"Agreed" "Agreed" "I approve" Head of the Ministry of Defense Deputy Director for SD Director of "MOU School No. 24" Z.Yu. Belousova __________ V.I. Kuznetsova _____________ A.N. Vasilyeva Protocol #1 From "" August 2012 "" August 2012 Order No. dated "" August 2012 WORKING PROGRAMM MOU "Secondary school No. 24 with in-depth study of individual subjects" Belousova Zemfira Yurievna Teachers of the first qualification category in music, 1st grade Considered at the meeting Pedagogical Council Protocol #1 From "" August 2012 2012-2013 academic year I . EXPLANATORY NOTE The working curriculum in music for the 1st grade was developed and compiled in accordance with the federal component of the state standard of the second generation of primary general education in 2010, an exemplary program of primary general education in music, taking into account the author's program in music - "Musical Art" by V.O. Usacheva, L.V. Shkolyar, V.A. schoolboy; corresponds to the Federal State Educational Standard of Primary General Education (approved by order of the Ministry of Education and Science of the Russian Federation on 06.10.2009), the textbook "Music": Grade 1, (V.O. Usacheva, L.V. Shkolyar - M .: Ventana-Graf, 2009) . Based on the requirements for the planned results of mastering the basic educational program primary general education in the sectionV"The results of mastering the subject" in the paragraphs "Subject results" and "Meta-subject results" of the goals characterizing the system of educational actions in relation to the support educational material are given in the block "The student will learn", and the goals characterizing the system of educational actions in relation to knowledge, skills, expanding and deepening the support system or acting as propaedeutics for further study of this subject are given in the block "The student will have the opportunity to learn". When describing personal results, the goals of personal development are given in the blocks "The student will be formed" and "The student will have the opportunity to form." In accordance with the Decree of the Chief State Sanitary Doctor Russian Federation dated December 29, 2010 No. 189, the city of Moscow “On approval of SanPiN 2.4.2.2821-10 “Sanitary and epidemiological requirements for the conditions and organizations of training in general educational institutions”, clause 10.10, 8 hours are allotted for non-traditional lessons inI quarters. Target setting The purpose of music lessons is to educate students in musical culture as part of their general spiritual culture, where the content of musical art unfolds before children in all the richness of its forms and genres, artistic styles and trends. Course objectives: Disclosure of the nature of musical art as a result of human creative activity; Formation of students' emotional and value attitude to music; Raising a steady interest in the activities of a musician - a person who composes, performs, listens. The development of musical perception as a creative process is the basis of familiarization with art. mastering the intonation-figurative language of music based on the emerging experience of creative activity and the relationship between various types of art. Principles underlying the construction of the program The Art of Music program is based on the following principles: Teaching music at school as a living figurative art; Elevation of the child to the understanding of the philosophical and aesthetic essence of art; Activity development of art; Modeling of artistic and creative process. II . GENERAL CHARACTERISTICS OF THE TRAINING COURSE The content of the subject "Music" was created based on the pedagogical concept of D.B. Kabalevsky, who, back in the 70s of the twentieth century, managed to formulate and implement the basic principles and methods of the music program for general education schools, which laid the foundations for developing, problematic musical education and upbringing. It is this pedagogical concept that comes from the nature of music itself and relies on music, naturally and organically connects music as an art with music as a school subject, and also naturally connects school music lessons with real life. She offers such principles, methods and techniques that help captivate children, interest them in music with its immeasurable possibilities for the spiritual enrichment of a person. The task of the subject is to introduce students to the world of great musical art, to teach them to love and understand music in all the richness of its forms and genres, to educate students in musical culture as part of their entire spiritual culture. The content of the program of the subject "Music" implements the Federal State Educational Standard of Primary General Education and is based on developing music education and active development of art. Therefore, the program and program and methodological support of the subject (textbook, notepad for musical notes, music reader and audio recordings) meet the requirements laid down in the Standard of Primary General Education: the general goals of education - focusing on the development of the personality of the student based on the assimilation of universal educational activities, knowledge and development of the world, recognition of the decisive role of the content of education, ways of organizing educational activities and interaction of participants in the educational process; the tasks of education - the development of abilities for artistic, emotional and valuable perception of music as an art form, expression in creative activity of one's attitude to the world around, reliance on subject, meta-subject and personal learning outcomes. III . THE PLACE OF THE SUBJECT IN THE CURRICULUM The systematic course of musical art is designed for 203 hours. Of them: Grade 1 - 33 hours; Grade 2 - 34 hours; Grade 3 - 34 hours; Grade 4 - 34 hours. Program training course"Music" with a volume of 33 hours a year, 1 hour a week. Studied throughout school year. IV . VALUE GUIDELINES FOR THE CONTENT OF THE SUBJECT Music lessons, as well as art education in general, by providing children with opportunities for cultural and creative activities, make it possible to make the relationship between education, culture and art more dynamic and fruitful. The mastery of music as the spiritual heritage of mankind involves the formation of the experience of emotional and figurative perception, the initial mastery of various types of musical and creative activities, the acquisition of knowledge and skills, the mastery of universal educational activities, which becomes the foundation for learning at further stages of general education, ensures the introduction of students into the world of art and understanding of the inseparable connection between music and life. Attention in music lessons is focused on personal development, moral and aesthetic education, the formation of a culture of worldview of younger students through empathy, identification, emotional and aesthetic response to music. Already at the initial stage of comprehension of musical art, younger students understand that music opens up opportunities for them to know the feelings and thoughts of a person, his spiritual and moral development, develops the ability to empathize, take the position of another person, conduct a dialogue, participate in the discussion of phenomena significant to a person. life and art, to cooperate productively with peers and adults. This contributes to the formation of interest and motivation for further mastery of various types of musical activities and the organization of one's cultural and educational leisure. The content of the training is focused on the purposeful organization and systematic formation of musical educational activities that contribute topersonal, communicative, cognitive and social development growing person. Subject "Music",developing the ability to learn designed to form in the child modern painting peace. V . PERSONAL, META-SUBJECT AND SUBJECT RESULTS OF MASTERING A SUBJECT Personal Outcomes mastering the educational program of primary general education should reflect the readiness and ability of students for self-development, the formation of motivation for learning and cognition, the value-semantic attitudes of students, reflecting their individual and personal positions, social competencies, personal qualities; the formation of the foundations of civic identity. 1. The formulation of an emotional attitude to art, an aesthetic view of the world in its integrity, artistic and original diversity. Musical art is consistently considered as a way of existence of a person as a Human, the development of his generic ability, unlike an animal, to master the world aesthetically. Each encounter with music proves to the child that it is necessary to love it, appreciate it, make music not because it is fashionable and prestigious, but because the very aesthetic view of the world is not a search for some abstract beauty and decoration of everyday life, but a disinterested and responsible existence in the human world. Schoolchildren naturally come to understand that the state of the modern culture of society depends on them today, they begin to feel themselves involved in the multiplication of the great traditions of Russian and world culture. Children get the feeling that human progress in general depends on them, and musical treasures are not only a collection of “museum exhibits”, but also a non-stop, constantly developing cultural and historical process, in which its enrichment through one’s own living creativity becomes the main thing. Attitude towards the products of children's creativity - a composed melody, a sung song, an invented dramatization, the embodiment of music in a drawing, etc. - is considered as a fact of the child's development of human culture. 2. Development of motives for musical and educational activities and the realization of creative potential in the process of collective (individual) music-making. Personal results of comprehension of musical art become an objective foundation for the development of motives for musical and educational activities. But stable motivation is formed only if the student, while studying music, understands the specific meaning of the activity of the composer, performer, listener and directly reproduces it himself. Lesson activities, the content of textbooks are one way or another aimed at one thing: to put schoolchildren in the position of musicians, reproducing or re-creating work. Hence the appeal to children: Read. See. Listen (building a culture of listening). Compose. Sing along. Tell me. "Recompose" (creative skills). Touch the keyboard with your fingers (the birth of the first musical sound). Flirt (acquaintance with folk games, ways of "entering" the game). Personal Outcomes are reflected in the individual qualitative properties of students, which they must acquire in the process of mastering the subject "Music": Personal results of mastering the MUSIC course The student will develop skills

The student will have the opportunity to develop skills

Cultivating a respectful attitude to creativity both to one's own and to other people; The ability to observe various phenomena of life and art in educational and extracurricular activities, their understanding and evaluation - the ability to navigate the cultural diversity of the surrounding reality, participation in the musical life of the class, school, city, etc .; Respect for the culture of other peoples; formation of aesthetic needs, values ​​and feelings; Mastery various methods and techniques of musical activity; Development of motives for learning activities and the personal meaning of learning; mastering the skills of cooperation with the teacher and peers; Orientation in the cultural diversity of the surrounding reality, participation in the musical life of the class, school, city, etc.; Practicing skills of independent and group work

A sense of pride in one's Motherland, the Russian people and the history of Russia, awareness of one's ethnic and national identity through the study of the best examples of folklore, masterpieces of the musical heritage of Russian composers, music of the Russian Orthodox Church, various areas of modern Russian musical art; A holistic, socially oriented view of the world in its organic unity and diversity of nature, cultures, peoples and religions based on a comparison of works of Russian music and music of other countries, peoples, national styles; Formation of the child's value orientations in the field of musical art; Development of independence in the search for solutions to various visual problems; Formation of spiritual and aesthetic needs; Education of readiness to defend one's aesthetic ideal; Formation of ethical feelings of goodwill, emotional and moral responsiveness, understanding and empathy with the feelings of other people; The development of a musical and aesthetic feeling, manifesting itself in an emotionally valuable attitude to art, understanding its functions in human life and society.

To metasubject results students include the universal methods of activity mastered by them in the study of one, several or all subjects, applicable both within the framework of the educational process and in real life situations.

1. The use of sign-symbolic and speech means for solving communicative and cognitive tasks.

Based on the characteristics of the perception of music by primary school students -

imagery, associativity, developed imagination and intuition - content

textbooks on art is based on the sign-symbolic nature of the book. Each new problem, new content gives rise to new means, requires new forms of presentation of materials: an emotionally imaginative atmosphere is created,

which would be close to children, evoke associations adequate to sounding music, would contribute to the development of musical knowledge in a certain logic; visual means are used, which contribute to the simultaneous perception of phenomena in their unity and diversity.

One of the main methods of organizing visual material is montage (flows, close-ups, multidimensionality of compositional ideas). This allows you to freely establish any connections between outwardly incompatible and seemingly incompatible phenomena, makes visible the meaningful lines of the picture, makes it possible, thanks to the associative series, to “travel” through the polyphonic fabric of the image, listen to the “sounding” picture.

2. Participation in joint activities on the basis of cooperation, search for compromises, distribution of functions and roles.

The departure from the tendencies in the practice of elementary school teaching either simplified art, or simplified teaching of art, is ensured by the fundamental principle of the content of the subject - the principle of elevating children to the philosophical content of art. At the same time, the role of the teacher follows from the very nature of art, where the universal, in the form of an artistic idea of ​​moral and aesthetic content, is embodied, broadcast and perceived as "unity in diversity" - in a variety of individual interpretations. This forces the teacher to organize the comprehension of universal ideals necessarily as an activity of equal partners in penetrating into the nature of art, into the nature of artistic creation. To do this, in the textbooks of all classes, the method of presenting the material is personified: information about the musical art, its phenomena, events, facts, concepts, formulations, designations, children receive, as it were, “from the mouth of a teacher”, the prototype of which is the teacher-educator, who, together with the children, is looking for a natural and a fun way to introduce children to music. A conversation about music is considered not only as a method of presenting material, but above all as a way of communication in collective activities, where contradictions, individual approaches and interpretations of music are a natural phenomenon in the process of approaching a common truth.

The student will learn

Regulatory UUD

Learn to work according to the plan proposed by the teacher;

To learn together with the teacher and other students to give emotionalevaluationclass activities in the lesson;

Accept and save the learning task;

Speak the sequence of actions in the lesson;

Learn to distinguish a correctly completed task from an incorrect one;

Perform learning activities in a materialized, loud-speech and mental form.

Cognitive UUD

Reflect on a piece of music as a way of expressing a person's feelings and thoughts

Establish causal relationships;

- O to navigate in their system of knowledge: to distinguish the new from the already known with the help of a teacher;

- convert information from one form to another based on the algorithms specified in the textbook and workbook, independently perform creative tasks;

Respond aesthetically to the art of music

Reflect on the images of a piece of music,

Compare various samples of folk and professional music;

Build reasoning in the form of a connection of simple judgments about an object, its structure, properties and relationships;

Make a preliminary selection of information sources: navigate in the textbook (on the spread, in the table of contents, in the dictionary);

Get new knowledge: find answers to questions using a textbook, your life experience and information obtained in the lesson;

Process the information received: draw conclusions as a result joint work the whole class;

- compare and group works of musical art (by means of musical expressiveness, genres, etc.)

Communicative UUD

Express your opinion about a piece of music

Be able to listen and understand the statements of interlocutors;

Jointly agree on the rules of communication and behavior at school and in music lessons and follow them;

Learn to work cooperatively in a group

a) learn to plan work in a group;

b) learn how to distribute work between project participants;

c) understand the overall objective of the project and accurately perform their part of the work;

d) be able to perform various roles in the group (leader, performer, critic).

Subject Requirements include the experience, mastered by students in the course of studying the subject, specific to this subject area activities to obtain new knowledge, its transformation and application, as well as the system of fundamental elements of scientific knowledge that underlie the modern scientific picture of the world.

The formation of initial ideas about the role of music in a person's life, in his spiritual and moral development.

To form initial ideas about the meaning and role of music in the spiritual development of a person, it is necessary first of all to teach children to listen and hear music, highlighting musical sounds from the general sounding stream. That is why the theme “The Art of Hearing” and its concretization is the leading theme for the musical development of students - the main theme of the 1st grade, which is continued in all subsequent classes, “How You Can Hear Music”. It allows you to give students an idea about music, its figurative nature, about the ways of embodying feelings in music, the character of a person, his relationship to nature, to life.

The section "Inner Music" is specially designed to focus schoolchildren on the processuality of their spiritual world: listening to lullabies (grade 1 as the beginning of learning about music and life), to the sublime melodic language of folk and composer instrumental and vocal works (grade 2) , in the intonation of patriotic songs (3rd and 4th grades), schoolchildren correlate emerging emotions with their own, think about the impact of music on a person.

The formation of the foundations of musical culture, including on the material of the musical culture of the native land, the development of artistic taste and interest in musical art and musical activity.

Native roots, native speech, native musical language - this is the basis on which love for Russian culture is brought up. Not only the information side of the acquired knowledge is provided, but first of all, it is provided for the children to recreate any of the aspects of musical and creative activity, rooted in folk art, for example, they

musically intonate (compose) riddles, proverbs, chants, tongue twisters in a traditional folk manner;

learn from the graphic representation of signs - letters and notes - to see and hear the meaning

objects, phenomena, human feelings, events, they try to create graphic musical and semantic correspondences themselves.

Thus, students get an idea about the origins of human creativity and the ability to express their musical thoughts in live sound and musical notation. The understanding of the unity of thought, speech, character of a person is served by the portraits of Russian people presented in the "Gallery" - musical, literary, artistic - created by itinerant artists, sounding in music, appearing on the pages of biographies and various literary and poetic works.

Development of artistic taste and interest in musical art and musical activity.

One of the central positions that develop the most important principle of D.B. Kabalevsky on the accessibility of junior students school age the highest samples of serious music and the need to educate schoolchildren on these samples of the spiritual world, is associated with an appeal to the musical classics. The music of I.S. Bach, V.A. Mozart, E. Grieg, F. Chopin, P.I. Tchaikovsky, M.P. Mussorgsky, M.I. Glinka, S.V. Rachmaninov, A.I. Khachaturian, D.B. Kabalevsky and other composers who left a noticeable mark on world musical culture.

The phenomena of art enter the child's consciousness not as something ordinary, analytical and constructive, which is memorized in order to know. The main thing here is that in the role of the “nutrient medium”, which prepares, shapes the children's perception of these phenomena, are the great creators, for whom the meaning of life becomes to live life in art. In this regard, the concept of "melody" acquires conceptual significance, defining the semantic series: compose a melody, live

melody, live melody, life in melody, melody in life.

Mastering the classical and folk music is possible only on the basis of the experience of students' creative activity - choral singing, listening to music, playing children's musical instruments.

The ability to perceive music and express their attitude to a piece of music.

The perception of music as a living figurative art, inextricably linked with life, is not only a separate section - "Listening to Music", but becomes the leading activity, manifested in choral singing, and in improvisations, and in reflections on music. Listening culture is the ability to perceive music and express one's attitude towards it; is knowledge of the basic

patterns and concepts of music as an art form (generalized knowledge,

serving as a support for perception) - composer, performer, listener, expressive and visual means musical language, song, dance, marching, intonation, development and construction of music. These meaningful lines of forming the perception of schoolchildren and their interest in the art of music are successively and consistently from class to class traced in the content of the subject. The methodological "key" to understanding the content of music is the problem of the relationship between the artistic and the ordinary. Through practical tasks (“Laboratory of Music”), schoolchildren, along with other problems, independently explore music, revealing how the ordinary becomes artistic in art.

The use of musical images in the creation of theatrical and musical-plastic compositions, the performance of vocal and choral works, in improvisation.

Relying on the principle of "figurative-playing entry into music" allows you to create situations that require children to reincarnate, work of fantasy, and imagination. Therefore, a large place in the program is given to musical games, dramatizations, dramatizations based on improvisation: the plot (fairy tale, history, bylichka) develops, affects the unity of music and text, using musical instruments.

The game as an activity in the lesson is also filled with the meaning that has always had in folk art: to perform a song means to play it.

Subject Results:

The student will learn

The student will have the opportunity to learn

Identify by ear the main genres of music

Participate in group singing

Recognize the studied pieces of music

Apply elements of musical speech in various types of creative activity

Reveal the genre beginning as a way to convey the states of man, nature;

Know about the origins of music;

Distinguish the nature of music, determine and compare the nature of music, mood.

Understand the meaning of the concepts: "composer", "performer", "listener"

Determine the character, mood, means of musical expression in musical works;

Know samples of musical folklore, folk musical traditions of the native land

To know about the ability and ways to reproduce with music the phenomena of the surrounding world and the inner world of a person

Requirements for the knowledge and skills of students by the end of grade 1

The main criteria isartistry children, which manifests itself in the readiness to enthusiastically and vividly “absorb” musical impressions, perceive musical works, show the ability to think about the origins of the origin of music and the role and significance of Man in this process, about abilities and methods (voice, playing musical instruments, movement ) reproduce with music the phenomena of the surrounding world and the inner world of a person.

first graders must solve educational and practical problems :

identify the genre beginning (song, dance, march) as a way of conveying the states of man, nature, living and non-living in the world around;

navigate the variety of musical genres (opera, ballet, symphony, concert, etc.);

to distinguish the nature of music, its dynamic register, timbre, metro-rhythmic, intonation features;

apply elements of musical speech in various types of creative activity (singing, composing and improvisation, artistic movement).

know/understand :

words and melody of the Anthem of Russia;

the meaning of the concepts: "composer", "performer", "listener";

names of studied genres and forms of music;

titles of studied works and their authors;

the most popular musical instruments in Russia.

By the end of grade 1, students shouldbe able to:

recognize the studied musical works and name their authors;

determine by ear the main genres of music (song, dance and march);

determine and compare the character, mood and means of expression (melody, rhythm, tempo, timbre, dynamics) in musical works (fragments);

convey the mood of music and its change: in singing, musical and plastic movement;

participate in collective singing;

perform several folk and composer songs (at the student's choice).

VI . SUBJECT CONTENT

Music is an ideal spatio-temporal art, therefore, a technique has been developed for using the keyboard space not to study the layout of notes, octaves, scales, chords. Picturesque scores, combining musical notation and the drawing of the keyboard itself, are designed for the fact that a child, without specific knowledge of notes, will visually “transfer” sounds from the score to a real keyboard. Consequently, the keyboard in textbooks is a canvas on which the ideal plastic and spatial musical image is concretized based on the child's own sensations of space, time, volume, movement, as well as color associations of sound.

Thus, the program and didactic material of music textbooks are based on the following principles: teaching music as a living figurative art; generalizing nature of knowledge; thematic construction of the content of education, arising from the nature of art and its laws.

Textbooks give an idea of ​​musical culture in an accessible language

multinational Russia. Here, especially at the initial stage of learning at school, it is important to develop in children the ability to observe, see and hear the world around them, to express their impressions in drawing, singing, playing elementary musical instruments, and artistic movement.

The 1st grade textbook introduces children's musical folklore (lullaby, riddles, proverbs, folk games). This allows you to naturally introduce students to more complex artistic phenomena, for example, the epic, fabulous fragments of operas (Ruslan and Lyudmila by M.I. Glinka).

The material of the textbooks is structured in accordance with the lesson planning of the program, which makes it possible to fully reveal its educational and upbringing potential. This "move" was necessary in order to convincingly show the non-randomness of the choice of educational topics, one or another "methodological key" in the development of thematic, repertoire, type of musical activity.

The development of educational topics is associated with different types of musical activities.

schoolchildren, when in their own performance they feel the important role of certain expressive means of the language of music. The textbook contains tasks that will lead the children to turn to the workbook in the form of a music notepad (BN).

Musical graphics are widely used in the presented materials. The use of musical notation does not pursue the goals of memorizing musical examples, rhythmic patterns, they rather illustrate the teacher's explanations, act as an associative frame musical phrase, melodies. The pedagogical task is to gradually make communication with musical notation familiar and natural for students, and most importantly, to teach them to find important meaningful correspondences between the audible sound of music and its expression (display) in musical notation.

Features of the program content

The structural difference of the program for the 1st grade is associated with the peculiarity of this age period, which is both a propaedeutic stage and the initial stage of the systematic formation of the musical culture of children in a secondary school.

The main and only theme of the 1st grade and the first year of music education at school is “How can you hear music”. It is viewed in each quarter from a different angle. It “highlights” one or another aspect of this fundamental skill necessary for comprehending music, and therefore it is presented in more detail - in 8 thematic blocks, and not in quarter themes.

The program and pedagogical concept of D.B. Kabalevsky is a unique legacy of Russian pedagogy, which should certainly be in the arsenal of a modern music teacher.

I Class

Theme of the lessons

Qty

hours

Planned results of mastering the material

the date of the

I quarter (9 hours)

Plan

Actually

"How Can You Hear Music"

The sound of music around.

Introduction to the problem of the birth of music. Help students think: why did a person sing, play instruments, dance, pick up a brush?

Kabalevsky D. B. "Cavalry" Composition of the song "We are walking";

Levina Z. "Squirrels" - learning and performing;

Fried Gr. "Wind" - learning and performance to reflect on the origins of musical art.

Watch the music in human life and the sound of nature;

Discuss the content of music

Choral, solo singing

The beginning of the knowledge of music.

To help the children understand that “hearing music” means listening, discovering, immersing, touching, experiencing, following, distinguishing, learning, etc.

Lyadov A. "Kikimora"

Lullabies: “The unsteady creaks”, “A dream walks on a bench”, etc. - learning and performing

Emotionally-figuratively perceive and characterize musical works.

Reveal the origins of musical art.

native roots.

Lullaby is the beginning of the knowledge of music and life. Reveal the genre beginning (song) as a way of conveying the state of a person.

Lullabies, riddles, sayings, tongue twisters

The musical-rhythmic game of Yanovskaya V. “Grandfather and the turnip” is to find the main genres of folk and professional music.

Emotionally figuratively perceive musical works.

native roots.

Development of figurative-playing vision, listening to the poetic lines of folk art in the process of performance.

Riddles, tongue twisters, incantations.

Russian folk song “As under our gates”, Ukrainian folk song “Crane”, etc. - listening, learning and performing - to distinguish sounds in height.

Use musical speech as a way of communication between people and the transfer of information expressed in sounds.

Musical-rhythmic movements

Man's world.

Round dances, invocations, jokes.

Bach J. S. "Aria" and other pieces from the "Notebook of Anna Magdalena Bach", the songs "Old House Beyond the River", "Life is Good"

Tilicheeva E. "Trees" - learning and execution

Reveal the origins

the origin of the song.

Hear, show the rhythm in the song.

Music game "Let's go to the concert hall."

The introduction of students into the sphere of folk, composer music-making in order to recreate the musical-creative process itself.

Tchaikovsky P. I. "Children's song" ("My Lizochek ..."), " Lullaby"(to the words of A. Maykov), "Mama", "Baba Yaga", "Waltz" and other pieces from the "Children's Album", fragments from the finale of Symphony No. 2

Tilicheeva E. "Trees" - performance

identify the characteristic features of genres: song, dance, march;

Identify by ear the main genres of music (song, dance and march);

Sound image of Russia.

The development of figurative - game perception of music.

Anthem of Russia, schools

The tongue twister "Quail walks", the riddle "Mountain";

Lyadov A. "Hare"

Apply elements of musical speech in creative activity

Figuratively perceive, determine their attitude to the musical phenomena of reality.

Sound image of Russia.

To acquaint with the symbols of our Motherland.

Shostakovich D. D. "The Motherland hears";

Glinka M.I. "Patriotic Song";

Russian folk songs “I see a wonderful freedom”, “From under the oak, from under the elm”;

Basner V. "Where does the Motherland begin?"

Determine the variety of musical images and ways of their development.

Sing songs expressively.

Musical art

Explanatory note

One of the leading positions that determine the content of this training course is the fundamental setting that defends the inherent value of musical art as a human creation that helps the child to know the world and himself in this world.

The goal of music lessons in elementary school is to educate students in musical culture as part of their entire spiritual culture (D. B. Kabalevsky), where the sublime content of musical art unfolds before children in all respects.

1 The program is provided with an educational and methodological kit for grade 1, including the textbook "Musical Art", a workbook, a music reader, and a teacher's guide. Authors: textbook and workbook -

O. V. Kuzmina, V. O. Usacheva, L. V. Shkolyar; program, music reader, methodological guide - V. O. Usacheva, L. V. Shkolyar, V. A. Shkolyar. Scientific adviser - Doctor of Pedagogical Sciences L. V. Shkolyar (M.: Ventana-Graf, 2000). Getting ready for publication educational and methodical sets for 2, 3 and 4 classes.

wealth of its forms and genres, artistic styles and trends.

The main tasks of music lessons:

1. Disclosure to schoolchildren of the nature of musical art as a result of the activity of a human creator.

2. Formation in students emotional and value attitude to music and life.

3. Raising a sustainable interest in the activities of a musician - a person whocomposing, performing And listening to music.

4. The development of musical perception as an emotion onal-intellectual creative process - the basis of any form of introduction to art.

5. Mastering the intonation-figurative language of music on the basis of the emerging experience of creative activity and the relationship between different types of art.

The specificity of music lessons in elementary school is to master common ways comprehension of musical art, allowing as early as possible to present in the minds of students holistic view of music to enter the problematic field of musical culture.

The basis of the program is Russian and foreign classical musical heritage, reflecting the “eternal” problems of life, a layer of folk music, musical and poetic folklore, spiritual (church) and contemporary music. When selecting musical material, an important role was played by the principle of the indispensability of this or that music for given age. Therefore, the repertoire of the program included works that play an exceptionally important role in the development of the musical culture of schoolchildren in this particular age period - the kind of music that can cause shock in the soul of a child at the age of 6-10 years.

As a methodological basis The concept of the curriculum "Art of Music" is the idea of ​​teaching art in accordance with the nature of the child, the nature of art and the nature of artistic creation. Based on this, the program is based on principles:

- teaching music at school as a living figurative art;

- elevation of the child philosophical and aesthetic essence of art (problematization of the content of musical education);

- penetration into the nature of art and its patterns;

- modeling principle artistic and creative process;

- the principle of active development of art. In this program vocal and choral performance

the activity of children, playing musical instruments, performing music in motion, listening to music act not as types of musical activity, but as forms of familiarization with music, which are only a special case in relation to performance as a category of more general order. As the types of musical activity, activity is put forward. composer, performer, listener. In music lessons, schoolchildren carry out these activities in an inseparable unity. United by the perception of music, they reflect the three conditions for the existence of music in general, the deployment of musical and artistic activity as an integral phenomenon in the unity of the process and result.

Children's creativity in the program is not a separate type of activity of students, associated primarily with the “finishing” by children of elementary rhythmic and melodic formulas, intonation patterns, as a result of which the thinking, inner hearing of music by children moves according to predetermined

lazy path and comes down to the search for "melodic clichés". Children's creativity is primarily understood as the very preparation for creativity, when the student wants and is ready to comprehend the meaning of their activity, when he has a feeling of the need to compare, correlate, choose and find something that can best express his hearing and vision of this or that phenomenon, event, fact, his own artistic attitude as a whole. It is this inner work of the student, the process of mental and real experimentation with expressive means that become more important than the final result, especially at the initial stages of entering music.

The creation of a school musical environment, when music, not in words, but in deeds, really penetrates into all pores of a child's life, not just accompanying it, but becoming a necessary and natural continuation of the human "I", is a necessary condition for art communication process became one of the leading factors in the spiritual development of the individual.

1 CLASS (30 hours)

The idea of ​​the first year of study is to give a generalized image of music, which is revealed in three meaningful meanings.

The first is connected with the origin of music as a philosophical generalization of life, as a phenomenon that objectively exists in the world regardless of our attitude towards it - whether we like music or not, but it continues to live and excite other people. Thinking about this should lead the children to an awareness (still intuitive) of the role of musical art in life in general and in the life of every person.

ka. From the very beginning, musical art is not reduced “to the capabilities of a child”, but, on the contrary, the child rises to the content level of music as “a repository of all the best that mankind has changed its mind and experienced” (V. V. Medushevsky).

The second substantive meaning is associated with the disclosure to schoolchildren of the origins of musical art, a wide variety of forms of its existence. It is characterized, firstly, by entering music through the first idea of ​​the attributes of art: content, form, language of music. Secondly, awareness of the nature of music by immersion in musical images as a certain way organized "sound matter", by tracing the process of rebirth of sound from a physical phenomenon into a musical phenomenon that carries figurative and semantic content, and by deriving musical intonations from their speech ancestral basis as special emotional characteristics.

The third substantive meaning can be defined as methodological or creative-exploratory, when schoolchildren are introduced into musical and artistic activity from the standpoint of a composer, performer, listener. These different, but at the same time, such unified generalized types of musical and artistic activity add up to the image of the muse-creator, without which music cannot appear and exist at all.

All these three positions solve the problem: to continue the natural existence for children of the seventh year of life in music. And this means that the experiments of children's creativity occupy a large place: the musicalization of riddles and proverbs, free music playing on children's musical instruments, playing songs, folk musical games, etc.

The technology of working with first-graders is based on the transfer of elementary game actions (so loved by preschoolers!) into the sphere of artistic

games. On the other hand, this path facilitates the entry of children into the problems of art, which becomes a new level in the systematic development of world musical culture.

In the program, the number of works for each class is specially given in a slightly larger volume in order to provide the teacher with the opportunity for a variable attitude to the repertoire, i.e., within the framework of this problem, choose music according to his preferences and the level of musical development of children in each class.

The origins of music (6 hours)

The study of the sound of the surrounding world: nature, musical instruments, oneself. Genres of music as historically formed generalizations of typical musical-linguistic and figurative-emotional spheres: “marching order”, “dancing man”, “song breathing”.

Experimenting with "sounding matter", in our own musical and artistic activity we are looking for the universal human origins of musical art. The essence of the musician's activity: the art of expression in musical and artistic images of life phenomena.

Ambiguity, dialectical inconsistency of life phenomena - good and evil, life and death, love and hate, beautiful and ugly, day and night, autumn and spring - the whole world is reflected in music.

The diversity and diversity of the reflection of the whole world in specific genres and forms, common and different when correlating works of small (chamber) and large (synthetic) forms: song, opera, dance, ballet, march, symphony, concert, etc.

The language of music (6 hours)

Musical and expressive means: methodical, metro-rhythmic and textural features in terms of their expressive capabilities, mode, timbre, register, numerous musical instruments. An introduction to the language of music as a sign system (of a special kind), where a sound-note appears in the same row with a letter and a number.

“To Music” by F. Schubert, “Musician” by B. Okudzha or “Music” by G. Struve - original epigraphs of musical lessons in the 1st grade.

Entry into the problems of the year begins with mu

"An old French song", "German song", "Italian song", "Waltz", "Mazurka", "Melody". Scene and choir of boys from the opera The Queen of Spades (I act); fragments from the ballet "Sleeping Beauty" - "Introduction", "Prologue", "Waltz". Finale of Symphony No. 4 (fragment). Fragments from the ballet "The Nutcracker": I act - "Departure of the guests", "Night", "Battle". Plays from the cycle "The Seasons" - "Hunting", "At the Fireside", "Snowdrop". Song "Autumn" (to the words of A. Pleshcheev).

S. Prokofiev: "March"; "March" from the opera "Love

To three oranges"; fragments from the ballet "Romeo and Juliet" - "Dance of the Knights", Juliet the Girl, Act II finale. From the ballet "Cinderella" - "Waltz" and "Midnight". Fragments from Symphony No. 7. Symphonic Tale "Peter and the Wolf". Fragments from the cantata "Alexander Nevsky" - "Battle on the Ice" and "Dead Field".

M. Mussorgsky: "The Ballet of Unhatched Chicks", "Dwarf", "Two Jews", "Baba Yaga" from the series "Pictures at an Exhibition".

D. Shostakovich: "Waltz-Joke".

S. Rachmaninov: "Italian Polka", "Prelude in G Minor".

E. Grieg: "Morning", "Spring", I part of the piano concerto.

K. V. Gluck: “Melody” from the opera “Orpheus and Eurydice”.

W. A. ​​Mozart: "Queen of the Night Aria", "Boys' Choir", "Papageno's Aria", "Papageno and Papagena Duet" from the opera "The Magic Flute".

K. Saint-Saens: "Carnival of the Animals" (at the choice of the teacher).

N. Rimsky-Korsakov: fragments from the opera "The Snow Maiden" - Prologue ("Aria and Arietta of the Snow Maiden", "Seeing Shrovetide"), "The First Song of Lel" (I act). "Three Miracles" and "Flight of the Bumblebee" from the opera "The Tale of Tsar Saltan".

Samples of classical Italian music are:

G. Bellini: "Casta diva" from the opera "Norma" Verdi: "March" from the opera "Aida".

O. Lasso: "Echo".

During the year, children sing and learn songs: “Skvorushka Says Goodbye” by T. Popatenko; "Owl

nok”, “Moth” by R. Schumann; "Pussy" V. Kalinnikova;"Polyushko-field" by L. Knipper; "Cuckoo" A. Arensky, "Long legs in the rain", "Merry

Senka" by 3. Levina; "Snowdrop" by D. Kabalevsky;

songs from the collection "Flirt" by V. Usacheva. Russian folk songs: "Along the Sea", "On the

flax meadow”, “Veisya, cabbage”, “Avsen”, “Wattle shadow, braid” (round dance), “Fortune-telling”, “Zhivaronki”, “Reap my, reap”. Acquaintance with samples of lullabies.

Folk games "Tsarevna in the city", "Kostroma". Intonation of tongue twisters "Three magpies" and "Six mice", etc.

first graders

The main criterion is the artistry of children, which manifests itself in the readiness to enthusiastically and vividly “absorb” musical impressions, to perceive works, showing the ability to think:

- about the origins of the origin of music and about the role and significance of man in this process;

- about the ability and methods (voice, playing musical instruments, movement) to reproduce with music the phenomena of the surrounding world and the inner world of a person (dialectics of expressive and pictorial in music).

- to identify the genre beginning (song, dance, march) as a means of conveying the states of man, nature, living and non-living in the world around;

- navigate the variety of musical genres (opera, ballet, symphony, etc.);

- distinguish the nature of music, its dynamic, register, timbre, metro-rhythmic, intonational features;

- consciously apply the elements of musical speech in various types of creative activity: singing, composing and improvisation, artistic movement.

2nd class (34 hours)

The idea of ​​the second year of study is expressed in the wording “How does music live?”, where the following points should be highlighted.

First. Music appears to schoolchildren as a living organism: it is born, has a certain structure (“skeleton form”), grows, develops and changes, enters into relationships with life and other forms of art. And all these properties of the living are present in any work. Without being carried away by the “direct” identification of the laws of music and life, it is realized that music is born from intonation as its generic basis and lives only in development and certain forms.

Second. The study of topics of grade 1 continues, but at a new - meaningful - level. It obliges to consider development as a unifying problem for the entire academic year, going beyond the specific musical concept. Here we are talking about the complexity of the phenomena of life and music, about the dialectic of everything and everyone in the world around us (including our own feelings).

Problematization of the content of music education

Universal in life and in music (8 hours)

From the study of the origin of language spheres (genres) common to music singing, dancing, marching as states of nature, man, art, through the relationship of similar and different, their interaction in life and in music to understanding how in music the ordinary becomes artistic. From the study of ourselves to the embodiment in music of the complexity, the richness of the inner world of man.

Music - "the art of intoned meaning" (10 hours)

Intonation as a phenomenon of human speech and music, as their semantic unit. Intonation is a "sound complex", acting as a unity of content and form. Performing intonation (reading and implementation of the author's intonation intention).

"Theme" and "Development" - the life of an artistic image (10 hours)

One of the basic concepts of music is "Theme" - the unity of life content and its intonational embodiment. The dialectic of the concept of "musical theme".

"Development" as a reflection of the complexity of life, the richness of human feelings, as a process of interaction of musical images (themes), figurative spheres (parts) on the basis of identity and contrast

(B. V. Asafiev), similarities and differences(D. B. Kabalevsky).

Development as the Formation of an Art Form (6 hours)

Form (construction of music) as a process of regular organization of the entire complex of musical means for expressing content. Historically developed musical forms - two-part, three-part, rondo, variations.

Accumulation of musical repertoire and experience of creative activity

The first intonation of L. Beethoven's Symphony No. 5 ("Pathetic") becomes the musical epigraph of the second year of study.

Entry into the problems of the year begins with music:

Introduction to J. Wiese's opera "Carmen"; Transience No. 1 and No. 5 (from the cycle of the same name by S. Pro

Kofieva).

IN flowing water sounds music:

F. Chopin: Polonaise A-dur and G-moll (from early compositions), Nocturne cis-moll, Preludes No. 7 and No. 20.

E. Grieg: Solveig's Song and Other Pieces from the Peer Gynt Suite. “I know a little girl”, “Arietta”, “Nocturne”.

77. Tchaikovsky: "Sweet Dream", "Kamarinskaya", "A Man Plays the Harmonica", "Choir" (from the "Children's Album"), "On the Troika". Finale of Symphony No. 4.

M. Mussorgsky: the scene of the Holy fool with the boys from the opera "Boris Godunov"; "For the dream to come" (from the vocal cycle "Children's").

S. Rachmaninov: “Vocalise”, “Virgin Mary, Rejoice” (from “All-Night Vigil”).

S. Prokofiev: Chatterbox.

L. Beethoven: Symphony No. 5 ("Pathetic"). M. Glinka: scene of Farlaf and Naina from the opera

"Ruslan and Ludmila". Music from the opera "Ivan Susanin": overture, "Song of Vanya", wedding scene with a choir of girls and Antonida's romance (act III), "Aria of Susanin" (scene in the forest), final chorus "Glory!".

A. Dargomyzhsky: romances "Titular Councilor", "Old Corporal".

A. Maykapar: "Orphan".

R. Schumann: piano pieces "The Poor Orphan", "Impulse" and "Why?"; Romance "Two Grenadiers"

C. Debussy: "Wind on the Plain".

G. Sviridov: "It's snowing" - cantata for children's choir on versesB. Pasternak.

S. Nikitin: the song "It's snowing" (text by B. Paster Naka).

J. S. Bach: chorale preludes Es-dur and f-moll.

N. Rimsky-Korsakov: excerpts from the opera "The Tale of the Invisible City of Kitezh and the Maiden Fevronia": spiritual verse of the kaliks of passers-by, bear fun, symphonic episode "The Battle of Kerzhents".

I. Dunaevsky: overture (from the film "Children of Captain Grant"), "Merry Wind", "Starlings flew by".

A. Borodin: romance "The Sleeping Princess"; "In the Monastery" (from the suite for piano).

F. Schubert: Trout and Variations on a Song from

piano quintet.

A fragment from the folk wedding ceremony (“Ryazan wedding” - folklore) and from the rite of the funeral service.

Throughout the year, children sing and learn songs: "Winter Evening" by P. Tchaikovsky; "Frost" A. La

dova; "Cat Sailor" M. Mussorgsky; "Piglets" by S. Prokofiev; “Why did they build a house for us?”, “Conversation with a cactus”, “The most difficult”, “Wrinkles”, “Willows”, “Lamp post” D. Kabalevsky; "Good

whelp and puppy* T. Popatenko; “Why does my winter bear sleep?” L. Knipper; children's songs Arensky

(at the choice of the teacher).

Russian folk songs: “Nochenka”, “Because of the forest, the dark forest”, “In the field there was a birch tree”, a lullaby about the Tatar full. Ovseni and Tauseni (New Year's greetings), Epiphany fortune-telling, "Mother Mary" (for Christmas) are being learned. Acquaintance with the spiritual verse "About the pigeon book".

Children listen and learn the scene of the Nurse, Fyodor and Xenia from M. Mussorgsky's opera Boris Godunov. They create independent creative works under the conditional name “Following the Footsteps of Peer Gynt”, compose music after getting acquainted with the “Magic Book” - a fragment from the fairy tale “Wild Swans di” by G. X. Andersen. Musical fairy tale "Willow and Sparrow" and "Riddles" by V. Usacheva act as a model for independent creativity de

Requirements for the level of musical development

second graders

An indicator of the successful development of children is

sustained interest in music, manifested in the readiness to explore the composer's intention as a whole in the process of tracing the live intonation development of music in a particular work, as well as in acquiring the skills of a listener's culture.

This means being able to:

- identify genre features;

- characterize intonations by emotional but-figurative system - lyrical, dramatic, tragic, comic, sublime, heroic

etc.;

- name memorized forms of music;

- determine the author and the title of a musical work by characteristic intonations (for example: Beethoven - Symphony No. 5; Grieg - "Peer Gynt"; Tchaikovsky - Symphony No. 4, etc.) and sing, conduct the main motives, melodies.

Show willingness:

- to independent creative tests: the search for one's own musical intonation, to a poetic text, to characterization of a character; creating elementary accompaniment, etc.

3 CLASS (34 hours)

The main idea of ​​the year: the reflection of the history and soul of the people in the music of Russia. Naturally, a teacher in each region of Russia will begin classes with the music that exists in the given area, with national music, gradually covering the near and far abroad and

naming how music has historically become a universal means of communication, the transfer of spiritual values.

The disclosure of the idea of ​​the year begins with monograph lessons, thanks to which schoolchildren are introduced into the intonational atmosphere of Russian classical music, into the diversity of its forms and genres. Acquaintance with it allows us to pose the main question of the year: how and why do we feel the affinity of Russian music? The answer to this requires several lines of research.

First. Immersion in the origins of the origin of folk art, in the essence of national musical art. It proceeds as a study of folklore, with an emphasis on identifying the "mechanism" of refraction in music of national character traits.

Second. The ratio of folk and composer music as two stages of the formation of national musical culture is revealed. Through their continuity (in particular, on the example of adaptations of folk music), the idea is affirmed that “music is created by the people, and we, the composers, only arrange it” (M. Glinka).

The culmination of the problems of the year is the consideration of the issue of place and significance of Russian classical music in the musical culture of the world.

Problematization of the content of music education

Characteristic features of Russian music (8 hours)

Introduction: the intonation-figurative language of the music of Glinka, Tchaikovsky, Mussorgsky (musical portraits).

The concepts of "Russian" and "Russian" are different and common. Miscellaneous: the bright polyphonic fabric of the South

Russia, the coldish modest "ligature" of the North, the special dashing, strength and harmony of the Cossack song and the "polyphony" of other musical cultures within Russia. Common - intonation roots.

Folk musical creativity -

"encyclopedia" of Russian intonation" (12 hours)

Ritualism as the essence of Russian folklore. The originality of heroism in the folk epic epic. Znamenny chant. The drawling song as a special intonation warehouse of Russian music. Ditties and suffering. dance genres. Instrumental dance tunes.

The origins of Russian classical romance (6 hours)

The intonational sphere of urban music-making: the interaction of peasant song and urban salon romance, urban lyrics (popular), old romance.

Composer's music for the church (2 hours)

Folk and professional composer music in Russian musical culture (6 hours)

Arrangements of folk songs. Rethinking the intonational sphere of Russian songwriting in the work of composers: two ways - accurate quoting and composing music in the folk spirit.

The greatness of Russia in the music of Russian classics.

Accumulation of musical repertoire and experience of creative activity

Znamenny chants and the theme of Rachmaninov's Piano Concerto No. 3 act as the musical epigraph of the year. With the same music, entry into the problems of the year begins.

Music sounds throughout the year:

M. Glinka: “Patriotic Song”, choir “Glory to you!” from the opera "Ivan Susanin"; "Kamarinskaya", "Waltz-Fantasy"; "Northern Star", "I remember a wonderful moment", "Nochenka".

P. Tchaikovsky: finale of the Symphony No. 4. “In the midst of a noisy ball”, “I opened the window”, “Nightingale”, “Was I in the field and there was no grass”, “If I knew, if I knew”; "At the stove", "On the troika". Fragment from the String Quartet No. 1 (Allegret to).

M. Mussorgsky: “With the nanny”, “In the corner”, “Beetle” (from the cycle “Children's”); the scene with the holy fool, the scene Feed the faces of Fyodor and Xenia from the opera Boris Godunov. “Bogatyr Gates” (from the series “Pictures from the Exhibition”); "Trepak" (from the cycle "Songs and Dances of Death"), "Gopak".

S. Rachmaninoff: Piano Concerto No. 3 in D minor. Romance "I fell in love with my sadness"; "Vocalise". “Now you are letting go” (from “The All-Night Vigil”).

D. Kabalevsky: Concerto for violin and orchestra (II part).

Y. Shaporin: excerpts from the cantata "On the field of Kulikovo" - "The Ballad of the Vityaz" and "Chorus of the Tatars" (as well as at the choice of the teacher).

N. Rimsky-Korsakov: "Battle at Kerzhents". Fragment of the finale of the opera "Snegurochka" (Berendey, Snegurochka, Mizgir); final chorus and song to Yarile the Sun. Symphonic picture "Sadko" and fragments from the opera "Sadko" (I and II scenes).

S. Prokofiev: “Get up, Russian people!” (from the cantata "Alexander Nevsky"). Arrangements of Russian folk songs "On the Mountain, Viburnum", "Katerina".

A. Borodin: "Lament of Yaroslavna", "Prince Igor's Aria" from the opera "Prince Igor". Symphony No. 2 "God of Tyrskaya" (I part).

A. Arkhangelsky: “I am thinking of a terrible day.”

P. Chesnokov: “May my prayer be corrected”, “For the zealous foot”.

A. Arensky: "Fantasy on the themes of Ryabinin."

A. Serov: "Eremka's Song" from the opera "The enemy's

R. Shchedrin: "Naughty ditties".

A. Lyadov: "Eight Russian folk songs" - "Kolyada-Maleda", "Long".

G. Sviridov: "Kursk Songs" (2-3 at the choice of the teacher).

B. Gavrilin: fragments from the "Russian Notebook" (at the discretion of the teacher).

V. Usacheva: "Vocalise", "Nebylshchina" (cycle "Russian Songs").

I. Stravinsky: excerpts from "The Rite of Spring" - "Game of the City" and "Spring Dances".

Wedding ceremony - Ryazan wedding.

Wedding songs:“Not in the cellar of a barrel”, “Oh, all the gossips are home”, “As if not on the bridge” (Ryazan region).

“How Ivan walks, wanders” (Ryazan region). Genuine melodies of the Ryabinin dynasty. Banner chants.

Folk epic epic: epics - “Alyosha Po povich and Tugarin (Sokolnik)”, “Oh, it was on the sea, on the sea”, “Sadko and the Sea King” (Onega antiquity).

Recruitment songs: “Oh, I flew, I flew”, “You come up, the sun is clear”, “The field is clean, Turkish”, “Soldiers, brave kids”.

Love lyrics: "There is no one, but I'm sorry"; songs performed by F. I. Chaliapin - “They don’t tell Masha”, “Night”, “Farewell, joy, my life”, “Oh, Vanya”.

Romances: “Vanya was sitting”, “I go out alone on the road”.

Chastushki: “chastushki under the tongue” - “Dudik-dudik”, etc.

Suffering.

Dance: "Kamarinskaya", "Kalinka", Cossack dance song "Kalanka". Round dances - “There was a birch in the field”, “I walk with loach”. Folk polka. Quadrille.

Instrumental dance tunes on a pity, violin, horn, harp; old tunes - "Dolgov", "Gorbatov", etc.

"Drawing", "Wedding", "Round dance" from the collection of V. Prokunin (edited by P. Tchaikovsky).

Urban lyrics (popular): “Down the mother along the Volga”, “Peddlers”, “Among the valley is flat”, “The moon shines”, “Thin mountain ash”, “Burn down, my torch”, “Evening ringing”, “Hey , uhnem”, “Dubi nushka”.

Coachmen's songs: “The steppe and the steppe all around”, “When I served as a coachman at the post office”, “Here the postal troika rushes”.

Old romance: "Oh, if I could express in sound

sundress”, “Nightingale”, “Bells”, “Little house”, “Mother dove”, “What should I live and grieve”, “Oh, time, time”, etc. (at the choice of the teacher).

During the year, children sing and learn songs: for native songs of different genres, epic melodies. Participate in the re-creation of the rituals that exist in the given region, area. They learn the folk game song “Poppy on the mountain”, through which they get acquainted with Russian ritualism. Improve performance

previously learned and loved songs.

Music. 1 class. Usacheva V.O., Shkolyar L.V.

M.: 2015. - 9 6 p.

The textbook "Music" for grade 1 complies with the Federal State Educational Standard for Primary General Education, created in accordance with the "Music" program. It is an integral part of a set of textbooks for the developing Educational System "School 2100". The textbook implements the basic principle of D.B. Kabalevsky - teaching music as a living figurative art, inextricably linked with life. Can be used as a teaching aid.

Format: pdf

Size: 13.4 MB

Download: Rghost

CONTENT
Preface 1
How can you hear music 4
Inner music 6
1. Lullaby 6
2. We add a fairy tale, we say music .. 9
3. We train our "inner music". 10
4. Playing together 12
Native speech 14
1. Dots, dashes, hooks, arcs and circles... 15
2. The spoken word and the unspoken 18
3. Do not overspeak? 22
4. Let's sing together 24
5. Portraits spoke and sang 26
Pyotr Ilyich Tchaikovsky 28
1. Childhood years 28
2. The music of P.I. lives here. Tchaikovsky. thirty
3. Magical that flower 32
3. We train our "inner music". 34
Mikhail Ivanovich Glinka 36
1. "Jingle, golden strings..." 36
2. Ruslan and Lyudmila 38
3. About the field, field 40
4. Glory! 42
Melody of Life 44
1. Cherished word 44
2. How does the music start? 46
3. Wolfgang Amadeus Mozart 48
4. Mozart composes 50
Sergei Sergeevich Prokofiev 52
Composer's childhood 52
Dear Nutcracker! 54
Journey through time and space... 56
1. We train our "inner music". 56
2. Solstice 58
3. We train our "inner music". 60
4. Two songs 62
5. We are waiting for spring, we meet birds 64
6. Other lands 66
Happiness, where are you? 70
1. Go for the Blue Bird 70
2. We train our "inner music". 72
Applications
Reading with adults
Folk tale "Kikimora" 74
We are waiting for spring 76
N.I. Sats. "Music of childhood" (chapters from the book) 78
Singing with adults 92
Happiness, where are you? 95
Teacher's word 96

Dear friends, parents, children, teachers!
You have a new textbook in your hands. The subject he teaches is "Music". This is an art without which a person has never lived and, perhaps, would not be a person. We tried to make it beautiful and a little fabulous. “But a fairy tale is a lie,” you say, “a textbook should teach!” A true story is always true. And the truth of it and our textbook is this.
In order for a miracle to happen in a fairy tale, and for you to get wonderful, beautiful music, you must, of course, work hard, but not only! Learning to play musical instruments is not easy, but almost anyone can do it. But to create from individual sounds music that other people will want to listen to many times and fall in love, only those who put something expensive and unusual into them will be able to. We hope that the textbook will tell you what it is and how it happened with composers, and maybe it will happen to you.
Read, look at musical signs, drawings, pictures, think out loud and to yourself, but most importantly - listen to all this to hear the music!
How can you still hear music?

Music work program

L.V. Shkolyar, V.O. Usacheva

1. EXPLANATORY NOTE

The program was compiled in accordance with the requirements of the Federal State Educational Standard for Primary General Education and based on the music program (authors L.V. Shkolyar, V.O. Usacheva) and is provided with teaching materials: textbooks, workbooks, methodological recommendations for teachers of the group of authors under the guidance L.V. Usacheva.

This program is intended for students in grades 1-4 of a general secondary school (OS "School 2100") and has been implemented in primary schools for 4 years.

The content of the subject "Music" was created based on the pedagogical concept of D.B. Kabalevsky, who, back in the 70s of the twentieth century, managed to formulate and implement the basic principles and methods of the music program for general education schools, which laid the foundations for developing, problematic musical education and upbringing. It is this pedagogical concept comes from the nature of music itself and relies on music, naturally and organically connects music as an art with music as a school subject, and also naturally connects school music lessons with real life. She offers such principles, methods and techniques that help captivate children, interest them in music with its immeasurable possibilities for the spiritual enrichment of a person.

Task subject - to introduce students to the world of great musical art, to teach them to love and understand music in all the richness of its forms and genres, to educate students in musical culture as part of their entire spiritual culture.

The subject of music is included in the educational field of art.

The content of the program of the subject "Music" implements the Federal State Educational Standard of Primary General Education and is based on developing music education and active development of art. Therefore, the program and program and methodological support of the subject (textbook, notepad for musical notes, music reader and audio recordings) meet the requirements laid down in the Standard of Primary General Education:

• 
  the general goals of education - focusing on the development of the personality of the student based on the assimilation of universal educational activities, knowledge and development of the world, recognition of the decisive role of the content of education, ways of organizing educational activities and interaction of participants in the educational process;
• 
  the tasks of education - the development of abilities for artistic, emotional and valuable perception of music as an art form, expression in creative activity of one's attitude to the world around, reliance on subject, meta-subject and personal learning outcomes.

The subject requirements include the experience, mastered by students in the course of studying the subject area, of activity specific to this subject area in obtaining new knowledge, its transformation and application, as well as the system of fundamental elements of scientific knowledge that underlies the modern scientific picture of the world.

1. The formation of initial ideas about the role of music in a person's life, in his spiritual and moral development.

To form initial ideas about the meaning and role of music in the spiritual development of a person, it is necessary first of all to teach children to listen and hear music, highlighting musical sounds from the general sounding stream. That is why the theme “The Art of Hearing” and its concretization is the leading theme for the musical development of students - the main theme of the 1st grade, which is continued in all subsequent classes, “How You Can Hear Music”. It allows you to give students an idea about music, its figurative nature, about the ways of embodying feelings in music, the character of a person, his relationship to nature, to life.

The section "Inner Music" is specially designed to focus schoolchildren on the processuality of their spiritual world: listening to lullabies (grade 1 as the beginning of learning about music and life), to the sublime melodic language of folk and composer instrumental and vocal works (grade 2) , in the intonation of patriotic songs (3rd and 4th grades), schoolchildren correlate emerging emotions with their own, think about the impact of music on a person.

2. The formation of the foundations of musical culture, including on the material of the musical culture of the native land, the development of artistic taste and interest in musical art and musical activity.

Native roots, native speech, native musical language - this is the basis on which love for Russian culture is brought up. Not only the information side of the acquired knowledge is provided, but first of all, it is provided for the children to recreate any of the aspects of musical and creative activity, rooted in folk art, for example, they

• 
  musically intonate (compose) riddles, proverbs, chants, tongue twisters in a traditional folk manner;
• 
  learn to see and hear the meaning of objects, phenomena, human feelings, events behind the graphic representation of signs - letters and notes, try to create graphic musical and semantic correspondences themselves.

Thus, students get an idea about the origins of human creativity and the ability to express their musical thoughts in live sound and musical notation.

The understanding of the unity of thought, speech, character of a person is served by the portraits of Russian people presented in the "Gallery" - musical, literary, artistic - created by itinerant artists, sounding in music, appearing on the pages of biographies and various literary and poetic works.

3. Development of artistic taste and interest in musical art and musical activity.

One of the central positions that develop the most important principle of D.B. Kabalevsky about the accessibility of the highest samples of serious music to primary school students and the need to educate schoolchildren on these samples of the spiritual world, is associated with an appeal to musical classics. The music of I.S. Bach, V.A. Mozart, E. Grieg, F. Chopin, P.I. Tchaikovsky, M.P. Mussorgsky, M.I. Glinka, S.V. Rachmaninov, A.I. Khachaturian, D.B. Kabalevsky and other composers who left a noticeable mark on world musical culture.

The phenomena of art enter the child's consciousness not as something ordinary, analytical and constructive, which is memorized in order to know. The main thing here is that in the role of the “nutrient medium”, which prepares, shapes the children's perception of these phenomena, are the great creators, for whom the meaning of life becomes to live life in art. In this regard, the concept of "melody" acquires conceptual significance, defining a semantic series: compose a melody, live a melody, live a melody, life in a melody, a melody in life.

Mastering classical and folk music is possible only on the basis of the experience of students' creative activity - choral singing, listening to music, playing children's musical instruments.

4. The ability to perceive music and express one's attitude to a piece of music.

The perception of music as a living figurative art, inextricably linked with life, is not only a separate section - "Listening to Music", but becomes the leading activity, manifested in choral singing, and in improvisations, and in reflections on music. Listening culture is the ability to perceive music and express one's attitude towards it; this is knowledge of the basic laws and concepts of music as a kind of art (generalized knowledge that serves as a basis for perception) - a composer, performer, listener, expressive and visual means of the musical language, song, dance, marching, intonation, development and construction of music. These meaningful lines of forming the perception of schoolchildren and their interest in the art of music are successively and consistently from class to class traced in the content of the subject. The methodological "key" to understanding the content of music is the problem of the relationship between the artistic and the ordinary. Through practical tasks (“Laboratory of Music”), schoolchildren, along with other problems, independently explore music, revealing how the ordinary becomes artistic in art.

5. The use of musical images in the creation of theatrical and musical-plastic compositions, the performance of vocal and choral works, in improvisation.

Relying on the principle of "figurative-playing entry into music" allows you to create situations that require children to reincarnate, work of fantasy, and imagination. Therefore, a large place in the program is given to musical games, dramatizations, dramatizations based on improvisation: the plot (fairy tale, history, bylichka) develops, affects the unity of music and text, using musical instruments.

The game as an activity in the lesson is also filled with the meaning that has always had in folk art: to perform a song means to play it.

The meta-subject results of students include universal methods of activity mastered by them in the study of one, several or all subjects, applicable both within the framework of the educational process and in real life situations.

1. The use of sign-symbolic and speech means for solving communicative and cognitive tasks.

Based on the characteristics of the perception of music by primary school students - imagery, associativity, developed imagination and intuition - the content of art textbooks is based on the sign-symbolic nature of the book. Each new problem, new content gives rise to new means, requires new forms of presentation of materials:

• 
  an emotional-figurative atmosphere is created that would be close to children, evoke associations adequate to sounding music, and would contribute to the development of musical knowledge in a certain logic;
• 
  visual means are used, which contribute to the simultaneous perception of phenomena in their unity and diversity.

One of the main methods of organizing visual material is montage (flows, close-ups, multidimensionality of compositional ideas). This allows you to freely establish any connections between outwardly incompatible and seemingly incompatible phenomena, makes visible the meaningful lines of the picture, makes it possible, thanks to the associative series, to “travel” through the polyphonic fabric of the image, listen to the “sounding” picture.

2. Participation in joint activities on the basis of cooperation, search for compromises, distribution of functions and roles.

The departure from the tendencies in the practice of elementary school teaching either simplified art, or simplified teaching of art, is ensured by the fundamental principle of the content of the subject - the principle of elevating children to the philosophical content of art. At the same time, the role of the teacher follows from the very nature of art, where the universal, in the form of an artistic idea of ​​moral and aesthetic content, is embodied, broadcast and perceived as "unity in diversity" - in a variety of individual interpretations. This forces the teacher to organize the comprehension of universal ideals necessarily as an activity of equal partners in penetrating into the nature of art, into the nature of artistic creation. To do this, in the textbooks of all classes, the method of presenting the material is personified: information about the musical art, its phenomena, events, facts, concepts, formulations, designations, children receive, as it were, “from the mouth of a teacher”, the prototype of which is the teacher-educator, who, together with the children, is looking for a natural and a fun way to introduce children to music. A conversation about music is considered not only as a method of presenting material, but above all as a way of communication in collective activities, where contradictions, individual approaches and interpretations of music are a natural phenomenon in the process of approaching a common truth.

The personal results of mastering the educational program of primary general education should reflect the readiness and ability of students for self-development, the formation of motivation for learning and cognition, the value-semantic attitudes of students, reflecting their individual-personal positions, social competencies, personal qualities; the formation of the foundations of civic identity.

1. The formulation of an emotional attitude to art, an aesthetic view of the world in its integrity, artistic and original diversity.

Musical art is consistently considered as a way of existence of a person as a Human, the development of his generic ability, unlike an animal, to master the world aesthetically. Each encounter with music proves to the child that it is necessary to love it, appreciate it, make music not because it is fashionable and prestigious, but because the very aesthetic view of the world is not a search for some abstract beauty and decoration of everyday life, but a disinterested and responsible existence in the human world.

Schoolchildren naturally come to understand that the state of the modern culture of society depends on them today, they begin to feel themselves involved in the multiplication of the great traditions of Russian and world culture. Children get the feeling that human progress in general depends on them, and musical treasures are not only a collection of “museum exhibits”, but also a non-stop, constantly developing cultural and historical process, in which its enrichment through one’s own living creativity becomes the main thing. Attitude towards the products of children's creativity - a composed melody, a sung song, an invented dramatization, the embodiment of music in a drawing, etc. - is considered as a fact of the child's development of human culture.

2. Development of motives for musical and educational activities and the realization of creative potential in the process of collective (individual) music-making.

Personal results of comprehension of musical art become an objective foundation for the development of motives for musical and educational activities. But stable motivation is formed only if the student, while studying music, understands the specific meaning of the activity of the composer, performer, listener and directly reproduces it himself. Lesson activities, the content of textbooks, in one way or another, are aimed at one thing: to put schoolchildren in the position of musicians reproducing or re-creating a work. Hence the appeal to children:

• 
  Read. See. Listen (building a culture of listening).
• 
  Compose. Sing along. Tell me. "Recompose" (creative skills).
• 
  Touch the keyboard with your fingers (the birth of the first musical sound).
• 
  Flirt (acquaintance with folk games, ways of "entering" the game).

Music is an ideal spatio-temporal art, therefore, a technique has been developed for using the keyboard space not to study the layout of notes, octaves, scales, chords. Picturesque scores, combining musical notation and the drawing of the keyboard itself, are designed for the fact that a child, without specific knowledge of notes, will visually “transfer” sounds from the score to a real keyboard. Consequently, the keyboard in textbooks is a canvas on which the ideal plastic and spatial musical image is concretized based on the child's own sensations of space, time, volume, movement, as well as color associations of sound.

It is envisaged that in the 3rd and 4th grade, schoolchildren, mastering musical speech, fulfill their individual projects associated with the perception of natural and life phenomena: "morning of life", "sunrise", "night", "human character" and so on.

Thus, the program and didactic material of music textbooks are based on the following principles: teaching music as a living figurative art; generalizing nature of knowledge; thematic construction of the content of education, arising from the nature of art and its laws.

The textbooks give an idea of ​​the musical culture of multinational Russia in an accessible language. Here, especially at the initial stage of learning at school, it is important to develop in children the ability to observe, see and hear the world around them, to express their impressions in drawing, singing, playing elementary musical instruments, and artistic movement.

The 1st grade textbook introduces children's musical folklore (lullaby, riddles, proverbs, folk games). This allows you to naturally introduce students to more complex artistic phenomena, for example, the epic, fabulous fragments of operas (Ruslan and Lyudmila by M.I. Glinka).

The 2nd grade textbook reveals the content of musical art through the topics “What does music talk about”, “What role does music play in a person’s life”, “What can music express (character, mood, emotions) and depict (movement, peace)”. Understanding the unity of thought, speech, character of a person will be served by the “Gallery” of portraits of Russian people, painted by Wanderers, presented in the textbook.

The 3rd grade textbook plays a culminating role as it introduces students to art through the laws of music. They get an idea about intonation as a carrier of the meaning of music, about the development of music, about the forms of its construction and the leading musical genres - from song, dance, march to opera, ballet, symphony, concert.

The 4th grade textbook gives schoolchildren an idea about composer and folk music, about the music of the peoples of Russia, near and far abroad. A “key” was found in the textbook for identifying national characteristics, characteristic features of the music of a particular people (through identity and contrast, comparison, juxtaposition of the way of life, nature, etc.).

The mastery of educational topics is associated with different types of musical activities of schoolchildren, when in their own performance they feel the important role of certain expressive means of the language of music. The textbook contains tasks that will lead the children to turn to the workbook in the form of a music notepad (BN).

Musical graphics are widely used in the presented materials. The use of musical notation does not pursue the goals of memorizing musical examples, rhythmic patterns, they rather illustrate the teacher's explanations, act as an associative frame for a musical phrase, melody. The pedagogical task is to gradually make communication with musical notation familiar and natural for students, and most importantly, to teach them to find important meaningful correspondences between the audible sound of music and its expression (display) in musical notation.

2. Description of the place of the subject in the curriculum

In accordance with the federal basic curriculum and exemplary programs of primary general education, the subject "Music" is studied from grades 1 to 4 for 1 hour per week (grade 1 - 33 hours, grades 2 - 4 - 34 hours per year, total - 135 h)

3.Features of the content of the program

The structural difference of the program for the 1st grade is associated with the peculiarity of this age period, which is both a propaedeutic stage and the initial stage of the systematic formation of the musical culture of children in a secondary school.

The main and only theme of the 1st grade and the first year of music education at school is “How can you hear music”. It is viewed in each quarter from a different angle. It “highlights” one or another aspect of this fundamental skill necessary for comprehending music, and therefore it is presented in more detail - 8 thematic blocks, and not quarterly themes.

Topics for grades 2–4 are organized into quarters. Some minor changes do not affect the main content of the program and are caused by the objective conditions for its implementation in the modern Russian school.

Sample Thematic Planning

1st grade (29 hours)

In accordance with modern requirements for the organization of the educational process of first-graders in the context of the implementation of the Federal State Educational Standard of the IEO, it is recommended to hold 4 hours of music in an unconventional form in September-October:

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MUSIC PROGRAM

L.V. Shkolyar, V.O. Usacheva

I. Explanatory note

teachers-

the concept of D.B. Kabalevsky, who back in the 70s

of the twentieth century was able to formulate and implement the basic principles and

methods of the music program for a comprehensive school,

laid the foundations for developing, problematic musical

nutrition and education. It is this pedagogical concept that comes from the nature of music itself and relies on music, naturally and organically connects music as an art with music as a school subject, and also naturally connects school music lessons with real life. She offers such principles, methods and techniques that help captivate children, interest them in music with its immeasurable possibilities for the spiritual enrichment of a person.

The task of the subject is to introduce students to the world of great musical art, to teach them to love and understand music in all the richness of its forms and genres, to educate students in musical culture as part of their entire spiritual culture.

The content of the program of the subject "Music" is implemented by the Federal State Educational Standard of Primary General Education and is based on developing music education and active development of art. Therefore, the program and program and methodological support of the subject (textbook, notepad for musical notes, music reader and audio recordings) meet the requirements laid down in the Standard of Primary General Education:

The general goals of education are to focus on the development of the student's personality based on the assimilation of universal educational activities, knowledge and development of the world, recognition of the decisive role of the content of education, ways of organizing educational activities and interaction of participants in the educational process;

The tasks of education are the development of abilities for artistically imaginative, emotional and valuable perception of music as an art form, expression in creative activity of one's attitude to the world around, reliance on subject, meta-subject and personal learning outcomes.

The subject requirements include the experience, mastered by students in the course of studying the subject area, of activity specific to this subject area in obtaining new knowledge, its transformation and application, as well as the system of fundamental elements of scientific knowledge that underlies the modern scientific picture of the world.

1. The formation of initial ideas about the role of music in a person's life, in his spiritual and moral development.

To form initial ideas about the meaning and role of music in the spiritual development of a person, it is necessary first of all to teach children to listen and hear music, highlighting musical sounds from the general sounding stream. That is why the theme “The Art of Hearing” and its concretization is the main theme for the musical development of students - the main theme of the 1st grade, which is continued in all subsequent classes, “How You Can Hear Music”. It allows you to give students an idea about music, its figurative nature, about the ways of embodying feelings in music, the character of a person, his relationship to nature, to life.

The section "Inner Music" is specially designed to focus schoolchildren on the processuality of their spiritual world:

listening to lullabies (grade 1 as the beginning of the knowledge of music and life), to the sublime melodic language of folk and composer instrumental and vocal works (grade 2), to the intonation of patriotic songs (grades 3 and 4), schoolchildren correlate emerging emotions with their own, think about the impact of music on a person.

2. The formation of the foundations of musical culture, including on the material of the musical culture of the native land, the development of artistic taste and interest in musical art and musical activity.

Native roots, native speech, native musical language - this is the basis on which love for Russian culture is brought up.

Not only the information side of the acquired knowledge is provided, but first of all, it is envisaged that children recreate any of the aspects of musical and creative activity rooted in folk art, for example, they musically intonate (compose) riddles, proverbs, incantations in the traditional folk manner, Tongue Twisters;

- they learn to see and hear the meaning of objects, phenomena, human feelings, events behind the graphic representation of signs - letters and notes, try to create graphic musical semantic correspondences themselves.

Thus, students get an idea about the origins of human creativity and the ability to express their musical thoughts in live sound and musical notation.

The understanding of the unity of thought, speech, character of a person is served by the portraits of Russian people presented in the "Gallery" - musical, literary, artistic - created by artists of the Wanderers, sounding in music, appearing on the pages of biographies and various literary and poetic works.

3. Development of artistic taste and interest in musical art and musical activity.

One of the central positions that develop the most important principle of D.B. Kabalevsky about the accessibility of the highest samples of serious music to primary school students and the need to educate schoolchildren on these samples of the spiritual world, is associated with an appeal to musical classics. The music of I.S. Bach, V.A. Mozart, E. Grieg, F. Chopin, P.I. Tchaikovsky, M.P. Mussorgsky, M.I. Glinka, S.V. Rachmaninova A.I. Khachaturian, D.B. Kabalevsky and other composers who left a noticeable mark on world musical culture.

The phenomena of art enter the child's consciousness not as something ordinary, analytical and constructive, which is memorized in order to know. The main thing here is that in the role of the "nutrient medium" that prepares and shapes the children's perception of these phenomena, great creators act, for whom the meaning of life becomes to live life in art. In this regard, the concept of “melody” acquires conceptual significance, defining a semantic series: compose a melody, live a melody, live a melody, life in a melody, a melody in life.

Mastering classical and folk music is possible only on the basis of the experience of students' creative activity - choral singing, listening to music, playing children's musical instruments.

4. The ability to perceive music and express one's attitude to a piece of music.

The perception of music as a living figurative art, inextricably linked with life, is not only a separate section - “Listening to Music”, but becomes the leading activity, manifested in choral singing, and in improvisations, and in thoughts about music. Listening culture is the ability to perceive music and express one's attitude towards it;

this is knowledge of the basic laws and concepts of music as a kind of art (generalized knowledge that serves as a basis for perception) - a composer, performer, listener, expressive and visual means of the musical language, song, dance, marching, intonation, development and construction of music. These meaningful lines of formation of the perception of schoolchildren and their interest in the musical art are successively and consistently from class to class can be traced in the content of the subject. The methodological "key" to understanding the content of music is the problem of the relationship between the artistic and the ordinary. Through practical tasks (“Laboratory of Music”), schoolchildren, along with other problems, independently explore music, revealing how the ordinary becomes artistic in art.

5. The use of musical images in the creation of theatrical and musical-plastic compositions, the performance of vocal and choral works, in improvisation.

Relying on the principle of “figurative-playful entry into music” makes it possible to create situations that require children to reincarnate, work of fantasy, and imagination. Therefore, in the program, a large place is given to musical games, dramatizations, dramatizations based on improvisation: the plot (fairy tale, story, bylichka) develops, affects the unity of music and text, using musical instruments.

The game as an activity in the lesson is also filled with the meaning that it has always had in folk art: to perform a song means to play it.

The meta-subject results of students include the universal methods of activity mastered by them in the study of one, several or all subjects, applicable both within the framework of the educational process and in real life situations.

1. The use of sign-symbolic and speech means for solving communicative and cognitive tasks.

Based on the characteristics of the perception of music by primary school students - imagery, associativity, developed imagination and intuition - the content of art textbooks is based on the sign-symbolic nature of the book. Each new problem, new content gives rise to new means, requires new forms of presentation of materials:

- an emotional-figurative atmosphere is created that would be close to children, evoke associations adequate to sounding music, and would contribute to the development of musical knowledge in a certain logic;

- the means of the pictorial series are used, contributing to the simultaneous perception of phenomena in their unity and diversity.

One of the main methods of organizing visual material is montage (flows, close-ups, multidimensionality of compositional ideas). This allows you to freely establish any connections between outwardly incompatible and seemingly incompatible phenomena, makes visible the meaningful lines of the picture, makes it possible, thanks to the associative series, to “travel” through the polyphonic fabric of the image, to listen to the “sounding” picture.

2. Participation in joint activities on the basis of cooperation, search for compromises, distribution of functions and roles.

The departure from the tendencies in the practice of elementary school teaching either simplified art or simplified teaching of art is ensured by the fundamental principle of the content of the subject - the principle of elevating children to the philosophical content of art. At the same time, the role of the teacher follows from the very nature of art, where the universal, in the form of an artistic idea of ​​moral and aesthetic content, is embodied, broadcast and perceived as “unity in diversity” - in a variety of individual interpretations. This forces the teacher to organize the comprehension of universal ideals necessarily as an activity of equal partners in penetrating into the nature of art, into the nature of artistic creation. To do this, in the textbooks of all classes, the method of presenting the material is personified:

information about the art of music, its phenomena, events, facts, concepts, formulations, designations, children receive, as it were, “from the mouth of a teacher”, the prototype of which is an educator who, together with children, is looking for a natural and exciting way to introduce children to music. A conversation about music is considered not only as a method of presenting material, but above all as a way of communication in collective activities, where contradictions, individual approaches and interpretations of music are a natural phenomenon in the process of approaching a common truth.

The personal results of mastering the educational program of primary general education should reflect the readiness and ability of students for self-development, the formation of motivation for learning and cognition, the value-semantic attitudes of students, reflecting their individual-personal positions, social competencies, personal qualities;

the formation of the foundations of civic identity.

1. The formulation of an emotional attitude to art, an aesthetic view of the world in its integrity, artistic and original diversity.

Musical art is consistently considered as a way of existence of a person as a Human, the development of his generic ability, unlike an animal, to master the world aesthetically.

Each encounter with music proves to a child that it is necessary to love it, appreciate it, make music not because it is fashionable and prestigious, but because the very aesthetic view of the world is not a search for some abstract beauty and decoration of everyday life, but a disinterested and responsible existence. in the human world.

Schoolchildren naturally come to understand that the state of the modern culture of society depends on them today, they begin to feel themselves involved in the multiplication of the great traditions of Russian and world culture. Children get the feeling that human progress in general depends on them, and musical treasures are not only a collection of “museum exhibits”, but also a non-stop, constantly developing cultural and historical process, in which its enrichment through one’s own living creativity becomes the main thing. Attitude towards the products of children's creativity - a composed melody, a sung song, an invented dramatization, the embodiment of music in a drawing, etc. – is regarded as a fact of the development of human culture by the child.

2. The development of motives for musical and educational activities and the realization of creative potential in the process of collective (individual) music-making.

Personal results of comprehension of musical art become an objective foundation for the development of motives for musical and educational activities. But stable motivation is formed only if the student, while studying music, understands the specific meaning of the activity of the composer, performer, listener and directly reproduces it himself. Lesson activities, the content of textbooks, one way or another, are aimed at one thing: to put schoolchildren in the position of musicians who reproduce or re-create a work. Hence the appeal to children:

Read. See. Listen (building a culture of listening).

Compose. Sing along. Tell me. "Recompose" (skills of creative activity).

Touch the keyboard with your fingers (the birth of the first musical sound).

Flirt (acquaintance with folk games, ways of "entering" the game).

Music is an ideal spatio-temporal art, therefore, a technique has been developed for using the keyboard space not to study the layout of notes, octaves, scales, chords.

Picturesque scores, combining musical notation and the drawing of the keyboard itself, are designed for the fact that a child, without specific knowledge of notes, will visually “transfer” sounds from the score to a real keyboard. Consequently, the keyboard in textbooks is a canvas on which the ideal plastic and spatial musical image is concretized based on the child's own sensations of space, time, volume, movement, as well as color associations of sound.

It is envisaged that in the 3rd and 4th grade, schoolchildren, mastering musical speech, carry out their individual projects related to the perception of natural and life phenomena: “morning of life”, “sunrise”, “night”, “human character” and other.

Thus, the curriculum and didactic material of music textbooks are based on the following principles: teaching music as a living figurative art;

generalizing nature of knowledge;

the thematic construction of the content of education, arising from the nature of art and its laws.

The textbooks give an idea of ​​the musical culture of multinational Russia in an accessible language. Here, especially at the initial stage of learning at school, it is important to develop in children the ability to observe, see and hear the world around them, to express their impressions in drawing, singing, playing elementary musical instruments, and artistic movement.

The 1st grade textbook introduces children's musical folklore (lullaby, riddles, proverbs, folk games). This allows you to naturally introduce students to more complex artistic phenomena, for example, the epic, fabulous fragments of operas (Ruslan and Lyudmila by M.I. Glinka).

The 2nd grade textbook reveals the content of musical art through the topics “What does music talk about”, “What role does music play in a person’s life”, “What can music express (character, mood, emotions) and depict (movement, peace)” . Understanding the unity of thought, speech, character of a person will be served by the “Gallery” of portraits of Russian people presented in the textbook, painted by Wanderers.

The 3rd grade textbook plays a culminating role as it introduces students to art through the laws of music. They get an idea about intonation as a carrier of the meaning of music, about the development of music, about the forms of its construction and the leading musical genres - from song, dance, march to opera, ballet, symphony, concerto.

The 4th grade textbook gives schoolchildren an idea of ​​compositional and folk music, of the music of the peoples of Russia, near and far abroad. A “key” was found in the textbook for revealing national features, characteristic features of the music of one or another people (through identity and contrast, comparison, comparison of the way of life, nature, etc.).

The material of the textbooks is structured in accordance with the lesson planning of the program, which makes it possible to fully reveal its educational and upbringing potential. This “move” was necessary in order to convincingly show the non-randomness of the choice of educational topics, one or another “methodological key” in mastering the thematic, repertoire, and type of musical activity.

The mastery of educational topics is associated with different types of musical activities of schoolchildren, when in their own performance they feel the important role of certain expressive means of the language of music. The textbook contains tasks that will lead the children to turn to the workbook in the form of a music notepad (BN).

Musical graphics are widely used in the presented materials. The use of musical notation does not pursue the goals of memorizing musical examples, rhythmic patterns, they rather illustrate the teacher's explanations, act as an associative frame for a musical phrase, melody. The pedagogical task is to gradually make communication with musical notation familiar and natural for students, and most importantly, to teach them to find important meaningful correspondences between the audible sound of music and its expression (display) in musical notation.

II. Features of the content of the program and thematic planning In this version of the program, the programs of the 1st-3rd grades of the three-year elementary school and the program for the 1st grade of the four-year elementary school are organically combined. Both were developed under the direction of D.B. Kabalevsky.

The structural difference of the program for the 1st grade is associated with the peculiarity of this age period, which is both a propaedeutic stage and the initial stage of the systematic formation of the musical culture of children in a general education school.

The main and only theme of the 1st grade and the first year of music education at school is “How can you hear music”. It is considered in each quarter from a different angle. It “highlights” this or that aspect of this fundamental skill necessary for comprehending music, and therefore it is presented in more detail - 8 thematic blocks, and not quarterly themes.

Topics for grades 2–4 are organized into quarters. Some minor changes do not affect the main content of the program and are caused by the objective conditions for its implementation in the modern Russian school.

The program and pedagogical concept of D.B. Kabalevsky is a unique legacy of Russian pedagogy, which should certainly be in the arsenal of a modern music teacher.

III. Approximate thematic planning Grade 1 (33 hours) No. Content blocks of the topic Problematic context of the lessons Number of p / n “How you can hear music for hours”

"Inner Music". The sound of music in the environment 1 Lullaby. life and within the individual.

We add a fairy tale, the music is a lullaby, a lullaby - which we say. the beginning of the knowledge of music and life.

We train our “internal art of hearing different kinds of music”. human states. Sounding Let's play together. the image of the Motherland - the house, the land of the breadwinner, Mother Russia.

Native speech. Native roots: native speech native 2 Dots, dashes, hooks, musical language, intonation of arcs and circles ... and voicing of folk riddles, Spoken word and non-proverbs, chants, tongue twisters.

known ... Do not overspeak?

Let's drink together.

The portraits spoke and sang.

Peter Ilyich Tchaikovsky.

3 Children's years. Visiting Tchaikovsky:

Music lives here The house and the music of the composer.

Biographical notes: childhood, P.I. Tchaikovsky.

That magical flower… personality traits, teachers, thoughts about training our “inner music and life.

Why we love Tchaikovsky.

nuyu music.

Mikhail Ivanovich Glinka Recreation of any of the parties 4, “Rattle, the strings of gold-musical and creative activity ...” sti, rooted in folk Ruslan and Lyudmila / creativity: we say, add, compose.

Oh field, field!

Glory! Epic as an artistic phenomenon through which you can feel the time in a different way.

The process of creating a musical and poetic work, a fairy tale, a musical and sound picture, penetrating into the essence of the characters of the created characters, finding and expressing the typical in them.

To hear the melody in music is the melody of life.

5 cherished word. to know the thoughts and feelings of a person.

How does the music start? When the greats were small.

How can a melody come about?

Wolfgang Amadeus Mozart.

Mozart composes. Flute magic.

When the greats were small.

Sergei Sergeevich Pro 6 Children's life with its typical coffee.

Childhood of the composer. situations, relationships, the Nutcracker! manifestations of feelings, behavior, humor, joys and sorrows, games.

We go to the theatre.

Travel in time and Limitless possibilities of the muse-space. ki in the display of the inner world We train our “inner-person and the surrounding life.

nuyu music. The ability of music to describe, nari Solstice. to poke, to express, to convey the state We train our “internal, etc., intonations and generalized music”. their designation in conditional notation, in Two Songs. poetic word, drawing, line, We are waiting for spring, we meet a spot. Compilation of color graphics of birds. chess scores.

Other lands. Man's expression in music of his attitude to the forces of nature, his connection with them. Russian rites:

folk songs and games dedicated to spring update life, composing a song for mom.

Children's independent composition of the musical fairy tale "Winter Road".

Happiness, where are you? Awareness of musical peculiarities 8 We follow the Blue Bird. of the fabric in its expressive meanings We train our “internals.

nuyu music. The experience of mastering the musical Happiness, where are you? language - character, tempo, melody, rhythm.

In thinking, listening and performing musical compositions by children, attention is focused on what music, a musician is.

Problems of living and inanimate, animate and inanimate, happiness in music and in life.

Reserve 9 2nd grade (34 hours) No. Topics for quarters Problematic context Number of p / p lessons hours Three whales in music - Composer, performer, listening to 1 song, dance, march. Tel. Song, dance, march as the three fundamental foundations of all music - the leading problem of the year, permeating music classes in elementary school.

Consideration of the vital connections of songs, dances and marches and their interpenetration. An ancient legend and about the "three whales" on which the Earth seems to be supported. Melody, melody is the most important part of different musical genres, the “soul of music”.

Independent recognition, identification by students of three types of music. Perception of special features and varieties of songs, dances and marches based on various forms of performing activity.

The development of hearing, memory, rhythmic feeling, the development of performing skills based on the "three whales" - song, dance and march.

What does the music say. Music expresses the feelings of a person of the 2nd century (joy, anger, sadness, anxiety, etc.), various character traits (strength and courage, tenderness and gentleness, seriousness and playfulness), creates musical portraits of people, fairy tale characters, etc. .

No. Topics by quarters Problematic context Number of p / p lessons of hours Music depicts various states and pictures of nature (sounds and noises, birdsong, murmuring of a stream, thunder and storm, bell ringing, etc.), movement (tread, step human, train movement, cavalry, etc.).

Interrelation of expressiveness and figurativeness. Similarities and differences between music and painting.

Correspondence of the nature of the students' performance of works with the nature of the music.

Where are the “three whales” leading us? An introduction to opera, ballet, symphony 3, concerto. Musical images in works of large forms.

Common and different in the nature of songs, dances, marches from operas, ballets, symphonies, concerts.

Active involvement of various forms of musical activity of children with the use of elements of theatricalization of musical works. The relationship between the nature of music and the nature of its performance.

What is musical Awareness of expressive means 4 speech. music in one or another artistic image.

Comprehension of the originality of each musical work through the features of melody, tempo, dynamics, texture, mode, rhythm, register, timbre, etc. and experience of own performing activity.

Acquaintance with the simplest musical forms (one-part, two-part, three-part) based on the laws of children's perception.

Expressive possibilities of Russian folk instruments, instruments of a symphony orchestra in creating musical images.

3rd grade (34 hours) No. Topics for quarters Problematic context of lessons Number of hours Song, dance and march marche-da, denoting the leading problem. mu of the year.

Song, dance, marching. Genre origins of the works of classical composers, folk, sacred music, works of the present. Assimilation of the theme on the music familiar to students.

No. Topics by quarters Problematic context of lessons Number of p/p hours A wide range of images and features of the musical language of compositions of different times and peoples.

Various techniques for performing song, song and dance, song and march and dance march music.

Intonation. Similarities and differences between musical and colloquial speech. Expressive and pictorial intonations Musical intonation is an "alloy"

means of musical expression. "Grain-intonation".

Improvisations using "grain-intonation" (vocal, instrumental, rhythmic, plastic). Intonational meaningfulness of the performance based on the understanding of what intonation is and how a melody grows out of it.

Musical notation as a means of fixing the features of musical speech. Formation of students' skills to sing familiar, most simple in melody and rhythm melodies and songs with a focus on musical notation.

The development of music. Composers express in their 3 works the development of human feelings, the transition from one feeling, mood to another. Music is an art that does not exist outside of time and is revealed to the listener gradually, in the process of development. Methods of performing and composing development in music.

Repetition, contrast, variation are the basic principles of development in folk music and in works composed by composers.

"Grain-intonation", theme and its development in a piece of music.

Means of musical expressiveness: melody, tempo, dynamics, rhythm, timbre, registers, mode (major, minor), etc., their role in the development of the figurative content of music.

Building (forms) of music - Changes in the nature of music and 4 ki. change of parts in a piece of music. The relationship between the content of musical images and the form (composition) of a musical composition. The principles of constructing the rondo form (contrasting comparison of the main melody of episodes) and the form of variations (gradual change in appearance, variation of one theme-melody).

No. Topics by quarters Problematic context of lessons Number of p/n hours Performance of music based on an understanding of the patterns of its development using elements of the game, theatricalization, etc.

4th grade (34 hours) No. Problematic context of lessons Themes by Number of semi-annual hours Music of my people. The trinity "composer - performer - listener" is a through line of the content of the 4th grade program. Generalization of initial ideas and knowledge about the work of classical composers, about folk music of different countries, about performers. Formation on this material of the skills and abilities of choral, ensemble, instrumental, vocal-instrumental music-making.

Inclusion in classes of samples of musical folklore (authentic, genuine and stylized), sacred music, works of the "golden fund" of Russian classics, which are mastered in various forms and types of musical performance and creative (composing, improvisation) activities of schoolchildren.

Music of the Russian Orthodox Church as part of the national artistic culture, as a "link" in the temple synthesis of the arts (word, icon painting, architecture).

"Academic" and "folk"

performance manners. Singers, ensembles, choirs. Famous performers - singers, instrumentalists, conductors, choirs, orchestras. Russian folk musical instruments (gusli, balalaika, horn, accordion, etc.). Orchestra of Russian folk instruments.

The intonational relationship of the music of Russian composers with folk musical folklore: the commonality of themes, plots, images, methods of development.

No. Problematic context of the lessons Themes by No. of semi-annual hours Between my music Each nation has its own muses 2 peoples and the music of different calic and colloquial (there is no untranslated literature of the peoples of the world) language. Wealth and manifold borders. zie musical culture of different countries and peoples.

The musical language is international, understandable to everyone without translation.

Music is a language that expresses the feelings and thoughts of people.

Variety of genres, themes, plots and images in folk and professional music of different countries and peoples.

The similarity and difference of the musical language of Russian music with the music of the near abroad, Western European music, and the music of other national schools.

Search for intonation-shaped features, characteristic features of the musical language.

Basic principles and methods of the music program for the secondary school D.B. Kabalevsky Musical education is not the education of a musician, but, above all, the education of a person.

V. A. Sukhomlinsky For many years of musical and pedagogical work with schoolchildren different ages I strove to find a pedagogical concept that would proceed from music and be based on music, which would naturally and organically connect music as an art with music as a school subject, and would also naturally connect school music lessons with real life. I tried to find principles, methods and techniques that would help captivate children, interest them in music, bring this wonderful art closer to them, fraught with immeasurable possibilities for the spiritual enrichment of a person.

The main thing I strove for was to evoke in children and adolescents a clear understanding and feeling that music (like all arts) is not just entertainment and not an addition, not a “garnish” to life that can be used or not used according to one's own discretion, but an important part of life itself, life in general and the life of every individual, including every schoolchild....

In recent program and methodological works, one can sometimes find a desire to break out of the shackles of suffocating formalism, but we will not find in them the most important thing: any methodological principles that are specific for a given subject, as it should be, i.e. for a subject that studies music as a living art....

The absence of a specific musical-educational, musical-educational methodology cannot be made up for by general didactic principles. Of course, these principles are necessary for the study of music, but if they are not imbued with the living breath of music itself, they remain an abstract scheme that eventually degenerates into dogmatic "rules of pedagogy" that can only formally "order" the learning process, but deprive it of joy. emotional fullness and thereby deprive him of the most important thing - the ability to have a beneficial effect on the spiritual world of students, on their ... morality, on their aesthetic views, on the formation of their high aesthetic taste.

Of course, all of the above applies to the teaching of any school subject, but when it comes to "art lessons", this becomes especially important.

I am convinced that attempts to create new programs, new methodological developments, new music manuals for general education schools do not lead to the desired results, primarily because these attempts are based on traditional, largely outdated principles and do not go beyond the usual, but no longer meeting the modern requirements of pedagogical ideas. Perhaps the most paradoxical thing is that in these attempts there is a desire to rely on general pedagogy, psychology, physiology, aesthetics, sociology (which in itself, of course, is natural and positive, but least of all in these attempts is there a desire to rely on the laws of the music).

We need a methodology that would help solve the fundamental problem of music lessons at school: how to interest and captivate schoolchildren with music.

The problem of interest, enthusiasm is one of the fundamental problems of all pedagogy, and its skillful solution is important for the successful conduct of classes in any school subject. But it acquires special significance in the field of art, where without emotional enthusiasm it is impossible to achieve more or less tolerable results, no matter how much effort and time are given to this.

At the same time, all the pathos of today's programs ... is directed at what and how a teacher should teach his students, the problem is, what and how should he captivate them ... in essence, it is not even touched upon. Separate, occasionally occurring remarks are too general, declarative in nature and are too rarely supported by specific recommendations ...

In my searches, I relied primarily on the musical pedagogical views of B.V. Asafiev. The starting point for me was his words: “... if you look at music as a subject of schooling, then first of all, you must categorically avert questions of musicology in this case and say: music is an art, that is, a certain phenomenon in the world, man-made, and not a scientific discipline that is taught and studied” *.

I tried to perceive the valuable that was found by the best domestic and foreign teachers not only in the field of music, but also in other areas of school education, where innovative aspirations in a number of cases have already led to very valuable results. The views and beliefs of V.A. Sukhomlinsky, which grew out of his boundless faith in the spiritual powers of children and adolescents, out of a deep, truly human respect for them. Of the musicians-teachers, first of all, V.N. Shatskaya and N.L. Grodzenskaya, who found a lot of new, progressive things in their pedagogical and scientific-methodical work. And yet... the changes being made to the program are fundamental changes.

Music lessons, without in any way denying the importance of choral singing, which develops national choral traditions, as well as the importance of studying musical literacy, set themselves a much broader task - to introduce students to the world of great musical art, to teach them to love and understand music. in all the richness of its forms and genres, in other words, to educate students in musical culture as part of their entire spiritual culture.

*** "Three whales" - song, dance, march - the three main areas of music.

Such broad definitions are applicable to each of them, * Asafiev, B.V. Selected articles on musical education and education / B.V. Asafiev. – M.;

L., 1965. S. 52.

as "area", "genre", "form", "type", "character"*. No, probably not a single program on music, not a single textbook, not a single methodological manual in which we would not find the “three whales”.

However, they have always figured... only as samples of the simplest musical forms, as the simplest genres accessible to the perception of children even at the initial stage of their musical development, but receding into the background, giving way to more complex forms and genres of music, after how they will fulfill their purely "didactic function" ....

Song, dance and march are the most widespread, the most massive, the most democratic areas of music. Many millions of people around the globe have never listened to professional music and are not even aware of the existence of musical notation and music as a profession in general, but there is hardly a person among them who has not sung a single song in his life, has not danced a single dance, participated in not a single procession to the music, at least to the rhythmic beats of folk drums.

Just as the foundation connects a house with the earth, with the soil on which it rests, song, dance and march connect everything rich in the neck, the diversely developed edifice of music with huge masses of people, with folk soil ....

Being not only the three most simple and accessible to children “forms” and “genres” of music, but also the three fundamental foundations of all music in general, the song, dance and march provide an opportunity to combine great musical art with musical studies at school, while providing the closest connection of these occupations with life**.

*** The "three whales" that form the basis of music lessons in a general education school provide a number of quite obvious advantages, which are easily revealed at the very first lessons in the first grade.

All the guys before school ... in the whole life that surrounded them from an early age, they heard and sang different songs many times;

heard dance music many times, saw people dancing and danced themselves;

You have heard marching music many times, have you seen how soldiers, athletes marched to this music ... and marched themselves. This absolutely real life experience, as a rule, is not realized by the children themselves....

* Our musicologists have repeatedly emphasized the special role of song, dance and march.

However, they were usually considered only as separate (simple) genres along with other (complex) genres - sonata, symphony, opera, oratorio, etc.

A.A. came closest to defining them as the main areas of music. Alyshvang in his monograph on Tchaikovsky.

** Recall the endless number of dance pieces by Bach and Schubert, Chopin and Grieg, Tchaikovsky and Prokofiev. Let us recall the dances and marches in almost all classical symphonies from Haydn, Mozart and Beethoven to Myaskovsky and Shostakovich. Let us recall the danceability in the music of Ravel, Bartok and Khachaturian.

And how many works can we find in all of world music where song or song is not heard!.. Let us also recall the numerous marches and marches that permeate the fabric of almost all Wagner operas, the numerous dance pieces (mazurkas, waltzes, polonaise) by Scriabin.

Relying on the "three whales" immediately introduces first-graders into three huge areas of music. Their musical horizon immediately becomes infinitely wide: after all, we are talking about all the songs, all the dances, all the marches on earth....

A specific, private concept - this song, this dance, this march - naturally fits into a broad concept - all songs, all dances, all marches. Songs, dances, marches in general.

The perception of music by first graders immediately becomes active, creative, analytical. After all, the teacher invites them to listen not to a “song”, not a “march”, not a “dance”, but music in general.

The children must (and can!) hear and determine the nature of this music and its belonging to one of the three main areas of music....

From the first lessons, first-graders learn the most important thing that a school should give students: not only to observe and sensually perceive this or that phenomenon, but also to think about it, in this case, not only to listen and hear (!) Music, but also to think about her.

Relying on the "three whales" makes it possible, from the first grade, to quietly, without much effort, enter any area of ​​​​musical art, including the most difficult areas of opera, ballet, symphony, cantata ....

Of course, in the lower grades, we can only talk about fragments from large works ......

It is important that any material used in the classroom is more or less complete. Gradually, through these fragments, students will approach the perception of large, many-part works in their holistic sound. But by this period of their musical development, the terms “opera”, “symphony”, “concert”, “cantata”, “ballet” will also become familiar to them (they will not be afraid of them, as many adults with insufficiently developed musical culture!), and they will be convinced from their own experience that the music of these large works is quite accessible to them and, like many works of small forms, is associated with the “three pillars”.

Song, dance, march become reliable bridges through which schoolchildren, not speculatively, not theoretically, but directly through their auditory perception and their performance, creatively, actively, step by step, can enter any area of ​​musical art, visually discovering at the same time how the song develops into song, the dance into danceability, the march into marching.

The reliance on song, dance and march opens up the broadest prospects for establishing diverse connections between music and all the links in the history of human society studied at school.

Enormous opportunities are already hidden in folk songs and dances - a kind of encyclopedia of the life of the peoples of the world. Composer's creativity of the past and present, domestic and foreign multiplies these possibilities many times over. Music acts here as a powerful means of not only cognition, but also the transformation of any logical fact (including any fact of history) into an emotionally inspired fact, therefore exciting and much deeper entering the consciousness.

"Three Whales" make it easier and more natural to include topics in music classes that gradually expand and deepen the musical culture of students: musical speech and colloquial speech, intonation in music, the development of music, Various types(forms) of building music, music of the peoples of Russia and the peoples of the world, etc.

In this case, a close connection arises between music and all other arts, literature above all. The task of aesthetic education is intertwined here with the tasks of humanitarian, primarily historical, education.

A detailed examination of topics that reveal the diverse vital connections of music will, of course, be included in the curriculum of the middle and senior classes, but already from the first grade one should not be afraid to resort to different kind comparisons, comparisons with going beyond music. For example, musical timbres can be likened to different colors in an artist's palette;

major can be compared with tones that are lighter, brighter, minor - with tones less bright, then darker;

punctuation marks in music can be compared with punctuation marks in colloquial speech...;

the development of music can be commensurate with the development of the text (poems) in a song, with the development of the plot in a program composition, etc., etc. phrases indicate a connection with one or another feeling or thought of a person, with one or another life (modern or historical) fact. The more various vital connections of music are revealed in the lesson, the more firmly music will enter the minds of the children as a part of life, as life itself.

Reliance on the "three pillars" establishes natural connection school music lessons with the daily life of schoolchildren.

From the first lesson of the first grade, the guys identify the "three whales" by their difference, and combine the varieties of the same "whale"

by similarity. Thus, from the very beginning, the most important principle of “similarity and difference” (according to B.V. Asafiev, “identity and contrast”) is realized, which should play a decisive role in all manifestations throughout all further musical studies, starting from the perception and awareness of the smallest “construction »elements of music up to the distinction of complete dissimilarity or, on the contrary, a significant proximity of the creative styles of different composers.

The principle of "similarity and difference" is equally important in creativity, and in performance, and in the perception of music....

This principle should be singled out as the most important for the development of not only the musical culture of students, but also their entire culture of perception of life and awareness of their life impressions, for all their educational and labor activities at school and outside of school.

It is impossible to deny the enormous role of the simple, intelligent and heartfelt words of the teacher in the teaching and upbringing work. “The teacher's word is an indispensable tool for influencing the soul of a pupil.

The art of education includes, first of all, the art of speaking, of addressing the human heart.

* Sukhomlinsky, V.A. About education / V.A. Sukhomlinsky. - M., 1979. S. 34.

At the same time, one must carefully ensure that there is not a drop of external edification and rhetoric, not a single empty standard phrase, not a single “ common word”, devoid of concrete content and emotionality....

Music and life is a general theme, a kind of super-task of school music lessons, which in no case can be singled out as an independent, more or less isolated section. It should permeate all classes at all levels from the first to last class, just as they will be permeated with the ideas of patriotism and internationalism, shaping the worldview of students, educating their morality and spiritual nobility. The musical material heard in the classroom, the teacher's comments, the observations and reflections of the students themselves, guided by the teacher - everything should help the gradual solution of this "super task". Every year the teacher can put it forward more and more boldly...

The vital material will be more than enough for all classes from the first to the last, and the teacher will be free to select it according to his own knowledge, his own interests and personal life experience.

So, studying music, children from the first grade will feel and understand that they are studying life, that music is life itself.

*** The most important feature program ... is its thematic structure. Each quarter of the academic year has its own theme. Gradually and consistently becoming more complex and deepening, it unfolds from lesson to lesson. Between four quarters and between all years of study, internal continuity is also carried out ....

The thematic structure of the program creates the conditions for achieving the integrity of the lesson, the unity of all its constituent elements, since this structure is based not on various “types of student activity”, but on various facets of music as a whole. The subordination of all lesson material to its main theme enables the teacher to freely replace one work with another, with similar artistic and pedagogical tasks.

The musical compositions included in the program should therefore be considered only as examples explaining the type, nature and degree of complexity of music that can be involved in this lesson. The knowledge and experience of the teacher will tell him what works he can include in the lessons instead of those indicated in the program. He should not be afraid of these changes: the stamp in pedagogy is always bad, but when it comes to art, it is especially bad and even dangerous.

Here, however, it should be emphasized that the selection of works for music lessons at school requires great care. If possible, each composition heard in the classroom should meet the following requirements: it should be artistic and exciting for children, it should be pedagogically appropriate (i.e., teach something necessary and useful) and should play a certain educational role ( i.e., contribute to the formation of ideological convictions, moral ideals and aesthetic taste of students). Creatively approaching the program, the teacher should in no case destroy its thematic structure, because consistent development certain topics is the foundation of this program.

At the same time, the most necessary ones are selected from the various types of educational activities in each case, and all of them are connected into a single thematic knot ... in no way in the minds of students. For them, a music lesson should always be integral, uniting all the elements included in it into a single concept: music, musical art....

Let the teacher be free from the power of a scheme that requires him to have a standard lesson plan. But the absence of a standard, a stamp, a stencil does not mean the absence of a system, and the creative freedom of a teacher is not tantamount to arbitrariness, chaos, anarchy....

The thematic construction of the program gives the teacher two significant advantages. First, he gets the opportunity to freely maneuver within the framework of the program, without going beyond the main topics. Secondly, he is armed with a “thematic compass” that helps him to see clearly the direction of his studies throughout the year and makes it easier for him to solve the very difficult task in the field of aesthetic education - establishing a criterion for requirements for students.

***... The program almost completely excludes from the initial stage of education... what is commonly called musical literacy and which, in essence, is nothing more than a simplified course of the usual elementary theory of music taught in music schools, more often of everything turning in the practice of a general education school into elementary musical notation.

There is something much more important that cannot be identified, as is often done, with musical (and especially musical) literacy: musical literacy. Musical literacy is, in essence, musical culture, the level of which is not directly dependent on the degree of assimilation of musical (notation) literacy, although it presupposes knowledge of this literacy.

Musical literacy is the ability to perceive music as a living, figurative art, born of life and inextricably linked with life, it is a “special sense” of music that makes one perceive it emotionally, distinguishing good from bad in it, it is the ability to hear the nature of music and to feel the internal connection between the nature of music and the nature of its performance, this is the ability to identify by ear the author of unfamiliar music, if it is characteristic of this author, his works with which students are already familiar. The introduction of students into this delicate sphere of musical culture requires caution, consistency and great precision in the choice of composers and their works.

The auditory experience accumulated by the children during the first two years of musical education provides a completely sufficient basis for leading students to a sense of the style of a particular composer, developing in them the ability to identify the author by new, previously unheard music.

Tchaikovsky, Beethoven and Chopin, Prokofiev, Dunaevsky and Khachaturian become the closest and most understandable composers to children in elementary school. The bright features of the work of these composers are deeply imprinted in the minds of students. Of course, at this initial stage in the development of their musical culture, these composers should be represented by the most characteristic features of creativity, the most accessible to children's perception, constituting the "core" of their creativity, although far from covering all their facets....

Moreover, by the end of elementary school, children will be able to more or less freely determine the belonging of folk music to one or another group of nationalities ...

As for the elements of music theory, it is necessary to include them in school lessons (especially in elementary school) with the utmost care, and only after the interest and love for music has been aroused in the children, the initial skills of auditory perception and performance of music have been developed, accumulated some auditory experience. In other words, in the indissoluble unity of the basic pedagogical formula "education - training" at the initial stage, the emphasis should be placed on the first part of this formula.

There should not be any rules and exercises for children, abstracted from live music, requiring memorization and many repetitions. Throughout the lesson, fascinating art should reign supreme ...

It is known that in any subject it is possible to memorize everything. However, what is memorized, as a rule, is quickly forgotten, leaving no trace either in the mind or in the soul. You can only truly remember what you truly understand. For music (in general, for art) you need even more: you can remember in music only what is understood and emotionally felt. This applies equally to the music itself, and to the word spoken about music, to the performance of music and to its hearing ....

While developing in every possible way various forms of introducing schoolchildren to music in the classroom, one should always keep in mind that any of these forms is based on an emotional, active perception of music.

This concept should by no means be equated with the term "listening to music". In using this familiar term, we must not forget all its conventionality. The perception of music cannot be reduced to one of the "activities of students", as is usually done in relation to "listening to music". Active perception of music is the basis of musical education in general, all its links. Only then can music fulfill its aesthetic, cognitive and educational role, when children learn to really hear it and think about it. Moreover, we can safely say that a person who does not know how to hear music will never learn how to perform it really well (sing, play, conduct), and all the historical and theoretical knowledge gleaned from the lessons will remain empty, formal facts, not approaching the understanding of genuine musical art.

A real, heartfelt and thoughtful perception of music is one of the most active forms of familiarization with music, because this activates the inner, spiritual world of students, their feelings and thoughts. Outside of hearing, music as an art does not exist at all. It makes no sense to talk about any impact on the spiritual world of children and adolescents if they have not learned to hear music as a meaningful art that carries within itself the feelings and thoughts of a person, life ideas and images.

Students should learn to hear music continuously throughout the lesson: both while singing, and while playing instruments, and at moments that require the most attention, concentration and tension of mental strength, when they act as the actual listener. Any form of communication with music, any musical activity teaches you to hear music, continuously improving the ability to listen and think about it.

In school music lessons, the ability or inability to hear music especially nakedly makes itself felt in choral singing.

The ability to hear oneself, one's choir mates, and accompaniment, not to mention a sense of the style of a given composer and an understanding of the characteristic features of a given work, is what must first of all be educated in students from the first grade on their own performing experience.

There are two forms of children's choir singing, between which there are significant differences, although sometimes both forms coincide: choir singing as an important part of music classes, obligatory for all schoolchildren, and choral singing as optional form children's and youth musical amateur performances is one of the most fascinating types of children's art (and musical art in general!), which develops in out-of-class choirs at school and out-of-school choirs - in various circles, studios, clubs ...

The gradual expansion and honing of the performing skills and the general musical culture of all schoolchildren make it possible, even in the conditions of mass musical education in the classroom, to strive to achieve the level of genuine art. Every class is a choir! - this is the ideal towards which this aspiration should be directed ....

The ability to hear music and think about it must be brought up in children from the very beginning of school music lessons ... Listening to music is, first of all, attentive listening to it, and not playing “riddles - riddles” ... The teacher should give the children the opportunity to feel and think over what they have heard and only after some time ask them a question... Thus, an atmosphere close to the atmosphere of a concert hall reigns in the class, and the children quickly develop not only the skills of attentive listening, but also love and respect for music.

The teacher should strive to ensure that students answer questions that arise during the lesson as often as possible, and not be content with receiving ready-made answers from the teacher, truths that they only have to remember ...

It is important that the solution of new questions take the form of short interviews between the teacher and the students. In each such interview, three inextricably linked moments should be clearly felt: the first is a task clearly formulated by the teacher;

the second is the gradual solution of this problem together with the students;

the third is the final conclusion, which the students themselves must make and pronounce (whenever possible) ....

The class activity called by the teacher can serve as one of the the most important criteria his teaching skills...

All forms of music lessons at school should contribute to the creative development of students, i.e. develop in them the desire for independent thinking, for the manifestation of their own initiative, the desire to do something of their own, new, better. Needless to say, all these qualities, the development of which is greatly facilitated by art, will have a positive impact not only on all other activities of schoolchildren, but also on their future activities, in whatever area it may take place.

Creativity can manifest itself in children already from the first grade: in the originality of the answers (and not only in their correctness), in the desire to ask the teacher himself questions (and not just answer his questions), in his own suggestions about the nature of the performance of a particular musical works, in the acuteness of auditory observation, which manifests itself in stories about music heard outside the school ...

The actual creative activity of students (composing music, improvisation), the attraction to which, even in the most naive forms, is noticeable;

most children at an early age, as far as possible, it is desirable to develop in school, in the framework of classroom and extracurricular music lessons ...

Improvisation classes can pursue two interrelated goals: the first is the development of intonational and modal hearing, the second is the development of creative imagination. Most often, when improvising, the student is required to be able to continue the melody started by the teacher and complete it in the tonic for a given key. Along with this fairly widespread technique, one should not refuse another one - improvising a melody by going beyond the usual major-minor modal relationships, when the melody does not have to end with a tonic at all, but can go into all sorts of "interrogative", "incomplete" intonations. . Improvisations can be both rhythmic and related to performance (changing the character, tempo, dynamics of performance), etc. - this kind of improvisation techniques are also quite widespread.

***... In the system of mass musical education, it is not the relative independence of the various facets of music that comes to the fore, but their internal connection, their unity, in which they appear before us in the musical art itself and in which they must necessarily reveal themselves. in the minds of students at music lessons in a secondary school.

In this case, one of the most productive methods for studying the material turns out to be the method, the essence of which lies in constant “running ahead” and in constant “returns” to the material already covered. For the teacher, each such “overrun”

becomes a kind of intelligence of how the consciousness of students is prepared for the perception of new material;

for students, this is both a preliminary “loosening of the soil” and “clarification of the horizon” (it becomes clearer where the course of classes is directed).

"Return" should never be a simple repetition: it can be likened to the look of a person climbing a mountain, when, having reached a new height, he looks back at the passed segment of the path from above and notices in it what he had not seen before ....

The significance of this method also lies in the fact that it makes it possible (and even requires) repeated listening and performance of the same compositions, the most significant and valuable in artistic, pedagogical and educational terms, which is extremely important not only for memorizing them. , but also for a more emotional perception and for a deeper understanding, discovering new, previously unnoticed features in them, establishing new connections with other works of the same composer and with the music of other composers - in a word, to enrich their perception in every possible way.. Repeated performance of already familiar (and most beloved!) songs will improve students' performance skills.

The formation of the musical culture of schoolchildren, their good musical taste is achieved, on the one hand, by cultivating in them the ability “on the fly”, after a single listening, to grasp the most essential in a relatively large number of different compositions (accumulation of auditory experience) and, on the other hand, by the ability delve deeply into a relatively small number of the most significant works, listening and analyzing them many times (honing musical culture).

Summarizing the meaning of the described method of "running ahead" and "returning" to the past, we can say that this method helps the teacher to connect the construction of each new floor of the students' musical culture with the strengthening of previously built floors.

*** What are the requirements of this program for the teacher?...

The range of knowledge and skills that a qualified music teacher must possess is well known. In addition to general pedagogical training, he must be able to play the piano (button accordion or accordion), have a clear and expressive conducting and choral technique, be able to sing, he must have training in the field of history and theory of music, be able to transpose according to notes and by ear , choose a simple accompaniment to the melody.

In a word, a music teacher must be a musically educated teacher, otherwise he will be like a mathematics teacher, unable to solve the problems that he sets for his students....

However, it is not enough for a music teacher to know his subject. He must love music as a living art that brings joy to himself, he must treat music with excitement and never forget that it is impossible to arouse in children love for what you yourself do not love, to captivate them with what you yourself are not passionate about.

“Any practical activity striving to satisfy the highest moral and generally spiritual needs of man...

there is already art”* – this is how K.D. Ushinsky his conviction that pedagogy should be called art (!), * Ushinsky, KD Sobr. op. / K.D. Ushinsky. – M.;

L., 1950. T. 8. S. 12.

based on science, and not just the "science of education." How much the meaning of these words of the great Russian teacher increases when it comes to pedagogy in the field of art! ..

Of all the skills that a music teacher should possess, it is necessary to highlight the possession of the instrument. Of course, one cannot do without mechanical recording in a music lesson, especially when a choir, an orchestra, an opera stage, etc., should sound in the class, but it should be an addition to the live performance of the teacher, and not a replacement for it....

A music teacher should always remember that if boredom is intolerable in any school lesson, then it is thrice intolerable in an art lesson...

Today, far from all schools are provided with music teachers who would meet the above requirements. Before pedagogical educational institutions there is a task of enormous scale and importance to prepare the necessary number of such teachers for each school. It will, of course, take years to solve this problem....

This program, in terms of its musical material, is designed primarily for Russian schools in the Russian Federation. To conduct classes in national schools, some adjustments should be made to this program by including one's own, national material based on the traditions and cultural characteristics of the people ... The thematic structure of the program will facilitate this work. All forms of music lessons with schoolchildren should be aimed at their spiritual development... With every year of classes, it will become clearer and clearer that students' views on music are inseparable from their views on life in general.

The fundamental task of the teacher is to help the formation of these views of the pets. The teacher's attention, his creative initiative, his knowledge and experience, his love for children, adolescents, youth, his love for art and life should be primarily directed to the successful solution of this problem!

The importance of music in school goes far beyond art.

Just like literature and the visual arts, music decisively invades all areas of the upbringing and education of our schoolchildren, being a powerful and irreplaceable means of shaping their spiritual world.

FIRST CLASS PRELIMINARY REMARKS To captivate the children with music - this fundamental issue of musical studies at school should not be overlooked by the teacher from the very first minute of the first lesson in the first class. If he himself loves music, the guys will immediately feel it and they will be transferred to the enthusiasm of the teacher. He should lead the lesson as a live, free improvisation (of course, according to a carefully thought-out plan), always remembering that he came to the class not to study the subject called music with the guys, but in order to educate them in musical culture.

A lot depends on how the first school music lesson goes. If the children feel that the teacher believes in them and treats them with respect, they will immediately believe in the teacher themselves and, which is also very important, believe in themselves.

Avoiding at first everything that requires the children to memorize any rules and repeatedly repeat any exercises, the teacher should gradually accustom them to the simplest musical concepts of the most general nature: the difference in pitch, duration, strength, speed and direction of their movement;

the ratio of strong and weak beats, their number in a measure and the ratio of melody sounds according to their relative duration (meter and rhythm)*;

melody and accompaniment (accompaniment);

expressive and visual features and possibilities of sounds and their combinations;

different coloring of sounds (timbre);

the simplest forms of constructing music (one-part, two-part, three-part);

various types of music performance (individual instruments, solo singers, choirs, orchestras, etc.). By the end of the first year of study, at the discretion of the teacher, you can begin to teach the children to associate the sound of a particular melody in their minds with the external drawing of its recording on the board - on the musical staff.

In the minds of first-graders, a stock of musical impressions, concepts and terms should gradually accumulate, to a more detailed analysis and assimilation of which it will be possible only in the second grade. And do not be afraid that time will be lost. It will be made up quickly due to the auditory experience acquired by the children, due to their greater consciousness, greater interest in classes.

From the first lessons, the development of hearing, memory, rhythmic feeling, understanding of the expressive and visual possibilities of music, the development of performing skills are based on the "three pillars" - song, dance and march. Musical works sounding (performed and listened to) in the class during the year, it turns out to be more than enough for all the developing moments of the lesson to be based on the material of these works, to flow from them naturally and imperceptibly, arising in the minds of students as different facets of the music being studied, and did not turn into special exercises offered to students for solving one or another technical problem not related to live music, its expressive means.

In order to maintain a continuity with musical studies in kindergarten the program of the first class includes several songs-games (game songs). These games, which combine, for example, singing with various types of movements (dance, march, etc.), show in a visual, effective form the connection between the "three whales". The game itself can be organized depending on the possibilities available in this class (the size of the room, the presence or absence of desks, chairs, tables, etc.). It can even be limited to only slight movements of the head, arms, body, legs. The game must first of all sound in the music itself.

* Here analogies with the rhythm of step, heartbeat, breathing are possible.

The division of the class into two or three groups can be carried out with the performance of all songs that allow, and sometimes require this division. Singing in groups has its own intrinsic value. Firstly, in a small group, it is easier for the teacher to monitor intonational purity and rhythmic accuracy, which makes it possible to quickly and easily correct the shortcomings that have appeared;

secondly, singing in groups will gradually lead the children to choral polyphony with groups entering at different times;

thirdly, singing in groups introduces a necessary and very important, especially at the initial stage, game moment into the learning process.

The division of the class into groups is also necessary in many game songs included in the program of the first class, along with traditional folk songs. These chants, built on modern song and intonational material, on the simplest texts close to schoolchildren, are easily included in the corresponding topic and enliven the lessons very much.

Such songs can be composed by the teacher himself, even together with the students. The words in them can also be changed at the initiative of the teacher and students (as in ditties). Some of these chants make it possible for the teacher to show the children (and they themselves try to do it in their own performance) how the same melody can turn from a song into a dance, from a dance into a march, etc. Another, very a useful and captivating technique for playing game chants: each repetition of the chants is transferred with the help of a modulating chord up a semitone, followed by a return (also in semitones or thirds) to the original key*. When performing even the simplest chants (as well as songs), it is necessary to set the best tempo, the strength of sonority, corresponding to the nature of the music and text, in accordance with the capabilities of this class.

The clapping technique, often used in music lessons, must be used not only for the development of rhythmic feeling as such (the rhythmic accuracy of clapping), but also for the development of musicality. At the same time, students should carefully listen to how the teacher plays the piece, and clap according to the sound of the music: quietly or loudly, increasing or decreasing the strength of the sonority, speeding up or slowing down the movement, emphasizing accents, etc. Clapping hands should never be like ordinary applause, even if rhythmically organized, it must always be part of the music performed.

If there is a piano in the class, it is recommended to include four-handed playing (playing in an ensemble with a teacher) in the lessons. Examples of such ensembles are given in the reader. The number of four-hand pieces can be greatly increased by searching for the teacher himself.

As a rule, these can be simple songs and pieces (sometimes even more complex material), built mainly on tonic and dominant harmony. In this case, the sound of the 5th step turns out to be the sound (the intonational common “denominator”) on which the whole piece can sound. Sometimes this sound goes well with subdominant harmony.

* An example of such a performance is given in the reader (singing "In our class").

In the four-handed children, who, perhaps, have never touched the piano keys in their lives, playing only two notes given by the teacher with two fingers, participate in the performance of more or less full-sounding music. This arouses a keen interest in children, promotes passion for music and, of course, has a positive effect on their musical development.

Since only one student participates in the four-handed with the teacher, one should look for various forms of participation in such an ensemble of the whole class. So, if a familiar song is played in four hands (“Quail”, “Kalinka”, etc.), the whole class can simultaneously perform this song in various versions. For example, the first verse sounds only on the piano in four hands, the second verse the whole class begins to sing very quietly, gradually increasing the sonority (along with the strengthening of the sonority on the piano), the third verse is sung at a gradual fading of the sonority, and the fourth is performed again only on the piano very quietly . Similarly, you can change the tempo of the piece. The performance of such “compositions”, composed of very simple elements, but requiring attention and musical “breathing” for a rather significant period of time, greatly captivates the children and develops their musicality in various directions.

If the school has any children's musical instruments*, you can use them in the lessons to perform in an ensemble with a teacher (including in combination with four hands, singing, movement). The choice of instruments, the definition of rhythm and the nature of the sound should always proceed from the characteristics of this music. So, for example, the whole class can participate in the performance of the Russian folk song “Kalinka”, emphasizing the beginning or end of the phrase by playing the tambourine, duplicating the rhythmic pattern of the melody with claps or on wooden spoons, noting the pulse of the music on the piano (four-handed), etc. d.

These and similar remarks in the future should be considered only as examples of including children's musical instruments in the lesson, which is highly desirable, since playing these instruments also contributes to the musical development of the children, enriches their musical and performing experience and introduces a game element into the lessons.

One of the most important methods of music lessons in the first grade, as well as in subsequent ones, should be the method of running ahead and returning to the material already covered. Thus, the children's folk song "Don-don" is performed both in the first quarter of the year and in the second. First, the attention of the students, their efforts are directed to ensuring that the song is sung with a mood corresponding to its character, and, if possible, intonation and rhythmically accurate. In the future, after mastering the topic “What the music says”, it will turn for the children into a work of art in which they will clearly feel and realize the expression of the anxiety of the “characters”

songs in its choral melody and the image of the disturbing ringing of the alarm bell with piano accompaniment. Another example.

"Cheerful. Sad” L. Beethoven at the first meeting will be re * Tambourines, drums, triangles, xylophones, metallophones, castanets, etc.

be accepted as a work that expresses two opposite moods and a certain thought that Beethoven put into this work (“after joy, sadness may come, but joy must necessarily return”). With subsequent deeper listening to this work, the children will feel its three-part structure, understand the features of the three-part form in general and this one in particular.

There is no need to overload the memory of children with an excessively large number of titles of works, the names of their authors (composers and poets), facts from their biographies. Since the accumulation of live auditory experience (the first stage of the process of learning music) is one of the most important tasks of music lessons with first graders, homework should serve the same purpose. During the week between lessons, the children should be offered to listen to the music that they will meet in children's films, radio and television programs, at home and on the street, to recognize familiar “whales” in this music in their various variants and combinations and about the most interesting meetings with music to tell the whole class in the next lesson. Homework may also include drawing illustrations for this or that music of a clearly programmatic nature. These assignments should not be obligatory, but when they are completed, the teacher must express words of approval and encouragement (this must be done very tactfully so as not to contribute to the appearance of zaznachki, upstarts in the class).

For the summer, the guys should be given the same task: listen to music, wherever it sounds, try to think about it, they just thought throughout the year in the class, and in the fall tell the whole class about the most interesting summer meetings with music.

The last lesson of the year will be a kind of concert lesson for parents and teachers. However, it should not be just a concert.

It will definitely retain the elements of a regular lesson so that parents can clearly see and hear how their children are making music, and the methodology of these lessons would become clear to school teachers.

In addition to performing and listening to the music already known and most loved by the children, new music should also be played, in connection with which the teacher will ask them questions and the children will show how they learned to listen to music and think about it.