Musical education in different pedagogical systems. Teaching music: systems for musical education of children

Children are different. And the paths of musical, as well as any other education, are different. Therefore, it would be wrong to evaluate pedagogical systems, of which there are many in the world, on a qualitative scale: “good”, “better”, “even better”. There are no bad ones. They don't stand the test of time. It would be more correct to say: this one is more suitable for such and such children (for example, overly excitable ones), and this one is more suitable for such and such children. A universal, optimal system that is ideal for all children has not yet been invented. In the context of family education, fathers and mothers can also, taking into account the individual characteristics of their child, adhere to certain principles. Corresponding to one or another system. Let's talk about this...

Dmitry Kabalevsky's system

The outstanding musician and composer of the 20th century had a brilliant teaching talent and the gift of a seer. He was able to discern the future in the present. Back in the sixties, being the honorary president of the International Society of Musical Education ISME, Dmitry Borisovich was one of the first to sense the approaching danger. He warned of the approaching era of commercialization of music. The time is approaching when great art will become show business, young people will fall under the influence, we would even say, dependency, on low-quality, entertaining mass culture.

Something similar happened today. Let's not lie. Classical music causes rejection and discomfort among the majority of the younger generation, as music is boring and useless to anyone.

How to turn the situation around? Is it possible?

Kabalevsky was well aware of the deplorable state of music lessons in secondary schools. These lessons, composed of parts mixed in arbitrary proportions (singing, listening to music, notation), were, with rare exceptions, boring and uninteresting. And, most importantly, they are cut off from real musical art, from life. Lessons and musical art existed as two parallel worlds and practically did not intersect.

Kabalevsky tried to combine lessons and music. And he succeeded. What is its essence? Kabalevsky said that music rests on three pillars, on three main components - song, dance, march. This is the thread connecting the two worlds. Because, on the one hand, the most complex works of musical culture are based on song, dance and march, and, on the other hand, they are part of the musical experience of all children from preschool age. Now “March of the Wooden Soldiers” from P. Tchaikovsky’s “Children’s Album” becomes not just a specific march, but one of many marches. If a child understands this, he will happily recognize the march as something already familiar to him, say, in the third movement of P. Tchaikovsky’s sixth symphony or in the finale of D. Kabalevsky’s piano concerto. The same thing happens with song and dance.

“The movement of musical thought,” writes the composer, “receiving food from the environment, will continue and will increasingly gain strength.”

We would call another important direction of D. Kabalevsky’s system the Socratic method. Children, according to Dmitry Borisovich, come to certain conclusions not as a result of lectures or stories that make them fall asleep, but themselves. Thinking and talking about music. With the help of leading questions from the teacher. In our case, dad or mom. Well, for example:

— What is needed to make a song? — Composer. - And what else?

The child thought. Sing him some famous song without words.

-What is missing here? - Words. - Right. So who else is writing the song? - Poet. — Who is needed to sing the song? - Singer. Musician. - Right. What kind of songs are there?

You are singing a children's song.

- What song is this - an adult or a children's song? - Children's room. — What other songs are there? - Adults. - And what else? What is the name of the song that is sung to small children before bed? - Lullabies. — And songs about war? - Military.

Etc. and so on. Conversations like this about music, when questions from adults help children find the answer themselves, miraculously make conversations about music interesting and exciting.

MUSICAL CULTURE OF PRESCHOOL CHILDREN EDUCATION AND CULTURE

In recent decades, pedagogy has been actively turning to the concept of culture, considering it as the methodological basis of pedagogical science and practice, developing a cultural approach to education and its humanization. Humanitarian values come first: the value of man, the freedom of his development and self-realization. In this regard, two aspects are distinguished in the understanding of culture: a person is at the same time a creator and a creation of culture. A person as Culture is considered as a product of the creator of a culture of human activity, as a set of achievements (material, spiritual) and as a high level of these achievements. This determines the pedagogical strategy: to introduce children to these achievements, to introduce them to the world of culture

Man as Culture is here seen as a creation of “an environment that grows and nourishes the individual” of culture (P. Florensky), as a space that ensures the formation of humanity in a person and as a norm of activity

Consequences for pedagogy of such an understanding of culture: culture as a source of goals and values, a prescription for what children should master and what they should become. Therefore, the phases of culture, you need to know, understand, cherish, create, join them, master them, be proud of them. And orientation towards the ^gensities of culture, and to

the organization of a cultural environment worthy of a person is significant for the pedagogical processes of upbringing, training, and development.

So, the concept of culture carries the following meanings for musical education:

■ understanding music as a value;

■ the child’s self-worth;

■ priorities of his creativity, freedom, independence;

■ dialogical nature of pedagogical interaction.

Art has always occupied an important place in the development of the culture of society, since with its help the spiritual experience of humanity is transmitted, contributing to the restoration of ties between generations. By its nature, it can effectively help a child:

■ build a holistic picture of the world;

■ learn to make decisions in a wide range of life situations;

■ overcome negative emotional experiences.

The task of introducing preschool children to musical culture stems from the complementarity of education and culture, the interpretation of education as a form of cultural transmission and the realization of its creative potential, and culture, in turn, as the most important condition for personal development and improvement of the educational process.

Education and culture are two spheres through which the process of human development takes place. They are closely related to each other.

Education is considered as a sociocultural system,

• ensuring cultural continuity and development of human individuality, as a way of preparing a person for a successful existence in society and culture. Reflecting the state, trends and prospects for the development of society and its culture, education strengthens the established cultural and educational traditions of its people and forms an attitude towards it in the minds of the younger generation. It is education that ensures the continuity of cultural traditions. Tradition makes it possible to preserve and transmit cultural values from generation to generation through upbringing and education.

Culture is the most important condition for personal development

• and improving the educational process, the source of goals and values for raising children. The vision of education through the prism of the concept of culture, i.e. a cultural approach to it means understanding it as a cultural process taking place in an educational environment, all components of which are filled with human meanings and serve a person who freely expresses his individuality, the ability for cultural self-development and self-determination in the world of cultural values.

MUSICAL SUBCULTURE OF CHILDHOOD

The concept of children's subculture has emerged in recent decades in connection with the growth of humanization and democratization of public life, leading to the recognition of the intrinsic value of childhood in the development of universal culture. Children's subculture (from Latin sub

- pod and
cultura
- cultivation, education, development) - in a broad sense - everything that is created by human society for children and by children; in a narrower sense - the semantic space of values, attitudes, methods of activity and forms of communication carried out in children's communities in a particular historical social situation of development.

Yu. B. Aliev points to the following components of the children's musical subculture:

■ internal acceptance or rejection of certain genres and types of musical art;

■ the direction of musical interests, tastes and needs of the children's community;

■ children's perception of various types, genres and samples of “adult” music;

■ children's musical and literary folklore;

■ rules and norms of behavior in the process of musical activity.

The relationship between adult culture and children's subculture is complex and ambiguous. Children's musical culture is close not to the musical culture of adults, but to traditional oral culture, in which music is organically included in everyday life. The child does not isolate music as a separate phenomenon of existence. Spontaneous musical manifestations characteristic of children's culture, scientists believe, are much more consistent with the concept of “game” than the traditionally “adult” idea of music

iii. Variability can be traced in almost all genres of children's subculture (a child can offer several versions of one text), a change in the position of each child, and exercise in different types of behavior. The zone of variable development is a zone of a child’s openness to the perception of other cultural traditions, communication with them in the mode of “dialogue of cultures” (V.S. Bibler).

What is the position of the teacher in relation to the children's musical subculture? Some experts believe that in the process of musical education and development, its features should be taken into account, which will make it possible to focus on the “real” child with his values and preferences, and not replicate pedagogical stereotypes (“you should only listen to artistic music”, “you should definitely listen to the work very carefully”). carefully and necessarily to the end”, etc.).

The teacher-musician, unfortunately, is often not perceived by the child as a person involved in the children's community, that is, first of all, as a person who plays with them, as an emotionally interested interpreter of the musical events of the surrounding life that the child constantly encounters and which he interested.

At the same time, the teacher must take an active position in relation to the children's subculture, teaching children genres of children's folklore, taking care of the quality of the music that children listen to and perform.

INDIVIDUAL MUSICAL CULTURE OF PRESCHOOL CHILDREN

In music preschool education, the concept of musical culture is developed by O. P. Radynova. Based on the principles of psychology on the role of activity in personality development, the author identifies several components in the structure of a child’s musical culture:

■ musical activity (perception, performance, creativity, musical and educational activities);

■ knowledge, abilities and skills (performing - singing, rhythm, playing musical instruments; creative - perception, expressive performance, productive creativity; experience of perception; general knowledge about music);

■ musical-aesthetic consciousness

(aesthetic need, interest in music; aesthetic emotions, experiences, feelings; aesthetic assessment, taste) (Diagram 9).

The basis of a child’s individual musical culture is his musical and aesthetic consciousness, which is formed in the process of musical activity. The elements of musical-aesthetic consciousness that appear in preschool age are still indicative in nature and in content do not fully correspond to the analogous elements of the musical-aesthetic consciousness of an adult. In addition, such elements of consciousness as ideals, views, theories are inaccessible to preschool children.

Musical and aesthetic consciousness manifests itself and develops unevenly at different stages of a child’s life. Its components are closely intertwined with each other by external and internal connections and form a single system. The main means of formation of musical-aesthetic consciousness and musical culture in general is music itself. The author notes that the level of musical and aesthetic consciousness depends on the development of musical abilities and on the general development of children.

The initial forms of musical-aesthetic consciousness are revealed early. Up to 3 years

musical emotions and the need for music are formed, and the simplest judgments appear.

From the age of 4, children show interest in music and certain types of musical activities.

From the 6th year, the ability of motivated assessment and the beginning of musical taste are formed. Children can already more consciously control their performance, talk about the means of musical expression, using some musical and aesthetic terms. This creates the preconditions for conscious perception of music.

The tasks of educating the beginnings of musical culture are solved through the formation of children’s aesthetic attitude to music and musical activity.

At an early stage of a child's life (up to about 2

-
3
years) the foundations of musical culture are laid.
Musical activity should be aimed at accumulating musical impressions and developing certain skills. The child’s consciousness is still almost not involved in this process and is manifested only by an intuitive need for musical sounds, the satisfaction of which is expressed by emotional reactions. During this period, it is still difficult to identify the components of musical and aesthetic consciousness. However, it is precisely at this age (up to 3 years) that it is important to create conditions for children to perceive artistically valuable examples of musical heritage and feasible musical activities. Around the 4th - 5th year of life, certain elements of the child’s musical and aesthetic consciousness begin to emerge - interest in music and musical activities, emotional reactions and experiences become stable, and primary assessments become deeper. The child tries to play music more consciously. The aesthetic beginning of consciousness is revealed with the first assessments of a musical work. Evaluation is manifested in answers to questions, for example: “Why do you like this song (dance, play)? ", "What mood prevails in her? ", etc. Already at 4 years old a child can, albeit naively, answer these questions; a 5-year-old child is able to give a more reasoned answer.
In the process of education, knowledge about music is enriched and musical impressions are accumulated. When evaluating musical works, children rely on their own experience. Statements about the works listened to testify to the vividness of imagination and fantasy. Children who have accumulated some musical impressions and performance skills are able to listen more attentively, to feel more deeply not only the general mood of the work, but also its individual contrasting parts. Possessing some vocabulary of musical and aesthetic terms, they can characterize the changing moods in a work, highlight its parts, compare and contrast several works by similarity and contrast, etc.

Thus, the musical culture of a child is associated with the discovery of the values of works of musical art and cannot be thought of outside the value parameter.

I INTRODUCING PRESCHOOL CHILDREN TO FOLK MUSICAL CULTURE

The first type of culture that a child is introduced to in infancy is folk culture. Perceived through lullabies, nurseries, nursery rhymes, jokes, and dance songs, it lays the foundation for the moral health of children.

One of the distinctive features of folklore is that it is not so much an art as a part of the life of the people. Since ancient times, music has been a natural necessity for man, a form of expression. It was not created for listening and lived in action: play, ritual, work. That is why the musical principle in folklore was not separated from dance, gestures, exclamations, and facial expressions.

The relationship between a child and music differs significantly from the relationship between an adult and music. Music, like no other art, is organic to the nature of a child. The child does not isolate music as a separate cultural phenomenon; it is naturally included in his everyday life, is an expression of his “I” in the unity of words, intonation, and movement. According to researchers of children's creativity, the difference between the musical culture of children and adults is comparable to the difference between written and oral culture (E. I. Nikolaeva).

Researchers of folk art V. N. Vasilenko, M. A. Nekrasova, E. A. Flerina and others note that it has a number of characteristic features:

■ traditional;

■ communication skills;

■ the collective nature of creativity; perfection of language; humanity; connection with surrounding life; festivity as an optimistic perception of the world.

Folklore as an artistic tradition of the people combines the relationship of the individual and the collective. Collectivity in folklore acts as a form of manifestation of tradition: tradition lives by collectivity, and the collective is united by tradition. At the same time, the stability of traditions does not negate the variability and improvisation of its performers.

Children's musical folklore is extremely diverse in theme and content, musical structure, composition, and nature of performance. Researchers distinguish its groups: calendar, funny

and
gaming.

The specifics of folklore determine the features of the methodology for introducing children to it. The basis of the methodology is set by the idea of traditionality: life in line with folk tradition with its ritualism, giving a person the opportunity to gain experience of the integrity of being.

Teaching and educational influences are organically woven into the way of life, into the annual cycle of holidays, into rituals and traditional ways of work and rest, into folklore forms and necessarily take into account the authority of elders (I. A. Kolesnikova).

Teaching children folklore is based on: performance; creation;

hearing; musical and educational activities of children. Their specificity is the fusion of performance and creativity into musical and folklore activities based on improvisation - the search for game and dance movements, the creation of versions of melody performances, and playing folk instruments.

When mastering folk culture, the task is not to learn a certain number of works, but to create an atmosphere

in which these works can arise and exist, becoming part of the child’s life.

M. V. Khazova formulates the principle of “end-to-end education” when mastering musical folklore. Taken from life, it is based on the repetition and periodicity of ritual songs, dances, and nicknames, which children have the opportunity to live for several years, participating in them from year to year.

It is advisable to work simultaneously with children of different ages, in which the younger ones, imitating the older ones, master increasingly complex material, and the older ones pass on what they have learned to the kids and take care of them.

Musical folklore is an integral part of folk culture, therefore, when mastering it, one should rely on the traditions of folk pedagogy. In public education, great importance is attached to the personality of the adult organizing this activity—to special ethnopedagogical qualities. This is the cult of the child, mother, ancestors, love for the native word, native nature, for the homeland (G. N. Volkov), love for folk art, respect for folk traditions and spiritual values of the people (M. G. Kharitonov).

Folk pedagogy has long used a variety of methods of education: example, demonstration, teaching, well wishes, prayers, blessing, request, advice, preaching, commandment, approval, repentance, repentance, reproach, persuasion, prohibition, coercion, etc.

In general, folk pedagogy, as defined by G.N. Volkov, is the pedagogy of national salvation, the universal wisdom of education, the pedagogy of universal love.

The author formulates the “golden rule” of folk pedagogy: “Without memory (historical) there are no traditions, without traditions there is no culture, without culture there is no education, without education there is no spirituality, without spirituality there is no personality, without personality there is no people as historical personality."

QUESTIONS AND TASKS

1. What is the humanitarian essence of musical culture?

2. Describe the children's musical subculture.

3. What is the structure of a child’s musical culture and the logic of its formation?

4. Describe the features of the method of introducing preschool children to folk musical culture.

5. Write an essay on the topic “Teacher as a person of culture.”

6. Analyze O.P. Radynova’s program “Musical Masterpieces” and formulate the features of the method of introducing children to world musical culture.

7. Collect a “pedagogical piggy bank” of calendar, funny and game folklore. Differentiate the collected material taking into account the age capabilities of the children. Plan options for using it in kindergarten.

Carl Orff system

The German composer Carl Orff, a contemporary of D. Kabalevsky, came up with a system of musical education, which, like the Russian composer’s system, is designed not for a select few, not for those with special musical training, but for all children. Its essence is in the development of creative imagination, in elementary music-making. In playing the simplest, mainly percussion, noise musical instruments. Moving to the music. In dramatizing children's songs and fairy tales. That is, what children especially love and do with pleasure. Moreover, such dances and movements are accompanied not only by playing percussion musical instruments (drums, spoons, xylophone, etc.), but also by “sounding gestures” - clapping, slaps on the hips, stamping feet, snapping fingers, clicking the tongue and so on.

All this not only turns music-making into a joyful, exciting activity, but also forms creative imagination, instills a love of singing, and develops a sense of rhythm. To understand how exactly you can use K. Orff’s method, let’s give a specific example.

Song-game “Good Beetle”

All of you have known this song from childhood to the music of E. Schwartz from the movie “Cinderella,” but just in case, let’s recall the words:

Stand up children, stand in a circle, Stand in a circle, stand in a circle. Once upon a time there lived an old beetle, a good old friend! He never grumbled, screamed, or squeaked. He crackled his wings loudly and forbade quarrels.

Stand up children, stand in a circle, Stand in a circle, stand in a circle. You are my friend and I am your friend, Old faithful friend. We fell in love with a beetle, an old man, a good man, That beetle has a very light soul.

Stand up children, stand in a circle, Stand in a circle, stand in a circle. You are my friend and I am your friend, good old friend!

Carl Orff's system is designed for the participation of several children, but by showing some imagination, we can easily apply its elements in classes with one child - your son or daughter. What is needed for this?

Come up with dance moves together (we emphasize - together) with your child. For example: a step to the side - a stampede. A step in the other direction is a flood. At the chorus there is clapping of hands. Movements imitating a beetle. For example, you jump, hunched over, on bent legs, with your toes raised like horns.
Accompanying dancing and singing by playing any noise instruments and (or) some “sounding gestures” that we have already talked about.
Try to play with the plot. For example, to the words “stand in a circle,” move in a circle.

Fathers and mothers (grandmothers, grandfathers) also “fall into childhood,” which is sometimes pleasant - they dance and sing along with the child. Move like this, and real fun will come to the house.

Musical development of preschoolers

Musical development is very important for any child. And this does not mean at all that it is necessary to raise a brilliant musician from a baby from the cradle, but it is within our power to teach him to listen, understand music, and enjoy it. When should musical development begin and what should it consist of?

Musical development contributes to the holistic formation of a child’s personality. While listening to music, the central nervous system and muscular system develop, the process of socialization is facilitated, artistic thinking and a sense of beauty develop.

From birth to 2 years

As you know, auditory perception (unlike visual perception) is very well formed by the time the baby is born. While still in the mother's tummy, the baby hears her voice. The child repeats human speech and animal sounds. Inanimate nature (the knock of a door, for example) does not interest him at all. Researchers have noted that the babble of all children in the world is the same, regardless of what language is spoken around them. Turning to rattles, it is worth noting that they produce a wide variety of sounds - dull, crackling, like maracas, or ringing, like a bell. When purchasing them, try to select as wide a range of sounds as possible. Invite your baby to compare the sounds of different rattles. Currently, electronic musical toys (mobiles, musical mats, electronic pianos, etc.) occupy a large niche in the children's goods market. It is important that the music played is recognizable and of good quality. It is also valuable that in order to extract a sound (melody), the baby will need to perform an action - hit a key, turn a lever, touch a toy, etc. This will contribute to the formation of cause-and-effect relationships at the “response-stimulus” level, thereby developing the cerebral cortex.

For a very young child, you intuitively offer calm lullabies before bedtime, and playful and rhythmic songs while awake. A two-year-old child can be asked to choose for himself which option from the proposed musical excerpts is most suitable, for example, for charging. Explain what the expression “doing to music” means. Children will understand its meaning perfectly if they do not hesitate to exaggerately seriously depict marching movements to Grieg’s music. It turns out? No. Movements to this music should be smooth and measured. Of course, you can use recordings of songs from cartoons. But don’t be lazy to add variety. Children respond very well to “soft” jazz compositions (with an easily discernible main theme). It is good to offer them before going to bed. For example, works such as “Summertime” by J. Gershwin, “Hosanna,” and almost any work by Weber are suitable. From the repertoire of classical music, you can stop at Beethoven’s “Fur Elise” and the 14th Sonata (Lunar), Griboedov’s waltzes, Glinka’s nocturnes, Grieg’s “Peer Gynt”, Massenet’s “Elegy”.

For an active pastime, take the Italian polka and Rachmaninoff’s 14th concerto, Mozart’s Turkish rondo, Khachaturian’s waltz to the drama “Masquerade,” and a joke from Bach’s orchestral suite. Nowadays there are a great variety of thematic CDs with recordings of musical works arranged for children. These are variants of popular works without chords and second themes that are difficult for a child’s ear. Almost the same melody sounds. At any age, it is pleasant and useful for a person to listen to recordings of the sounds of nature - a babbling stream, a raging sea, rustling rain... But do not forget the immutable rule - talk to your child about what he heard. Ask your child if he liked it, what he thought about while listening, what feelings he experienced. After all, it may turn out that he has unpleasant associations. Discuss everything you heard for the first time, paying attention to the emotional side (what feelings, images arise).

2–3 years - first instruments

We have already become proficient in listening to music, and the good old, but already boring rattles are being replaced by real musical instruments. In this age range, it would be most optimal to pay attention to familiarization

baby
with musical instruments .

Drum

, you can be sure it will be received with a bang. Invite the young drummer to slap the drum with his palm, then tap with his finger; the surface can be stroked. Beat the drums; Although the baby is not yet able to do such exercises, by doing this you will expand the range of sounds produced for him and stimulate interest in further manipulations. The chopsticks should be put aside for now to avoid injury.

Then we offer a tambourine

- in fact, a complicated version of the drum - you can beat and ring.
Show your baby how to accompany any melodies. There are many accompaniment options. The simplest one is hitting the downbeat—places that sound stronger and clearer. For example, “There was a grasshopper sitting in
the

grass
,
just like a
little
cucumber
,
”
and
the trembling of bells for drawn-out vowels. “The Waterman’s Song” is perfect, in particular the phrase “I’m dying to fly” or “Winged swing”, that is, slow melodies. These musical instruments are the best way to show what tempo and rhythm are. Kids perceive the association with steps well. Top... Top... Top... (pause for 2-3 seconds). Top. Top. Top (at normal pace, without pauses). Top-top-top they ran (quickly). Now also with your fingers on the drum/tambourine. Check if your baby understands you by listening to children's songs. They tend to exhibit a distinctly fast or slow tempo. In the first case, “Or maybe a crow”, “Little Red Riding Hood’s Song”, “Dance of the Little Ducklings” are suitable. The slow pace is perfectly illustrated by “Song of the Waterman”, “Song of the Turtle and the Lion Cub”, “Lullaby of the Bear”. It is important that listening to children's songs initiates the baby's singing activity, promotes speech development, and enriches the passive vocabulary. Attempts to sing along will contribute to the development of the articulatory apparatus, and correlating the musical theme with your favorite cartoon will create a positive mood and improve your emotional state. Children usually do not hesitate to sing out loud, unless “kind” adults once said something unflattering about such singing. Do not allow this to happen, otherwise you will have to correct the mistakes you have made - fearlessly demonstrate your love of singing by personal example. The next step is to show different sound durations and rhythms. So, with your left hand, beat the drum slowly and rhythmically (every two seconds), then add your right hand (every second). We get one blow with the left - two blows with the right. Now invite your baby to “replace” your left hand - first let him put his palm on top and feel the rhythm, then quietly remove your palm. And before us is a tandem of drummers! Then you change “scores”, speed up or slow down the tempo, change the beat ratio (1:4), etc.

And now - spoons

. You don't even need to buy them. There are probably a couple of wooden spoons around the house. Fold them with the back sides, fasten the ends for convenience with an elastic band. It is quite enough for initial acquaintance. You need to hold the spoons by their fastened tips, without squeezing them too tightly, otherwise, when squeezed, they will not make a knock. It is not so easy for children to grasp spoons correctly; it is much more common to grasp them more tightly, like a rattle. You will need to achieve some relaxation. The sound of spoons is traditionally combined with folk songs and chants, but almost any rhythmic melody will do (“Dance of the Little Ducklings”, “Antoshka”, “If only there were no winter”).

If you suddenly find a ratchet

, you can also offer it to your child. Just like spoons, this instrument requires some coordination of movements to produce sound. This requires coordinated work of the muscles of the hand and forearm. Playing the rattle is convenient to accompany chants and ditties (you can use “Ditties of grandmothers hedgehogs”).

After 3 years

You can offer your baby
a metallophone .
Melodic scales can inspire children's creativity - their little ears have never heard anything like this. It should be taken into account that the stick should be held lightly, without squeezing, otherwise the sound will not be clear. The kids don’t “catch” this moment right away, but over time everything will start to work out.

4 years - listening to music

The four-year-old listener is already quite experienced, still inquisitive, restless and impatient. Right now you should spend most of your time listening to music.

. While listening to a piece of music, your child will easily understand the tempo and identify the instruments he knows. It's time to expand his horizons and introduce him to new musical instruments. This will allow you to use an important mental function when listening to music - analysis, which is necessary for the mental development of the baby. With new knowledge, the child is ready to attend the conservatory. You can anticipate your cultural journey by watching videos of concerts, analyze and discuss what you hear. Music, it turns out, can tell a lot about itself. Not only about tempo, rhythm and composition of instruments. Let's get acquainted with the words “major” and “minor”. The antonyms fun - sad will help make them accessible to the child’s understanding. And offer to determine which work is suitable for what. For minor, you can take “The Doll’s Disease” by Tchaikovsky, and for major, “Turkish Rondo” by Mozart. Major is always confident, joyful, flaunting, minor is sad. It is even easier for children to determine the nature of music as follows: major - you want to laugh, minor - you want to cry. The baby needs to choose what is best to do while listening to the music and “make a diagnosis.” To consolidate this material, it is good to practice on the following pieces of music. Minor - “The First Loss” by Schumann, “Dance of the Little Swans” by Tchaikovsky, Russian folk song “A Birch Tree Stood in the Field.” Major - “Italian Polka” by Rachmaninov, “Clowns” by Kabalevsky, “Chunga-Changa”. Now the words sound even more strange, but they are even easier to explain: staccato - sharp, jerky and legato - smooth, slow. When performing staccato, each sound “speaks” separately, waits for its turn, and in the case of legato, the sounds “flow” into one another. For example, “There was a birch tree in the field” is an obvious legato, the song “Smile” is an undeniable staccato.

And, of course, it is worth organizing acquaintance with a wider range of musical instruments. The kid is already familiar with the drums. From the keyboard

It is quite possible to show a piano, mention the organ, harpsichord (the child will see them at the conservatory).
wind
group It would be good if, along with the sound, you could show an image of the instrument. Before going to the conservatory, tell your child about the rules of behavior in this place. Explain that it is not customary to talk, get up, or make noise during a performance. For beginners, subscriptions to short-term concerts are offered. You can visit the concert hall of the Russian Academy of Music. Gnesins. It hosts Sunday afternoon concerts; Among other works, sketches by Liszt (for example, “Round Dance of the Dwarves”), Grieg’s music for Ibsen’s play “Peer Gynt”, and Saint-Sane’s “Carnival of the Animals” are performed. It will be very nice if, during the first visit to the conservatory, the child hears already familiar works - this will make it possible to more clearly appreciate the difference between playback from a disk and “live” sound. For your first visits, you can choose a cycle of plays by Kabalevsky, works of small forms by Mozart, and folk songs. Next, choose the musical fairy tale “The Wolf and the Seven Little Goats”, the operas “The Tale of the Dead Princess and the Seven Knights”, “Rikki-Tikki-Tavi”, “Flint”. No less interesting for your child will be a visit to the Russian Center for Museum Pedagogy of Children's Creativity at the State Russian Museum. You can go there with a two-year-old child, for example, for the “At the Art Museum with Mom”, “Games with Sounds and Colors” subscription. For 4-year-old children, we offer the “Meetings with the Beautiful” subscription. At the Moscow International House of Music, children and their mothers will be offered a fabulous concert “The Little Humpbacked Horse” and “The Tale of Tsar Saltan” based on the opera of the same name by Rimsky-Korsakov. At the Moscow New Opera Theater named after. E. V. Kolobova will present the opera “Cat’s House” to the attention of young listeners. You can also visit the children's musical theater named after. N. Sats with a rich repertoire of performances for children. Interesting performances can be seen at the “Experiment Kommersant” musical theater. The most successful productions are “A Kitten Named Woof”, “The Flying Ship”, “The Cat Who Walked By Itself”.

At the age of 4 years, it is useful to become acquainted with such a technique as meditation to music. Quite recently, the crisis of three years has passed (or you are still in the process), the baby is aware of himself in the world around him separately from you, feels like an independent person, but this is not so simple. Try meditating with your child. An important condition is a balanced, calm emotional state of the parents. Choose calm, transparent music, without disturbing sounds. Recommended works: compositions by Kitaro, “Spectral Suite” by Steve Halpern, “Evening Serenade” by Schubert, “Song of Solveig” by Grieg. You will also need soft pastel or oil pencils and a sheet of paper. Meditation time is 20–30 minutes. Place your baby in a cozy, warm place, dim the lights, turn on your chosen music and start telling a story. Something like this: “It was a long time ago (or just recently). In a distant country lived the Sun and Light. They loved each other very much. And when they had Ray, they were happy. The little ray grew very quickly, warmed everyone with its warmth and gave joy to those around it. He was taught by the best sages, and he began to understand the language of animals and birds, the language of wind and waves. .. When Luchik grew up, he decided to go traveling to help everyone else. And while wandering, I saw a wonderful house with music playing in it. He went there and saw what he needed so much...” Now invite the child to draw what Ray saw. What he really needs himself. If the child doesn't want to draw, let him tell. In this exercise, music helps the child relax, identify with the hero of the fairy tale, and therefore feel loved and happy. This image of family has a positive impact, the journey illustrates reasonable independence.

5–6 years old - everything is “grown-up”

At the age of 5–6 years, the creative spirit in children is literally in full swing, but at the same time they are already much more disciplined than a year or two ago. Creating and making noise is an urgent need for a preschooler. So it's time to move

from listening to
playing .
We invite you to organize a musical noise orchestra.
This is a fairly noisy event, which will require background music, which will create the necessary mood and set the rhythm. African or Japanese drums and maracas are suitable. The process of making instruments is no less fascinating. Cans of water, glass and plastic bottles with peas, beans, buckwheat, tambourines, spoons, a comb, buckets, rubber balls, even an abacus will come in handy. Anything that can be used to produce at least some sound will do. Having staged a piece of music, we listen to it, delve into it, and create the mood. After that, we try to complement the sound on our own. It’s better to try all the instruments, then give out preferences. Perhaps at first the baby will not get any melody. If he's just hitting with tools, don't interrupt the action. This is a great way to get rid of negative emotions and unwind. Next time the process of synthesis and creation will begin. The lesson will be more effective if two or three children take part in it. The work becomes more complicated, but the number of tasks to be solved also increases. We'll have to learn to listen to each other. For you, this is an opportunity to assess the emotional state of your child and give him the opportunity to improvise. At this age, we continue to expand the repertoire of musical works that can be offered to the child for listening. You need to select musical pieces according to the baby’s mood; you can positively influence his emotional state. For 5–6 year old children,

when overworked - “Morning” by Grieg, “Polonaise” by Oginsky;
in a bad mood - “To Joy” by Beethoven, “Ave Maria” by Schubert.
for severe irritability - “Pilgrim Choir” by Wagner, “Sentimental Waltz” by Tchaikovsky.
with decreased attention - “The Seasons” by Tchaikovsky, “Moonlight” by Debussy, “Reverie” by Schumann.

Based on this list, you can supplement it, taking into account the tastes and needs of your baby.

Source: magazine “Baby and Mom” No. 11, 2007

Maria Montessori system

Just a few words about the wonderful Italian teacher Maria Montessori (1870-1952). Maria was the first female doctor in Catholic Italy. She was not a musician, but for many years she ran a kindergarten, worked with children with disabilities, had a keen sense of child psychology and understood that music was an important component of education. Its main pedagogical principles are the interest of children and their free choice. In her kindergarten, Maria turned to the system of musical education that was closest to her. Towards the Carl Orff system. At the same time, she introduced some original features into the Orff system. This always happens when two viable systems come into contact: one feeds the other. Montessori considered the most important task of parents to be to organize a developing space for the child . So that everything he needs is at hand. Next, the baby will make his choice. In our case, the musical instruments recommended by Carl Orff were laid in front of the child, and he himself chose the one he liked best. At the right time for him.

In addition, Mary was a believer and believed that children most accurately and adequately express the plan of God, the plan of the Creator, and they are able to find their own path. Parents are more observers than educators.

MAGAZINE Preschooler.RF

Article “The role of music education in kindergarten”

Music is the only art that penetrates the human heart so deeply that it can depict the experiences of these souls. Stendhal

Music as an art form opens up a person’s opportunity to explore the world and develop in the process of learning, acquiring certain knowledge, skills, and abilities, forming musical thinking and imagination.

Music is the art of direct and strong emotional impact, which provides incomparable opportunities for the development of human creativity, especially the personality of a child. “People need all types of music - from the simple tune of a pipe to the sound of a huge symphony orchestra, from a simple popular song to Beethoven’s sonatas...” wrote D. D. Shostakovich. [1, p. 57]

Musical education is associated with general cultural and moral issues. Scientists have proven that the more a person listens to classical music, the better he feels.

Classics have a beneficial effect on both the physical and moral state of a person. It has also been proven that a classical piece can control a person’s mood. There is music inside every person.

In ancient times it was believed that music was born along with the creation of the world. And a person is born and finds himself in the world of music, only someone forgets about the existence of such a world, and someone develops their abilities and remains in it. Evidence of music has reached us from ancient times. Bas-reliefs on the ruins of Assyrian temples, Egyptian frescoes and other monuments of distant times have preserved images of musicians for us. The music of Ancient Greece was of great importance for subsequent times. Greek poets did not recite their poems, but sang them, accompanying themselves on the lyre and cithara - string instruments that were the distant ancestors of the modern harp (later the lyre became a kind of emblem of music and art in general). The god Apollo, the patron of art, was usually depicted by the Greeks with a cithara. The ancient Greeks were the first in history to create a theory of education based on the principles of harmony and comprehensiveness. These principles were developed in political and ethical treatises by Plato and Aristotle. The thinker and philosopher Plato in his books “The State” and “Laws” assigns the first (among other arts) role to music in educating a young man into a courageous, wise, virtuous and balanced person, that is, an ideal citizen.

The philosopher and thinker Aristotle judges the purpose of music much more broadly, arguing that it should serve not one, but several purposes and be used usefully:

for the sake of education,
for the sake of cleansing,
for the sake of intellectual development, that is, for the sake of calm and relaxation from intense activity...” [2, p. 203].

He says: “...Music is capable of having a certain effect on the ethical side of the soul; and since music has such properties. It is obvious that it should be included among the subjects of youth education” [3, p. 197].

The goals of the school education system in Athens were aimed at the harmonious and comprehensive development of the spiritual and physical powers of youth. A harmoniously and comprehensively developed person is the central theme of ancient Greek art. Aristophanes, characterizing the best people of the state, points out that they were “educated in the palaestra, in choirs and in music ,” and believes that musically educated citizens should be at the head of the people. The Greek word “musike” (the art of the muses) meant the entire field of literature, science, and art, which was in charge of the muses.

Modern psychological and pedagogical research has convincingly shown that only through contact with genuine art does it become possible to cultivate a love for music, the ability to perceive it, develop the ability to feel and understand its content, develop fantasy and imagination.

The relationship and interdependence of progressive changes in personality and musical-emotional development, the role of music in the aesthetic, intellectual, moral development of children has been proven by researchers in the field of pedagogy, psychology, musicology, theory and practice of music education - B.V. Asafiev, N.A. Vetlugina , L.P. Pechko, Belinsky, N. Shatskaya, B.M. Teplov, etc. E. Vodovozova (Ushinsky’s student) attached great importance to the development of hearing, as the basis for cultivating a love of music. She couldn’t imagine working with children without music. N. Shatskaya saw the main task of general musical education as being, with the help of art itself, to raise people who understand music and who receive true joy from communicating with it.

In this regard, the intensive development of musical perception in children should be considered a priority task.

Music occupies a special, unique place in raising children. This is also explained by the specifics of this art form.

Music is called “the mirror of the human soul,” “emotional knowledge.” B. M. Teplov wrote: “music reflects a person’s attitude to the world, to everything that happens in it and in the person himself. And our attitude is, as you know, our emotions. This means that emotions are the main content of music. Which makes it one of the most effective means of shaping the emotional sphere of a child.

Everyone has an ear, it just needs to be developed. The child is able to feel the character and mood of a piece of music, empathize with what he hears, and show an emotional attitude. Understand the musical image, notice the good and the bad.

Children are able to listen, compare, and evaluate the most striking, understandable musical phenomena from an early preschool age. Vivid works of art expressing a world of deep feelings can evoke an emotional response in a little person. By influencing the aesthetic side of the soul, they subsequently become a source and means of education.

In the words of D. Shostakovich: “Music is a wonderful, unique language that combines an expressive, bright melody, harmony, and a unique rhythm.” Every child has their own interest in music. Gives preference to any musical genre or works. Just as children learn to read, write, and draw, so they gradually learn to appreciate music, listen carefully, and note the dynamic development of images.

Musical taste gradually develops, the need to communicate with music arises, artistic experiences become more subtle and varied. The perception of music is closely related to the mental process, i.e. it requires attention, observation, intelligence, makes you think, and fantasize.

Musical classes are a cognitive, multifaceted process that develops the artistic taste of children, fosters a love for the art of music, shapes the moral qualities of an individual and an aesthetic attitude towards the world around them.

The role of music in the formation of the spiritual image of a child’s personality is unique: in the education of emotions and feelings. Tastes, beliefs in the worldview and moral development of a person, it is in many ways irreplaceable, since it influences the most subtle strings of the soul. “Love and study the great art of music. It opens up to you a whole world of high feelings, passions, thoughts. It will make you richer, cleaner, more perfect. Thanks to music, you will find new strengths in yourself that were previously unknown to you. You will see life in new tones and colors . D. D. Shostakovich [4, p. 25].

Literature:

Polovinkina L.A. The role of music in the education and development of a child // Young scientist. - 2015. - No. 22. 3. - pp. 15-16.

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Zoltán Kodály system

The remarkable Hungarian composer, like D. Kabalevsky, attached great importance to the musical education of children.
Here are some of the main provisions of his system. There are no non-musical children. Non-musical adults are those whose musicality was not noticed or developed in childhood. Therefore, Kodaly, who enjoyed great authority in Hungary, managed to achieve something that had never happened in any country in the world - music lessons in a regular, comprehensive school became daily and took more hours than all other subjects.

The main thing in musical education is singing and recording melody by ear. This is what was mainly taught in the Hungarian school. The best and most accessible instrument is the voice, Kodály believed. Therefore, singing is more important than playing an instrument.

A person's education cannot be complete without musical education. Cultivating good musical taste, according to Kodai, is not only a family matter, but the most important social and state task.

As a method of early musical education, Zoltan Kodaly suggested that educators, especially fathers and mothers, teach children to walk and clap to the rhythm of a song.

Zoltan Kodai identified four elements that distinguish a musical person from a non-musical person: developed hearing, developed intellect, developed feelings and developed hands.

Waldorf school

This pedagogical system, which emerged at the beginning of the last century under the leadership of the German teacher Rudolf Steiner, has been the subject of controversy for many years. Some believe that this system keeps children in greenhouse conditions. And it will be difficult for them when they later get into real life. Others, on the contrary, are convinced that thanks to precisely this kind of upbringing, devoid of violence against the child’s personality, truly free, harmoniously developed people grow up. For us, within the framework of the topic of musical education in the family, it is obvious that much can be borrowed from this education system. What exactly?

First emotional education - then intellectual.

In other words, music that speaks the language of emotions becomes an important basis for the early development of a child. Moreover, in Waldorf kindergartens and schools they do not specifically develop rhythm, hearing, or musical memory, but they sing a lot and move to music. In addition, all teachers working in this direction play one or another musical instrument. The simple instruments themselves (percussion, toy, noise), as we have already mentioned, lie openly and every child can play them.

Training without grades and exams.

There are children for whom grades and, especially, exams cause a negative attitude towards the learning process itself. Including music. Perhaps it is precisely the absence of an evaluative factor in the Waldorf system that contributes to the important advantage of this school: children willingly attend a school working according to the Steiner system. Unlike the usual one, which they go to without much enthusiasm. It is possible that this phenomenon (learning without grades and exams) could spread to Waldorf music schools. If only such people appeared.

Movement to music.

This is also the discovery of Rudolf Steiner. Music of a very different nature is turned on, not necessarily dance music, and the children, independently (or imitating their parents), move to it. As a rule, children do not need to be taught such movements. They come up with them themselves. The character of the music changes, the movements change. One of the authors observed this happening in a Waldorf kindergarten in Israel.

Classes took place outside in the summer. A group of children took part - 10 boys and girls from 3 to 7 years old. Here, making up the play space according to the Steiner system, stood old, discarded real things: a refrigerator, a small car, a gas stove, etc. The music turns on, and the teacher begins to move to its rhythm. Children join him. Not everyone, but only those who want to move to the music. They are the majority. The rest continue to play, joining in with the dancers from time to time. Sometimes children imitate their teacher. Sometimes to each other. The author also took part in the dance. An amazing, friendly, immediate atmosphere of communication is created. An atmosphere that is generally characteristic of a Waldorf school.

This principle of free movement to music, of course, is quite possible to apply at home.

Lots of holidays.

This is also the specificity of the Steiner School, which we recommend for every family. In Waldorf schools and kindergartens, something is constantly celebrated: the beginning and end of the season - spring, summer, winter, autumn. All kinds of national holidays are celebrated. And especially, bright and fun - birthdays. The program includes games, songs, playing musical instruments, presenting gifts, reading poetry and much more. Preparation for the holidays becomes an important part of the pedagogical process.

Article. Musical education of preschool children.

Article. Musical education of preschool children.

Musical education is the purposeful formation of a child’s personality through the influence of musical art - the formation of interests, needs, abilities, aesthetic attitude to music, and the transfer of experience of musical activity to them7. Therefore, musical education occurs in the process of the child’s assimilation of socially developed methods and actions. The ability to convey a piece of music to children, to introduce them to it, influencing their feelings and thoughts, is a noble and responsible task. The process of musical education should be led by a teacher who is professionally trained, creative in his pedagogical quests, masters the art and loves his students. The theory and practice of musical education of children is constantly being improved, and the creative experience of advanced teachers is widely generalized. The music director must improve his theoretical and professional practical level and pedagogical skills. In this case, the child successfully masters various types of musical activities, if his individual characteristics and age capabilities are taken into account. Musical development is the result of a child’s formation in the process of active musical activity. The individual characteristics of each child are of certain importance8. Development occurs: - in the field of emotions - from impulsive responses to the simplest musical phenomena to more pronounced and varied reactions; - in the field of sensation, perception and hearing - from individual distinctions of musical sounds to a holistic, conscious and active perception of music, to differentiation of pitch, rhythm, timbre, dynamics; - in the area of manifestations of relationships - from unstable hobbies to more stable interests, needs, to the first manifestations of musical taste; - in the field of performing activities - from actions of display, imitation to independent expressive and creative manifestations in singing and musical-rhythmic movement9. Musical education and development require proper organization and targeted training. Music learning is an educational process in which the teacher helps to accumulate musical experience and acquire basic knowledge. In turn, the child actively learns this. Education in general, and education in particular, should “run ahead” of development and “pull it up” with it. Musical development is determined by the process of education and training. The level of development is determined by the behavior of children in music classes, creative manifestations in independent activities. If a child, on his own initiative, willingly sings, dances, plays music and does it expressively and correctly, then we can talk about a fairly high level of musical development. It is very important in the process of musical education to take into account the characteristics and interests of each child. It is necessary to remember about an individually differentiated approach, which helps to monitor the individual development of children, to note the shifts that have occurred in their development and upbringing. During collective lessons, the teacher provides individual tasks of varying degrees of complexity, which makes them attractive to children and does not infringe on their interests. The objectives of musical education in kindergarten are subordinated to the general goal of comprehensive and harmonious education of the child’s personality and are built taking into account the uniqueness of musical art and the age characteristics of preschoolers: 1. Arouse active interest and love for music, develop its correct perception, shape the feelings and experiences of children, stimulate them moral - aesthetic experiences, the ability to be emotionally responsive. 2. Enrich musical experiences by introducing a variety of works and information about them. Z. Introduce to various types of musical activities, teach methods and skills of singing and musical and rhythmic movements, playing children's musical instruments. 4. Form children’s singing voices, achieve expressive singing, imagery and rhythm of movements, and their coordination. Accuracy in playing musical instruments. Develop musical abilities: emotional responsiveness, melodic ear, modal and rhythmic sense, timbre and dynamic ear. 5. Stimulate creative manifestations in musical activities (staging songs, improvising simple chants, movements, combining dance elements). 6. Encourage them to take independent action: express their impressions of music, perform familiar songs, and apply them in independent activities. 7. To cultivate children’s musical taste, an evaluative attitude towards the works they listen to, and towards their own performance of songs, dances, round dances, and games. These tasks are successfully solved by the time the child enters school, provided that he has been raised in kindergarten for at least 2-3 years10. The “Kindergarten Education Program” is a state document that directs all educational work towards the comprehensive development of children and preparing them for school. The organizational part of this program is a program for musical education of preschoolers. The program material is distributed by type of activity (play, activities, work, everyday life) and corresponds to seven age groups (two early childhood groups, two junior, one middle, senior and pre-school groups). Methods of musical education are defined as the actions of the teacher aimed at the overall musical and aesthetic development of the child. They are built on the basis of active interaction between an adult and a child. The methods are aimed at developing an aesthetic attitude to music, emotional response, musical sensitivity, evaluative attitude, and expressive performance. Thus, musical education and development is the way to develop a child’s creative and specially musical abilities.

Shinichi Suzuki Method

His absolutely unique method of early musical education (Dr. Suzuki began teaching children the violin at the age of two or three!) can also be said to be an established, time-tested method, because everything he did could be seen and listened to. The world was amazed by his amazing ensembles of 4-5 year old violinists from 100-200 children, who performed the music of Vivaldi, Mozart, Beethoven cleanly and synchronously.

The wonderful teacher died in 1998, and so far there are no those who could fully repeat Suzuki’s feat. Apparently, the point here is not only the uniqueness of the method, but also the uniqueness of the teacher. What is the Suzuki method? Three points can be highlighted with confidence.

All children are musical. According to the Japanese teacher (however, this is the opinion of most authors of music education systems) all children are musical. Without exception. You just need to recognize and develop their abilities in time.
The path to success is love for children. Dr. Suzuki was sure that it was impossible to succeed in musical (or in any other) education if it was not built on love for children. You can be strict and demanding, but you must love the student. It is impossible to pretend and play at love. Children subtly sense falsehood and activities that are not built on love for the child are doomed to failure. Hence the third condition.
The main teachers are parents. Because no one loves their children more than parents. Fathers and mothers became the main assistants and sometimes the main teachers for Suzuki’s students. They attended the classes. They studied at home with the children. They themselves learned to play the violin together with the children.

The purpose of music lessons with the little ones was determined by the brilliant teacher himself: “My task is not to raise a musician, but through music to raise a good, noble person.”

Musical education in a modern kindergarten. Why and is this necessary?

Musical art and its features confront the teacher with the need to solve a number of specific problems:

cultivate a love and interest in music. Only the development of emotional responsiveness and sensitivity makes it possible to widely use the educational influence of music;

enrich children’s impressions, introduce them to a variety of musical works and the means of expression used;

to introduce children to various types of musical activities, developing the perception of music and simple performing skills in the field of singing, rhythm, and playing children's instruments.

Introduce the basic elements of musical literacy.

Through music lessons, a child develops a sense of beauty and aesthetic taste, and through music the child learns about the world, people’s behavior, and life situations, which are reflected in music. It is not for nothing that Plato said: “Musical education is a much more effective tool than any other, because both rhythm and harmony penetrate into the most intimate corners of the soul, are fixed there and, with proper education, give the human soul attractiveness and grace.”

The process of musical education and the formation of the foundations of musical culture in preschool children is based on 4 main approaches:

1. Cultural

The approach ensures the development and formation of the cultural personality of preschool children.
In kindergarten and family there should be the integrity of the cultural and educational space, in which cultural creations and various cultural examples that educate a person of culture are presented .
2. Systemically active

an approach
.
Enables children to independently search for new information, which results in the discovery of new skills and knowledge.

3. The environmental
approach
includes subject-spatial, educational and developmental activities filled with artistic and figurative material and musical and aesthetic content.

4. Axiological approach

allows for the development of aesthetic emotions based on the familiarization of children with cultural and universal values.

Thus, all approaches to organizing educational activities with children in a preschool environment allow the teaching staff to provide modern quality education as a result of a comprehensive study of the individual characteristics of their students, their abilities and interests. Preschool age shows initiative and independence; mobile, masters basic movements, controls and manages them; has a developed imagination; has basic understanding of music. To develop a creative attitude towards music, primarily in such activities accessible to children as the use of new combinations of familiar dance movements, improvising chants and conveying images in musical games and round dances. This helps to identify independence, initiative, the desire to use the learned repertoire in everyday life, play music on instruments, sing, and dance.

Nikitin method

The system of early education of Boris and Lena Nikitin, who raised seven healthy, harmoniously developed, and, what is important for us, music-loving children, has been one of the most popular in Russia for more than 50 years. Here are some of its main provisions.

The first year is very important. As the Nikitins themselves said, “the year of launch.”

From birth to one year, the Nikitins “launched” all directions and, so to speak, the mechanisms of the educational process. The usual attitude among moms and dads, “Well, he’ll grow up a little bit (as a rule, this “a little bit” drags on for many years)” was excluded for Boris and Lena. Their principle is that everything starts as early as possible. What is not done today will be too late tomorrow.

Don’t push, don’t interfere, but help. This fundamental principle is quite optimistic. The main task of parents, according to Nikitin, is to create opportunities (in scientific terms, to organize a developmental environment). And then the children will move on their own.

Active physical development. Hardening, plenty of sports equipment in the house, walking barefoot, cold treatment. We stopped at this position of the Nikitin family, which seems to have no direct relation to musical education, in order to emphasize: physical education is the main thing. All other areas, including music, make sense if they do not interfere with raising a healthy child.

Parental interest. One of the most important, in the opinion of Boris and Lena, is the moment that explains why no teacher or educator can fully replace mom and dad. In other words, the higher the level of interest of elders and their love for children, the higher the result.

Pavel Tyulenev's method

Suzuki and Nikitin have followers. Including in Russia. They try to start teaching a child to play notes very early, at 2-3 years old. “Know the notes before you walk.” This is the name of the book by Pavel Tyulenev, the author of “WORLD” - a method of intellectual development, as if continuing the idea of the book by Masaru Ibuka, who describes the Suzuki method “After Three It’s Too Late.”

Unfortunately, we cannot see the results of Tyulenev’s method as clearly as in the case of Suzuki, and therefore cannot claim that his method has been time-tested. Let us highlight the basic principles on which this method is built.

Start musical education from birth. Tyulenev is based on the research of Glen Doman, director of the Institute for the Development of Human Potential (Philadelphia, USA), and other physiologists. Doman believed that “...in the period from birth to 3 years, the brain develops very quickly, and mental capabilities at this age are unique.” According to Doman and Tyulenev, what children master through play before the age of three (learning foreign languages, reading, playing musical instruments), later on they master with difficulty.

There should be a musical instrument next to the baby's crib. The best thing is a synthesizer that a small musician can reach with his hands. According to Tyulenev, such early acquaintance with musical sounds will have a positive effect on the baby.

Cards with notes and keyboard. Such cards, on which not only notes would be written, but also parts of the keyboard showing where these notes are played, should, according to the author of the method, be in the baby’s field of vision from seven to six months. Thus, early playing with notes will become as common for him as early reading.

The time of classes and their duration are determined by the child himself. Parents create conditions for the child’s development by selecting the right educational games for him. And when to use these games and for how long, the child decides independently. In general, the direct participation of parents in the educational process, according to Tyulenev, is less significant than in other pedagogical systems.

Nothing extra. Anything distracting must be carefully avoided around the child. P. Tyulenev especially warns against unnecessary toys and other things that are not related to the development of the baby.

Encourage your child to compose music. Everything that the child plays, inventing music himself, must be listened to carefully and positively assessed. This is a child's path to creativity.

Early training of Shinichi Suzuki

Methods of early learning to play musical instruments. The author began teaching children 2-3 years old to play the violin and by the age of 4-5 he had created wonderful ensembles of little performers.

The main message is based on three ideas:

All children are musical from birth; the main thing is to recognize talent in a timely manner and develop it.
Only those who love children with all their soul achieve success. Being strict and demanding, you need to have a great feeling for the child, without this nothing will work.
The best teacher is a parent. Having the proper attitude towards the baby, only a mother or father can convey to him the necessary information and teach him the necessary skills.

Training in the Suzuki technique involves daily classes, but they are aimed not so much at teaching music, but at developing a worthy and well-mannered person.

Helen Hayner Method

Helen Hayner (Elena Nikolaeva) graduated from the Moscow Conservatory in piano, later moved to the USA, where she has been working at a music school and giving private lessons for about 30 years. With the literary help of Nikolai Kuznetsov, she wrote the book “Becoming a Musician? Easy!”, in which he shares his experience of musical education. An experience that certainly has some original moments. Including those that may be of interest to moms and dads. Let's stop at them...

Raising a good music listener is more important than raising a musician. Much depends on what goals the teacher sets for himself. Hayner believes that it is not necessary to specifically set professional tasks for the student. You shouldn’t go out of your way (as is customary in Russian music schools) to try to raise your child to a professional level.

The best way for a child to develop musically is to learn the piano. Not listening to music, not singing, but learning to play the piano. Moreover, a piano (not a violin, not a recorder, not K. Orff’s noise instruments), in Helen’s opinion, is best suited for this purpose. In other words, the best music lessons are piano lessons. Everything else (playing in an orchestra, singing in a choir) is unproductive and therefore unnecessary. Hence the conclusion: all children should be taught the piano. Moreover, Helen prefers electronic piano for learning. It can be played in different voices, which is interesting for the student. You can record and listen to your child’s play on it. Which is also important.

Teach strictly following the rule: from simple to complex. This didactic principle, according to Heiner, should form the basis of learning to play an instrument. The main thing for the teacher is to find that gradual path (without jumping over steps) along which the child can slowly but surely rise to the top. This, according to the American teacher, is his art. Anything that is overly complicated will inevitably cause a young student to have a negative attitude towards classes.