Lesson form: educational quest game.
Lesson type: lesson of repetition, systematization and generalization of knowledge, consolidation of skills
Target- deeper assimilation of knowledge, a high level of generalization, systematization.
Tasks:
- educational: identify the quality and level of mastery of knowledge and skills acquired in previous lessons, summarize the material as a system of knowledge.
- educational: educate a common culture, aesthetic perception of the environment; create conditions for real self-esteem of students, the realization of it as a person, to cultivate the ability of students to work in a team.
- developing: develop spatial thinking, the ability to classify, identify connections, formulate conclusions; develop communication skills when working in groups, develop cognitive interest; develop the ability to explain features, patterns, analyze, compare, compare.
Methods: game, verbal, conversations, sound and visual clarity, modeling of the artistic and creative process, musical and dance communication.
Work form: group
Methodical equipment: piano, computer, projector, screen.
Used CORs: Visual row - computer presentation, video clips.
Quest structure:
1. Organizational moment
2. Introduction (plot)
3. Tasks (stages, questions, role-playing tasks)
4. Evaluation (results, awards, emotions)
Stages and course of the lesson:
1. The teacher greets the students and asks them to take their seats at their desks. A paper version of the travel map is specially prepared for each desk.
2. Introduction (slides 1-5)
The teacher tells that the lesson will have an exciting journey to the Music City, in this city there is a huge number of cultural institutions that are supposed to be visited. A map of the journey is shown, on which the guys consider stops, the beginning and end of the route.
3. Stages of the quest.
First stop- museum - slides 6 - 11. Students' knowledge of what a museum is, what museums are, how museums are connected with music is summarized. In order to move on, students must complete the task on slides 12-13. Students are offered a task for attention and knowledge of musical instruments. After the task is completed, the class receives a reward - a note-medal (located on slide 14, you can also make a note-medal in paper form). The map shows the further route of travel.
Second stop- library, what can we learn about music in the library (slides 15-17). It is proposed to guess riddles about the composer, performer and listener (slides 18-21). The class receives another medal-award (slide 22). The map shows the further route of travel.
Third stop- circus, music in the circus (slides 23-24). Students are offered tasks (slides 25-26): determine from the picture what genre of music (song, march, dance) is depicted. The second task is to choose from the three proposed names of dances the one that, in their opinion, the clown is dancing in the picture (it is carried out in an interactive version: incorrect answers disappear when you click on them with the mouse, and the correct one increases in size). Slide 27 shows another medal-award and the way forward.
fourth stop- music school (slide 28). It tells what knowledge and skills each child can get here (slides 29-31). Students are offered a task: to dance a fun dance made in the form of a physical minute video clip (slide 32, video clip “Dance of little ducklings”). Slide 33 shows further direction route and a medal-reward.
Fifth stop- cinema (slides 34-35). The children are invited to answer the questions: what musical instruments did the heroes of fairy tales and films play? (slides 36-39). Slide 40 shows the further direction of the route and the medal-reward.
Sixth stop- musical theater (slide 41). Task: guess riddles about musical performances (slides 42-45). Riddles contain questions about opera, orchestra, soloist, choir. Slide 46 - another medal and the direction of the travel route.
Seventh stop- concert hall (slide 47).
4. Evaluation. The end of the game-journey (slides 47-48). The results of the trip are summed up, the teacher evaluates the work of students, marks the most active ones. Medals earned are counted. Since all the tasks have been solved, the guys will be rewarded - to attend a concert (a video fragment of a children's concert number). Slides 49-50 are the final words of the teacher.
Dziuba Elena Nikolaevna, MBOU "Secondary School", Kotovsk, Tambov Region, music teacher
To download material or !The child who has experienced the joy of creativity, even in the smallest degree, becomes different from the child who imitates the acts of others.
B. Asafiev
Our time is characterized by the humanization of the educational process, the appeal to the personality of the child, the development of his best qualities and communication skills. This means that education should form students' cognitive interests, develop their abilities, encouraging them to be creative. Right now, in modern psychological and pedagogical science, in the education system, the search for new approaches, unclaimed reserves of cultural achievements, becomes relevant and significant. effective technologies upbringing and education with the aim of developing creativity from the beginning of a person’s path, from childhood, educating spirituality, self-realization and self-development.
By its ability to evoke creative activity in a person, art occupies the first place among all the diverse elements that make up a complex system of human education.
The need to use music to form the creative abilities of students is due to important role musical art in the education of the younger generation. As an integral part of artistic culture, music has great potential in developing schoolchildren's sense of respect for spiritual and cultural values, readiness to protect them and create new ones.
Musical education considers education as a process that depends on many factors. The musical culture of a person is formed under the influence of not only the school. The environment finds a different refraction in the mind of the pupil and affects him spiritual world.
It is the school that should help in the formation and development of children's musical interests and abilities, in the formation and expression of their creative abilities, since the value of creativity, its functions lie not only in the productive side, but also in the very process of creativity.
Mastering the inexhaustible cultural experience of mankind, captured in music, children bring it into their own life, feeling, perceiving, analyzing it through the prism of the values and relationships that open to them
One of the important problems is the improvement of the system of work of school institutions for the musical and creative education of children. Its solution is possible through the use of active forms of learning, game techniques and methods, integrated lessons as forms of rational construction of the musical and pedagogical process, contributing to the unification of different types of musical creativity and familiarizing schoolchildren with them. This approach will effectively solve educational problems, among which the upbringing of a holistic personality, the development of the creative potential of each child is of particular importance.
The game has great importance in the life of a child. The game only outwardly seems carefree and easy, but in fact it imperiously demands that the player give it the maximum of his energy, mind, endurance, independence. In the game, the abilities of the child are especially fully and sometimes unexpectedly manifested, therefore, outstanding teachers rightly paid attention to the effectiveness of the use of the game in the process of education and upbringing.
Game forms of education and upbringing make it possible to use all levels of knowledge: from reproducing activity through transformative activity to the main goal - creative search activity, during which students learn teaching techniques.
The technology of interactive learning, in particular, the game in its various manifestations, as one of the forms of organization of the educational process, contributes to the development of junior schoolchildren creativity, imagination, fantasy, emotional empathy and emotional anticipation, the ability to reincarnate,
Theoretical aspects use gaming technologies
in the pedagogical process
There is no and cannot be a full-fledged game without a game. mental development. The game is a huge window through which a life-giving stream of ideas about the world around flows into the spiritual world of the child.
The game is a spark that ignites the flame of inquisitiveness and curiosity.
V.P. Sukhomlinsky.
The principle of the child's activity in the learning process has been and remains one of the main ones in didactics. This concept means such a quality of activity, which is characterized by a high level of motivation, a conscious need for the assimilation of knowledge and skills, and performance. This kind of activity in itself does not occur often, it is a consequence of the use of pedagogical technology.
Pedagogical technology is understood as a set of means of methods for reproducing theoretically substantiated processes of education and upbringing, which make it possible to successfully implement the set goals. educational goals. The word "technology" entered the lexicon pedagogical science when the attention of specialists turned to the art of influencing the child's personality. Meanwhile, this word, which came to us from the Greeks, was designed for a more universal use. "Technos" - art, skill, "logos" - teaching. Any technology has means that activate and intensify the activity of students; in some technologies, these tools form the main idea and the basis for the effectiveness of the results. Such technologies include gaming technologies. Gaming technologies are integral part pedagogical technologies.
The game, along with work and learning, is one of the main types of human activity, amazing phenomenon our existence. The game has great educational value, as it is closely related to learning in the classroom, with observations in everyday life. She takes great place in the system of physical, moral, labor and aesthetic education. While playing, children learn to apply their knowledge and skills in practice, to use them in various conditions. This is an independent activity in which children enter into communication with peers. They are united common goal, joint efforts to achieve it, common experiences. Game experiences leave a deep imprint in the mind of the child and contribute to the formation of good feelings, noble aspirations, skills of collective life.
The technology of game forms of learning is aimed at teaching students to be aware of the motives of their teaching, their behavior, that is, to form goals and programs for their own independent activity and to foresee its immediate results.
The creative nature of the game is confirmed by the fact that the child does not copy life, but, imitating what he sees, combines his ideas. At the same time, he conveys his attitude to the depicted, his thoughts and feelings. This makes acting related to art, but a child is not an actor. He plays for himself, not for the audience, he does not learn the role, but creates it in the course of the game. When a child enters into an image, his thought works vividly, his feelings deepen, he sincerely experiences the events depicted.
Many artists talk about the creative nature of children's play. K.S. Stanislavsky advised actors to learn from children, whose acting is distinguished by “faith and truth”. The well-known film director G.L. Roshal wrote: “Any children's game is always a world of illusions. In this world of illusions, the child, however, never loses his real self. When riding a horse - a chair, the child does not think that the chair under him is really a horse, or a table, on which he climbs like a mountain. In his game, he looks like an actor (it’s not for nothing that the art of an actor is called a game) ... So, a child’s game can be called a theatrical game, and the illusion of a child’s game can be called a theatrical illusion ”
But creativity does not appear by itself, it is brought up, it develops as a result of long-term systematic work of teachers.
The development of game creativity is manifested, first of all, in the gradual enrichment of the content of the game. The development of the idea and means of depicting what was conceived depends on the richness and nature of the content of the game. The game gradually develops purposefulness of actions. If in the fourth year of life in children interest in action often prevails, because of which the goal is sometimes forgotten, and in the fifth year of life it is possible to teach children to deliberately choose a game, set a goal and distribute roles, then children 5-7 years old have an interest in various life events, to different types of work of adults; favorite characters of books appear, whom they seek to imitate. And game designs become more persistent
The interest that has arisen in the use of game methods in education is not accidental. Educators and psychologists saw in the game a powerful potential for overcoming crisis phenomena in education and have been successfully using it in their activities for many years. Some countries have even decided on directions: America, for example, “specializes” in game teaching methods, France is included in the scope of theatrical game (a narrow area of game technologies). However, for French scientists, theatrical game is the same as for our domestic scientists - a role-playing game. This is somewhat incorrect. Each of these games has its own individual characteristics. In Israel, teachers without knowledge of gaming technologies are generally not allowed to work with children. All these data give us the opportunity to say that gaming technologies are of interest to educators.
The game allows you to make interesting and exciting the work of students in the pedagogical process. The amusingness of the game world is positively emotionally colored monotonous activity for memorization, repetition, consolidation or assimilation of information, and the emotionality of the game action activates all mental processes and functions of the child. Another positive side The game is what contributes to the use of knowledge in a new situation, that is, the material assimilated by students goes through a kind of practice, brings variety and interest to the educational process.
Teaching through play, we teach children not in the same way as we adults, it is convenient to give educational material, but how it is convenient and natural for children to take it. A game for children is, first of all, an exciting activity. Everyone is equal in the game, it is available to every student. Moreover, a weak student can become the first in the game: resourcefulness and ingenuity are more important here than knowledge of the subject. A sense of equality, an atmosphere of enthusiasm and joy, a sense of the feasibility of tasks - all this enables the children to overcome shyness and has a beneficial effect on learning outcomes. The material is assimilated imperceptibly, and at the same time a feeling of satisfaction arises.
The game is the freedom of self-disclosure, self-development based on the subconscious, mind and creativity
Confucius wrote, "Master and student grow together." Game forms of learning allow both students and teachers to grow.
Experience in using gaming technologies in music lessons
The child is the subject of creativity, a small artist. No one but him knows the right solution to the creative task facing him. And the teacher's first job is to try to ensure that the child always faces precisely the creative task...
A.A. Melik-Pagshaev
A music lesson is an art lesson. Musical art - special form reflection of reality, which essential role feelings play, emotional sphere. hallmark a musical lesson is an obligatory unity of the emotional and conscious, each element of the lesson should evoke an active, interested attitude of children.
Music. In this word for each person there is a huge world of emotions, feelings, experiences, thoughts, ideas. Music has its own language, words are often powerless, where music "speaks". It is able to express, reveal the most subtle shades of human feelings, thoughts, moods, experiences, it can take you into the distant past, look into the future. Music has a special purpose for the spiritual improvement of a person, it actively forms the worldview, worldview and worldview of a person.
Much has been said about the role of music in the upbringing and formation of personality. One can recall Ancient Greece, where music stood alongside rhetoric and logic, and the triune chorea - music, dance and word - served as a means to purify and elevate the soul. And you can recall the studies of psychologists who say that music lessons help develop mathematical capabilities. In any case, the expansion of horizons, the formation of musical taste, the ability to form one's point of view and the ability to defend it - these qualities are worth taking up music.
To increase the effectiveness of each music lesson means, first of all, to make it an event for the student. Bright emotional colors saturated with the creative activity of the students themselves. Lesson - isn't it a fairy tale? And isn't it the kind of lessons that children dream about when they go to school? Pupils feel disappointed in learning if all the lessons are “on the same face”, if the fairy tale has not happened. Where does the fairy tale live? The story lives on in the game.
Introduction to the educational process of games allows you to:
Create a favorable atmosphere in the classroom;
To increase the intellectual and emotional activity of students;
Feel the success in the game situation;
Develop a range of different abilities.
Play and art have common roots. Since the time of Plato, this relationship has been distinguished by many philosophers, psychologists, teachers and artists. The greatest philosophers Kant and Schiller considered the game as an art, an aesthetic activity. Psychologists A. Vygotsky, D. Uznadze, esthetician G. Reed interpret the game as artistic creativity child, and gaming activity- as a mechanism for the formation of its aesthetic culture.
The game is, first of all, a type of informal activity that can turn into artistic activity and thus influence the organic development of the child.
AT primary school in music lessons, almost any didactic device can be indiscriminately assigned a playful character, only on the grounds that it is associated with movement, rhythm, works of children's folklore (teasers, counting rhymes, etc.), paraphernalia and symbols. However, for the children themselves, such methods and forms of work will never seem like a game if they do not show the main components of the game technology: complete freedom and interest of children in intrigue, mystery, unpredictability of the result and the possibility of self-expression and success.
Game rules never constrain the creative freedom of the child, which manifests itself in improvisation, competitiveness, fantasies, etc. You can't force yourself to play the game. The game imposed by the teacher with serious didactic goals is bad, not real, “it hidden form coercion." Therefore, it is very important to inspire children to play, to create a playful atmosphere of fairy tales, riddles, adventures, secrets, and magic in the classroom.
All this helps the teacher to conduct a music lesson at a high level. After such a lesson, students look forward to the next meeting with music. Such lessons require from the teacher artistry, intonation-speech, plastic, mimic expressiveness, the ability to immerse children in different emotional states.
A trouble-free tool for maintaining interest in learning activities in a music lesson in primary school is a game. There is a method of “figurative entry into music”. It consists in creating figurative-game situations that require reincarnation, rich fantasy, and imagination from children.
In addition to the traditional understanding of the game as a pre-planned process and action distributed by roles, the game can be filled with the meaning that it has long had in folk art: to perform a song means to play a song. The so-called scenario of the game-song (game-dance) is unknown to children in advance, so they choose their own role and find those expressive means that, in their opinion, they need to implement them. The teacher, along with the children, composes and performs his role. To play a song is to express the tradition of oral folk art when the accumulated musical and poetic wealth was passed from heart to heart, from mouth to mouth and therefore lives so long.
Fairy tale elements are very popular in music lessons, with the help of which the teacher creates the effect of surprise and attracting attention and interest in new material. After all, a fairy tale is the most favorite genre of children. The fairy tale activates educational and cognitive activity, helps students to easily comprehend the patterns of music.
AT teaching practice increasingly began to use musical and didactic games, which allow in a simple, accessible way to give an idea about music, its expressive possibilities to learn to distinguish between a variety of ranges of feelings.
In specially directed games, we can and should solve such issues as the development of special, and in some cases, musical abilities. To special musical ability include - music. rhythm, music hearing, music memory, music creativity and performance.
There are many games that help develop a sense of rhythm, music. memory; games that develop diatonic timbre hearing; games to determine the form of musical works; games for the development of vocal and choral skills; games that help you perform rhythmic movements to the song.
Of great interest to younger students are games that make you think, provide an opportunity to test and develop your abilities, including them in competitions, in solving problems and puzzles, crossword puzzles.
The game approach in music education is not limited to one or another number of games used by the teacher. It is a multicomponent system for organizing the musical and educational process. The modern music curriculum aims the teacher at applying a playful approach with an intriguingly imaginative formulation of themes; the presence of an active-communicative basis: composer-performer-listener.
The game approach makes it easier for children to study music as a living art, makes it exciting, acts as a form of artistic communication of children in intonational language with works of art, with a teacher, with each other.
The purpose of musical games is to develop intelligence, memory, musical ear, voices, the most creative activity, a sense of the rhythm of the child, expanding horizons, developing skills and abilities. The value of the game cannot be exhausted and appreciated by the entertainment possibilities. This is its phenomenon, that, being entertainment, recreation, it is able to develop into learning, creativity.
In musical creativity, the leading role is played by the synthesis of emotional responsiveness with thinking, abstract and concrete, logic and intuition, creative imagination, activity, ability to make decisions quickly. Children's creativity is associated with independent action, with the ability to operate with the musical and auditory representations known to them, knowledge, skills, apply them in new conditions, different types of musical activity.
Children's creativity in music lessons is a cognitive-exploratory musical practice. The creativity of students is valuable because they themselves discover something new, previously unknown to them in the world of music.
Creativity in younger students may manifest
in singing the simplest motives, often arising involuntarily;
in composing a melody to the proposed text;
in expressive movements to the music, conveying the various moods of the works;
in creating rhythmic accompaniment to pieces for listening to music;
in value judgments about the music heard;
in a meaningful performance of songs with elements of interpretation;
in my own creativity.
Children's musical improvisation where does it start? What skills are needed for it? .. The value of improvisation as methodical reception in working with children - not in the ability to create musical structures, but in need, readiness to express a state of mind, an important thought, an impression. Only with such a beginning of improvisation as a creative process can one already predict the appearance of not a theoretically programmed, completed on the basis of the rules, made according to the model of a musical form, but even a timid and naive, but independent “cultivation” of musical thought, which can sometimes be expressed in an unforeseen form.
“Plastic intonation”- this is one of the ways, one of the possibilities of “living” images, when any gesture, movement becomes a form of emotional expression of content. Gesture, movement, plasticity has a special property to generalize the emotional state. The teacher's ability to find such generalizing movements that would express the main thing: the state of mind reflected in music - this ability decides a lot, because these movements can become so understandable, so “infect” children with emotions that there is literally no need for lengthy conversations about the nature of music… If we had developed in children from an early age the ability to “internally play” music, to “sing it plastically” with every cell of our body, our soul, how much more meaningful and effective would be the mastering of music by children, how much more heartfelt would be its performance!..
Plastic intonation is any movement of the human body caused by music and expressing its image. It is associated with all types of performing arts - the movements of a musician sometimes “tell” the secret meaning of the music, which only this musician hears. Sometimes plastic intonation occurs spontaneously (from an “overabundance” of feelings), but, knowing the inseparability of musical and plastic expressiveness, the teacher should encourage children to perceive music not only by ear, but also with the help of musical-rhythmic movement.
Movements can be different - from a flexible downward movement of the hand to imitation of playing musical instruments in the nature of music (“Merry Musician” by A. Filippenko); from shaking the body (singing the song “Children of the whole earth are friends” by D. Lvov-Kompaneyts) to a joyful dance (its chorus); from easy step to a round dance (r.n.p. “There was a birch in the field”).
Children are more likely to wait for a ready-made version of plastic expression to be shown than to invent it themselves. Therefore, it is better to limit yourself only to hints and tips that can help the child. The important thing is the freedom of creativity.
In my lessons, I often use the technique of performing music with movement, gesture - “plastic intonation”. This helps the children to feel the length of the phrase or the asymmetry of the phrasing, to feel in the pulsation the nature of this or that work, to show the features of the development, deployment of music, and also to express themselves in a creative search.
So in the second grade, the guys, having listened to a fragment from Grieg’s “Morning”, do an excellent job of showing the movement of how the music developed (the hands of the children smoothly rise up, showing how the sun rises).
One can cite as an example a conductor - a person who, without playing the instrument himself, at the same time "plays" such a colossal instrument as an orchestra. This means that there is something in the conductor's gesture that makes one feel the intonation-figurative meaning of the music. Movement is visible music, it is not by chance that now plastic interpretations of many instrumental and vocal works have appeared on the stage. Performing music with movement allows the teacher to see how each student hears the music. At the same time, the performance of music by movement liberates the children and makes them listen to the work from beginning to end, without “turning off”. When the nature of the music changes, you can instantly see how sensitively the children caught these changes, which means how attentive they were.
The ancient Romans believed that the root of the doctrine was bitter. But when a teacher calls on interest as an ally, when children become infected with a thirst for knowledge, a desire for active, creative work, the root of the teaching changes its taste and causes quite a healthy appetite in children. Interest in learning is inextricably linked with the feeling of pleasure and joy that work and creativity bring to a person. Interest and the joy of learning are necessary for children to be happy.
The development of cognitive interest is facilitated by such an organization of learning, in which the student acts actively, is involved in the process of independent search and discovery of new knowledge, and solves problems of a problematic, creative nature. Only with the active attitude of students to the matter, their direct participation in the "creation" of music, interest in art awakens.
a huge role The implementation of these tasks is played by the presence in the music room of various musical instruments and their use in the process of work, taking into account the abilities of students and their age.
instrumental music making- this is creative process perception of music through playing musical instruments accessible to the child. I want to once again emphasize the idea of the interpenetration of all types of musical activity in the process of active perception of music. Thus, instrumental music-making is most closely connected with listening to music, vocal and choral performance, and improvisation.
When introducing children to music through instrumental music-making, to promote their creativity, it is necessary to remember the following:
The student acts as his musical intuition tells him;
The teacher helps to choose a musical instrument that matches the style and musical image works;
The teacher helps the student to find the technique of performance.
An example of using this in my lessons is “Seven Kids” from M. Koval's opera “The Wolf and the Seven Kids”. Children's creativity begins with the "examination" of the sonic possibilities of the instruments that I offer them. The choice is made - a tambourine and a triangle. First, we remember (the acquaintance took place earlier) how to carefully pick up an instrument and perform our mood on it (instrumental improvisation). Over the course of several lessons vocal and choral work over the performance of the choir, and the guys accumulated emotions and feelings. And here is the result - I play the piano in an ensemble with one of the students, and the guys help me accompany with their small orchestra. Our performance should decorate the music of M. Koval.
More and more often, the music of the great classics is performed by children studying at a music school. They show a desire to speak to the children of their class right at the lesson, to interest their classmates, to give them a piece of their soul. The class is quiet. As if bewitched children listen to little musicians.
I think that playing instruments is an interesting useful musical activity for children. This allows you to decorate the life of the child, entertain him and arouse the desire for his own creativity. In the process of learning to play the instruments, auditory representations, a sense of rhythm, timbre, and dynamics are well formed. Develops independence in the actions of the child, his attention and organization.
Observing that instrumental music-making causes delight, joy in my students, the desire of everyone to try their hand, I often use this activity for general musical and creative development.
Using interdisciplinary links
Music is one of the art forms, which is the main content of the subject.
Introducing children into the world of art means not only revealing to them your attitude towards it, but also helping to develop them. own views for a piece of music. Works of fine art, artistic word help to convey the depth of feelings, ideas embodied in music, to understand the essence of creativity. Music is able to evoke moods, experiences consonant with many works of art and literature.
Integrated lessons contribute to the development of visual and musical skills and abilities, allow you to systematize knowledge, contribute to development to a greater extent than regular lessons, aesthetic education, imagination, attention, memory, thinking of students (logical, artistic-figurative, creative). Possessing a large informative capacity, they contribute to an increase in the pace of educational operations, allow each student to be involved in active work at every minute of the lesson and contribute to the creative approach to the implementation learning task.
Literature - music
art word, its rhythmic sound, thematic expression allows you to develop interest and desire to read literary work, to understand its essence more deeply and at the same time to penetrate the mystery of musical sound, to be able to comprehend its genre peculiarity. In the process of studying the interpenetration of works, moral and aesthetic feelings and beliefs, musical tastes and needs, musical and creative abilities develop.
As a result of joint activities, the efforts of the children create a creative product in the form of a verbal drawing based on the interpretation of a musical work, musical and rhythmic movements based on its content.
Literary creativity, reflecting the impressions of the music listened to, at a higher stage of development of students acts in three kinds: poetry, prose miniatures, analytical written works, revealing means musical expressiveness.
Music - art
Illustrations, reproductions of paintings, consonant with the theme, the figurative content of musical works, contribute to the creation of the responsiveness necessary for the perception of music, and encourage students to create independent drawings, illustrations that convey their vision of a musical work.
Integrated extracurricular activities one of the forms of organization circle work in which colleagues are also involved. In class, students create a dance pattern to accompany the song. It is always a joint work of teacher and student.
Conclusion
“To create is to live twice.”
A. Camus
Children's musical creativity is an important factor in the development of a child's personality. It can manifest itself in all types of musical activities: singing, dancing, playing children's musical instruments.
Having considered the use of gaming technologies in the creative development of students, we can draw a number of generalizations and conclusions:
an active means of developing the creative activity of students are creative tasks in the form of games;
in game situations it is easier to organize songwriting, staging, dramatization;
the game improves objective activity, logic, methods of thinking, forms and develops the skills of business interaction with people;
the game form of classes is created in the classroom with the help of game techniques and situations that act as a means of inducing, stimulating students to learning activities;
usage role playing helps to involve students in the process of co-creation. During the game, the child becomes either a composer, then a performing musician, then a listener, then a dancer, then a stage director, then a conductor, then a decorator;
games in music lessons contribute to the overall creative development of the individual, which, in turn, brings up responsiveness, artistic imagination, figurative-associative thinking, activates memory, observation, intuition, forms the inner world of the child;
The game improves objective activity, logic, methods of thinking, forms and develops the skills of business interaction with others.
Literature
Besova M.A. To the knowledge of the world - through the game. - M., 1995.
Bulanova-Toporkova M.V., Duhavneva A.V., Kukushkin V.S., Suchkov G.V. Pedagogical technologies. M., 2004.
Mironova R.M. Game in the development of children's activity. - M., 1989.
Selevko G.K. Modern educational technologies. - M., 1998.
Besova M.A. Cognitive games for younger students. - M., 2005.
Magazine-collection "We read, study, play" - M., 2002.
Bogdanova O.S., Petrova V.I. Methodology educational work in primary school. - M., 1985.
Vilkin Ya.R. Belarusian folk festivals. - M., 1988.
Vygotsky L.S. Pedagogical psychology. - M., 1991.
Starzhinskaya N.S. We are friends and play together. M., 1994.
Pedagogical workshop. Music and education. M., 2005.
Grishanovich N.N. Music at school. M., 2006..
Yurkevich V.D. Didactic musical games and exercises. M., 1995.
Nemov R.S. Psychology, kn.2. M., 2003.
A fragment of the lesson on the topic "Dynamic colors of music."
Teacher: And now, guys, I want to reveal one more secret to you, which plays an important role in music. This is the secret of sound. As you have already noticed. Music can be different in sound: loud and quiet. Of course, you will never confuse a loud and a quiet sound, but if you carefully listen to the sound of music or human speech, you will notice that the sound is rich in shades. After all, we never speak only loudly or only quietly. One and the same word can be said very loudly, loudly, a little quieter, quietly and very quietly.
There is a play on words with dynamic shades.
Teacher: We heard different shades in the voice, and the shades in the music are these peculiar colors that color the music in different colors and make it sound more expressive.
The teacher reads "The Tale of the Cat" with dynamic shades, changing the strength of the voice on the highlighted words.
A story about a cat.
There lived a cat Vasily. The cat was lazy!
Sharp teeth and a fat belly.
VERY QUIETLY he always walked.
LOUDLY, persistently asked to eat,
Yes, a little quieter on the stove snoring -
That's all he could do.
The cat once sees a dream like this,
As if he started a fight with mice.
LOUDLY screaming, he scratched everyone
With its teeth, clawed paw.
In fear, the mice QUIETly begged:
Oh, have mercy, have mercy, have mercy!
Then the cat exclaimed a LITTLE LOUDER: “Shoot!” -
And scattered they rushed.
(But in fact, at the time when our Vasily was sleeping, this is what happened.)
The mice QUIETly came out of the mink,
LOUD crunching, ate bread crusts,
Then a little quieter laughed at the cat,
They tied his tail with a bow.
Vasily woke up, suddenly LOUDLY sneezed,
He turned to the wall and fell asleep again:
And the lazy mice climbed on the back,
Until the evening, they made fun of him LOUDLY.
Teacher: Tell me, how did the cat Vasily ask to eat? How did you snore on the stove? And how did the mice come out of the mink when the cat was sleeping?
Student: Cat Vasily loudly, insistently asked to eat. He snored a little quieter on the stove. The mice quietly exited the mink.
Teacher: Guys, let's show these dynamic shades in the performance of the song “With us, friend”, already known to us.
Work on the shades of works.
Teacher: Imagine that summer has come, you are in a forest clearing, and in the forest, if you shout “Ay”, then an echo will respond to us, which is heard far, far away and therefore it sounds quiet. Let's sing our song "With us, friend", in which phrases and words are repeated as an echo.
One group of children begins to sing, and the second echoes them like an echo.
Teacher: Well done, you coped with the task. And now let's play a game that is called "Loudly, quietly drunkenly."
We play the game: "Loudly-quietly sing"
Sing familiar songs, increasing and decreasing the sound.
Game tasks: Guided by the volume of the song (sung by children), the driver must find a hidden toy: the sound intensifies as it approaches the place where the toy is located, or weakens as it moves away from it.
Equipment: Toy.
Teacher: We played well, had fun, and now I propose to sing a song about a cheerful person. Who is this man?
Students: Musician.
Teacher: Let's remember with you what instrument the musician played.
Student: The musician played the violin, balalaika, drum.
Teacher: What do you think the sound of a violin, balalaika, drum.
Student: The violin is not very quiet, the balalaika is not very loud, the drum is loud.
Pupils sing the song "Merry Musician" and stage it.
Teacher: Well done. Let's sum up our lesson. What secret did you learn in class today?
Student: We got acquainted with the secret of the sound of music.
Teacher: So how can music sound?
Student: Loud, quiet, not very loud, not very quiet.
Teacher: Correctly.
Lesson conclusion: The power of any sound is one of its most important properties, one of its features.
3. "Musical piggy bank of words"
"Music box of words" serves to ensure that after listening to music, students can fully express their feelings, emotions, moods in words. This game used to expand vocabulary and allows through the game situation and visibility to stimulate children to the manifestation of creative imagination.
Games in music listening lessons
In the light of new educational standards, the curricula of Russian children's music schools and music departments of art schools have undergone significant changes. The traditional clock grid has been revised, in curriculum new items appeared. In a cycle theoretical disciplines the subject entitled listening to music, which precedes the traditional course of musical literature, received a residence permit. The established didactic principles in teaching in connection with innovations required the search for new twists and revision of a number of pedagogical techniques.
Having started classes on the subject of listening to music, the teacher immediately faces a number of tasks that should be understood in broad sense words, namely:
promote interest in the subject;
expand the scope of musical and auditory impressions of students;
apply these types practical forms works that cement the gap between practical musical subjects and passive, at first glance, listening to music.
In a narrower sense, the main tasks initial period learning is
formation of auditory skills and abilities of students;
developing the skills of competent presentation of one's own impressions of music;
memorization and recognition by ear of the material covered.
One of the ways to solve the above tasks is to use the games included in the organization educational process. The game is a powerful means of self-education and self-improvement of students. By choosing game forms work in which the child feels quite free and comfortable, it is possible to create conditions for the activity and self-realization of students in educational, creative and communicative activities.
The games proposed for work in the lesson of listening to music can be divided into three groups and used in various combinations:
- author's;
- electronic;
- on paper.
Let's start with the simplest ones. For example, from a game called Music Boxes. She needs a box made of paper, or a stylized small box.
The game "Music Boxes" causes a kind of competition among children. There is a kind of excitement: who has collected more material, who has more beautiful and colorful drawings, who remembers the musical themes more.
The game "Music Lotto" requires students to quickly and correctly find cards that depict elements of musical speech that correspond to the piece of music they listened to. In this case, you can use one of the ready-made cognitive games for students of music schools called "Music Dictionary"(author E.V. Novikova) from the Musical Rainbow series. Positive sides of this game is the participation of the entire group of students and the possibility of simultaneously checking the level of assimilation of the material by each student.
To liberate the children, relieve tension in the lesson and form the skills of verbal communication, a game is offered. "Bell".
In the game "Bell" the formation of the simplest skills of analyzing a piece of music takes place. It contributes to the creation of conditions under which there is an opportunity not to be afraid to speak aloud, express their impressions, and discuss the piece of music they listened to. A presenter is selected who rings a bell or makes a sound using a triangle and names several pre-selected musical terms. After the bell has sounded, the first participant of the game reveals in the listened work any means of musical expressiveness named by the leader and its features. Similar actions are performed with the rest of the participants.
To analyze the structure of a musical work, you can use the task in the classroom. "Musical Ornament". At the first attempts, students are limited, as a rule, to the image of schematic geometric figures. Subsequently, students expand the means of expression and create ornaments from flowers and painted objects. To make the geometric ornament even more whimsical and original, it is proposed to design figures from colored paper, the so-called color modeling. You can use combinations of multi-colored cubes, large and small.
Complicated game forms can be used to solve problems related to memorization and recognition of musical material. Game tasks are grouped here depending on the abilities of students and the period of study:
1. memorization of musical material (“Try to collect”, “Favorite melodies”);
2. recognition of music ("Musical way")
In Game "Try to collect" students are offered a series of cards on which the names of composers, titles of works are indicated, musical examples of musical themes are given. The task of the children is, after listening, to quickly and correctly compose a chain corresponding to this musical material: the name of the composer, the title of the work, the theme.
In the task "Favorite Melodies" Students perform musical themes for each other. They themselves sing the melodies of the works they like, the most capable ones play them on the piano or synthesizer.
The game "Music Way" in many respects it is similar to a musical quiz, but is held in a more accessible, entertaining form. This game ensures the creation of a situation of success in completing the task in the narrow sense (as one of the forms of work) and in general in the lesson, since each student wants to complete the task faster and more correctly than others, come first and do everything possible to achieve the goal.
For the game "Musical Way", the guys come up with two or more objects: for example, a fairy-tale city, a wonderful meadow, a mysterious forest. In this game, students "pave" the way from the guessed names of musical works to the object created by the imagination of the children, from pieces of paper-bricks. Whoever remembered more, heard the musical themes, got the longest road, and he won.
To expand the horizons of students, as an additional teaching aid in the lessons of listening to music, sets of lotto games on paper from the series "Musical Rainbow" - "3 whales of music", "Musical instruments", "Fabulous world of ballet". With the help of a scanner or printer, it is easy to make them yourself. The set should include large A4 cards with printed images on the chosen theme of the game in two copies. One of them is cut along the dotted lines into small cards with tasks. Award cards with prizes are made separately.
How the lotto game works "3 whales of music"? This is 3 copies big cards points with the corresponding genres and a set of small ones with varieties of songs, dances and marches. On the instructions of the teacher, when listening to a musical passage, the players raise the cards with answers on small cards, or, in the second option, fill in large cards with a set of small ones according to the genre. Whoever completes their card the fastest wins. For the auditory consolidation of the material covered, musical examples are used for different types of songs, dances and marches with the specification of the genre type of the listened musical passages in the form of handed out cards.
Let us give as an example the rules of two of the 5 existing variants of the game "Musical Instruments".
1 game:
Players are dealt big cards. Small cards with the names of the instruments are placed in the center in a mess. The task of the players is to close the large cards as soon as possible with pictures with the corresponding musical instruments.
2 game:
Players are dealt large cards. Everyone comes up with a riddle about one of the depicted instruments. The rest must guess what it is about. For example, the riddle: “It has three strings, made of wood, the body is triangular. What is it?" (balalaika) or " Musical instrument, for which F. Chopin often composed. What is it?" (piano).
The game "Fairytale world of ballet" introduces students to the characters and content of the world's best ballets based on fairy tales. AT this case- these are "The Nutcracker", "Sleeping Beauty" and "Swan Lake" by P.I. Tchaikovsky. In preparation for the game, out of 12 large cards, 6 must be cut into 36 small ones with the characters depicted on them. Large cards are distributed to children. The leader has small colored cards.
Option 1.
The teacher shows and names the hero of the fairy tale ballet to the children. The task of the students is to find this character and close it with a small card. The first person to cover the entire big card wins.
Option 2.
The teacher shows the picture. Students must name the hero of the ballet. The one who found this character on his big card closes it with a small card.
Option 3.
Large cards are distributed to students. Small cards are laid out face up on the table. After getting acquainted with the content of, for example, the Nutcracker ballet, the players are invited to find the characters of this ballet on their cards and cover them with small cards. After that, the players take turns calling the heroes of the ballet. The winner is the one who names all the heroes of the ballet correctly. The characters of Sleeping Beauty and Swan Lake are played in the same way.
Option 4.
Large cards are dealt to the children. Small cards are laid out on the table face up. At the command of the teacher, the children should cover with small cards as quickly as possible on their cards
heroes only of The Nutcracker;
heroes only of "Sleeping Beauty";
heroes only "Swan Lake".
For musical acquaintance with the content of P.I. Tchaikovsky can also use the literary and musical compositions The Nutcracker, Sleeping Beauty and Swan Lake in a light arrangement for piano, and then combine the sounding musical passages with the conditions of the Musical Way described above.
A good help in a modern lesson can be tasks from licensed interactive music games in the series of educational children's programs "Playing with Music" for memorizing music and developing timbre hearing:
- "The Nutcracker" based on the work of Tchaikovsky;
- "Magic Flute" by Mozart;
- "Alice and the Four Seasons" by Vivaldi.
1. the development of subject material and the removal of psychological stress, the creation of a situation of success, the formation of positive motivation;
2. the development of the imagination and fantasy of students, the formation of a new view of the world, the education of an open and free personality capable of learning, experiencing, active action;
3. creative entry into the musical reality, creating opportunities for self-expression of students, opening the field of creativity;
4. enhancing the attention of students;
5. give scope for the creative initiative of the teacher, allowing you to combine the classical traditions of teaching with advanced
Using inter active methods in teaching
music and MHC
In the context of the introduction of the Federal State Educational Standard, one of the leading modern school the task is to form key competencies in students. The most significant among them are:
Ability to take responsibility for decision making;
Tolerance, respect for people of other nationalities, the ability to live with people of other cultures - religions, languages;
Ability to work with various types of information;
The ability to constantly improve one's education, etc.
Thus, the need to develop a common culture of students is dictated by life itself, in particular, by the social order that modern society imposes on the general education of children. This order is to form a socially active initiative creative personality, developing the natural inclinations, inclinations and individuality of each student. Therefore, it is necessary to identify the most optimal forms of education, methods and techniques used in music lessons and MHK to expand the horizons of schoolchildren and their general culture based on individual and differentiated approach to students.
At all times, the teacher was worried about the problem of how to make sure that everyone was interested in the lesson, that everyone was involved in the learning process, so that not a single one was left indifferent?
How to develop a student's personality with the help of music and MHC, his creative thinking, the ability to analyze works of the past and present, draw their own conclusions and have their own point of view on everything?
Modern society sets the school the task of preparing graduates capable of:
To navigate in a changing life situation, independently acquiring the necessary knowledge, applying them in practice to solve various emerging problems, in order to be able to find their place in it throughout life;
Independently think critically, see emerging problems and look for ways to rationally solve them, using modern technologies; - clearly understand where and how the knowledge they acquire can be applied, be able to generate new ideas, think creatively;
Properly work with information (collect the facts necessary to solve a particular problem, analyze them, make the necessary generalizations, comparisons with similar or alternative solutions, draw reasoned conclusions, apply the experience gained to identify and solve new problems);
Be sociable, contact in various social groups, be able to work together in various areas, in different situations, preventing or skillfully getting out of any conflict situations;
Independently work on the development of their own morality, intellect, cultural level.
At traditional approach it is very difficult to educate a person who satisfies these requirements for the lesson. All these tasks can be implemented in the conditions of the active activity of the student when the teacher uses interactive teaching methods and techniques.
Many methodological innovations today are associated with the use of interactive teaching methods. Word "interactive ” is derived from the word “interact” (English), where “inter” is mutual, “act” is to act. “Interactivity” means the ability to interact or be in a dialogue mode. Consequently,interactive learning It is, first of all, interactive learning. Dialogue is also possible with traditional teaching methods, but only on the lines “teacher - student” or “teacher - group of students (audience)”. In interactive learning, the dialogue is also built on the lines “student - student” (work in pairs), “student - group of students” (work in groups), “student - audience” or “group of students - audience” (presentation of work in groups), “student - computer”, etc.
Interactive learning
- it is a special form of organization cognitive activity when the educational process proceeds in such a way that almost all students are involved in the process of cognition, they have the opportunity to understand and reflectctalk about what they know and think. Joint activity of students in the process of cognition, development educational material means that everyone makes their own individual contribution, there is an exchange of knowledge, ideas, ways of activity. This happens in an atmosphere of benevolence and mutual support, which allows students not only to acquire new knowledge, but also to develop their communication skills: the ability to listen to the opinion of another, weigh and evaluate various points view, participate in the discussion, develop a joint decision. The educational possibilities of interactive forms of work are also significant. They contribute to the establishment of emotional contacts between students, teach them to work in a team, relieve the nervous stress of schoolchildren, helping to experience a sense of security, mutual understanding and their own success. Interactive learning requires the use of special forms of organizing cognitive activity and sets quite specific and predictable goals, for example, creating comfortable learning conditions and involving students in learning interaction, which makes the learning process itself productive.
Compared to traditional learning, interaction between the teacher and students is changing in interactive learning: the activity of the teacher gives way to the activity of students, and the task of the teacher is to create conditions for the initiative.
Interactive methods require great training both the teacher himself: information, handouts, lesson equipment, and the preparation of students, their willingness to cooperate, obey the rules proposed by the teacher. In the process of learning activity, abilities are revealed, independence and the ability for self-organization develop, the ability to conduct a dialogue, seek and find meaningful compromises, that is, the child not only receives a system of knowledge, but also a set of key competencies in education and in communication.
There are several methods of interactive teaching that are actively used in music lessons and MHK. These are: “brainstorming”, discussion, role-playing and business game, the “Sinquain” method, “Three sentences” and others.
Brainstorm - it is a method of generating ideas and solutions when working in a group.
Purpose of the method
: leading a group discussion to solve a problem.
For brainstorming The team is divided into two groups: generators and analysts of ideas.
Generators ideas should offer as many options as possible for solving the problem under discussion in a short time, while
Naming ideas should not be repeated;
How more list ideas, the better;
Approach the problem from different angles.
The second group -analysts , receive lists of options from the first group and, without adding anything new, consider each proposal, choosing the most reasonable and appropriate. Each analyst has three votes and gives them to the best, in their opinion, three ideas. Evaluation can be made as follows: the first idea received three votes, the second - two, the third - one. The idea with the most large quantity votes, and there are -solution.
The tasks of brainstorming are:
Inclusion in the work of all members of the group;
Determining the level of knowledge and the main interests of the participants;
Activation of the creative potential of participants.
There are several ways to form groups. The size of the groups can be chosen depending on the objectives of the lesson and the time allotted for it.
In a pair, everyone is given the right to speak. If a group consists of three members, then there is big variety opinions. A group of four people has great flexibility, as they can be formed by the merger of two couples. In this way, everyone will already be familiar with the position of one participant before starting a conversation with a large number of people. A group of 5-6 participants increases the opportunity to exchange experience and provides a higher creative potential in building projects or solving problems.
Groups can be created in the following ways:
Please look around the room and find yourself a partner with whom you would like to work for the next ten minutes;
Choose someone you haven't worked with before;
Choose someone who was born in the same month as you;
About the same height as you;
Throw out the fingers on one hand and now find four people showing the same number as you and others.
During the brainstorming, the teacher acts as a “customer”. It briefly states the essence of the problem or question and the rules for brainstorming. Fixes the ideas expressed by the participants, stays away from the discussion. On the part of the teacher, criticism of any opinions and proposals is prohibited, a variety of ideas is preferred.
When building music lessons and MHK, I try to create problem situations. Creating a problem situation, I propose to find a way out of it using the brainstorming method. At the same time, I try to give such tasks that enrich the personal experience of students. For example: "What does Euclid's geometry have to do with art?" I pose this problem when studying the topic: “Architecture. Euclid space.
- Elementary school geometry - this is the geometry of Euclid. On one of the frescoes of the papal palace in the Vatican (“The School of Athens”), along with Plato, Aristotle and other ancient Greek philosophers and scientists, Raphael depicted Euclid (in the right corner with a compass he measures a geometric drawing surrounded by his students). Do you have any question? Lesson MHK, and suddenly the geometry of Euclid?
Problem solving takes place in groups. Students are given time to come up with ideas and analyze the best options. After discussions, children usually come to the correct conclusion: “Architecture has long been closely connected with the field of exact sciences. And, undoubtedly, its main property - structure formation - refers to or, rather, is subordinated to geometry, the purpose of which is to describe similar structure formations of the surrounding world.
Another example. When studying the topic: “Frescoes of St. Sophia of Kyiv”, you can also use the brainstorming method, where students (generators) must enter what, from their point of view, can be included in the concept of “musical ornament” in V. G. Kikta’s work “Frescoes of Sophia Kievskaya, and a group of analysts chooses the most reasonable options for ideas. Performing these tasks, the children relied on their knowledge, personal experience in the field of musical knowledge. After discussion, they come to the conclusion: “The ornament can be not only pictorial, but also musical, since both painting and music use elements of repetition through a certain interval of drawing or sound, which creates a sense of delicacy, which is inherent in the ornament.”
One of the forms of training that can develop the skills of the ability to logically, convincingly defend one's point of view on a particular position isdiscussion method.
Discussion
– a specific form of conversation organized by the facilitator, when the participants, based on their knowledge and experience, have different opinions on a problem.
Objectives of the discussion: solving group problems or influencing the opinions and attitudes of participants in the learning process.
The group discussion decides the followingtasks :
Teaching participants about analysis real situations;
Formation of problem creation skills;
Development of the ability to influence with other participants;
Demonstration of the ambiguity of solving various problems.
Group discussion participants should:
Listen and hear each other;
Do not interrupt;
Do not evaluate each other;
Do not offend and do not be offended;
Silence at the sign;
Everyone participate;
Comply with the regulations.
At group form the work of students is greatly increased and individual assistance to each student in need of it, both from the teacher and his comrades. Moreover, the helper receives no less help than the weak student, since his knowledge is updated, concretized, acquiring flexibility, and is fixed precisely when explaining to his classmate.
There are various forms of discussion dialogue when studying some topics in music and the MHC:
Round table(different positions – free expression);
Expert groups(discussion in microgroups, then expression of judgments from the group)
Forum (the group enters into an exchange of views with the audience);
Symposium (formalized presentation of prepared opinions, reports on a given issue);
Debates (representation of binary positions on the issue: proof - refutation);
- “aquarium” (the teacher divides the class into 3 groups. Usually they are arranged in a circle in the form of an aquarium. During the discussion, the first group speaks, the second - listens, the third - notice their mistakes, add, correct).
The role of the teacher in organizing a group discussion:
Problem designation;
Encouraging discussion of all participants;
Collection of various opinions and arguments;
Summing up the group work;
Providing objective information on the topic of discussion and your commentary;
The main thing is to make sure that the intensity of the meetings does not subside to the end.
During the discussion, the teacher monitors compliance with the rules of the discussion. :
I criticize ideas, not people.
My goal is not to “win”, but to come up with the best solution.
I encourage each of the participants to participate in the discussion.
I listen to everyone's ideas, even if I don't agree with them.
I first clarify all the ideas and facts related to both positions.
I strive to comprehend and understand both views of the problem.
I change my point of view under the influence of facts and convincing arguments.
I will give an example of a discussion lesson on the topic: “The motif of a scream in art” (E. Munch). Each group discusses the problem:What do you think is the reason for the scream?
In the course of the exchange of views, pictures of the real situation of that time emerge: the formation of a style in the art of expressionism, which found psychological impact colors on the viewer, and in the painting by E. Munch (1893) the colors convey the emotional depth of a human catastrophe: piercing yellow - incinerating the soul, warning of impending disaster; blood red - anxious, hysterical; lifeless blue - lonely, lost; wavy emerald - hopeless. (How not to remember Dostoevsky and his hero Marmeladov: “When there is nowhere to go”). To continue the discussion in the right direction, I propose a series of questions that will help to get a feel for the essence of the problem: What did the author depict? What meaning did he put into his ambiguous work? What did you want to say to the world?
Students come to different conclusions, each group proves its position. Everyone wins as a result of such work: everyone takes part, “lets through” a different point of view.
I want to note that the element of discussion must be included at different stages of the lesson. After all, the art of discussing, defending one's point of view, based on one's own experience, is still poorly developed among our students. And we still have to actively work on this problem in the future.
The next interactive method used on music and MHC is -role-playing game.
Role-playing game - this is a situation in which the participant takes an uncharacteristic role for him, acts in an unusual way.
Role-playing game gives an opportunity to imagine oneself in various situations, to model one's behavior depending on the role taken on.
The components of a role-playing game are:
Modeling -
formation effective way the behavior of each member of the group in a particular situation played out by him.
Instruction -
the intervention of the facilitator (teacher), who helps the group members with advice, feedback, support for finding the best way out of a difficult situation.
Reinforcement -
encouragement, incentive correct behavior group members in the situation.
Pros of Role Playing:
In the process of preparation and during the game itself, the knowledge of students deepens, the range of sources for comprehending music and the MHC expands.
The acquired knowledge becomes personally significant, emotionally colored, as the student has been in the role of a participant.
The game form of work creates a certain mood that sharpens the mental activity of students.
An atmosphere of looseness, freedom of thinking is created, the opinions of the teacher and the student become different, as the teacher finds himself in the role of a spectator.
Teamwork allows you to learn business communication, give public speaking experience.
Role play provides an opportunity to be different for a student who does not have good knowledge, overcome inner fear comments from teachers and classmates.
The role of the teacher is that he provides participants with the opportunity to adopt new forms of behavior in situations, determines behavior in a given life situation. The teacher trains and instructs the participants in the performance of the role.
What roles can students play in music and MHC lessons?
Real person (composer, poet, artist, conductor, screenwriter, etc.)
Fictional character, a typical representative of the era.
Role play can be used at various stages of the lesson. For example: a binary lesson on the topic: "Russian portrait of the 19th century in music and painting"
Guide to the Tretyakov Gallery Museum.
Musical critic
A few more techniques for using role-playing in music lessons or MHK:
“Who am I?". A student dressed as a character talks about him. Students guess who he is. For example, the lesson “Spiritual Music of Russia”: “I baptized Russia in 988. By my decree, the first temple was erected in the capital city of Kyiv. It was I who introduced the tithe and began to pay it regularly myself, who am I?
"Interview" - students ask questions to the composer, artist, poet, writer of another era.
During the game, children learn, remember new things, navigate in unusual situations, replenish the stock of ideas, concepts, develop imagination.
At the lessons of music and MHK, at the stage of reflection, generalization, I often use the “Sinquain” method.
Sincwine -
This is a poem that consists of 5 lines according to certain rules.
1 line - topic name
Line 2 is the definition of the topic in two adjectives
Line 3 is 3 verbs showing actions within the topic.
Line 4 - a phrase of 4 words, indicating the attitude of the author to the topic.
Line 5 - the completion of the topic, a synonym for the first word expressed by any part of speech.
Compiling a syncwine allows you to develop creative thinking, express your attitude to the topic under study, form a clear idea of a particular position.
In grades 6-8, to enhance the cognitive activity of students, you can use various games. This form of education corresponds to the psychological characteristics of schoolchildren. given age(fatigue, a small supply of ideas), meets their cognitive needs.
The game for the student is important, understandable - this is part of his life experience. The teacher, transferring knowledge through the game, takes into account not only the future interests of the student, but also satisfies today's. Using the game, the teacher organizes learning activities based on natural needs child, and not for their own reasons of convenience and order.
The game allows you to make the process of remembering historical facts, names, dates, names dynamic and interesting. geographical objects with which this or that historical person or event is associated. It excludes unwanted denture. Knowledge in the game is acquired through practice. Students do not just memorize the material, but consider it from different angles, decompose it into diverse logical series. Many games are easy to play. In time, they can take an average of 10 to 30 minutes. Thus, the teacher can use the game along with other learning activities.
Game "Three sentences".
The teacher is reading short story. Students need to listen carefully and convey the content of the story in three simple sentences. The winner is the one whose story is shorter and at the same time accurately conveys the content. Another version of the game is working with printed text. It could be an excerpt from a textbook. Three simple sentences The children can write in their notebooks. In this case, it is more convenient to identify the winner.
This game helps to develop a very important skill - to highlight the main thing on which the skills of working with the press and orienting in the information flow are based, as well as the ability to draw up a plan, abstract, abstract.
There are many options for game situations: crossword puzzles, “Interview with a composer, artist, poet”, “Find the mistake”, “Auction of names”, “Guess the term, composer, artist, work”. A creative working teacher can always choose what suits him, and he himself will come up with many new games.
Practice shows that playing in the classroom is a serious occupation. A methodically correctly organized game requires active cognitive activity from its participants not only at the level of reproduction or transformation, but also at the level of creative search, and promotes cooperation between the teacher and students in the learning process.
Usagecomputer technology andinformation technology significantly increases the efficiency of the learning process due to its individualization, the presence of feedback, and the expansion of visibility. What cannot be done with the help of traditional technologies in music lessons and the Moscow Art Theater, makes it possible to implement information technologies in many ways. They allow you to operate with a large amount of information and work with great speed, realizing the possibility of better assimilation of the material, optimization of the educational process and strengthening the motivation of students for learning activities.
At the moment, I consider it most convenient to use multimedia technologies in music lessons and MHC in the form of presentations. As one of the forms of education that stimulate students to creative activity, it is possible to propose the creation by one student or a group of students of a presentation that accompanies the study of any topic of the course. Here, each student has the opportunity self-selection forms of presentation of material, layout and design of slides. In addition, he has the ability to use all available multimedia tools in order to make the material the most spectacular.
Great favor can bring use virtual tours, training programs and electronic encyclopedias to expand the horizons of students, to obtain additional material that goes beyond the scope of the textbook. At present, there is already a significant list of all kinds of training programs, moreover, they are accompanied by methodological material necessary for the teacher. A variety of illustrative material, multimedia and interactive models raise the learning process to a whole new level. The psychological factor is also important here: modern child it is much more interesting to perceive information in this form than with the help of outdated charts and tables. When using a computer in a lesson, information is presented not as a static unvoiced picture, but as a dynamic video and sound sequence, which significantly increases the efficiency of learning the material. The interactive elements of the training programs make it possible to move from passive to active assimilation, as students get the opportunity to independently model phenomena and processes, perceive information non-linearly, with a return, if necessary, to any fragment.
Conclusion
In conclusion, I would like to note that the use of interactive teaching methods in the practice of teaching music and the Moscow Art Theater contribute to an increase in the intellectual activity of students, and therefore, the effectiveness of the lesson. Even the most passive students get involved in vigorous activity with great desire, they have observed the development of skills original thinking, creative approach to the problems to be solved. In addition, everything is formed key competencies:
Ability to take responsibility for decision making
We live in a rapidly developing society. In this regard, there are special requirements for the education system. Recently, much attention has been paid to the implementation innovative technologies in educational and upbringing with the aim of improving the quality of education, creating comfortable learning conditions with the active interaction of all students. The determining factors in the effectiveness of education are the ability to operate with information and independently organize cognitive activity. This task is especially acute for the teacher, who must organize such activities for students. With the use of new technologies, teaching methods are also changing. Modern pedagogy uses interactive methods that should help optimize the learning process for schoolchildren. The insufficient development of the use of interactive methods in music education determines its relevance.
The relevance of this problem is also caused by the contradiction between the social order of educating a creative, active member of society and the real predominance in school education traditional ways of transferring ready-made knowledge to students. We see the resolution of this contradiction in the development and application of interactive methods that reflect the specifics of the musical and educational activities of students in music lessons.
federal state educational standard involves the achievement by students of meta-subject, subject and personal results. If meta-subject and subject results can be obtained in part by transferring ready-made information, then personal learning outcomes are possible only through the use of interactive methods and forms, where each student has the opportunity to express an independent judgment, participate in the search for knowledge, and be an active participant in the formation of their skills and abilities.
Interactive learning, according to A. Pometun and L. Pirozhenko, is a special form of organizing cognitive activity, which has a specifically intended goal - to create comfortable conditions training, in which each student should feel his success, his intellectual viability, which makes the learning process itself productive.
The essence of interactive learning lies in the fact that the activity of the teacher gives way to the activity of the trainees, but the role of the teacher does not fall, but increases. The teacher must be the initiator, and the student must manage his own learning, choose the trajectory of learning, the pace of learning.
Spectrum modern methods and learning technologies is extremely wide. In pedagogy, there are numerous, mutually intertwined classifications of teaching methods. Traditionally, they are divided into passive, active and interactive methods.
1. Passive methods are a form of interaction between students and a teacher, in which the teacher is the main actor and managing the course of the lesson, and students act as passive listeners. Communication between the teacher and students in passive lessons is carried out through surveys, independent, tests, tests, etc. From the point of view of modern pedagogical technologies and the effectiveness of students' assimilation of educational material, the passive method is considered the most inefficient, but despite this, it has its advantages. This is an opportunity to present a larger amount of educational material in a limited time frame of the lesson, as well as relatively quick preparation for the lesson by an experienced teacher. Therefore, many teachers prefer the passive method to other methods. Lecture is the most common type of passive activity. This type of lesson is widespread in universities, where adults study, fully formed people with clear goals to deeply study the subject.
2. Active methods are a form of active interaction between students and teachers, in which they are on equal rights. Many between active and interactive methods put an equal sign, however, despite the generality, they have differences. Interactive methods can be seen as the most modern form of active methods.
3. Interactive methods ("inter" - mutual, "act" - to act) - means interaction, being in a conversation, dialogue with someone. Unlike active methods, interactive methods are focused on a wider interaction of students not only with the teacher, but also with each other and on the dominance of student activity in the learning process. The place of the teacher in interactive lessons is reduced to the direction of students' activities to achieve the goals of the lesson. The teacher also develops a lesson plan (usually these are interactive exercises and assignments during which the student learns the material). Therefore, the main components interactive lessons are interactive exercises and tasks that are performed by students. Important difference Interactive exercises and tasks differ from the usual ones in that by doing them, students do not so much reinforce the material they have already studied, but rather learn new ones on their own.
S. S. Kashlev classifies interactive methods according to their leading function in pedagogical interaction at each stage:
- Methods for creating a favorable atmosphere, thanks to which they line up trusting relationship to each other.
- Methods for organizing the exchange of activities, combining students into creative groups for joint activities
- The methods of organizing mental activity and sense-creation have the leading function of creating new content by students and the teacher, their own individual meaning, the exchange of these meanings, and the enrichment of their individual semantic experience.
- The methods of organizing reflexive activity are aimed at introspection by the participants of their activity, its results, in order to fix the state of their development.
interactive musical training based on a system of principles developed in music pedagogy B. V. Asafiev, B. L. Yavorsky, N. Ya. Bryusova; on the creative heritage K. N. Igumnov, G. G. Neuhaus, on the concept of teaching arts by D. B. Kabalevsky, B. M. Nemensky, L. V. Goryunova and others.
With interactive learning in the system of music education, one should talk about the visual-auditory, motor-auditory, musical-playing teaching method.
The visual-auditory method is implemented in the process of student's contact with a piece of music. In terms of content, this method is based on the “method of observing music” formulated by B. Asafiev, which forms the ability to meaningfully perceive a piece of music, observing and assimilating changes in its intonation.
The motor-auditory method is aimed at the development of musical and plastic activity. Music and plastic have a common intonation basis. As in music, as in the art of movement, intonation is the bearer of meaning. But if in music it is a musical intonation, then in the art of movement it is a rhythmic-plastic intonation. Because of this, the characteristics of musical-plastic activity are based on the nature of the relationship between musical and rhythmic-plastic intonations.
The musical-playing method is a synthesis of music, plasticity and theatrical action. This method is embodied not only in various genres of choreographic art, but also in dramatic productions.
Interactive technologies provide for various forms of organizing the interaction of students in educational activities: work in pairs, small and large groups using the project method. In music lessons in a secondary school, in order to develop communication and interaction skills, it is advisable to alternate listed forms joint activities of students, depending on the set didactic and educational tasks. Group and collective work naturally arises in the performance of folk rituals, in the process of acting out theatrical dialogues.
The project method is used at the stages of introduction to the topic (mainly information type), disclosure of the main content of the topic (research and information types), in the course of summarizing the topic (game or artistic and creative types). When forming small and large groups, it is advisable to take into account special abilities and aesthetic interests of students, their previous artistic experience and knowledge from various kinds arts.
We emphasize that gradually, from class to class, the proportion of group work increases, because students learn to work in a team, receive elementary communication skills. Working in groups contributes to the education of students in tolerance, collectivism, mutual assistance, it stimulates the process of artistic knowledge
The fundamental principle of organizing interactive interaction in the system of musical education is the parity equality of all components of the educational process, which allows you to combine traditional and innovative in the pedagogical process and direct it to personal growth and creative self-development of students in the conditions today. In the conditions of interactive learning, the emphasis is placed on the independent learning activities of the students themselves, which contributes to a more complete self-realization of students in the learning process, and hence its effectiveness.
Interactive teaching methods have come a long way of development. The main requirement of the humanistic idea is to ensure the unity of pedagogical interaction based on didactic principles, and internal state self-developing student, which corresponds to new methods of organizing the pedagogical process.
Literature
Zatyamina, T.A. Modern lesson music: methodology, design, scenarios, test control: educational method. allowance / T.A. Zatyamina - M.: Globus, 2008. - 170s.
Kashlev S. S., Interactive teaching methods [ Electronic resource] / S. S. Kashlev. - Minsk: Tetra Systems, 2011. - 223 p. - 978-985-536-150-4. Access mode:
Sergeeva, G. P. Actual problems teaching music in educational institutions: textbook. allowance / G. P. Sergeeva. - M.: Pedagogical Academy, 2010. - 87 p.
