bought Simla - a white horse) and came up with those jumps that are in polka. Anna called the invented steps "Madera" because of the quickness and cheerful nature. In the dance halls of Prague, the dance appeared in 1835. The name of the dance (pulka) - in Czech - "half", in the sense of half a step, meaning a quick transfer of weight from one foot to another. In 1840, Raab, a dance teacher from Prague, danced the polka at the Odeon theater in Paris and was a huge success. Parisian educators seized on new dance, began to teach it in all salons and dance halls.

The tradition of balls in the Czech Republic lives on in the 21st century. Unlike other countries, not only the "cream" of society, but also ordinary citizens dance at the balls here. Ball season usually starts in February, when church calendar post time ends. Today, these deadlines are not strictly observed, so the balls are held in December.

The ballroom polka originated from the Czech folk dance. As is usually the case with dances of great and lasting success, the polka has strongly influenced the formation of the ballroom repertoire. The gallop polka, the cotillon, and the mazurka polka appeared. Polka has firmly entered the dance art of many peoples. The dance changes, acquiring a national flavor, but it always retains a combination of the mobility and strength of a male dance with the coquettish grace of a female dance. There are Hungarian, German, Swedish, Finnish, Polish, Brazilian polka. Most dances in Estonia, Latvia, Lithuania are built on the basis of polka. National forms of polka live in Russia: temperamental Moldavian, restrained Latvian, original and beautiful Belarusian.

For the majority of Czech dances, women's spins and especially couples' spins are very typical. In many dances, the climax is a pair spin on simple steps, the so-called "obkrochak". Performing the obkrochak, the performers stand in pairs facing each other. The young man holds the girl by the waist with both hands. Both hands of the girl are on the shoulders of the young man. Starting the rotation, the young man takes a side step with his left foot, the girl with her right. The steps are executed at the same time. Legs are bent at the knees. The performers move in a circle counterclockwise. The vrtak dance is also characterized by paired rotation in a circle, but it is performed on jumps. The sousedska dance is smooth, waltz-like. It is built on pair spins and female solo spins.

On the Charles Bridge in Prague you can see a ghost woman. Czechs know that under no circumstances should you dance with her, otherwise you won't be able to stop and she will dance you to death.

The girl rotates, and the young man, as it were, twists her. Czech dances are characterized by the movements of the polka, and the polka is performed in different ways: on jumps, lifting the legs low from the floor, on simple steps, and so on. In addition, some Czech dances are complicated by the fact that the young man, having raised the girl high, rotates with her, holding her waist with both hands and stretching his arms at the elbows. The girl, strongly bending her legs, presses them to the body and leans towards the young man. Musical size of Czech dances: 2/4, 3/4, 3/8. The musical and dance phrases are exactly the same. Sometimes in one dance there are different musical meters.

For example, in the dance "Furiant" the musical sizes 2/4 and 3/4 are combined, and at first for three measures three times the movements are performed on 2/4, then twice for two measures - on 3/4. In "furiant" there is no canonized form of construction. It can be done in pairs or trios. In cases where three people participate in the dance, a young man is in the middle, and two girls are on the sides. The young man turns the girls towards him or away from him. In the stage version, one young man can start the dance. Holding a mug of beer in his hand, he, stepping widely and swaying slightly from side to side, can perform different kind jumps, “stuffed cabbage rolls”, wide “pas de bourre” in 2nd position, thus calling other performers to dance. In the dances "talyan", "bublava", "syrup" the rhythm also changes from 2/4 to 3/4.

These dances are called "mateniki", that is, putaniki, as they change the musical time. In some places in the Czech Republic, the oldest forms of folk choreography have been preserved intact. The region of Chodsko is especially famous for such dances. Here people still dance to singing or bagpipes. The dances of this region are characterized by pair-mass circular compositions, steps from side to side, stomp or dismounts on both legs in the 6th position, a typical cross move (the right foot is placed in front of the left cross), ending with three stomps

Musical director of the preschool educational institution

1. Czech folk pair dance, mobile character; size two quarters:

1).Mazurka;

3).Krakowiak;

2. The relationship of the means that make up the main content of "elementary music-making" according to the system of Karl Orff

one). Music and movement

2). Music, movement, creativity

3). Music, speech, movement

4) Music, playing on musical instruments, improvisation.

3. Musical lesson holiday morning entertainment, music in everyday life is ... .. musical activity

four). Basics

4. Frontal, thematic dominant complex-musical (th) ......

one). Activity

2). Lessons

4) properties

5. Visual teaching methods include techniques

1) expressive performance songs leader

2) gaming

3) explanation of the dance movement

4) content conversation

6. Composer who wrote symphonic tale"Peter and the Wolf"

one). D. Shestakovich

2). S. Prokofiev

3). Y. Chichkov

four). D. Kobalevsky

7. Purpose of the program Musical masterpieces» O. P. Radynova

a) Moral and patriotic education of children, based on their familiarization with the origins of Russian folk culture

b) Introducing the child into the world of music with joy and a smile

c) Formation of the foundations of the musical culture of preschool children

d) The development of the child, the formation by means of music and rhythmic movements of various skills, abilities, personality traits

8. The main form of organization of musical activity in the preschool educational institution:

Holidays and entertainment

Independent musical activity

Lessons

Music in everyday life

10. Modern program on the musical education of preschoolers, including all five types of musical activities for children

- "Rhythmic Mosaic"

- "Harmony"

- "Musical masterpieces"

- "Baby"

11. What is eurythmy?

The uniformity of rhythm in music, in dance and in speech

Elementary music making

The art of movement.

Music perception.

12. The musical and plastic development of children in the program "Rainbow" Doronova T. corresponds to the color:

Violet;

Blue:

Green.

Red

Orange

13. The main focus of the program A.I. Burenina "Rhythmic Mosaic":

Psychological emancipation of the child;

Development of musicality;

Development of motor skills and abilities;

Development creativity.

14. Which of the following dances does not belong to historical and everyday dances:

Quadrille;

Mazurka.

15. Type of music lessons that allows you to fully reveal and develop the potential creative abilities of the child:

Typical;

dominant;

Integrated;

Thematic.

16.B musical education children, the main method is:

Figurative story;

Artistic word;

observation.

17. The program "Amulet" by E.G. Boronina is intended for a comprehensive study of folklore in kindergarten children from 2 to 7 years old. The program has subroutines. Which of the following corresponds to toddler age:

Besedushka;

Teremok;

Gulenki.

Okay.

18. How does the lesson begin according to the K. Orff system:

With singing;

Communicative-motor games;

Instrument games.

19. What is not the main property of musical sound:

Volume;

20. Note the designation of a slow tempo in music:

21. Consonance, in which sounds merge and, as it were, complement each other:

Dissonance;

Modulation;

Consonance;

Cantilena.

22. What is the name of transferring a melody from one key to another:

Alteration;

Chromatism;

Transcription;

Transposition.

23. Logorhythm is based on communication:

Words and movements;

Words and music;

Music and Movement;

Words, music, movements;

Music and singing

Movement and singing.

24. In the program of T.N. Sauko, A.I. Browned "Top, clap kids" main activity:

2) musical-rhythmic activity

3) perception of music

25. Subprogram E.G. Boronina "Charms" For senior group called:

one). Ladushki

2).Teremok

3). Gulenki

four). Besedushki

26. A work with carefree, light, playful, joyfully surprised music:

one). "The Lark" by M. Glinka

2). "Sad Birds" by M. Ravel

3). "Song of the Lark" P. Tchaikovsky

27. In the program "Harmony" Tarasova K.V. development musical ability carried out through:

1) perception of music

2) musical and rhythmic movements

4) in all activities

28. In Russian Federation state educational standards are established, including federal and national-regional components. To what extent does this legal norm apply to programs used in preschool institutions?

1) To the fullest extent;

2) Not applicable;

3) The law allows the establishment of state educational standards for preschool education, but does not provide for mandatory standardization of the content of preschool education;

4) The law determines that the decision on this issue should be made by the federal educational authorities

29. In what year was the draft Convention on the Rights of the Child adopted by the UN General Assembly?

30. How should the health of pupils be observed:

one). Teaching staff educational institution are required to undergo regular free medical examinations

2) properly organized diet, classes of pupils

four). Creation of conditions guaranteeing the protection and strengthening of the health of pupils

31. Who should participate in making decisions affecting the present and future of the child:

one). child and parents (legal representatives) responsible for the life of children, their development and protection

2). Parents and local authorities

3). Parents (legal representatives) and educational institutions

four). Child and parents (legal representatives)

one). M. Glinka

2). P. Tchaikovsky

3).C. Prokofiev

four). A.Alexandrov

33. Composer who wrote "The Camping March"

one). D. Shostakovich

2). Y. Chichkov

3). S. Prokofiev

four). D. Kabolevsky

34. In what year was it written new year song"The Forest Raised a Christmas Tree":

35. To pedagogical tasks musical training and education does not apply

A) the formation of a conscious attitude to music

B) the formation of an active and practical attitude to music

C) the formation of ideological conviction

D) the formation of an emotional and moral attitude to music

36. Listening to music

A) contributes to the development of the respiratory apparatus

B) forms the skills of expressive music-making

C) contributes to the accumulation of musical and auditory experience

D) contributes to the formation of certain musical concepts

37. Before listening to a piece of music, you must

A) set the audience emotionally

b) tell as much as possible about the music to be listened to

D) exercise

38.The main activity on music lessons is

A) dramatization

B) instrumental music

D) listening

39. What type of musical activity helps to satisfy the needs of preschoolers in physical activity?

A) listening

B) songwriting

40. What type of musical activity is aimed at developing the creative abilities of preschoolers?

A) listening

B) songwriting

C) musical-rhythmic movements

D) musical literacy

41. Improvisation

A) forms the skills of expressive music-making

B) is in inseparable connection with all kinds of activity, is acquired only on their basis

C) contributes to the formation of certain musical concepts

D) promotes creative development

42. What methods can be used music director during an introductory conversation before listening to music?

musical generalization;

Active and practical;

Visual-visual;

Verbal.

43. An additional conclusion found in musical works after the main section:

Reprise.

1. Moving the same melody up or down the steps of the scale

Modulation;

climax;

Melody;

Sequence.

45. The composer who wrote the music for the song “Bird” to the verses of A. Barto (“The bird sat on the window ...”):

M. Krasev;

M. Jordansky;

M. Rauchverger;

A. Filippenko.

46. ​​The play is unusually elegant, graceful, full of funny sounds, humor, miracles:

one). “Guy with an accordion” by G. Sviridov;

2). "A man plays the harmonica" P. Tchaikovsky

3). "Music box" G. Sviridov

four). "Musical snuffbox" by A. Lyadov.

47. Style in music that appeared in Europe after the French Revolution:

a) Classicism

b) Romanticism

c) impressionism

48. Main task creative team lies in

1) improving the professional skills of teachers

2) deeper insight into the problem

3) development and wide implementation of a new idea, methodology of education and training

49. The main direction of the Concept of preschool education

1) optimization of the pedagogical process

2) humanization of goals and principles pedagogical work with kids

3) integration of the tasks of education and training

4) creating conditions for the development of the child's abilities

50. When did the first kindergartens appear in Russia?

Before the start of the program, I confessed to my colleague Lena Patlata that I really love the polka. “What, Libor,” Lena shouted, “are you going to get married? You are leaving for Poland. “No,” I reassured her, “polka is also a dance.” Lena immediately calmed down, and I taught her how to dance the polka. You, dear listeners, should have seen how Lena and I danced. Right in this studio, a few minutes before the start of the program. Do you know what kind of music?

Listen. Polka composer Julius Fucik sounds. It's called "The Old Man". By the way, Lena often calls me that. Grumpy old. Although I’m not at all old, and I rarely grumble ...

Now you have listened to the polka. And immediately remembered the address where you can send letters to us on the radio. 123056, Russia, Moscow, Julius Fucik street 12, National Tourist Board of the Czech Republic, for Radio Prague. True, that Julius Fucik is simply the namesake of the composer whose polka you listened to. In general, few people know that the polka is a national Czech, and not a Polish dance. Then why is it called "Polka"? No one in the Czech Republic knows for sure. However, there is a theory that the dance was called the polka after the Poles. The polka arose just at the time of the famous Polish uprising in the thirties of the nineteenth century. And Czech composers were so sympathetic to the Poles and their uprising that they named the dance in their honor - "Polka".

Listen to another polka. Composer Karel Kovarzovits. Close your eyes and imagine the rebellious Polish miners. Why? Because the polka is called "Miner's".

The most famous Czech composer Bedrich Smetana (and his last name is correctly pronounced Smetana, with an emphasis on “e”, and not Smetana in any way) wrote not only symphonies and operas, but also worked in the dance genre. True, he did not write ballets, but he composed more Poles than any other Czech composer. Now we will listen to the polka written for piano. And she is called "Polka Louise."

Well, the most famous Czech polka is called "Skoda Lasky", I would translate this name into Russian as "I regret love." It was written by composer Yaroslav Veyvoda. And that was in 1934. During the Second World War, this polka became famous all over the world. Who just didn't do it. Moreover, this polka was translated into several languages. German, English, French, Italian. Polka "Skoda lasky" sounded on different sides war. Last year, in a national Czech vote, this particular polka was recognized as the “Hit of the Twentieth Century”. Let's listen. And I say goodbye to you, turn off the microphone and start dancing. Join now! See you soon, Libor Kukal worked in the studio.

Consultants: Lubusha Genkova, Stefan Nosal, Josef Kvochak, Tibor Andrasovan

The emergence of song and dance creativity among the peoples of Czechoslovakia dates back to ancient times. Already in the XI-XIV centuries, musical culture was at a high level here.

It was represented by the music of the privileged classes, based on chivalric romances, and folk music, permeated with bright national melodies and rhythms. On the basis of folk music, musical culture and the richest dance art developed. Folk songs and dances were performed on stringed (lute, Czech slavnik) and sound (gaida and duda) instruments. Cheerful, melodic folk music inspired more than one generation of Czech and Slovak composers. The names of B. Smetana, A. Dvorak, V. Novak are world famous, many of whose works are based on beautiful folk songs and dances.

Czech dances are extremely diverse and differ significantly from one another. Czech dances are characterized by lightness, liveliness, but along with this, smoothness, chastity. Some men's dances are characterized by wide, heavy steps. In addition, springboard movements, jumps, and various types of moves are often found in them. These movements are not complicated, but they are transmitted strictly in the nature of this dance.

Czech dances are mostly couples-mass, they are performed by the people, moving in a circle counterclockwise by any number of couples.

For the majority of Czech dances, women's spins and especially couples' spins are very typical. In many dances, the climax is a paired rotation in simple steps, the so-called “obkrochak”. Performing the obkrochak, the performers stand in pairs facing each other. The young man holds the girl by the waist with both hands. Both hands of the girl are on the shoulders of the young man. Starting the rotation, the young man takes a side step with his left foot, the girl with her right. The steps are executed at the same time. Legs are bent at the knees. The performers move in a circle counterclockwise.

The vrtak dance is also characterized by paired rotation in a circle, but it is performed on jumps. The sousedska dance is smooth, waltz-like. It is built on pair spins and female solo spins. The girl rotates, and the young man, as it were, twists her. Czech dances are characterized by polka movements, and the polka is performed in different ways: on jumps, lifting the legs low from the floor, on simple steps, and so on. In addition, some Czech dances are complicated by the fact that the young man, having raised the girl high, rotates with her, holding her waist with both hands and stretching his arms at the elbows. The girl, strongly bending her legs, presses them to the body and leans towards the young man.

Musical size of Czech dances: 2/4, 3/4, 3/8. The musical and dance phrases are exactly the same. Sometimes in one dance there are different musical meters. For example, in the dance "Furiant" the musical sizes 2/4 and 3/4 are combined, and at first for three measures three times the movements are performed on 2/4, then twice for two measures - on 3/4. In "furiant" there is no canonized form of construction. It can be done in pairs or trios. In cases where three people participate in the dance, a young man is in the middle, and two girls are on the sides. The young man turns the girls towards him or away from him. In the stage version, one young man can start the dance. Holding a mug of beer in his hand, he, stepping widely and swaying slightly from side to side, can perform various types of jumps, “stuffed cabbage rolls”, a wide “pas de bourre” in 2nd position, thus calling other performers to dance. In the dances "talyan", "bublava", "syrup" the rhythm also changes from 2/4 to 3/4. These dances are called "mateniki", that is, putaniki, as they change the musical time. In some places in the Czech Republic, the oldest forms of folk choreography have been preserved intact. The region of Chodsko is especially famous for such dances. Here people still dance to singing or bagpipes. The dances of this region are characterized by pair-mass circular compositions, steps from side to side, stomp or dismounts on both legs in the 6th position, a typical cross move (the right foot is placed in front of the left cross), ending with three stomps.