Outside performances. Children's repertoire as a means of developing the vocal abilities of preschool children Musical repertoire for Kazakh kindergarten groups

A visiting performance is an original idea for a children's holiday. With the modern pace of life, parents do not always have time to attend a theater performance with their child. No problem! After all, the "Golden Fish" fulfills any desire, and the theater can come to your home, kindergarten or school. We offer performances for children of different ages, outdoor puppet shows, theatrical fairy tales. Our repertoire is designed not only to amuse little viewers, but also to tell them something important, to teach them something without making them bored. Professional actors of the "Goldfish" have ten years of experience or more, thanks to which the characters of the action sing and dance beautifully.

However, our visiting performances for children owe their brilliance not only to the performers, but also to the artists: you can see this in the beautiful scenery and luxurious costumes. In addition, the plot of each performance is developed by the director, so an unusual and interesting story will be played for your children. A visiting performance will help make a birthday, New Year, graduation in kindergarten and any other holiday unforgettable.

An unforgettable experience for the children's audience is ready to give the theater "Golden Fish". Our visiting performances are a unique opportunity to introduce children to art, to please them with a meeting with their favorite characters and to impress with a real show on stage. Professional actors can easily transform into magicians, wizards, animals, circus performers, fairy-tale characters. We will conduct training lessons with the participation of all spectators, and will help to master the rules of the road and safe behavior.

Theater in your home or school

Today, not all parents can often take their kids to circus performances or performances. The Golden Fish Theater has developed a large program for a children's audience and offers visiting performances in Moscow to everyone. This is a great chance to combine study and entertainment, as well as to unite classmates or children from the same kindergarten group.

You can also order from us:

• for kids

Our repertoire includes:

• Performances for the youngest audience. The program includes favorite poems performed by reincarnated actors, inflatable toys, balls, incendiary dances and contests.
• Real Russian folk tales with actors in national costumes, believable scenery and musical accompaniment.
• Outdoor performances for children in folklore style. This is a wonderful opportunity to take part in the play and become one of its heroes, get excited and laugh along with other spectators.
• Fabulous journeys based on Andersen's fairy tales with talented actors and a finale in which all guests and invitees participate. The fairy tale is designed for a different age audience and will appeal to even the smallest children.
• Instructive and kind stories with the famous heroes of Russian fairy tales: Baba Yaga, the Russian hero, Koshchei, Vasilisa, Ivan the Fool. A real "fairy tale-on the contrary", in which goodness wins in all manifestations.
• Children's visiting performance with elements of a circus performance. Several actors participate, demonstrating miracles in the arena: magic tricks, trained animals, magic, acrobats and a real smoke show with soap bubbles.
• Training lessons with animators and invited employees of the Ministry of Emergency Situations, firefighters, representatives of the road guard service.

The program of children's visiting performances uses innovative augmented reality technologies, sound accompaniment, lighting effects and a soap show.

To find out the exact cost of a visiting performance and learn about possible promotions and other conditions, call daily from 10-00 to 20-00.

Singing - the most accessible performing type of musical activity for preschool children. Children love to sing. The song accompanies the life of a child from an early age. It affects the feelings of children, fills their leisure time, contributes to the organization of the game, in a bright, entertaining way deepens their ideas about the surrounding reality.

Vocal and choral singing has great potential for bringing people together, uniting them, it creates the conditions for emotional musical communication. That is why choral singing has always been given worthy attention in the musical and aesthetic education of children. The main goal of vocal-choral singing- education in children of singing and general musical culture. Tasks singing activities stem from the general tasks of musical education and are inextricably linked with them and consist in the development of musical and creative activities, singing communication skills, musical abilities, in the formation of a sustainable interest in singing, to promote the comprehensive spiritual and physical development of children. These tasks are proposed to be solved on the basis of a certain song repertoire, the use of appropriate teaching methods and techniques, and various forms of organizing musical activity. The formation of singing skills is one of the most complex and important sections of the musical education of preschool children. First, work is underway to develop a melodious sound based on elementary mastery singing breath, which significantly affects the purity and beauty of the sound, the expressiveness of the performance. sound production with the correct setting of the voice, it should be natural, sonorous and light, children should sing without screaming and tension. Work on diction begins with the formation of rounded vowels and a distinct pronunciation of consonants. It is recommended to use: exercises of articulatory gymnastics, tongue twisters, tongue twisters, speech exercises, rhythmic recitations. Slender, clear singing in unison lays Ensemble basics- integrity, unity of sound. In singing in chorus, children must be taught to listen to themselves and others, to merge with the general singing, to make sure that not a single voice stands out. When teaching kids vocals, it should be borne in mind that the child's vocal apparatus is fragile, delicate, and continuously grows in accordance with the development of the entire child's body. Therefore, it is necessary not only to master the methodology of teaching singing, but also protect the child's voice. It is important to prevent children from singing loudly, screaming, singing outside in cold and damp weather.

It is advisable to carefully consider the entire vocal and choral repertoire that will be used in work with preschoolers. The song repertoire should consist of works of art, having educational and educational value.

It is necessary to expand the repertoire primarily through folk songs, since the folk song has artistic and educational value, it never ceases to amaze with its deep content and perfect form.

It is necessary to use melodies from classical works, convenient for reproduction by children, for chanting.

When choosing songs for children to listen to and learn, we must rely on bright examples of highly artistic children's songs that are time-tested and of great educational value: songs about friendship, respect for nature, love for animals. These are songs from cartoons written by composers A. Ostrovsky, V. Shainsky, Yu. Chichkov, G. Gladkov, E. Krylatov, A. Struve, A. Pakhmutova and others.

The question is content accessibility music should be considered in terms of the possibility of perceiving emotional content, corresponding to the feelings that children are able to experience at the moment.

Practice shows that some teachers formally get to work on the song. They learn songs in order to perform them at a festive matinee. The theme of the songs, the effectiveness of their sound are mainly taken into account. At the same time, program tasks for this type of musical activity of children are not solved consistently. Ultimately, children do not acquire sustainable singing skills. It is necessary that the work on each song has a positive effect on the singing skills of children.

We must not forget that stable repertoire has a number of advantages. A song or any other piece of music, often heard and performed by children, becomes their property and can be used by them in independent activities. This, in turn, leads to a strong assimilation, correct and natural execution. Children will come to school musically prepared.

Analyzing the main educational programs of preschool education: “Childhood”, “Kindergarten 2100”, “From Birth to School”, “Origins”, we can conclude that in all programs in the “Musical Development” section there is a vocal and choral direction, has its own characteristics. Feature of the program "Kindergarten 2100" - synthesis of the arts. Children master the skills of primary analysis of works of art in the context of other types of art, get acquainted with the means of artistic expression of various types of art. Content educational program "From birth to school"(authors N.E.Veraksy, T.S.Komarova, M.A.Vasilyeva) is presented in thematic blocks, within which the material is presented by age groups.

Integrated program "Childhood" by O. V. Akulova, T. I. Babaeva contains three parts devoted to different age periods of children. The purpose of the program is to develop the musical culture of a preschooler. Each section is divided into two more components: musical perception and musical performance.

Comprehensive program "Origins" by L. A. Paramonova, T. I. Aliyeva It is aimed at the comprehensive upbringing and development of the child up to seven years. The musical repertoire includes classical music, folklore, contemporary music. The main factor in this program is the dialogue of the teacher with the child, between children and teachers.

But the repertoire in this direction in these programs is not sufficiently rich and diverse. As a result, additional partial programs for musical education.

Program "Harmony" for senior preschool age K. L. Tarasova, T. V. Nesterenko, T. G. Ruban, under the general editorship of K. L. Tarasova. The central place in the program is given to the formation of musical creativity in children and the improvisational nature of the classes. The musical repertoire of the program is selected on the basis of a combination of highly artistic and accessible to children works of classical, modern and folk music of different eras and styles and is organized into blocks of topics accessible and interesting to children.

Program "Baby" by V. A. Petrova provides for the development of musical abilities in children of only an early age in all types of musical activities available to them, contributing to the familiarization of children with the world of musical culture. The basis of the program is the works of the classical repertoire, the rich range of which implies the freedom of the teacher to choose one or another piece of music, taking into account the level of preparation and development of a particular child. The program has significantly updated the repertoire of musical games.

Program "Synthesis» by K. V. Tarasova, M. L. Petrova, T. G. Ruban and others is interesting because it aims to develop the musical perception of children from four to seven years old. The program is based on the principle of an integrated approach, in which musical works are considered in a single complex with works of fine art and fiction. At the same time, the core art form in the program is music. The program included works of classical art and folklore accessible to children.

Program "Tuning fork" E.P. Kostina aimed at a versatile musical education. It characterizes seven years of a child's life with seven scale steps. Musical education and training are the first, second and third stages, and the stages of musical education, upbringing and development are from the fourth to the seventh. The main place is given to such an activity as the perception of music. The authors have designed a model of the pedagogical process, so the program does not contain samples, methodically developed musical lessons.

Many teachers use in practice a partial program for the musical education of preschool children. "Okay"(authors I. Kaplunova, I. Novoskoltseva). The program includes the development of classes for four age groups for children from 3 to 7 years old. The presence of musical material eliminates the problem of finding musical material. The program is designed in detail, adequate to the capabilities of children, which allows you to successfully master all the material. The peculiarity of the program is a non-standard approach to conducting classes. The vocal and choral repertoire meets all the requirements of musical education.

For each age group, interesting and accessible material has been selected, with which you can solve various problems in the development of vocal skills. The vocal-choral repertoire becomes more complex with each age stage, new forms and techniques are added. The slide shows the areas of work on vocal and choral singing by age groups:

For children 3-4 years old . Folklore is primarily used. Songs and songs are included as exercises, chanting and singing along, they are built on simple melodic moves, simple in rhythm and text.

The songs “Cockerel”, “Ladushki”, “Bird”, “Sun-bucket”, music by V. Karaseva, and many others are used; Exercises for the development of rhythmic hearing: “Who is walking?”, “Cockerel, hen and chicken”; on the development of timbre and dynamic hearing “Loud-quiet”, “Funny pipes”.

D for children 4-5 years old. As exercises for the development of hearing and voice at this age, song improvisations of melodies to a given text are used. For example: “What is your name”, “What do you want, kitty?”, “Where are you”;

Games with singing "Garden-round dance", music. B. Mozhzhevelova, "Geese-swans and a wolf", music. E. Tilicheeva.

Song creativity: "Kitten-Kitten", r.n.p.; "Horse", "March", music. A. Grechaninova.

Songs: “Like on a thin ice”, “Spider”, “Kisonka-Murysonka”, r.n. songs.

To work with older preschoolers, you can take more complex, long melodies. Exercises for the development of hearing and voice: Russian folk songs "Andrey-Sparrow", "Bunny".

Exercises for the development of pitch hearing: “Where are my children?”, “Steps”.

Exercises for the development of diatonic hearing: “Loudly, quietly drunkenly”, “Ringing bells”.

Songs: "Drum", music. E. Tilicheeva; “Guests have come to us”, music by A. Alexandrov; "Blue Sledge", music. M. Jordanian.

Singing games: "Raven", r.n.m; "Cat Vaska", music. G. Lobacheva.

Round dances: “How our girlfriends went”, “I walk with a loach”, r.n.p.

Songs from cartoons by Soviet composers Y. Chichkov, V. Shainsky, B. Savelyev.

For children 6-7 years old. Exercises for the development of hearing and voice: Russian folk songs "Skok-jump", "And I'm in the meadow."

Exercises for the development of pitch hearing: “There are different sounds”, “Think, guess”.

Songs: “Leaf fall”, “There will be a hill in the yard” music. T. Popatenko; “Victory Holiday”, “Soldier Brother” music. M. Partskhaladze;

Games with singing: "Wattle", "Teremok", r.n.p.; "Game with flags", music. Y. Chichkova. Round dances: “Viburnum is on the mountain”, r.n.p.; “The New Year is coming to us”, music. V.Gerchik.

Songs from cartoons by Soviet composers. With children of this age, you can work on dramatizations and musical performances. For example, “Like ours at the gate”, “Where was Ivanushka?”, r.n.m .; "Cinderella", "Cinderella Fly", music. M.Kraseva.

The correct selection of song material (with the inclusion of folk songs, works of classics, Soviet and foreign, as well as modern composers), the use of appropriate teaching methods and techniques, various forms of organizing children's musical activities contributes to raising their feelings of patriotism and broadens their horizons.

Working in this direction, pupils can show themselves in competitions of singing skills of various levels.

Works for listening, singing, moving to music are selected taking into account the program tasks of raising a child in kindergarten and meet the artistic and pedagogical requirements:
unity of content and musical form;
compliance with all types of children's musical activities;
accessibility of perception and performance by children of preschool age of various groups of kindergarten.

The unity of the content and form of a musical work

Children's music created by composers, or folk music, should always be bright, imaginative, as close as possible to the experiences and interests of the child, in order to enrich him in a cognitive and emotional sense. Entering the world of music means learning to understand a special “musical language” (melodic intonations, harmonic combinations, modal coloring), which in modern conditions acquires a new, unique sound. At the same time, the form of works (understood in a broad sense, as a complex of all musical means) should not be cumbersome, complex.
The child perceives music, its images in unity with the means of musical expression. So, if you perform only the piano accompaniment (without singing) of the song "Border Guards" by V. Vitlin, then children are able to feel the expressiveness of the musical introduction, which sounds a little mysterious, wary - pauses, low register enhance this feeling. Then the tensely restrained nature of the sing-along ("A detachment hid at the border of the border guards") is replaced by the confident dynamic nature of the refrain ("Our sea, our land, our sky are guarded"). In the unity of form and content, a memorable musical image has been created, a high artistry of the work has been achieved, which is the main requirement for the selection of works for children.

Correspondence of the repertoire to the types of musical activity

The program of musical education on listening to music, singing, rhythm should also correspond to the repertoire.
Vocal and instrumental music is selected for listening, most often program music (having a specific program, a theme, often defined in the title, for example, P. Tchaikovsky's plays “The Doll's Disease”, “The New Doll”). Works are provided that are diverse in subject matter, genre, character.
Lullabies, games, round dances, comic songs and dances are selected from folk song creativity. They are simple, expressive, diverse - affectionate and melodious, cheerful and mobile. Such works (Russian, Ukrainian, Belarusian, Lithuanian, Estonian, Armenian, Georgian, Azerbaijani, Tatar, etc.) are included in collections and published for children in all the republics of our country.
Highly artistic works of Russian and Western European classics can be attributed to children's music, listening to which enriches the child's spiritual world. Let's name the "Children's Album" by P. Tchaikovsky, the Poles M. Glinka, S. Rachmaninov, individual fragments from the ballet "Swan Lake" by P. Tchaikovsky, from the opera "The Tale of Tsar Saltan" by N. Rimsky-Korsakov, some works by E. Grieg, F. Schubert, R. Schumann.
Many works for children have been created and are being created by Soviet composers: S. Prokofiev, D. Kabalevsky, an. Aleksandrov, A. Ostrovsky, E. Tilicheeva, M. Raukhverger, M. Iordansky, T. Popatenko, A. Filippenko, 3. Levina, V. Gerchik, N. Levy and others.
In their work, composers often encounter difficulties: when creating music for children, they must use very limited means in song melody, harmony, texture of presentation and form of the work.
The themes of all works intended for listening are devoted to phenomena that children are introduced to in the course of all general educational work, but life impressions, expressed in musical images, are colored in a new way, deepened. Listening, for example, to the song "Border Guards" by V. Vitlin to the words of S. Marshak, children do not just learn that soldiers are guarding the borders of our Motherland. They well feel the tension and restless intonations of the melody to the words “border guards do not sleep at their native border”:

[Leisurely]

And at the same time, they feel determination, firmness, expressed by the melody, dotted rhythm and pauses when the words “our sea, our land, our sky are guarded” are sung:

The songs that the guys learn and sing should have their own peculiarity - a bright melody. To expressively perform a song, you need not only to feel its character, but also to sing it correctly. For example, in the song "Drum" by E. Tilicheeva to the words of N. Naydenova, the melody is performed slowly, clearly, with moderate sonority. At the same time, it is important to accurately perform a more complex segment of the song:

[Clear]

Here it is necessary to correctly convey the rhythmic pattern, accurately pronounce the ascending interval (salt— before), note the gain and emphasis on the upper sound before second octave.
Therefore, when selecting songs, one must clearly imagine what skills need to be especially worked on. When working in the senior group of a kindergarten on the formation of a light, mobile sound, you can choose from the repertoire "Blue Sledge" by M. Jordansky, and to develop a melodious sound - the Russian folk joke "Bai, kachi-kachi" processed by M. Magidenko.
The repertoire for various musical games, exercises, round dances and dances is a means of teaching musical and rhythmic skills and expressive movement skills. Each species performs its own functions. For example, story games and round dances allow children to convey the characteristic movements of various characters; exercises make it possible to learn various elements of dance, etc. But no matter what form the movements are given, they fulfill their function - they teach the development of program skills.

Accessibility of the repertoire for perception and performance

The last requirement for the works included in the program is to be accessible to children's perception and performance.
Artistic images that express feelings and thoughts close to children, understandable themes correspond to the scope of those ideas about life phenomena that a child of a particular age has. However, the language of music varies in degree of complexity. Let's compare two piano pieces of a dance character. One is the Russian folk melody “Ah, you, canopy” arranged by V. Gerchik, moving, dancing, with simple harmonization. The other is "Kamarinskaya" by P. Tchaikovsky from the "Children's Album". The Russian folk melody here is also bright and imaginative, but presented by the composer in a variational form. Each variation has its own character and dynamics (at first the sound is quiet, it gradually increases and subsides again).
No less important for children's performance is the degree of complexity in the songs. If we compare the melodies of songs taken from the repertoire for different kindergarten groups, we can see that these songs differ in range, originality of interval moves, the duration of musical phrases and the difficulty of pronouncing words in the text.
Works for games, exercises, dances are also distinguished by the development of musical images, construction, harmonic accompaniment, tempo and dynamic changes, as well as the gradual complexity of movements. All this must be taken into account when selecting a program repertoire that helps develop the musical and rhythmic skills of children of different age groups.
In addition to the songs, games, dances, round dances, exercises recommended in the program, others can be used. The musical repertoire is constantly replenished with newly created works, sometimes very interesting, corresponding to modern conditions. And we must welcome the fact that "these works are heard at children's holiday parties and entertainment evenings. However, it must be remembered that such additional material can take place if the songs and games meet the program requirements and are used taking into account the specific conditions of working with children.
We must not forget that a stable repertoire has a number of advantages. A song or any other piece of music, often heard and performed by children, becomes their property and can be used by them in independent activities. it
in turn leads to a solid assimilation, their correct and natural execution. Children will come to school musically prepared.
The program repertoire is distributed throughout the year by quarters, taking into account the following:
is selected in a certain complication, taking into account the characteristics of each game, song, round dance;
is learned in accordance with the general educational tasks of current life, the modern needs of a preschool child. Therefore, the theme of songs, games, round dances should reflect social events, holidays, seasonal phenomena and related activities of children, etc.

Musical literature

The repertoire performs an important function of the musical education of preschoolers. By systematically carrying out the tasks of aesthetic development,
children, teachers of kindergartens successfully use the musical literature, which is published by the publishing houses of our country. Let's name some of these benefits: "October", "Our Lenin", "May Day", "I Love Mom", etc.; teaching aid "Music in kindergarten" edited by N. A. Vetlugina, in which the musical material corresponds to the "Program of education and training in kindergarten."
There are a variety of thematic collections about the seasons, children's activities: “There is always something to do”, “Bird housewarming”, etc. Works for young children are included in the “We love music” series. Children's operas, musical fairy tales, musical games and dances, songs by foreign authors are published.
Most of the manuals and collections have been compiled and are being compiled by scientists, experienced methodologists, leading musical directors of kindergartens: N. A. Vetlugina, I. L. Dzerzhinskaya, E. N. Sokovnina, T. P. Lomova, V. K. Kolosova, S. I. Bekina, E. N. Kvitnitskaya, E. P. Novaya and others.
The creative unions of composers and writers, the ministries of education, and the Academy of Pedagogical Sciences pay great attention to the publication of musical literature for children.
Musical works that are designed to fulfill the tasks of educating, educating and developing preschoolers must meet the requirements of artistry, accessibility and meet pedagogical objectives.

QUESTIONS AND TASKS

1. Describe the basic principles of building a program of musical education.
2. Expand the features of various types of musical activity, their common and specific features.
3. What is the relationship between musical and practical skills and musical and educational information?
4. List the main artistic and pedagogical requirements for the musical repertoire.
5. What are the features of the song repertoire depending on the age of the children?
6. Name the various forms of organizing children's musical activities.
7. What are the similarities and differences between music lessons and independent musical activity of a child?
8 What are the specifics of the work of a music director and educator?
9. Analyze the successive complication of the tasks of musical education (see Table 1) and give a specific example.
10. Conduct a complete musical analysis of a familiar children's song.
11. Tell us about the structure of the collection "Music in Kindergarten".
12. Take as an example a song or dance listed in the program and reveal its compliance with the program requirements.
13. Tell us about the forms of organizing the musical activities of children that you observed in kindergarten.

Methods of musical education in kindergarten: “Doshk. education "/ N.A. Vetlugin, I.L. Dzerzhinskaya, L.N. Komissarov and others; Ed. ON THE. Vetlugina. - 3rd ed., Rev. and additional - M.: Enlightenment, 1989. - 270 p.: notes.

Music for listening and requirements for it.

This development is intended for educators of preschool educational institutions, music directors, parents. Also, the material will be of interest to students of Pedagogical Colleges and higher educational institutions who are interested in the methods of musical development of children. The material contains recommendations on the selection of music for listening to preschool children and use in sensitive moments.

Music to listen to.

Traditionally, it is considered that it is better for a preschool child to listen to program music. It is clearer in content, i.e. more accessible to children.
We emphasize that it is musical perception that is the “channel” that allows the child to enrich the individual musical experience. The formation of his musical taste, interest in musical activity depends on what kind of music surrounds the child.
How is the listening repertoire selected?
Multidimensionality is the leading principle of art in general and music in particular. An incomprehensible number of interpretations by different listeners of the same musical image, if the music is programmatic; a huge palette of experiences and images in non-program music. Combination of incompatible feelings in one and the same piece of music...
The main requirements in the selection of musical works for children to listen to are the requirements of artistry and accessibility.
Artistry involves the selection of a variety of musical works - samples of musical classics and modernity. The harmony of the musical image and the means of its expressiveness, the brightness, the high emotionality of the music - it is in these criteria that this requirement can be characterized.
Availability is traditionally interpreted as follows:
the content of a musical work should be presented in bright, understandable images, which involves the use of predominantly program music;
the piece of music must have a contrasting form;
musical images should correspond to the emotional and life experience of the child;
the selection of musical works should correspond to the possibilities of children's perception.
When selecting musical works, it is worth using a number of principles.
1. The principle of taking into account children's musical interests, children's subculture, which assumes that every child, regardless of age, already has an individual musical experience, has an initial, albeit implicit, selective attitude towards music. The implementation of this principle provides for a differentiated approach - different children are offered different music.
A child's selective attitude to music can manifest itself in different ways - from a preference for a particular instrument to the music of a particular composer.
2. The principle of taking into account the active nature of the child, which assumes that the musical repertoire offered to children will allow them to express the results of their own perception with accessible means - in a drawing, word, game. In addition, music can allow the interactive inclusion of the child - his immediate emotional and motor reactions already in the course of listening. This principle takes into account the motor-rhythmic nature of the music itself and the natural activity of the child.
3. The principle of taking into account the emotional experience of the child is expressed in the selection of musical works that correspond to the emotional state and experience of the child. In the event that the teacher and parents know how the child lives, what excites and pleases him, music can become a source of enrichment for his emotional and life experience. The child gets the opportunity to "live" in music those events that caused strong emotional experiences in him.
It seems that the easiest way to implement this principle in practice is to select works whose titles already contain correspondence to children's emotional experience. For example: "New Doll" from "Children's Album" by P. Tchaikovsky, "Cheerful Peasant Returning from Work" by R. Schumann, etc.
However, a deeper understanding of this principle will allow you to choose a work that conveys the nuances of childhood experiences.
4. The principle of taking into account the individual characteristics of the perception of music by a child. The implementation of this principle is possible if the teacher has good knowledge of the characteristics of the child's attitude to the process of listening to music. There are children for whom the main thing in music is visuals, there are children who are musicologists, who are also interested in the biography of the composer, the history of the creation of the work. There are children who perceive music only emotionally, and the expression in the word of the results of listening is unacceptable for them. Therefore, both the musical repertoire and the technology for organizing the perception of music should be carried out taking into account these features.
5. The principle of diversity of tasks solved in the process of music perception. This principle is determined, on the one hand, by the integrity of the child's development in the preschool period, and, on the other hand, by the multidimensional nature of music. Since the process of music perception is organized to solve various problems, the palette of musical works that a preschooler can listen to becomes almost limitless.
What tasks can be solved by choosing a special musical repertoire for listening?
These tasks are related:
with the process of socialization of the child, enrichment of his emotional experience;
with the development of mental processes - thinking, imagination, creative abilities of a preschooler;
with the development of artistic perception of music, with the formation of the child's skills to analyze musical works; the acquisition of knowledge about music, the expansion of musical horizons.
Musical repertoire to enrich the child's emotional experience. Music plays a huge role in enriching the emotional experience of the child. After all, as we said above, music is the actual emotion. What emotions can a child experience when listening to music?
To characterize the emotions of a child listener, we use the classification of types of emotions proposed by V. N. Kholopova, which singles out: emotions as a sense of life; emotions as a factor of personality self-regulation; emotions of admiration for the mastery of art; emotions depicted in music; natural emotions of music.
Firstly, the process of listening to music carries a huge positive emotional charge, in connection with which the musical repertoire can be represented by major works of both classical and good pop and children's music. Here is an approximate list of musical works that can be played during the organization of the pedagogical process.
Morning hours for children
"Smile" (V. Shainsky - M. Plyatskovsky);
"A true friend" (B. Savelyev - M. Plyatskovsky);
“There is nothing better in the world” (G. Gladkov - Y. Entin);
"Blue Wagon" (V. Shainsky - E. Uspensky).
Morning work-out
"Song about exercises" (G. Gladkov - G. Oster);
“A grasshopper was sitting in the grass” (V. Shainsky - N. Nosik);
"It's fun to walk together" (V. Shainsky - M. Matusovsky);
"Plasticine Crow" (V. Shainsky - E. Uspensky).
Dressing for a walk
"Clouds" (V. Shainsky - S. Kozlov);
“What a wonderful day” (A. Flyarkovsky - E. Karganova);
“We will survive this trouble” (B. Savelyev - A. Khait);
"Bad weather" (N. Lev - M. Dunaevsky).
Quiet time
"Lullaby" (W. A. ​​Mozart);
"Lullaby of Umka" (A. Flyarkovsky - S. Sviridenko);
"Little Willy-Winky" (M. Karminsky - I. Tokmakova);
"Lullaby of Svetlana" (T. Khrennikov - A. Gladkov);
"Quail" (I. Chernitskaya - N. Susheva).

Game activity
"Song of Cheburashka" (V. Shainsky - E. Uspensky);
"Gifts" (V. Shainsky - M. Plyatskovsky);
Pinocchio (E. Krylatov - Y. Entin);
“There are many fairy tales in the world” (V. Shainsky - Y. Entin).
Lessons:
on physical education "Morning gymnastics" (V. Vysotsky);
on fine arts "Silk tassel" (Yu. Chichkov - M. Plyatskovsky);
on environmental education "Who are the birds?" (A. Zhurbin - B. Zakhoder), "Dandelions" (V. Gerchik - R. Gorskaya), "Good Summer" (V. Ivannikova - E. Avdienko), "Forest Bell" (V. Ivannikova - I. Bashmakova) ;
on the development of speech "Words" (V. Shainsky - R. Rozhdestvensky);
on labor education “Everyone in the world needs a home” (I. Efremov - R. Sef), “Bird House” (D. Kabalevsky - O. Vysotskaya), “In the Country” (V. Vitlin - A. Passova);
musical lessons “Song of the crocodile Gena” (V. Shainsky - A. Timofeevsky), “A bear with a doll dance a field” (M. Kachurbina - N. Naydenova), “Housewarming” (E. Tilicheeva - V. Semernin).
Secondly, the process of listening to music allows the child to "live" their own emotional experiences. In the event that the content of a musical work is close to the actual emotional experience of the child, and the teacher helps him establish such a connection, this significantly enriches the emotional development of the preschooler. It should be noted that in this case the professional competence of the kindergarten teacher and psychologist plays the most important role. Only the knowledge and understanding of the child make it possible to compile an individual repertoire list of musical works.
Often, choosing a piece of music from the music library, the child can “inform” the teacher or peers about his emotional state. If his mood is not cheerful, he prefers soft, smooth music, and when he wants to have fun, he asks to “turn on” the dance or march.
Let us give an example of the correspondence of music to the emotional state of the child.
Joy
P. I. Tchaikovsky. "Italian song";
S. S. Prokofiev. Symphony No. 1 "Classical" (1 movement, excerpt);
L. Beethoven. Symphony No. 9 (movement 4, excerpt);
I. Strauss-father. "Fire of Youth", gallop; Champagne gallop;
E. Strauss. "Full steam", fast polka;
W. A. ​​Mozart. Symphony No. 40 (1 movement, excerpt).
Sorrow, sadness
A. Vivaldi. Largo;
L. Beethoven. "Moonlight Sonata" (1 movement, excerpt);
K. Saint-Sanet. "Swan" (excerpt);
I. Brahms. Symphony No. 3 (3rd movement);
A. Dvorak. Symphony No. 9 (movement 2, excerpt);
Caccini. "Ave Maria";
F. Chopin "Nocturne in E Minor".
Anxiety
P. I. Tchaikovsky. "Doll Disease";
P. I. Tchaikovsky. Overture to the opera "The Queen of Spades" (excerpt);
B. A. Mozart. "Requiem" (Coupe);
L. V. Beethoven. Symphony No. 5 (1 movement, excerpt).
Fear
M. P. Mussorgsky. "Baba Yaga";
P. I. Tchaikovsky. Scenes from the ballet "The Nutcracker";
O. Respighi. The Pines of Rome (The Pines at the Catacombs).
Anger
L. V. Beethoven. Overture "Egmont" (excerpt);
P. I. Tchaikovsky. Scenes from the ballet "The Nutcracker" ("Mice and the Mouse King");
A. Dvorak. Symphony No. 9 (1 movement, excerpt).
Thirdly, in the process of listening to music, emotions of admiration for the skill of the performer arise. Undoubtedly, children should listen to music only in good performance. From a good, and even more so virtuoso performance, the child experiences strong emotions, which often cause an interest in music, a desire to engage in musical activities.
Fourthly, in the process of listening to music, the child perceives the emotions expressed in music. The artistic image of a musical work is endowed with a certain emotional state. If a teacher wants to present to children this or that image with the help of music, then it is better to do this using the example of program works. World musical classics have a whole layer of so-called "children's music" - works intended for listening and performing by children. Let's name at least all the famous cycles of children's plays:
"Children's Album" by P. Tchaikovsky;
"Peter and the Wolf" by S. Prokofiev;
"Children's Music" by S. Prokofiev;
"Album for Youth" by R. Schumann.
The emotional state is also reflected in non-program plays. The breadth of the use of musical works depends on the musical culture and the taste of the teacher himself. So, for example, the music of romantic composers (Schubert, Chopin, Liszt, Mendelssohn) is characterized by the transfer of nuances of the emotional state, the music of Dvorak or Brahms “draws” vivid human experiences.
Fifth, in the process of listening to music, the child perceives the natural emotions of music, i.e. means of artistic expression. The very nature of musical art is a source of emotion. And first of all, this concerns the motor-rhythmic sphere of music, which has a more noticeable effect on human emotions. For a growing person, it is preferable to reflect positive emotions in music. The more stable the connection between the child and music, the more successful his emotional development.
Musical repertoire for solving problems of mental development of the child. Features of musical art allow us to consider the repertoire as a factor in the development of mental processes, and first of all, of course, creativity, creative imagination and thinking of a preschooler.
Bright musical and artistic images stimulate the child's imagination, give rise to unusual interpretations, associations.
Here is an approximate list of works, listening to which can have a significant impact on the musical development of a child.
1. S. Prokofiev. "Romeo and Juliet" - impetuous Mercutio, unhurried father Lorenzo;
2. W. A. ​​Mozart. "The Wedding of Figaro", "Magic Flute" - flirtatious women;
3. M. Glinka. "Ruslan and Lyudmila" - funny, cowardly Farlaf;
4. A. Borodin. "Prince Igor" - crying Yaroslavna.
5. C. Saint-Saens. "Animal Carnival";
6. P. Tchaikovsky. "The Nutcracker"; S. Prokofiev. "Peter and the wolf".
7. O. Messiaen. "Catalogue of Birds", "Awakening of the Birds";
8. L. Beethoven. "Pastoral" symphony;
9. E. Grieg. "Nocturne".
10. N. Rimsky-Korsakov. "The Tale of Tsar Saltan";
11. N. Sidelnikov. "Russian tales";
12. F. Couperin. "Butterflies";
13. R. Schumann. "Butterflies".
14. N. Rimsky-Korsakov. "Sadko", "Scheherazade";
15. A. Vivaldi. "Seasons";
16. K. Debussy. "Sea", three symphonic sketches;
17. K. Debussy. "Mists", "Dead Leaves" "Heather" (preludes from the 2nd notebook);
18. O. Respighi. "The Pines of Rome" ("The Pines of the Appian Way").
19. P. Tchaikovsky. "Winter Dreams" (North);
20. P. Tchaikovsky. "Memories of Florence" (south);
21. N. Rimsky-Korsakov. "Scheherazade" (east);
22. Dvorak. Symphony No. 9 ("From the New World") (west).
23. N. Rimsky-Korsakov. "The Tale of the Invisible City of Kitezh";
24. S. Prokofiev. "Romeo and Juliet";
25. A. Khachaturian. "Spartacus";
26. O. Respighi. "Pinii of Rome" ("Pinii on Janiculum").
27. M. Mussorgsky. "Pictures at an Exhibition" - on foot, at a steady pace;
28. A. Borodin. "Polovtsian Dances" from the opera "Prince Igor" - dances, dances, cheerful revelry;
29. K. Debussy. "Steps in the snow";
30. F. Schubert. "Forest King" - horseback riding;
31. R. Wagner. "Valkyrie" - flight;
32. A. Vivaldi. "Seasons". Concert No. 4 ("Winter") Allegro - ice skating.
33. M. Mussorgsky. "Night on Bald Mountain";
34. P. Tchaikovsky. "Baba Yaga";
35. A. Lyadov. "Kikimora";
36. E. Grieg. "Procession of the Dwarves";
37. E. Grieg. Elf dance;
38. N. Rimsky-Korsakov. Fragments from the opera "The Snow Maiden";
39. K. Debussy. "Fairies - lovely dancers" (prelude from the 2nd notebook);
40. A. Lyadov. "Magic Lake"
Musical repertoire for the development of musical perception, musical education, musical outlook. The circle of these problems is solved, as a rule, in music lessons. The teacher-musician helps the child gain experience of orientation in the genres and styles of music, means of musical expression, musical forms, intonation specificity of music by different composers. Examples of such pieces of music are generally recommended by preschool educational programs. These are the works:
small in volume, their playing time should not exceed 5-8 minutes, which is associated with the peculiarities of children's attention (distractibility, poor concentration) and insufficient development of voluntary processes;
with pronounced means of musical expression (tempo, rhythm, dynamics, melody);
diverse in styles and genres;
software and non-software.
So, the repertoire determines the content of work with children in terms of the perception of musical works - this is an essential part of the work, but not the whole work. In addition to the content, it is important to get acquainted with the technologies for organizing the process of perceiving music by preschool children.