MUSICAL EDUCATION First junior group
At this age, the child develops the first aesthetic feelings, which manifest themselves when perceiving music, singing along, participating in a game or dancing, and are expressed in the child’s emotional attitude to what he is doing. Therefore, the priority tasks are to develop the ability to listen to music, remember and react emotionally to it, and connect movements with music in musical-rhythmic movements.
Children's musical development occurs both in classes and in everyday life.
As a rule, music lessons consist of three parts.
1. Introductory part. Musical and rhythmic exercises.
The goal is to set the child up for the lesson and develop the skills of basic and dance movements that will be used in dances, dances, and round dances.
2. Main part. Listening to music.
The goal is to teach the child to listen to the sound of the melody and accompaniment that creates an artistic and musical image, and to react emotionally to them.
Singing along and singing.
The goal is to develop the child’s vocal abilities, teach him to clearly intonate a melody, sing without tension in his voice, and also start and finish singing together with the teacher.
The main part of the classes also includes musical and didactic games,
aimed at introducing children to musical instruments, developing memory and imagination, and musical-sensory abilities.
3- Final part. Game or dance.
The goal is to provide emotional pleasure to the child, to evoke a feeling of joy from the actions performed, interest in musical classes and a desire to come to them. In classes, which are held twice a week for 15 minutes, collective and individual teaching methods are used, an individually differentiated approach is carried out, taking into account the capabilities and characteristics of each child.
Perception of music.
The musical director, developing an interest in music, before performing any piece, talks about what he will perform, what is said in the play, teaches children that each piece of music has its own name and its own sound. In the first half of the year, children perceive vocal works better, due to the fact that they combine the bright musical basis of the artistic image with the artistic word.
Before starting to listen to a new song, you should lead the child to perceive it, set him up for what he is about to hear. For example, it is planned to sing the song “Cat” (music by An. Alexandrov, lyrics by N. Frenkel). The teacher shows the toy, gives the children the opportunity to look at it, stroke the kitty, remember how it meows, and only after that offers to listen to a song about how “the cat asks for milk”; at the same time, it is necessary to invite the children to show how she does it.
The formation of interest in the perception of music and sustainable attention depends on whether the music director knows how to set a task for the child, how feasible and feasible it is. In order to develop the ability to listen to the words and melody of a song, musical accompaniment and musical characteristics, you can show the performance of a song on different instruments.
In the third year of life, babies listen with interest to instrumental music, which is characterized by rich expressive means and vivid images. Usually it is quickly remembered by children. As a rule, already in the third lesson, children recognize the melody and can answer the question: “What is this piece about?”
To form the foundations of musical culture at this age, you can use the method of contrastive comparisons, which helps to activate emotional responsiveness and develop thinking.
Method of contrast comparisons
allows you to use works with the same name, but different in artistic image; works of the same genre and different genres, combining singing and instrumental accompaniment. So, for example, the Russian folk song “Cockerel” sounds first, and then the Latvian folk melody “Cockerel”.
When perceiving music
It is important to stimulate the child’s activity, which manifests itself in the recognition of musical works, positive emotions, and the ability to “match” a toy or illustration to the music. A special type of listening to music is represented by stories with musical illustrations. The methodology for conducting such listening involves, as a rule, working with familiar pieces of music, but sometimes you can include new ones, but not more than two. The music director first gives a verbal and then a musical image, always including tasks to activate musical memory, imagination and musical creativity. This type of listening is carried out as entertainment or at the beginning of the lesson, when the child is not yet tired and vividly perceives what is happening.
Singing and singing along
are of particular importance, since they involve the active musical activity of the children themselves, for which it is necessary to follow a number of rules. Songs should be interesting in content, simple
We need to build a melody, be easy to pronounce, have a short text with repeating phrases. Before learning a new song, children need to hear it performed expressively so that they become interested in it.
When learning a song, the music director, trying to make it easier to perceive, clearly pronounces all the words; At the same time, the articulation should not be exaggerated, otherwise the children, imitating the teacher, will begin to copy it. The teacher praises the children for trying to sing along. Those children who do not sing yet, but are ready to sing along, are also encouraged, i.e. words are articulated with their lips. You can pat the child on the head and say kind words.
Children should be gradually brought to coordinated singing. If harmonious singing is not yet possible, then it is not advisable to interrupt the kids. It’s better to let them sing to the end, and then return to those fragments where friendly singing did not work out.
When developing the ability to clearly convey the sound of a melody, it is necessary to invite the child to sing together with the music director; at the same time, the latter sings more and more quietly from time to time, giving the child the opportunity to sing independently and purely. Experience shows that children sing clearer if they learn a song from an adult’s voice without musical accompaniment. When learning a song, various methodological techniques are used: explanation, demonstration, playing, etc.
It is advisable to include songs in various forms of work in order to create a song repertoire.
Games and play exercises.
Children of this age, when playing, happily perform the roles of birds and animals, conveying the characteristics of their habits. To expand the plot of the game, you should use musical accompaniment. Children, listening to music, are already able to convey the characteristics of its character, but still need the support of an adult. Before the game, a musical-motor demonstration is used, which is carried out in order to clarify why at the moment one should behave in a certain way and not otherwise. Children are taught to convey an artistic image gradually. If something doesn’t work out for them, these moments can be worked out through special thematic exercises.
The new ones are formation in a circle and movement in a circle. The skills required for this will be developed subsequently.
For now, the point is that children are just beginning to be taught how to make such constructions.
To achieve effective results in the development of musical and rhythmic movements,
It is necessary to make greater use of imitation of the actions of an adult. The teacher draws the children’s attention to the fact that they need to start moving when the music starts, and end when it ends; teaches you to expressively perform movements, feel the contrast of the sound of music and change movements in accordance with it. After children have mastered the dance or dance movements, the content and actions of the game, they are given the opportunity to act independently (an adult provides assistance only to those who need it).
Music should also be heard in the everyday life of children in kindergarten, in
in the process of performing routine tasks, during classes, during independent activities, during entertainment and holidays. For example, babies go to bed during the day, and the teacher sings them a lullaby. When children are going for a walk, you can sing a funny song. Sometimes musical accompaniment is used in art and physical education classes.
Musical and emotional activity
in children by the age of 3 it manifests itself in the following. They name their favorite songs before the start of a music lesson, ask them to play or sing them, thereby getting ready to listen. They recognize familiar songs by the piano intro. They listen with interest to the teacher’s stories, accompanied by musical illustrations, memorize the music and find out what character or episode it “talks” about. They laugh loudly, give advice to the heroes of comic skits performed by adults, and willingly play hide and seek and blind man's buff with the music director. They “help” (one or two or three at a time) an adult sing unfamiliar songs, expressing pleasure from their participation in singing. They quickly remember and reproduce new movements shown by adults in accordance with the music. By the end of the year, rhythm appears in dance movements and group marching.
In the process of independent activity or play, children try to extract sounds from musical instruments played by the music director in their presence; reproduce movements learned in music classes, while singing a familiar song, and complement visual impressions with a song of appropriate content.
Second junior group
The development of children in this group allows us to carry out systematic work with them to form the foundations of musical culture in classes and in everyday life.
Music classes have the same structure (introductory part, main part and final part) as in the first junior group, and are held twice a week; Moreover, classes can be of different types: standard, thematic, dominant, complex and integrated. The music director should remember: the content of any musical lesson should educate and develop the child, and most importantly, form the basis of basic culture. Musical classes include several types of activities: listening, singing, musical-rhythmic, playing. The teacher needs to create an aesthetically developing environment that promotes targeted learning, development and arouses children's interest in what they are doing.
Any musical lesson in this age group will be successful if it is thought out in advance by the music director, and the teacher is familiar with the material that meets the requirements of the Program. Knowledge, abilities and skills are formed in such a way that they contribute to the development of children's musical abilities. Consistency in learning the material is maintained, interaction between all types of musical activities is ensured. Various methodological methods are used
techniques, the choice of which depends on the stage of learning a piece of music.
Listening to music.
Here we should assume that children already have some skills in this type of activity. The perception of music becomes more emotional and more differentiated.
The works offered for listening must be strongly emotional in their musical characteristics. It is better to give them in pairs: first - with a sharply contrasting character, then - with a less pronounced one. Children are taught to compare works, for which purpose it is advisable to listen to them several times, and appropriate epithets are suggested to characterize them. The first listening is an acquaintance with the work and an aesthetic perception of it as a whole. The second and third listening sessions are the perception of a musical work with a more detailed discussion of its nature and content, and the performance of the most striking fragments. In subsequent lessons, children, as a rule, recognize the work by the introduction, conclusion and individual fragments.
In order to improve the ability to listen to music, the teacher should pay more attention to the expressive, competent performance of a musical work.
, musical and didactic games are used more widely than before.
in order to develop musical hearing and sensory abilities. The technology for learning the game is as follows. The music director introduces the children to the game and teaches it; then the children learn the game with the teacher. At the last stage, children can already play independently, showing initiative. The adult’s task is to help them so that play becomes part of the children’s daily activities.
Singing.
Being a vivid figurative form of musical activity, singing helps to deepen children's ideas about the surrounding reality.
This is the most accessible type of musical activity for children, developing the ability to perceive music, as well as musical abilities in general. Children of this age try to sing in a natural voice, without tension, and correctly convey the melody in the E-B range.
In order to develop a child’s voice, to teach him to sing clearly, correctly and in harmony with others, it is necessary to build training on the following principles: sing as much as possible with children, developing in them a love and interest in singing (in classes, in everyday life, in games, on walks) . Before learning a song, it is necessary to form a holistic idea of its melody. To this end, they first listen to the song with the children, clarify its character and content, and then work on the purity of intonation: sound production, breathing, diction.
Vocal skills are formed in the process of working on chants. First, exercises and chants are sung. In order to achieve a light and clear sound, the syllables are sung: ga, ka, ku, go, gu;
use exercises for the correct formation of vowels, for example, the sound
a
(the doll cries
“a-a-a-a”;
rock the bear
eee-a-a-a-a”),
the sound o (the hen calls the chickens
“ko-ko-ko” ).
In order for the vocal specificity of the song to manifest itself and the educational task to be solved, it is necessary to use a set of methodological techniques that complement each other: the obvious beginning of the song is emphasized, the clear rhythm of singing, highlighting words that are difficult to pronounce, intonation patterns, drawing out the ends of musical phrases, etc. Depending on the task at hand, the nature of singing changes. In the learning process, the instructions of the music director prior to the show are important. Instructions can be figurative (addressed to emotions) and direct (aimed at ensuring that children understand the teacher’s requirements).
For a clear sound of a song, it is necessary to follow the singing attitude, i.e. correct posture while singing: children sit upright on a chair, leaning against the back, without tilting their body and head forward. Children learn songs while sitting on a chair, and while standing they sing the songs that are familiar to them.
In order to develop a child’s voice, the repertoire must meet the following requirements: clarity of the modal structure of the melody, compliance of the text for singing and melody with the vocal capabilities of children; At the same time, there is no need to rush to expand the range of the song repertoire.
In order to develop song creativity, children are offered creative tasks and didactic games such as “Call the Kitty”, “Hen and Chicks”, “Rock and Rock the Doll”.
Musical and rhythmic movement classes
aimed at developing musical abilities, emotional responsiveness to music and a sense of rhythm. A child in this group is already able to pay attention to the quality of movement, mainly when walking, running, and to the coordination of movements of the arms and legs when walking.
When learning musical-rhythmic movements, the music director uses various methodological techniques, taking into account the age characteristics of children: expressive performance of music, visual demonstration of individual movements; explanations of how to perform this or that rhythmic exercise; demonstration of movements by children or a teacher.
By the end of the year, children are already able to hear three-part music, loud and quiet, and react emotionally to different types of music (cheerful, sad).
In order to effectively develop musical and rhythmic movements, it is advisable for the teacher to adhere to the following methodological recommendations.
• Movement training should begin with the perception of music for a game (dance, dance) - this helps to form a general idea of it.
• Learning games and dances begins with a demonstration, and only after seeing that the children move well to the music, the teacher can limit himself to instructions during the performance of the dance, dance or game. In this case, it is necessary to achieve not only correct, but also expressive execution of movements, for which it is good to use figurative comparisons (we walk like soldiers; we jump like bunnies; we fly like birds), which help children convey the nature of the movement.
• In the process of learning musical-rhythmic movements, one should use such methodological techniques as expressive performance of music, games, exercises, explanations, artistic expression, and demonstration.
• Audio recordings should not be used during classes or during holidays.
si. Children need to move to live music to enjoy what they are doing.
Playing children's musical instruments.
In the second younger group, children continue to consolidate their knowledge of musical toys and children's instruments - metallophone and drum.
What’s new is that babies can already distinguish sounds in pitch within an octave (up to
1 -
up to 2),
react to quiet and loud sounds, and distinguish the timbres of children’s musical instruments that are less contrasting in sound (tambourine and rattle).
Acquaintance with the instrument must be organized in such a way that interest in it arises. Therefore, at first you can have a conversation, but structure it in such a way that the musical instrument with which children are introduced is presented in an attractive form. So, when showing a metallophone, you should examine the records, the hammer, play a cheerful dance melody, a familiar song, and invite the children to try to make the sounds themselves. When learning to play instruments, developing a sense of rhythm and an ear for music is of great importance. For this purpose, musical didactic games are held.
If the program tasks are solved in full, then the musical activity of children will manifest itself in the following: they listen to music with interest and react emotionally to it, recognize familiar songs and plays, strive to purely intonate the melody, are able to convey elementary rhythmicity in basic, figurative and dance movements, play along with the rhythm of familiar pieces of music on percussion instruments.
Middle group
Children of the middle group already have sufficient musical experience, thanks to which they begin to actively engage in various types of musical activities: listening, singing, musical-rhythmic movements, playing children's musical instruments and creativity.
Classes are the main form of training, their structure is the same, but their nature is somewhat different. The tasks given to children are more complex. They require concentration and awareness of actions, although the playful and entertaining nature of learning remains to some extent. Classes are held twice a week for 25 minutes. Their construction is based on the general objectives of music education, which are set out in the Program.
The choice of methodological techniques depends not only on the stage of learning the piece, but also on the characteristics of the age and capabilities of the children. The demonstration is still actively used: children’s coordination of movements is not yet sufficiently developed, they are not very well oriented in space, and they have a small supply of dance movements. At the same time, children are already given the right to independently search for expressive means of conveying an artistic image. Visual and playful methods are also actively used to arouse interest in the activity, an emotional attitude towards it and activity.
Listening to music.
Children of this age show much greater interest in instrumental music. They distinguish not only
the nature of the work, but also its genre (dance, march, song), begin to express their attitude towards it.
In this group, children continue to develop their perceptual skills; At the same time, it is important to create a relaxed atmosphere while listening to music. A positive emotional mood arises if the child is interested, if he is an accomplice in what is happening, so the teacher should perform the piece emotionally. Lines from poetic works, showing illustrations or a short conversation will help awaken children's imagination and imagination. The latter should be aimed at developing emotions in the child when perceiving an artistic image. The teacher’s skill lies in using words and actions to arouse children’s activity when perceiving and discussing a piece of music.
To teach a child to listen to music, develop his auditory perception and musical memory, one should widely use musical and didactic games (“Pinocchio”, “Learn a song by riThink and find out”). The method of learning them has its own specifics: first, children listen to the work, paying attention to the means of expression, then they memorize the melody to which they will act, at the last stage, with the help of the teacher, they join the game and then play independently.
Singing.
The peculiarity of this stage is that children can already sing expressively and take a clean breath between phrases, pronounce words correctly and clearly, sing in harmony, start and finish together.
To properly organize work on a song, you need to know the capabilities and characteristics of your students, their vocal range, as well as what sounds are comfortable for them to sing. At this age, children sing from to 1 beat 1.
It is necessary to teach singing in a favorable psychological environment (the teacher must instill in children the confidence that they will succeed, that they can and are able to sing expressively and beautifully).
You should work on the purity of intonation and sound production, tune the children to the desired key, sing the initial sounds of the song as a sample, and then repeat them by the children. When learning a melody, you can sing it in different syllables (la, ma, but),
which at the same time contributes to the development of diction.
To improve articulation, you can use tongue twisters, quatrains, whispering short phrases, singing verses, singing the chorus in a group, and singing the chorus solo.
If singing any interval fails, you can practice the children using the intonation characteristic of a given artistic image. For example, if you are learning the song “Cuckoo” (music by M. Krasev), then the onomatopoeia “cuckoo” is used.
To develop coordination of voice and hearing, it is advisable to use chants and songs consisting of syllable combinations. Regularly singing them helps develop your range, but they must be sung unaccompanied. It is also advisable to use musical didactic games to distinguish sounds by height (“Echo”, music by E. Tilicheeva; “Rain”, music by M. Krasev, etc.).
It is necessary to develop children's song creativity, for which tasks should be given such as “Sing your own lullaby”, “Sing the song”, “Call a friend or friend”, “Questions and answers”.
Musical and didactic games
contribute to the development of sensory abilities, as they stimulate children to listen to a piece, recognize, compare and highlight expressive musical means (pitch, timbre, dynamics, rhythm). On average, children are introduced to 10-12 games per year; Moreover, each of them is unlearned both in class and outside of it. After the game is learned, it is transferred to the children’s independent musical activities.
Musical and rhythmic movements.
Children 4 years old can already show independence when performing dances, games and exercises: start movements after the introduction, change them depending on the form of the work (two- or three-part), dynamics (loud - quiet), register (high - low); perform movements in a coordinated manner, observing a given pace, convey game and dance artistic images, move in a circle.
During the lessons, gaming methods and techniques are still actively used, which help to draw the child’s attention to the nature of the music and achieve more expressive and emotional performance. The use of paraphernalia helps to improve both the quality of movements and the emotional state. For example, when performing a waltz, children can be given balloons and flowers; and in Russian dance - scarves, ribbons, etc.
When teaching children musical and rhythmic movements, an individually differentiated approach should be taken, which allows taking into account the capabilities of everyone and providing assistance to the weak and shy.
It is advisable to teach children of the fifth year of life to dramatize
simple songs, musical fairy tales, dances. For the development of creative potential, certain conditions are necessary: the ability of children to perform various movements, bright attributes that evoke a desire to be creative in various situations. At this age, you can stage the songs “Horse” (music by E. Tilicheeva), “Fox and Geese” (music by F. Gersheva), “Sparrow” (music by A. Filippenko).
Features of learning to play children's musical instruments
is that it occurs both in the classroom and in everyday life. The method of learning to play any instrument consists of the following stages: familiarization with the instruments (a story about the history of the creation of each), positioning of the body and hands, mastering the basic techniques of sound production, learning a piece of music.
Children are taught to hold the instrument without tension, but firmly, while the muscles of the hand should not be tense. When playing a percussion instrument, the main role belongs to the hand, although the shoulder and forearm are involved to varying degrees. The main method of sound production is a blow, which consists of several phases: a wave of the hand, its directed movement towards the instrument, contact with the sound source and sound reproduction, rebound and return movement of the hand. Children should be taught constant auditory control, which allows them to get a beautiful sound. The development of hand muscles and coordination of movements are achieved as a result of systematic exercises; skills are developed in the process of special exercises. A very important point is the formation of interest and desire to play music on children's instruments.
With proper organization of work on musical development, children by the end of the fifth year of life are able to express judgments about music, evaluate it and the quality of singing, have favorite works, show independence in performing songs, dancing and interest in collective singing of songs with or without piano accompaniment and perception music, recognize melodies by introduction and conclusion, prefer rhythmic movements, and in games, exercises and dances they convey the character of the work, perform program dance movements and can use them in free dancing.
Senior group
Children of older preschool age not only show great interest in their activities: almost every child has their own favorite activity. Children's interests are sustainable. The teacher pays the main attention to the formation of the ability to perceive and compare various musical works, the further development of musical abilities, which leads to the complication of the content of classes: the repertoire expands and the requirements for the quality of task performance increase. The duration of classes is 25-30 minutes; they are held twice a week. The following sections are distinguished: listening to music, performing (songs, movements, playing children's musical instruments), creative activity.
Listening to music.
When organizing music listening, we recommend working in three areas, each of which has its own goals and objectives.
1. Acquaintance with genres and the nature of music: children are offered to listen to works of a contrasting nature, which helps them learn to understand the feelings expressed in music.
2. Acquaintance with the features of the work: children are taught to understand that music always conveys and expresses feelings, mood, and experiences of a person, and they are taught to talk together with the teacher about the meaning of the work. This is how the child develops individual judgments and statements. Children must learn to feel the composer’s attitude to the events depicted, therefore, when characterizing a musical work, it is necessary to analyze in detail the features of expressive means and show their connection with the content.
3. Acquaintance with the techniques of musical expressiveness, basic and accompanying artistic means, which helps the child to understand and perceive the work as a whole.
A holistic perception of a work remains one of the main methods of work: this gives the teacher the opportunity to teach children a differentiated perception of music, to show them how a musical and artistic image gradually develops and how the composer himself saw and felt it in the process.
creative process. Musical perception skills are strengthened if listening to a piece is accompanied by actions. For example, listening to “The Dance of the Birds” (music by N. Rimsky-Korsakov) can be accompanied by a creative task - to depict the dance of birds and convey the joy of arriving in their native land.
Perception is formed not only in the process of musical lessons, but also in everyday life: at holidays, during entertainment, in classes on speech development, mathematics, visual arts, etc.
Singing.
Children of this age group, who have an ear for music and a voice, can already sing, purely intoning a melody, and are able to master a number of singing skills. The fundamental basis of vocal education is imitative singing, so the child needs to be shown good examples of singing; continue to teach him to listen, repeat what he heard, compare his singing with the original and correct shortcomings.
The teacher's singing must meet high standards in terms of vocal technique, purity of intonation, expressiveness, and imagery. Each vocal sample should be heard multiple times and in a variety of variations, i.e. in different keys, different tempos, performed by a teacher and well-singing children.
The music director should adhere to a number of tips that have been developed through practice. When the work is first shown, children listen silently, with concentration, without trying to imitate. This is to prevent some children from singing incorrectly, which may have a negative impact on others. A vocal sample can sound in two versions - with musical support (playing along or singing along) or without it. Constantly playing along or singing along with the teacher interferes with the development of children's hearing. However, musical support must be heard without drowning out the child’s singing.
In the process of learning to sing, explanations from the teacher are necessary; in this case, special attention is paid to working on singing breathing, which should be calm, silent, regulated by musical phrases; Children must learn to take their breath without breaking the words. To practice breathing, you should use game exercises: smell a rose or carnation, blow out a candle; who hums longer (like a steam locomotive or a steamship).
The music director should remember: every child has sounds that are more convenient for him to sing in a natural voice - these are the so-called primary zones. The most natural range for older children is within the fifth (re 1 - si 1).
If a child sings higher or lower than these sounds, then he loses the purity of intonation. This is why it is necessary to determine the primary zones of each child.
During the gradual learning of a song, techniques are used that promote the development of the voice and musical abilities in general.
First stage
training includes an introduction by the teacher, an art show, a conversation and a repeat show. The brighter and more emotional this stage goes, the more active the children are. During the conversation, they learn to notice the sound features of the song and express their opinions. All this ends with a collective performance of a song.
Second phase
- actually unlearning. It starts with singing
ste with the teacher. At first it is better to sing the song once or twice from beginning to end without piano support. This will allow the teacher to identify children who can be relied upon while singing. Then begins the long process of learning the melody phrase by phrase. The tempo of singing phrases should be such that it ensures normal singing breathing.
When learning, it is good to use the following techniques: the teacher instructs the children to perform one phrase, and he sings the entire song. The meaning of this technique is that the child performs one phrase, but actively listens to the entire melody and learns it. A more complex technique is the distribution of individual phrases among several performers. On the one hand, this contributes to a holistic perception of the song, and on the other hand, it helps to show the identity and difference of phrases. For example, the song “Walk” (music by E. Tilicheeva, lyrics by N. Naydenova) can be sung in phrases: one child - the first musical phrase of the verse, another child - the second, and then vice versa.
At the third stage
Work is underway on the expressiveness of singing, and the teacher is faced with the task of activating all children. To implement it, singing is used by the whole group, individually and in subgroups, accompanied by or without a piano.
Children of the older group show increased interest in song creativity,
which begins with teaching onomatopoeia to the voices of birds and domestic animals, musical instruments (with changes in pitch, rhythm, musical intonation), as well as improvising simple musical questions and answers like: “Where are you?” - "I'm here!". An indispensable feature of improvisation is that it should be similar to the model, but differ from it in melodic and rhythmic turns.
Along with listening to music and singing, didactic play occupies an important place,
which is aimed at developing children's sensory abilities, i.e. the ability to perceive and reproduce the pitch, strength, timbre and movement of musical sounds. The game is learned in class, then children play it together with an adult or with each other (“Recognize the song by the intro”, “How many of us are singing?”, “Ringing bells”). The technology for teaching didactic games is the same as in the middle group.
Musical and rhythmic movements.
Rhythmic training is aimed at developing musical perception, the desire to move in accordance with the nature of the music, the form of the work, developing a love for dance and rhythmic movements, developing the ability to move easily and plastically, receiving pleasure from it.
Classes traditionally contain exercises for mastering the movements of gymnastics, running, stepping, jumping, games, round dances, dances, dances, as well as dance and game creativity. In the process of learning exercises, you should monitor posture, coordination of arms and legs, the relationship of movement with music, plasticity, etc.
