Sections: General pedagogical technologies

Pedagogical requirements for open lessons

Open lessons and educational events are one of the important forms of organization of methodological work. In educational practice, sometimes they do not distinguish between open and ordinary lessons, they do not represent the features of preparing and conducting open lessons.

Public lesson unlike the usual ones, it is a specially prepared form of organizing methodological work, at the same time, a real educational process takes place in such lessons. At an open lesson, the teacher shows, demonstrates to colleagues his positive or innovative experience, the implementation of a methodological idea. Application of a methodological technique or teaching method. In this sense, an open lesson is a means of disseminating positive or innovative experiences.

Open lesson has methodological goal, which reflects what the teacher wants to show attending the lesson. The formulation of the methodological goal is varied. For example, “Familiarization of teachers with the methodology for developing students' skills in solving learning problems” or “Show those attending the lesson the methodology for organizing educational activities in groups”, etc.

There are a number of requirements for the preparation and conduct of open lessons.

Open lessons are conducted by teachers who have a high level of scientific and methodological training and ensure the high efficiency of the educational process.

The lesson of a teacher working in the old way cannot be a source of innovative experience.

Open lessons are devoted only to topical problems of methodological science.

Showing lessons that implement a widely used methodology in practice does not contribute to the professional growth of other teachers. However, in methodological work with young teachers, this limitation should not always be taken into account, since traditional, well-known methods are also of some interest to them.

An open lesson must have novelty.

Novelty may refer to the content of the educational material or the methods of its study. The lesson as a form of organization of the educational process itself can contain something new, for example, a special structure. In any case, an open lesson should contain something new for those attending, because what the teacher himself uses well, it makes no sense to observe a colleague's open lesson.

An open lesson reflects the solution of the methodological problem that the teacher is working on. His individual problem should be connected with the general methodological problem of the educational institution. This is an indicator of the implementation of a systematic approach to the organization of methodological work.

An open lesson should show (prove) the benefits (high efficiency) of innovation. Therefore, a teacher showing an open lesson chooses a topic whose content allows this.

When conducting an open lesson, all requirements for the educational process are observed. The lesson should be conducted under normal conditions, with a generally accepted duration, etc. The creation of special conditions for open lessons, firstly, violates the established regime of educational work, and secondly, idealized conditions cast doubt on the replicability of the innovation.

An open lesson should not harm the system of knowledge, skills and abilities of students. Students should gain as much knowledge as they would learn by studying the topic without visitors. It is also unacceptable to explain only that part of the topic that allows you to most clearly demonstrate a new methodological technique, leaving the rest for independent study.

A working place is necessarily prepared for visitors. Seats should be located behind students so that visitors do not distract their attention. You can not seat the visitor next to the students: a student sitting at the same desk with an outsider is unlikely to be able to concentrate on the content of the educational material.

The number of visitors to open lessons cannot be unlimited. As educational practice shows, these requirements are often neglected: sometimes 15-20 teachers sit in a class of 25 students. It should be noted that attending a lesson by at least one stranger creates discomfort for both the teacher and students, and therefore, it is now widely practiced to study the experience of teachers from video recordings of lessons.

Open lessons and their content should not contradict the curriculum. It is impossible to unreasonably expand the content of the educational material in order to show a new methodology, it is unacceptable to organize the study of problems not included in the program. It is also not recommended to increase the time allotted for the study of the topic.

It is not allowed to "rehearse" an open lesson with the same class. This requirement is quite often violated: teachers pre-prepare students for the lesson, “lose” it, etc., calling all this the preparation of an open lesson.

Open lessons are held in accordance with the methodological work plan of the educational institution. Teachers should have enough time to prepare it.

You cannot have several open lessons with one class on the same day. It is undesirable to hold several open lessons in the same class and within a month. This is due to the large psychological stress experienced by both students and teachers.

Compliance with the requirements for the preparation and planning of open lessons is the responsibility of the Deputy Director in charge of methodological work.

The procedure for preparing and conducting an open lesson

The preparation of open events does not fundamentally differ from the preparation of ordinary lessons. However, the need to achieve the methodological goal of an open lesson leaves its mark on its structure, composition and combination of teaching methods and teaching aids. A teacher showing an open lesson must ensure the achievement of the methodological goal through the fulfillment of the objectives of the lesson - the development by students of the knowledge, skills and abilities that are planned to be studied. And he carries out self-analysis of the lesson in two aspects: from the point of view of achieving the methodological goal and the assimilation of educational material by students. The analysis of the lessons by the attendees also differs from the evaluation in the evaluation of the work of the teacher or in the study of his teaching experience.

Choice of themes that allow you to apply new, is carried out on the basis of an analysis of the content of the program and the textbook. Since the composition of knowledge topics is different, the methodology for studying them will also be different. For example, if the methodological goal of an open lesson relates to teaching how to work with written sources, including a textbook, a topic is chosen that allows you to most fully reveal the methods of organizing the study of a textbook, supplementing it with information from other sources.

The choice of methodological techniques, teaching methods, TCO, etc., contributing to the implementation of the methodological goal. Since teaching methods provide varied opportunities for using teaching aids, the teacher in an open lesson must show their most rational combination. Even in the case when the innovation (i.e., demonstrated to visitors) refers to the procedural side of the educational process (i.e., to the methodology), the teacher must determine which of the previously used (generally accepted) he will apply.

Planning an open lesson carried out in accordance with generally accepted requirements. The open lesson, which does not differ structurally from ordinary lessons, has a methodological goal, the achievement of which is subject to both the content of the educational material and the form of organization of the educational and cognitive activity of students. Whenever possible, lesson plans, improved and edited in collaboration with the Associate Director, are replicated for presentation to attendees.

Observations in open class. In contrast to attending lessons in order to control or search for elements of novelty, in the experience of a teacher in open lessons, a new methodology proposed by the teacher is observed. Accordingly, other aspects of the educational process do not become the subject of study (although both negative and positive aspects do not go unnoticed by visitors). The observing lesson determines the compatibility of the new with the teaching aids widely used in practice, their functional change in combination with the newly introduced. It studies the possibility of achieving the learning goals proposed by the innovation with less time and effort, its effectiveness (or viability) is established by a positive impact on the development of the system of knowledge, skills and abilities of students. During observations in an open lesson, the attending teacher also answers the questions whether he can apply what is proposed in his experience, what are the limits of its application, whether negative consequences are possible, what additional sources of information need to be studied for use in their work, etc.

Thus, a teacher attending an open lesson studies the experience of a colleague from the point of view of his own experience, so he, perhaps spontaneously, evaluates his own activity at the same time.

The order of analysis (self-analysis) of an open lesson

An analysis of an open lesson with the participation of those who attended the lesson is not mandatory. In the analysis of open lessons held within the framework of scientific and practical conferences, the participation of the teacher himself is not necessary (that is, he may refuse to do so). If the analysis is planned by the plan of methodical work or scientific and methodological seminar (for example, if we are talking about teaching young teachers to analyze the lesson), first the word is given to the teacher - the author of the lesson. It resembles a methodological goal, gives a description of the work to achieve it. His speech should contain answers to the questions: whether the methodological goal of the open lesson has been achieved, whether the tasks of the educational process have been fulfilled. Visitors evaluate the lesson also from the point of view of the methodological goal. In contrast to the analysis of lessons attended for the purpose of control, the most important thing here is the exchange of opinions, discussions, disputes, etc.

The order of the analysis of an open lesson is offered below, the same logic can have a detailed introspection.

Algorithm for analysis (self-analysis) of an open lesson

No. p / p	Pedagogical phenomena	Evaluation indicator
	Methodological goal and innovation	The essence of innovation and its role in improving the educational process. The role of innovation in fulfilling the tasks of teaching the subject. Relationship with traditional methods. Achieving the methodological goal of the open lesson. Factors preventing the full achievement of the methodological goal.
	Methodological purpose and content of the lesson	Compliance of the content of the topic with the methodological goal (implementation of innovation). Changes in the content of topics (structural changes, inclusion of additional material, etc.) Correspondence of changes to the methodological goal.
	Methodical purpose and structure of the lesson	Pedagogical expediency of choosing the structure of the lesson. Correspondence of the chosen structure of the lesson to the methodological goal. The variability of the structure of the lesson, allowing to achieve the methodological goal.
	Methodological goal and methodological techniques, teaching methods	The choice of methods and methodological techniques corresponding to the methodological goal. Functional changes in traditional teaching methods and techniques. A methodologically expedient combination of methods and methodological techniques.
	Innovations and forms of organization of the educational process	Methodologically expedient choice of forms of organization of the educational process. Correspondence of the forms of organization of the educational process with the content of innovation Individual and collective forms of organization of the educational process, their correspondence to the essence of innovation.
	Innovation and educational and cognitive activity of students	Features of educational and cognitive activity of students in the application of innovation. The role of innovation in enhancing the cognitive activity of students. The level of cognitive independence of students. Development of creative abilities of students. Student activity in the classroom.
	Negative consequences of the application of innovation	Possible negative consequences of the application of innovation. The conditions under which the negative consequences of the application of innovation are manifested.
	Variability of application of innovation in the classroom	Options for applying innovation in the classroom. Methodological expediency of the chosen variant of innovation application.
	Prospects for the application of innovation in educational practice	Limits of application of innovation. Replicability of innovation. Applicability in teaching other subjects. Applicability in institutions of a different type.
	Prospects for the development of innovation	The expediency of introducing innovations into educational practice. Directions for the development of innovation (theoretical research, the creation of technology, educational and methodological complexes), etc.
	Innovation and methodological work	Methodical work on the introduction of innovation. Forms of organization of methodological work in the implementation of innovation. Forms and methods of preparing teachers for the introduction of innovations.

Municipal educational institution
"Gymnasium No. 10"

METHODOLOGICAL DEVELOPMENT
open lesson on the topic:
"Application of gaming technologies
at the initial stage of education
piano class"
Prepared by:
additional education teacher

Kostina Svetlana Valerievna

Zheleznogorsk, 2017

PLAN CONSPECT
open lesson of additional education teacher
in the field of musical art
Kostina Svetlana Valerievna
Venue: MOU "Gymnasium No. 10", room No. 34
Date: 03/16/2017
Theme of the lesson: "The use of gaming technologies at the initial stage of learning
in the piano class"
Type of lesson: combined (consolidation of knowledge, complex application
knowledge).
Type of lesson: traditional
The purpose of the lesson: consolidation and application of the acquired knowledge on the material
exercises, didactic games and studied works.
The lesson includes:
organizational and content setting;
checking the depth of understanding and strength of the student's knowledge;
interaction between the teacher and the child based on the message learning new
knowledge, skills, abilities;
consolidation of the studied material and exercises;
diagnostics of knowledge acquisition strength;
homework instruction.
Lesson objectives:
In an interesting form for the child to consolidate the practical skills of playing on
piano, to expand the creative possibilities of the student in the process
instrument learning.
Educational:

consolidate the studied theoretical knowledge (strokes, mode, tempo, timbre, rhythm,
melody, dynamics);
continue the formation of practical skills (playing with non-legato strokes,
legato, staccato);
Developing:
development of musical ear, memory, sense of rhythm;
development of coordination of movements;
activate figurative musical thinking through various types of
activities.
Educators:
to cultivate interest and love for music, the subject of "Piano";
cultivate aesthetic taste;
cultivate perseverance, organization, self-control.
Teaching methods:
Perspective verbal transmission and auditory perception. teacher
communicates prepared information using demonstrations. Student
comprehend and remember. Mastering and consolidating the techniques of playing non legato,
legato, staccato.
Reproductivememorization by students of the reported information.
Promotes the formation of knowledge, skills through the system
exercises.
Practical musical didactic games, repeated actions with
the purpose of improving the skill and developing musical ear.
Methodical methods:
verbal, visual, practical;
activation of hearing, appeal to the musical perception of the student;
development of thinking, creative initiative;
methods of control and self-control: when performing, listen
reproducible sound, correctly perform the melody and correctly transmit
rhythmic pattern.
Psychological conditions in the lesson:

Mobilization of attention, cognitive activity, optimal pace
lesson, flexibility, the ability to compositionally rebuild the lesson, taking into account
the current situation, the psychological microclimate in the classroom.
Teaching aids: piano, two chairs, chair seat support.
Drawings, pictures, cards, musical aids, "Musical Chamomile",
scheme "Means of musical expression", computer, projector.

Application of pedagogical technologies:
Health saving. Finger muscles develop, which is positive
affects memory, which will develop more intensively. Musical
Classes teach you how to make better use of your working day. He will be over
organized. Rational organization of the lesson: dynamic pause,
the inclusion of game moments, exercises to liberate the muscles of the neck, arms,
shoulder girdle. Alternation of various types of educational activities (game
scales, exercises is replaced by an analysis of musical material. repetition
learned plays and listening to music). The lesson is important psychological
comfort, the style of communication between the teacher and the student, the charge of positive emotions,
manifestation of the teacher's goodwill.
Technology of personality-oriented learning I. Yakimanskaya.
Recognition of the student as the main acting figure of the entire educational
process is a personality-oriented pedagogy. At the heart of this
technology lies in the recognition of the individuality, originality of each
of a person, his development primarily as an individual endowed with his
unique subjective experience. The classroom creates conditions for
self-realization of individual cognitive abilities, creative
imagination (exercise "Talking fingers. Riddle"). This task:
Encourages students to independently choose ways to solve this problem.
tasks; the riddle reveals the student's subjective experience; evaluated not only
result, and mainly the process of teachings, that is, those transformations
carried out by the student; stimulates the student for self-development,
self-expression in the course of mastering knowledge.
Problem learning technology. This technology means
consistent and purposeful advancement in front of the student
educational problems. Students engage in active thinking
activities, express their own opinions and actively acquire knowledge.
We create a problem situation with a training task.

Motivation formation technology or game technology.
Technology implies the organization of gaming activities aimed at
on the search, processing and assimilation of educational information. good to use
her during her primary education. Inclusion in the educational process of gaming
moments (“Think Guess”, “Musical Chamomile”), work with drawings,
cards increases students' interest in piano lessons,
stimulates their creativity. The teacher creates in the lesson
called "success situation". The feeling of success increases the motivation to
learning, maintains interest and passion for playing the instrument and
evokes positive emotions.

Type of ICT tools used in the lesson:
presentation, illustrations.
Required hardware and software:
multimedia computer.
Lesson Plan
1. Organizational moment
2.
Warm up. Exercises aimed at freedom of movement
apparatus, finger gymnastics (using personal
oriented technology).
3. Physical Minute
4. Working with musical material (using
health technology).
5. Problem situation based on educational material.
6. Working with musical material
7. Consolidation of the material covered using the game
technologies ("Musical Chamomile", card game, drawings,
Pictures).
8. Homework.
9. Reflection.
10. The result of the lesson with an assessment of the work done by the student.

Outline of an open lesson
(slide1) Greeting, landing at the instrument.
Teacher: Veronica, I wish you to work with passion and make progress!
So, to business!
(slide2) (An exercise aimed at the freedom of the motor apparatus
"Rainbow"). Let's take a look at your wonderful drawing. And now
draw a rainbow over the keyboard. And let its ends resound, saying:
Oh you rainbow
Meadows lie beneath you.
You hung in the sky like a yoke.
I'll draw such a beautiful one in half a minute.
First draw with your right hand, then with your left hand. Now draw with both hands.
Arc exercises over the keyboard, followed by immersion in it.
The exercise develops a free orientation on the keyboard and
muscular sensation of distance. Hands are carried with arc movements
freely and smoothly. Imagine how a transparent droplet rolls on
rainbow and falls loudly into a deep lake. Repeat this exercise at home.
And now the fingers will work.
(slide 3) Finger game: "Magic scarf"
I have a swallow
He ate the whole scarf, here!
Immediately became at the swallow
Belly like a hippopotamus!
Teacher: Do you think fingers can speak?
Student: They can sound when you touch the keys.
Teacher: But you can “speak” with your fingers; i.e. slam or
tap the rhythmic pattern of the lyrics of the song.
Student: Do these fingers speak too?
Teacher: Of course. Remember the verse.
(slide 4) Exercise "Talking fingers"

The forest is ready to meet spring,
Deadwood cracks underfoot.
The very first of flowers
The snowdrop wakes up.
1 1 2 2 1 1 3 3 1 1 2 2 1 1 3 3
1 1 4 4 1 1 4 4 1 1 4 4 1 1 5 5 (knock on the lid)
(slide 5) Exercise “Talking fingers. Mystery"
Teacher: Now slap this riddle with your hands:
Here are the needles and pins
They crawl out from under the bench.
They look at me
They want milk.
Teacher: Here you have to do everything yourself at home: guess
riddle, write down the rhythmic pattern of the riddle in a musical notebook.
(slide6) What scale did you prepare for today's lesson?
Student: E major.
Teacher: Name its key signs.
Student: Four sharps: fa, do, sol, re.
Teacher: Tell a rhyme about the order of key characters.
Student: Fadosolrelamisi
Traveled by taxi
To Similaresoldof
That's such nonsense!
Next, we check the student's knowledge of the E major scale. We play the scale of each
hand separately in two octaves in a direct movement, repeating the top (with
removal of the hand) with subtext:
From piano to crescendo to forte we lead
Down we go diminuendo and bring to the piano.
Getting legato, with P dynamics P.
Then we play the scale in a straight motion with both hands. We work separately
over placing the 1st finger, each position separately (“secret”).
Then we play the scale with both hands in a divergent motion.
We play the tonic triad separately with each hand and with both hands in
divergent movement.
(slide 7) Exercise "Caterpillar" (according to Ganon No. 1)
We achieve the density of sound, Legato.
(slide 8) Physical minute: An exercise to liberate the muscles of the neck, arms,
shoulder girdle: rising on toes slowly and smoothly with a sigh

“Growing”, raise relaxed hands up. Then sharply with exhalation
it is hard to “drop” the body and relaxed arms down, leaning forward.
Hands swing freely to the sides of "Humpty Dumpty". We repeat.
Teacher: Before you play the piece, let's repeat the notes of the bass
key.
(slide 9) Finger game: "Magic wand"
The student takes in her right hand a "magic wand" with a note on the end. Left
the hand serves as a staff. The student applies notes to the fingers of her left hand,
saying:
You remember the bass exactly
SALT, SI, RE, FA, LA line by line,
Between LA, DO, MI and SOL
Sin over all like a king.
(slide 10) Teacher: Tell me, what is the nature of the play?
Student: Joyful, cheerful ...
Teacher: What do you imagine when you perform this piece?
Student: A picture of nature, fun ...
Execution. "Ukrainian folk song".
What do you think, by what means of musical expression
does the composer (people) convey an image, a picture of a holiday, fun?
Student: We used a major scale, fast tempo (middle register,
short note durations, staccato).
Teacher: Why is the work called a song, but there are no words for it. Can we
sing a tune?
Student: Yes, we can. It looks like a dance...
Teacher: You can come up with your own words for this melody. For example:
Summer is boring without ditties and funny songs.
Without a guitar and harmonica, the world is not interesting.
I will play the button accordion, I will knock on the spoons,
Not sparing my feet I will dance in red sandals!
The teacher plays the melody and sings the words to the song together with the student.
Teacher: The melody of the song is high, not very comfortable to sing.
It is necessary to lower the melody a third down, in which we find ourselves
tonality?
Student: E major.
We transpose the melody into a new key (after analyzing the structure
melodies).
(slide 11) Teacher: What is the name of your next work?

Student: It's raining
Execution.
Teacher: What is the mood of this piece?
Student: Calm...
Teacher; What images do you have when you play this piece?
Student: It's warm rain, summer, because the piece is in a major key.
(slide 12) Teacher: Tell me, what colors does the composer use?
Analysis of the play by I. Berkovich "It's raining"
The melody is like a song, there are no raindrops here. As if a person is sitting
at the window, looks at the rain and sings. He is happy because it will be good
harvest. You can think of words for music. For example:
“I sit by the window and look out into the street.
Outside the window, all the rain is pouring, herbs and flowers are crumpling.
Work on expressive performance.
Teacher: It was raining, the sun appeared in the sky and they swam ...
(slide 13) Student: Clouds!
Teacher: Say the word "clouds" with an accent, and where does it fall in music
accent? If we could touch clouds, what would they feel like?
Work on the play ensemble "Clouds" by G. A. Emelyanov (thirds)
(slide 14) Teacher: Now let's play a game with you, I called it
"Musical Daisy", maybe you will suggest another name.
There will be two performances now. After listening, you need
choose which dewdrops should fall on the petals. Then you choose
dewdrops for the second play.
(slide15) They sound: "Clowns" by D. B. Kabalevsky
(slide 16) "Old French song" P. I. Tchaikovsky
The student chooses cards that, in her opinion, correspond to this
musical work.
(slide17) Next, the results of the game are checked and discussed.
Teacher: Veronica, listen to the following words:
The task, of course, is not too simple:
Playing teach and learn playing.
But if you add entertainment to study,
That holiday will be any learning!
Do you agree with this statement?
Do you think you can learn by playing?
Answer: Yes! We played, but I learned, I remembered a lot.
Homework: (please write it yourself, from memory)
1. Guess the riddle and write down its rhythm in a music book.

2. Fix exercise. "Caterpillar", scale and pieces.
(slide18) Did you like our today's lesson? It was interesting? With
what difficulties did you face? What did you learn today, what did you find out?
What is your mood now? Choose the smiley that suits you.
You tried to do all the tasks today, you were very attentive and
active in class. Therefore, I rate your work in the lesson as “excellent”.
The lesson is over.

List of used literature.
1. Artobolevskaya A. D. "The first meeting with music." Tutorial.
2. Amonashvili Sh. A. Humanistic approach to children / Sh. BUT.
Amonashvili; Acad. Ped. And social. Sciences, Moscow. Psychological social int.
M.: IPP; Voronezh: MODEK, 1998
3. Vygotsky L. S. "Game and its role in the mental development of the child"
//Q. Psychology. 1996 No. 6.
4. Gakkel A. D. "Piano music of the XX century". –M.: Soviet
composer, 1998
5. Galperin P. Ya. "Methods of teaching and mental development of the child."
6. Grohotov S. V. “How to learn to play the piano”. Moscow: publishing house
"Classics-XXI", 2005
7. Davydov V. V. “On the concept of developmental education” //Pedagogy.
1995 No. 1.
8. Salnikova T.P. "Pedagogical technologies". –M.: TC Sphere, 2000.
9. Smirnov N. K. “Health-saving technologies”. –M.: ARKTI,
2003
10. Sukhomlinsky V. A. “I give my heart to children.” –M.: Enlightenment, 1979.
11. Sokratov N. V., Feofanov V. N. “Motivational foundations
health-saving education of children ": Methodical
recommendations. –Orenburg. 2001

12. Teplov B. M. “Psychological issues of artistic
upbringing". Issue. 11. -M. - L .: News of the APN of the RSFSR, 1998.
13. "Philosophical Encyclopedic Dictionary". M, 1997
14. Tsypin G. M. “Psychology of musical activity: problems,
judgments, opinions: a guide for students of music departments
pedagogical universities and conservatories” / G. M. Tsypin. –M.: Interpraks, 1994.
15. Schmidt Shklovskaya. 2nd ed. -L .: Music, Leningrad branch,
1985
16. Shchapov A. P. "Piano lesson at a music school and college." -
M. "Classics -XXI", 2005
17. Yudovina Galperina T. "At the piano without tears, or I am a children's teacher."
St. Petersburg, Izdvo "Union of Artists", 1996.
Internet resources:
1. http
:// nsportal
2. http://assol.

Ru / shkola
/ music

/2013/04/20/
Net/publ/metodicheskaia_page/kak_uvlech_rebenka_muzykoi/
3.http://class. dictionary. org/dannye7/dataid7936

Open lessons and educational activities are one of the important forms of organization of methodological work. In educational practice it is necessary to distinguish open and regular lessons. An open lesson, unlike the usual ones, is a specially prepared form of organizing methodological work, at the same time, a real educational process takes place in such lessons. In an open lesson, the teacher shows, demonstrates to colleagues his positive or innovative experience, the implementation of a methodological idea, the application of a methodological technique or teaching method. In this sense, an open lesson is a means of disseminating positive and innovative experience.

An open lesson has a methodological goal, which reflects what the teacher wants to show to those attending the lesson. The formulation of the methodological goal is varied:

- "Familiarization of teachers with the methodology for developing students' skills in solving educational problems";

- “Show those attending the lesson the methodology for organizing educational activities in groups”, etc.

Requirements for the preparation and conduct of open lessons.

1. Open lessons are conducted by teachers who have a high level of scientific and methodological training and ensure the high efficiency of the educational process. The lesson of a teacher working in the old way cannot be a source of innovative experience.
2. Open lessons are devoted only to topical problems of methodological science. Showing lessons that implement a widely used methodology in practice does not contribute to the professional growth of other teachers.
3. An open lesson must have novelty. Novelty may refer to the content of the educational material or the methods of its study. The lesson as a form of organization of the educational process itself can contain something new, for example, a special structure.
4. An open lesson reflects the solution of the methodological problem that the teacher is working on. His individual problem must be connected with the general methodological problem of the school. This is an indicator of the implementation of a systematic approach to the organization of methodological work.
5. An open lesson should show (prove) the benefits (high efficiency) of innovation. Therefore, a teacher showing an open lesson chooses a topic whose content allows this.
6. When conducting an open lesson, all requirements for the educational process are observed. The lesson should be conducted under normal conditions, with a generally accepted duration, etc. The creation of special conditions for open lessons, firstly, violates the established regime of educational work, and secondly, idealized conditions cast doubt on the replicability of the innovation.
7. An open lesson should not harm the system of knowledge, skills and abilities of students. Students should gain as much knowledge as they would learn by studying the topic without visitors. It is also unacceptable to explain only that part of the topic that allows you to most clearly demonstrate a new methodological technique, leaving the rest for independent study.
8. A working place is necessarily prepared for visitors. Seats should be located behind students so that visitors do not distract their attention. You can not plant a visitor next to the students; a student sitting at the same desk with an outsider is unlikely to be able to concentrate on the content of the educational material.
9. The number of visitors to open lessons cannot be unlimited. As educational practice shows, this requirement is often neglected: sometimes 15-20 teachers sit in a class of 25 students. It should be noted that attending a lesson by at least one stranger creates discomfort for both the teacher and students, in connection with which it is now widely practiced to study the experience of teachers from video recordings of lessons.
10. Open lessons and their content should not contradict the curriculum. It is impossible to unreasonably expand the content of the educational material in order to show a new methodology, it is unacceptable to organize the study of problems not included in the program. It is also not recommended to increase the time allotted for the study of topics.
11. It is not allowed to "rehearse" an open lesson with the same class. This requirement is violated everywhere: teachers pre-prepare students for the lesson, “lose” it, etc., calling all this the preparation of an open lesson. Note that here we are not talking about lessons for which students must prepare messages, reports, creative works, etc.
12. It is recommended to inform students about the open lesson (at least the day before). This will prepare the students for the situation when there will be visitors in the lesson.
13. Open lessons are held in accordance with the methodological work plan of the school and methodological associations. Teachers should have enough time to prepare it.
14. You can not hold several open lessons in the same class on the same day. It is undesirable to hold several open lessons in the same class and within a month. This is due to the high psychological stress experienced by both students and teachers.

Compliance with the requirements for the preparation and planning of open lessons is the responsibility of the Deputy Director in charge of methodological work.

Open lessons are always a test, and first of all for the teacher.

Of course, it is impossible to cover all the facets of this process in one article, since much depends on the subject, the level of preparation of the class, and technical capabilities.

Preparing for an open lesson

It is best to start preparing for an open lesson with the following steps:

1. Selecting a topic. It is desirable that the topic is not archaic. You can guess so that the topic that you yourself are interested in falls out. Deviation from the plan by 2-3 steps forward or backward is not critical and is allowed.

2. Preliminary work with the class. It's good if you already know the kids. If in doubt, it is better to conduct mini-testing in the following areas:

A) students' knowledge of the subject, previous topics.

B) psychological diagnosis of the class: identification of sanguine, choleric, phlegmatic. Knowing this, it will be more convenient for you to divide students into groups and prepare personal tasks. So, for example, choleric people are activists who will "rush into battle." It is better for sanguine people to offer something calm, and phlegmatic people will delight you with well-coordinated work.

There are a lot of psychological tests on the net, or you can also connect a school psychologist who will tell you which of the guys will cope with the excitement, answering at the blackboard, who is better to ask from the floor, and who to give a written assignment.

3. Never play a lesson with children beforehand. Don't drag them on! Believe me, the lesson will "shoot" only when the children's eyes burn. And if they know everything in advance, you will not wait for interest from them. Yes, and such lessons are calculated immediately, which, of course, harms the overall impression.

4. Prepare a self-analysis of the lesson. Consider and justify the presence and effectiveness of each stage of the lesson, the methods and techniques you have applied. This will allow you to "knock the ground out from under the feet" of the inspectors, since you yourself will indicate in advance what was successful and what needs to be improved.

5. Do not include in the lesson types of tasks that are unusual for students. It will take more time to explain. It is good if students already know how, for example, testing is carried out, what is required to be done during a quick survey, what are the conditions for holding competitions, etc. That is, such tasks should be included in previous lessons so that the guys get used to it.

Open Lesson Plan

Whatever lesson plan you make, it is important that it contains all the necessary steps: checking homework, updating, reflection, grading, determining homework for the next lesson. Believers can make a comment, even if you forget in your excitement to mark absenteeism in the class journal.

As for the main stages, it all depends on the form of the lesson and the objectives of the lesson. More on this later.

1. Determine the objectives of the lesson. The more detailed the better. So it will be more convenient for you to place accents in the process. For example, the goal is to introduce students to the biography of Tolstoy. Naturally, there should be a stage in the lesson where this very biography is presented (in the form of a lecture, presentation, oral communication of one of the students, etc.)

Or the goal: to develop the ability to work in groups. So there must be group work. If patriotic education is mentioned in the goals, then a minute of talking about love for the Motherland should also be included.

That is, in fact, your goals are the components of the lesson, which are to be combined into a single form.

2. Be sure to time the lesson. In your outline, indicate how much time you plan to devote to each stage of the lesson. This will allow you not to "overplay" and maintain dynamism.

3. Do not take a lot of time for independent work. This is a common mistake that reduces the effectiveness of the lesson. For example, you plan to allocate a few minutes to complete a task. At this time, while the others are working, call someone to the board. In general, silence should not hang in the classroom!

Forms of conducting open lessons and important details

Much depends on the type of lesson: it will be a lesson in obtaining new knowledge, consolidating a topic or repeating an entire section. The last two are the most advantageous, as they leave more room for imagination.

The easiest way is to choose a non-standard form of the lesson: a lesson-travel, dispute, conference, performance, game lesson, KVN, lesson-court, etc. Such lessons look brighter and allow you to fit all the necessary steps. And remember, your lesson will benefit if you choose a form that most clearly demonstrates the level of preparation of students. The more the children themselves talk, the better!

If you stopped at a traditional lesson, you should include some elements from a non-standard one: a mini-game, an auction, testing.

The form of the lesson works well, which involves dividing the class into groups. The element of competition always brings dynamics. In another case, be sure to think over the type of task that would divide the class into groups, pairs, triplets.

Without the use of TO, any open lesson now, alas, looks archaic. Preparing a presentation for your lesson is not a problem. If you are not at all at odds with technology, you can use the Internet.

By the way, instead of a presentation, you can prepare slides with tasks and use the computer throughout the lesson. The same tests, for example, can be displayed on the monitor screen. By the way, this also saves time.

But it is impossible to replace all didactic material with a computer. Handouts, visual, demonstration must also be. For example, even if you have prepared a superb presentation on the writer's biography, his portrait, posted near the board, will only add points.

Another mistake that young teachers often make is when there is visibility, but it doesn’t work at all. For example, they hung up a table of logarithms, but during the lesson they never turned to it. It is not right. Do not forget about the principle: "If a gun hangs on the wall, it should fire."

Another rule is the obligatory binding to life, to the present. No matter what subject you teach, a lesson is incomplete if it does not imply any practical connection to ordinary life.

And finally, I would like to remind you that open lessons are held for colleagues to share their accumulated experience with them or demonstrate their skills in front of the commission. In this regard, it would be nice to provide the guests of the lesson with some materials. In addition to the reference notes, you can prepare memos that separately indicate: what methods were used in the lesson, what techniques, prepare samples of handouts and didactic materials, a list of references used, and a summary of your vision of teaching this topic. This will only increase the grade of the lesson.

State Budgetary Educational Institution Secondary Educational School No. 8 with in-depth study of the subjects of the musical cycle "Music", Frunzensky district of St. Petersburg.

Public lesson. Topic: "P.I. Tchaikovsky - music for children." Lesson form: lecture - concert. A lesson with students of grade 3a is conducted by: Gnoro Nazy Vasilievna - music teacher. Goals.

To introduce children to the work of P.I. Tchaikovsky. Arouse interest in attending musical theater and classical music concerts.

Tasks. Cognitive:

To acquaint students with the biography of P.I. Tchaikovsky - childhood. To acquaint with the history of the creation of the "Children's Album".

Educational:

To introduce children to the great national musical heritage.

Cultivate a culture of behavior when listening to a concert of classical music.

Developing:

Develop imaginative thinking, imagination.

The age of students is 8-9 years.The plan of the lecture-concert:

Viewing a fragment of an animated film to the music of "Children's Album" by P.I. Tchaikovsky. A story about the childhood years of the biography of PITchaikovsky. The history of the creation of "Children's Album" P.I. Tchaikovsky. Performance of pieces from the "Children's Album" and reading of V. Lunin's poems

students watching fragments of the animated film.

Questions. Exercise.

During the classes:

1. Viewing an excerpt from an animated film based on plays from the “Children's Album of P.I. Tchaikovsky.Teacher: We watched an excerpt from the cartoon, and you, of course, recognized the music that sounded in it.This is a piece from P.I. Tchaikovsky's Children's Album "Sweet Dream".YOU, for sure, many times “met” the pieces from the “Children's Album” in the lessons of musical literature, perhaps one of you learned these pieces in the piano class, or your friends performed them. Music P.I. We very often hear Tchaikovsky in concert halls, theaters, on radio and television. But not only in our country, but all over the world, it is generally recognized that Tchaikovsky's works are heard more often than others, his music is known and loved in every corner of the planet.Our meeting today is dedicated to the greatest Russian composer, conductor, teacher, whose 175th anniversary we will celebrate in 2015, namely, his music written for children.2. What was Tchaikovsky himself like when he was a child?Pyotr Ilyich Tchaikovsky - the great Russian composer, was born in 1840 in the small town of Votkinsk in the Urals.His father - (1795-1880) - an outstanding Russian engineer (question to the guys: what do you think, what word did the surname come from - Tchaikovsky?) Pyotr Ilyich's great-grandfather bore the surname Chaika, which later turned into the surname Tchaikovsky. Mother - Alexandra Andreevna Assier. The family brought up six children.

Pyotr Ilyich's parents loved music. His mother played and sang. While the family lived in Votkinsk, they often heard melodic folk songs of factory workers and peasants in the evenings. Pyotr Ilyich's governess, Fanny Dyurbach, later wrote to him - “I especially loved quiet, soft evenings at the end of summer ... from the balcony we listened to gentle and sad songs, only they broke the silence of these wonderful nights. You must remember them, none of you went to bed then. If you remember these melodies, put them to music. You will enchant those who cannot hear them in your country.”

Pyotr Ilyich, becoming a composer, often used folk melodies in his works.He was a special child. His nanny called him "crystal" for his very generous and vulnerable heart.. He grew up very kind, afraid of offending or upsetting someone. It was always joyful and interesting with him, as he was inexhaustible in inventions, funny stories and funny games. Petya liked to retire and listen to the sounds that were heard around him. Petya did not know where they came from and how a melody was formed from them, but he liked to listen to music. The music that sounded inside him captured Petya more and more, and he began to sit down at the piano and pick up different melodies. So at the age of 5 he began to compose music.In 1850, Pyotr Ilyich was separated from his family, he was sent to study at the School of Law in St. Petersburg. During the years of his stay at the school and after graduating in 1859, Tchaikovsky did not stop making music, visited theaters, listened to the works of various composers, and from 1861 he completely devoted himself to serving music.Pyotr Ilyich becomes one of the first students of the St. Petersburg Conservatory. After graduating with a large silver medal, he receives an invitation and becomes a teacher at the Moscow Conservatory, which now bears his name.3. P.I. Tchaikovsky wrote a huge number of musical works. These are works for piano, violin, cello, for symphony orchestra, ensembles, operas, ballets. (question to the guys: remember the names of three ballets by Tchaikovsky).In addition to music for adults, he wrote many beautiful pieces of music for children and youth.We return to the topic of our conversation - to the "Children's Album". For the first time, the composer undertook a composition addressed directly to children."Children's Album" was written in 1878 and is dedicated to the nephew of Pyotr Ilyich Volodya Davydov, who at that time was 6 years old. "I dedicated this album to my nephew Volodya, who passionately loves music and promises to be a musician,” the composer wrote.Tchaikovsky loved children, he was ready to mess around with the guys for hours, enjoying their chatter, experiencing an acute feeling of pity for sick children, trying to bring joy and pleasure to every child he met. And the children felt this love, became attached to Tchaikovsky, seeing in him a tender and caring friend.

The musical cycle "Children's Album" consists of 24 pieces. With the help of musical sketches, the composer describes one day in the life of a child,children's world, outlined by the composer with amazing sensitivity and subtle understanding of children's perception of life.

4. At the beginning of the album, the composer places sketches of the morning: "Morning Prayer", "Winter Morning", "Mother". Then, as usual, the child begins to play. Plays depicting children's games: “Game of horses”, “March of wooden soldiers”.

"March of Wooden Soldiers" - the play is endowed with a clear rhythmic pattern, characteristic of marches. The sound is fragile, “doll-like”, as if we see toy soldiers walking in close formation to the dry beat of the drum.

(Listening to the play "March of Wooden Soldiers", watching a cartoon.)

Boys play horses and soldiers. Girls love to play with dolls. The next three plays are girls' games: Doll's Sickness, Doll's Funeral, and New Doll. Favorite doll, apparently fell and broke. The girl is given a new doll, she is overwhelmed with joy and

impatience,she begins to spin in a rapid dance with a new girlfriend.

In addition to music, today we will listen to poems by the poet Viktor Lunin, written for plays from the "Children's Album".

(The poem by V. Lunin is read by Zaberezhnaya Olga.

Listening to the play "New Doll" performed by a student of grade 4. Panfilova Arina).The day that the composer describes is probably a festive one, and, as at any holiday, people dance and sing here. Tchaikovsky was very fond of visiting the house of his sister, A. Davydova, where there were many children, and guests often gathered. In one of the lettersthe composer wrote: "There are many guests, and in the evening I will have to accompany for the sake of my dear nieces, who are very fond of dancing."Three pieces make up the dance suite: "Waltz", "Polka", and "Mazurka"(Listening to the play "Waltz", watching the cartoon).The whirling waltz is replaced by a cheerful "Polka"(Listening to the play "Polka" performed by a student of the 4th grade Korchagina Maria).Further, the composer sends us on an exciting "journey". First, in Russia (“Russian Song”, “A Man Plays the Harmonica”, “Kamarinskaya”)."Kamarinskaya" - a folk Russian song-dance has a perky, daring character. As if everyone started dancing to the balalaika tune.(The poem by V. Lunin is read by Daria Shamshina.Listening to the play "Kamarinskaya", watching the cartoon)Then we travel around Europe (“Italian”, “Old French”, “German” and “Neapolitan” songs). The composer traveled extensively both in Russia and abroad.When visiting any country, Tchaikovsky was always interested in folk music and often used authentic folk melodies in his works."Italian", "Old French", "German" and "Neapolitan" songs are a kind of "pages from a traveler's diary": their melodies were recorded by the composer during a trip abroad. "An old French song" - a drawn-out, sad melody immerses us in the atmosphere of antiquity.(The poem by V. Lunin is read by Uliana Kushnir.Listening to the "Old French song" performed by a student3 cells Safronenkova Anna).AT"Neapolitan song" Tchaikovsky used a truly folk Italian melody. This piece is one of the most famous melodies. Pyotr Ilyich himself also loved this music, and on its basis he subsequently created the famous "Neapolitan Dance" for the ballet "Swan Lake". A picture of a cheerful Italian carnival clearly arises in the imagination - Tchaikovsky watched it more than once when he was in Italy.(The poem by V. Lunin is read by Anna Griga.Listening to the play "Neapolitan Song", watching a cartoon)The holiday is over, the evening is coming.Things are going to sleep, and before us appears the image of a grandmother with her fairy tales and dreams.(The poem by V. Lunin is read by Mikhalevsky Maxim.Listening to the play "Nanny's Tale", watching the cartoon).In the angular sound of the play "Baba Yaga" one can imagine the fantastic flight of a fairy-tale character, accompanied by the whistle of the wind, the character of the music is ominous, bizarre.(The poem by V. Lunin is read by Oleg Emelyanov.Listening to the play "Baba Yaga" performed by a student of grade 4. Korchagina Maria).The collection ends with the play "In the Church". Thus, the first and last numbers are connected by a kind of arch. The day is over."Children's Album" has great artistic merit, is one of the pearls of world music. It is played not only by children, but also by many adult musicians perform Tchaikovsky's "Children's Album" in their concert programs.5. Now try to answer the questions.1 Who played the piano and sang in the Tchaikovsky family?2 From what word did the surname - Tchaikovsky come from?3 How old was Petya Tchaikovsky when he started composing music?4 To whom did P.I. Tchaikovsky dedicate the "Children's Album"?5 How many plays are included in the "Children's Album"?6 Think of the titles of the plays you have heard today.6. Our conversation is coming to an end, I would like to ask you - which of the plays you listened to did you like more than others? When you come home today, try to draw a picture that has arisen in your imagination while listening to this play. Today you saw fragments of the cartoon, where cartoonists drew their pictures to the music of the "Children's Album". Your drawings can be completely different, because everyone's imagination is different.And finally, the Christmas and New Year holidays are approaching. Many families have a tradition of going to the theater to see P.I. Tchaikovsky's ballet The Nutcracker. This is another appeal of the composer to a fairy tale in which dolls come to life. The ballet is based on the fairy tale by E.T.A. Hoffmann, which takes place on New Year's Eve. During the New Year holidays, visit this performance with your parents, grandparents, together with your friends, and you will once again come into contact with the fairy tale and wonderful music of P.I. Tchaikovsky.This concludes our meeting, thank you to all the participants.

Bibliography: Aizenstadt S.A. P.I. Tchaikovsky - M .: Publishing House "Classics XXI ", 2006Neuhaus G.G. Notes of a teacher - M.: Music, 1982.Nikolaev A. Tchaikovsky's piano heritage - M.: Muzgiz, 1949.Malinina I.V. "Children's Album" and "Seasons" - Moscow LLC "Presto" 2003.