Sergei Prokofiev in kindergarten. Methodological development on music on the topic: Analysis of S. Prokofiev’s piano pieces “Children’s Music”. Artistic reflection of the unique world of childhood in the works of S.S. Prokofiev

Equipment: Audio recordings of works from the album of S.S. Prokofiev "Children's Music":

1. The play “Morning”.

2. The play “Evening”.

3. The play “A Moon Walks Over the Meadows.”

4. “Waltz of Diamonds.”

5. The play "Tarantella".

6. Song "Chatterbox".

7. The play "Fifteen".

8. "Fairy tale".

Participants: Presenter, Mistress of the Copper Mountain. The characters of the song “Chatterbox” are Lidochka, Vovka, Marya Carrot. Dancers.

Preliminary work: You will need to make a model of a large book with the title “Children’s Music” on the cover and on the pages of which the titles are written musical pieces from the collection. Portrait of the composer at work: at the piano or with notes in his hands. The Mistress of the Copper Mountain costume consists of a crown and a long sundress or dress with sequins sewn on them.

Presenter: Hello guys! I am glad to welcome you to our music room.

(S.S. Prokofiev’s play “Morning” from his collection “Children’s Music” is playing. There is a portrait of the composer on the table or wall.)

Our meeting begins with the sounds of the wonderful play “Morning” by the great Russian composer Sergei Sergeevich Prokofiev. (Shows a portrait of the composer.) I think you are all very familiar with this name: after all, the works of Sergei Prokofiev are well known to us all. Today we will try to take a short tour of his plays, which he created especially for children. As someone else said famous composer Dmitry Borisovich Kabalevsky: “Children should especially be grateful to Sergei Prokofiev, because none of the composers dedicated so much to children beautiful works How is he". But today we will spend our journey with one musical companion, or rather, a companion. Let our assistant be an amazing sorceress - the Mistress of the Copper Mountain, the heroine of Sergei Sergeevich Prokofiev’s ballet “The Tale of stone flower" But the Mistress of the Copper Mountain must come to us with her music. So, I turn again to the collection “Children's Music”. (Picks up the collection.)

We started our conversation with the play “Morning”, and now the second play from this collection will be performed - “Evening”. (Turns over the page of the collection.) It is interesting because the composer later included this theme in his ballet about the stone flower and the Mistress Ural mountains. Listen to the wonderful melody in this piece. It makes you remember a quietly lived day and calms you down, as if saying: “Tomorrow morning will come, and everything will be fine again.”

(The play “Evening” plays.)

Now, I think, the Mistress of the Copper Mountain herself should come to us. (The Mistress of the Copper Mountain appears.)

Mistress of Copper Mountain: Beautiful tales about my Ural land became famous in ballet. The storyteller and composer Sergei Sergeevich Prokofiev told us about the beauty of the Ural Mountains and the magic associated with the nature of this unusual region. But I want us to once again turn over the pages of his amazing collection “Children's Music”. It contains 12 miniatures written for performance on the piano. All plays have their own names, which help to better imagine the musical artistic image. Here, for example, is a play that is called a whole line from a poem - “He walks in the meadows for a month.” (Turns over to the desired page.) The composer himself recalled that his play “A Moon Walks Over the Meadows” was composed when he lived outdoors, in a house with a balcony overlooking the Oka River. In the evenings S.S. Prokofiev admired the moon as it walked through the clearings and meadows.

Presenter: The music of this piece resembles a drawn-out Russian song, it seems to help you feel the coolness of a summer evening.

(The play “A Moon Walks Over the Meadows” plays.)

I hope, dear guest, that you did not come to us empty-handed.

Mistress of the Copper Mountain: Of course, I brought you a handful of magic diamonds as a gift. But not simple ones, but musical ones. You have already said that pieces from the collection “Children’s Music” became parts of the ballet “The Tale of the Stone Flower”. And now the bright, dreamy “Waltz” will sound, which in the ballet was called “Waltz of Diamonds”. (Turns over the page of the collection.)

"Waltz of Diamonds" sparkled -

Invites everyone to the ball.

Burns with gems,

Tells us about a fairy tale.

(The “Waltz of Diamonds” sounds, which can be illustrated with a choreographic performance.)

Presenter: There is another dance in the collection “Children's Music” that makes us remember the music of Italy.

Mistress of Copper Mountain: I know you are talking about a dance called "Tarantella". (Opens the desired page of the collection.) Yes, the melody of the tarantella resembles a fast, fiery Italian dance. It seems that we are in a fun carnival, where everyone is having fun, singing and spinning.

(The play “Tarantella” is played; a choreographic demonstration is possible.)

Presenter: You know, dear Mistress of the Copper Mountain, Sergei Sergeevich Prokofiev has quite a bit of music written for children. This suite "Winter Fire" musical fairy tale"Peter and the Wolf", children's songs. Now we will listen and watch a dramatization of this song, which the guys really like. She was called “Chatterbox”, and the words for her were written by the famous poetess Agnia Barto.

Mistress of Copper Mountain: What is this song about?

Presenter: About how one chatty girl named Lidochka did not want to admit that she was a chatterbox. She tried to speak slowly and separately, but her speech always became a patter and the listeners understood that Lidochka was actually a big jabberer. So, Sergei Sergeevich Prokofiev’s song “Chatterbox”.

(Staging the song “Chatterbox”. An audio recording of the song “Chatterbox” can be played, or children can perform it themselves.)

Mistress of Copper Mountain: A wonderful song, it is so funny and understandable. The music of Sergei Sergeevich Prokofiev perfectly conveys the change in mood of the heroine of the song. To extend the impression of the song, let's listen to the play “Tag” by S.S. Prokofiev from his collection “Children's Music”. (Opens the desired page.)

The music of "Fifteen" is fast and playful. After all, each of us has ever played tag - catch-up. So the melody of this piece conveys rapid movement, running.

(The play "Tag" plays.)

Presenter: The time has come for our esteemed guest to return to her Copper Mountain. I want us to say goodbye to music too. Sergei Sergeevich Prokofiev has final piece called "Fairy Tale". Let it be said for the last time. (Open the desired page.) After all, each of us likes to listen to fairy tales before going to bed, so that later we can have an interesting magical dream. So the play “Fairy Tale” at first reminds lullaby song with its leisurely, “rocking” melody.

Mistress of Copper Mountain: Imagine, guys, mysterious, dark forest, in which somewhere the lights of rotten mushrooms flash with a magical light, and an eagle owl screams. But, having carried on gray wolf Ivan Tsarevich saved Vasilisa the Beautiful from Koshchei the Immortal - the forest came to life. The heroes galloped away - and again there was silence, the fairy tale ended, and its listeners fell asleep.

Presenter: We thank our guest for a wonderful meeting with music.

Mistress of Copper Mountain: For me, the best gratitude would be that the children enjoyed meeting with the music of composer Sergei Sergeevich Prokofiev. (The Mistress of the Copper Mountain leaves.)

Presenter: So our meeting in the living room with the music of Sergei Sergeevich Prokofiev has come to an end. We are always waiting for you in our living room for new meetings with other composers.

PROGRAM CONTENT: Introduce children to the works of S.S. Prokofiev. Clarify knowledge about genres of music: song, march, dance (waltz, round dance), evoke positive emotions, promote active perception of music.

PROGRESS OF THE CLASS:

To S. Prokofiev's "MARCH" children enter the music hall and stand in a semicircle
near the music director.

MUZ.RUK-L: Once on a warm, clear April day in a small Ukrainian village, a boy was born, who was named Serezha. Seryozha’s mother played the piano well, and he and early childhood I heard music and began composing it myself very early. Guys, do you understand who I'm talking about?

Children answer the music's question. hands, and sit on the carpet on their heels.

MUZ.RUK-L: The music of S.S. Prokofiev is known not only in our country, but throughout the world. He wrote a lot of music for adults - symphonies, operas, music for films, plays, even fairy tales and ballets (Cinderella). But he did not forget about the children, and wrote a lot of music for them.
We are now going to listen to a piece from the collection “Children’s Music”, and can you tell me what it is: a song, a dance or a march, and what is the character of this music?

"WALTZ" (audio recording)

Children give answers.

MUSIC RUK-L: Yes, the music is smooth, light, elegant. Let's dance with you. Boys, invite the girls to a waltz! And let your movements be just as graceful, smooth, gentle.

Dance improvisation to “WALTZ” by S.S. Prokofiev.
Children sit on the carpet.

MUSIC RUK-L: Let's listen to another piece from the collection “Children's Music”. You may have already heard it somewhere.

"MARCH" (performed on the piano).
Children's answers.

MUZ.RUK-L: I suggest you play in the orchestra, and I will be your conductor. Take the tools.

Children take children's musical instruments and stand in a semicircle near the music room.

"MARCH" (playing children's musical instruments).

The children put down their instruments and sit on the carpet.

MUSIC RUK-L: And here’s another piece from the collection “Children’s Music”, it’s called “The Moon Walks Over the Meadows.” What moods and feelings are depicted in this music, depicting a picture of night nature?

“A MONTH WALKS OVER THE MEADOWS” (performed on piano)

MUSIC RUK-L: Yes, the music is thoughtful, dreamy, calm, fabulous, magical. Listen to the poem “Night” by the Russian poet S.A. Yesenin. What mood is conveyed in it?

Night. There is silence all around.
The stream only gurgles.
The moon's brilliance
Everything around is silver.

The river turns silver.
The stream is silvering.
The grass turns silver
Irrigated fields.

Night. There is silence all around.
In nature, everything is asleep.
The moon's brilliance
everything around is silver.

Children answer questions.

MUSIC RUK-L: Let's imagine that we are stars and dance around the month. And the month will be Polina.

The girl takes a glow stick.

“A MONTH WALKS …” (round dance).
MUSIC RUK-L: Let's draw this music.

Children sit on the carpet throughout the hall and paint with paints to the audio recording “THE MONTH IS GOING …”

MUSIC RUK-L: Leave your drawings to dry, and let's talk. What new did you learn in class today? What did you like most?

Children give answers.

MUZ.RUK-L: I really liked how we worked out with you today. In the next lesson we will continue to get acquainted with the works of S.S. Prokofiev.
Take your drawings and use them to decorate your group.

Accompanied by the audio recording “A MONTH IS GOING …”, the children sort out their drawings and leave the music room.

Twelve easy pieces for piano

“In the summer of 1935, simultaneously with Romeo and Juliet, I composed light plays for children, in which my old love to sonatineness, which here reached, as it seemed to me, complete childishness. By the fall, there were a whole dozen of them, which were then published as a collection entitled “Children’s Music,” op. 65. The last of the plays, “A Moon Walks Over the Meadows,” was written in its own language, not folk theme. I lived then in Polenov, in a separate hut with a balcony on the Oka River, and in the evenings I admired how I spent a month walking through the clearings and meadows. The need for children's music was clearly felt...,” writes the composer in his “Autobiography.”

“Twelve Easy Pieces,” as Prokofiev designated his “Children’s Music,” is a program suite of sketches about summer day child. What we're talking about it is about a summer day, it is clear not only from its titles; the orchestral transcription of the suite (more precisely, its seven numbers) is called by the composer: “Summer Day” (op. 65 bis, 1941). Here, as it were, they were “twice” synthesized into creative laboratory Prokofiev’s concrete impressions of “Polenov’s summer” and distant memories of the summer in Sontsovka, on the one hand, and the world of childhood experiences and thoughts, children’s fiction and “was” in general, on the other. Moreover, the concept of “childish” for Prokofiev is inextricably linked with the concepts of summer and sunny. Prokofiev is right when he claims that he achieved “complete childishness” in this suite. Twelve pieces, op. 65 - important milestone on creative path composer. They open the whole world his delightful creativity for children, a world in which he creates masterpieces that are unfading in their freshness and spontaneity, in their sunny joy and sincere sincerity.

All this is quite natural and deeply symptomatic. Prokofiev - a man and an artist - always passionately gravitated towards children's world, lovingly and sensitively listened to this psychologically subtle and unique world and, observing, he himself succumbed to its charm. In the composer's nature there lived - never fading, but, on the contrary, becoming more and more established over the years - a tendency to perceive the environment from the perspective of cheerful youth, spring-like light and adolescently pure and direct. Therefore, the world of Prokofiev’s children’s images is always artistically natural, organic, completely devoid of elements of false lisp or sentimental beauty, which is not characteristic of a healthy child’s psyche. This is one of the sides inner world the composer himself, who different time found various reflections in his work. The desire for purity and freshness of a child’s worldview can, however, only to a certain extent, explain Prokofiev’s attraction to the sonatina style.

It is also not difficult to establish well-known parallels between the world of children's images and the sphere of charmingly fragile girlish characters in his musical and stage works. Both the Seventh Symphony and the Ninth Piano Sonata, which sum up the composer’s work, are imbued with elegiac memories of childhood.

Prokofiev's "Sonatina style" underwent, however, a significant transformation in his cycle of children's plays. First of all, he is completely freed from the elements of neoclassicism. Graphics are replaced by concrete depiction and realistic programming. Neutrality in the sense of national coloring gives way to Russian melodicism and the subtle use of folk expressions. The predominance of triads embodies the purity, serenity, and tranquility of the images. Instead of sophistication with the “playing out” of new simplicity, a crystal clear view of the world appears in its clarity through the wide-open, inquiringly inquisitive eyes of a child. It is the ability to convey the worldview of the child himself, and not create music about him or for him, as noted by many musicologists, that distinguishes this cycle from a number of children's plays with seemingly the same focus. Mainly continuing the best traditions of children's music by Schumann, Mussorgsky, Tchaikovsky, Prokofiev not only follows them, but creatively develops them.

The first play is “ Morning" This is like the epigraph of the suite: the morning of life. In the juxtaposition of registers one feels space and air! The melody is slightly dreamy and crystal clear. The handwriting is characteristically Prokofievian: parallel movements, leaps, covering the entire keyboard, playing through the hand, clarity of rhythm and definiteness of sections. Extraordinary simplicity, but not primitive.

The second play is “ Walk" The baby's working day has begun. His gait is hasty, although somewhat swaying. Already in the first bars its initial rhythm is conveyed. You have to have time to see everything, not miss anything, in general, there is a lot to do... The graphic contours of the melody and the nature of the continuous movement with the tapping of quarter notes are designed to create the flavor of a childishly naive, concentrated “businesslike” nature. However, the lightness of a slightly waltzing rhythm immediately transfers this “busyness” into the appropriate framework of childish “diligence.” (The contemplative theme of the second movement of the Fourth Symphony is close to the music of “Morning” and “Walk” and, apparently, is their forerunner.)

The third piece is “ Fairy tale" - the world of simple children's fiction. There is nothing amazing, scary or monstrous here. This is a soft, kind fairy tale-narration in which reality and dream are closely intertwined. It can be assumed that the images embodied here are not of a fairy tale told to children, but of their own ideas about the fantastic, always living in the minds of children, completely close to what they have seen and experienced. In essence, true fantasy appears only in the middle section on the sostenuto stage direction, while the first and final sections are dominated by a dreamy narrative with a simple melody against the backdrop of invariably repeating rhythmic turns. These rhythmic repetitions seem to “cement” the form of the “Fairy Tale” and restrain its narrative tendencies.

Next comes " Tarantella", a genre-dance, virtuoso piece that expresses the perky temperament of a child captured by the musical and dance element. Lively and lively rhythm, elastic accents, colorful half-tone tonal comparisons, shifts of single-pitch tonalities - all this is exciting, easy, joyful. And at the same time, childishly simple, without specific Italian sharpness, undoubtedly incomprehensible to Russian children.

Fifth piece - “ Repentance"- a truthful and subtle psychological miniature, previously called by the composer “I became ashamed.” How directly and touchingly the sad melody sounds, how sincerely and “in the first person” the sensations and thoughts that engulf a child in moments of such psychologically difficult experiences are conveyed! Prokofiev uses here the type of “singing-speaking” (as defined by L. Mazel, “synthetic”) melodies, in which the element of recitative expressiveness is not inferior to the expressiveness of cantilena.

But such a mood is fleeting in children. It quite naturally gives way to a contrasting one. The sixth piece is “ Waltz“, and in this kind of pattern one can feel not only the logic of the suite’s diversity, but also the logic of Prokofiev’s musical and stage thinking, the theatrical laws of the contrasting sequence of scenes. Fragile, gentle, improvisationally spontaneous “Waltz” in A major speaks of the connections between children’s images and the world of fragile, pure and charming female images theater music Prokofiev. These two lines of his creativity, or rather two lines of his artistic ideals, intersect and mutually enrich. His girlish images have a childlike spontaneity. In his children's images there is a feminine softness, a charming love for the world and life. Both of them amaze with spring freshness and are embodied by the composer with extraordinary emotion and inspiration. It was in these two areas that the dominance of the lyrical principle in his work was most clearly expressed. From the naively charming children's “Waltz”, op. 65 we can draw a line to Natasha’s fragile waltz from the opera “War and Peace” - the pinnacle of lyrical waltzing in Prokofiev’s music. This line runs through the Es-dur episode of the “Great Waltz” from “Cinderella,” even intonationally reminiscent of a children’s waltz. It also runs through “Pushkin Waltzes,” op. 120 and “Waltz on Ice” from “Winter Fire,” and through The Tale of the Stone Flower, where the theme of the Waltz, op. piano sonata, and in the waltz from the Seventh Symphony. Prokofiev develops here an in-depth lyrical-psychological line of Russian waltz, which differs, for example, from Strauss, which is more brilliant, but also narrower and more external in its somewhat one-sided joyfulness.

Despite the childish features, Prokofiev’s creative style is felt very clearly in this waltz. Traditional structure the graceful gentle waltz seems to be updated, the intonation and harmonic deviations are far from the stencil (for example, the very unusual ending of the period in a subdominant key), the texture is unusually transparent. This waltz quickly became widespread in pedagogical practice and successfully competes with “generally recognized” works for children.

The seventh piece is “ Procession of grasshoppers" This is a fast and funny play about joyfully chirping grasshoppers, which always arouse the children's interest with their amazing leaps. The fantastic nature of the image here does not go beyond the scope of ordinary children’s fiction and in this respect differs markedly from, say, the mysterious fantasy of Tchaikovsky’s “The Nutcracker.” In essence, this is a funny children's gallop, in the middle part of which you can even hear the intonations of pioneer songs.

Further there's a play going on « Rain and rainbow", in which the composer tries - and very successfully - to depict the enormous impression that every bright natural phenomenon makes on the children. Here are natural-sounding bold sound “blobs” (a chord-spot of two adjacent seconds), and slow rehearsals on one note, like falling droplets, and simply “Theme of Surprise” before what is happening (a gentle and beautiful melody descending from a height) .

Ninth piece - " Tag"- is close in style to Tarantella. It's written in character quick sketch. You can just imagine the kids enthusiastically catching up with each other, the atmosphere of a fun, active children's game.

The tenth play was written with inspiration - “ March" Unlike a number of his other marches, Prokofiev in this case did not follow the path of grotesque or stylization. There is no element of puppetry here (as, for example, in Tchaikovsky’s “March of the Wooden Soldiers”), the play depicts marching children quite realistically. Children's March, op. 65 became widespread and became a favorite piece in the Russian piano repertoire for children.

Eleventh piece - " Evening" - with its broad Russian songfulness and soft coloring, it again reminds us of Prokofiev’s great lyrical gift, of the earthiness of his melodicism. The music of this charming piece is full of genuine humanity, purity and nobility of feelings. Subsequently, the author used it as the theme of the love of Katerina and Danila in the ballet “The Tale of the Stone Flower,” making it one of the most important themes of the entire ballet.

Finally, the last, twelfth piece - “ Walks for a month in the meadows"- is organically connected with folk intonations. That is why the author considered it necessary to clarify in the “Autobiography” that it was written not on folklore, but on his own theme.

Educational field: “Artistic and aesthetic development.”

Program content:

1) learn to determine the intonation character of music;

2) develop singing skills: sing without tension, at the same tempo, cleanly intonate the melody;

3) develop the ability to move to music in accordance with the character and tempo;

4) develop the ability to change movements along with changing different parts of music;

5) consolidate children’s understanding of genres: song, march, dance.

Integration of educational areas:

Educational area « Cognitive development": meeting the composer S.S. Prokofiev.

Educational area "Social - communication development": work on the culture of communication in the team.

Educational area « Speech development": activate lexicon children's definitions of the nature of music.

Equipment: portrait of composer S. Prokofiev, pictures of him singing,

marching and dancing child, audio and video equipment.

Progress of OOD

Children enter the hall to S. Prokofiev’s “March” and line up.

Music supervisor. So you and I met in a new academic year. When meeting, it is customary to greet each other with what word? Yes, but what do you think, why was this word chosen as a greeting? This word is kind and pleasant. What does it mean? Yes, this word means wish

good health. What other words can you use to greet each other?

Children: Good morning, Good afternoon, Good evening, Hello…

Music supervisor. And with what feeling are these words pronounced? Sad, sad, happy, thoughtful, angry?

Children: With a feeling of joy!

Music supervisor. With joy. Listen, I will greet you musically.

Spanish singing “Hello” with a triad (do, mi, sol) (arpeggio). Children respond with the same sounds in descending order (sol, mi, do).

Music supervisor. Okay, what is the character of our song?

Children: Cheerful, cheerful!

Music supervisor. That's right, we rejoice new meeting, and the song conveys this feeling of joy.

Let's greet each other again.

Children sit on chairs along the wall.

Music supervisor. Over the summer we forgot a little each other's names. Let's remind you, what's your name?

Spanish chant "What's your name"

Music supervisor. Well, we remembered each other's names. Now let's make friends in a dance exercise.

Spanish communicative dance-game “Find yourself a partner” music. Spadavecchia " Good bug"(audio recording).

I.p. Children stand in pairs freely around the hall.

1 figure. A - rhythmically clap their hands facing each other.

B - they wave their hand with a “Goodbye” gesture, move their backs away from each other,

approach another couple, beckoning with a “Come to me” gesture.

2 figure. The movements are repeated with a new partner.

In subsequent figures, the movements of 1 part change: stomps, jumps, springs.

Children sit on chairs to listen.

On the screen is a photo of S.S. Prokofiev.

Music supervisor. In this portrait you see a musician composing music. What do we call composers of music? Yes, composer. Today we will meet such a composer, his name is Sergei Sergeevich Prokofiev. Let's listen to this composer's march.

Spanish "March" by Prokofiev (audio recording).

Is this music familiar to you? Yes, this music was played at the beginning of the lesson. What movements are performed during the march? Why is it convenient to walk along the march? Yes, the march music is clear and rhythmic. Let's listen to the march again and try to “step” with our palms (clap) to it.

Now let Dima come out and try to walk under this march with his feet.

Was it comfortable for you to walk? Why is it inconvenient? The music sounded too fast. Who do you think is comfortable marching to this music? Yes, most likely this is a march for fairy-tale little characters,

Therefore, the music sounds quite fast.

Spanish musical and didactic game "Guess who's coming."

Children are invited to listen to 2 musical excerpt(play “Steps”) and determine who is walking (grandmother or grandson). How did you determine that the grandmother walked first, then the grandson? That's right, the grandmother walked leisurely, slowly, and the grandson ran quickly. Music talks about slow and fast tempos. We will also learn to correctly describe music and say TEMP.

Now listen musical riddle and remember what the song sounds like?

Spanish song “Ogorodnaya” by Mozhzhevelov (without words).

Yes, we learned this song and even remember how to play it. Let's stand in a circle and choose cabbage, carrots, onions and a driver. Let's all put on our hats and start the game.

Spanish round dance game “Garden Garden” by Mozhzhevelov.

Now let's remember what we learned in class. Yes, we met the composer S. Prokofiev and determined that this composer’s March is intended for toy characters.

We remembered and played the round dance game “Ogorodnaya”. Now let's say goodbye.

Goodbye, guys!

The children leave the hall.

Target: to instill in children an interest in the world of music; introduce children to basic musical terms and instruments, development of creative abilities in children through music

Tasks:

1. Introduce the themes of the heroes of the fairy tale by S.S. Prokofiev "Peter and the Wolf".
2. Strengthen children's knowledge of musical instruments symphony orchestra and the ability to distinguish them by timbre; by appearance.
3. Identify the heroes of a fairy tale by the nature of the music.
4. Encourage children to search expressive means(movements, facial expressions, gestures) to convey the characteristic features of the characters in a musical fairy tale.
5. Encourage children to be creative.
6. Develop Creative skills, ability to analyze musical images fairy tale heroes.
7. Fostering a culture of listening to symphonic music.

Methods:

1. Verbal method (conversation using visual and auditory aids: viewing presentation slides on the topic of the lesson).
2. Contrast comparison method.
3. Method of improvisation (performance of vocal and motor improvisations on the themes of the heroes of S.S. Prokofiev’s fairy tale “Peter and the Wolf”).
4. A method of stimulating musical and creative activity through creating the effect of surprise using information and communication technologies.

Forms of work: individual, steam room, frontal.

3. Working with visual aids(poster “Symphony Orchestra”, presentation.ppt).

Download:

Preview:

Abstract music lesson for children of senior preschool age.

Symphonic tale by S.S. Prokofiev "Peter and the Wolf"

Target: to instill in children an interest in the world of music; introduce children to basic musical terms and instruments, develop children's creative abilities through music

Tasks:

1. Introduce the themes of the heroes of the fairy tale by S.S. Prokofiev "Peter and the Wolf".
2. To consolidate children's knowledge of musical instruments of a symphony orchestra and the ability to distinguish them by timbre; by appearance.
3. Identify the heroes of a fairy tale by the nature of the music.
4. Encourage children to search for expressive means (movement, facial expressions, gestures) to convey the characteristic features of the characters in a musical fairy tale.
5. Encourage children to be creative.
6. Develop creative abilities and the ability to analyze musical images of fairy tale characters.
7. Fostering a culture of listening to symphonic music.

Methods:

1. Verbal method (conversation using visual and auditory aids: viewing presentation slides on the topic of the lesson).
2. Contrast comparison method.
3. Method of improvisation (performance of vocal and motor improvisations on the themes of the heroes of S.S. Prokofiev’s fairy tale “Peter and the Wolf”).
4. A method of stimulating musical and creative activity through creating the effect of surprise using information and communication technologies.

Forms of work: individual, steam room, frontal.

Types of activities in class:

1. Listening to music, analysis of means musical expressiveness.
2. Execution creative tasks(vocal, motor improvisations).
3. Working with visual aids (poster “Symphony Orchestra”, presentation.ppt).

Progress of the lesson.

Music supervisor.Guys, today our meeting is extraordinary, magical. You and I will go on a journey. Get ready, are you all ready? Look into each other's eyes, smile, convey a piece of your Have a good mood to another. Do you love to travel? But you will find out where we are going today by listening to a fragment of the song.

Music supervisor.Who guessed where we're going? Right in a fairy tale. Let's walk slowly on tiptoes so as not to scare away the fairy tale.

Walking on your toes.

Music supervisor.One, two, three portray Vasilisa the Beautiful (movements: light small steps on half toes, body extended as much as possible, chin raised, eyes lowered, hands on waist).

One, two, three, show me how the Firebird flies (easy running on half toes. The arms, imitating wings, are extended upward, making smooth strokes and “twisting” the hands above the head).

Geese and swans are flying, they want to take us into a fairy tale (easy running on half toes, arms extended to the sides, making smooth swings, neck stretched forward).

One, two, three, the giantess's steps are heard (walking on the tiptoes with long strides with a large arm swing at a leisurely pace).

Look, there are small houses there, and kind gnomes live there (the body is bent, the head and arms are pressed to the body, small step).

Music supervisor.Guys, look, someone is crying bitterly in a small house. (Children approach the house and see a gnome and two pictures depicting two boys in folk and formal costumes).

Music supervisor.Dwarf, tell us what happened to you.

Gnome ( voiced by the music hands.)How can I not cry, guests came to me, Tim (picture of a boy in folk costume ) and Anton ( picture of a boy in formal suit) , brought tools with them. We wanted to arrange a music evening, but an evil witch flew in and mixed up all the instruments. Please help Tim and Anton collect their instruments.

What tools will we collect for Tim? ( folk)

Which ones for Anton? ( symphonic)

Gnome . Thank you guys, and my friends will thank you for this. Tim brought real instruments and invites you to play these instruments yourself. (Spoons, tambourines, rattles, rattles, etc.)

An orchestra performing variations on a Russian theme folk songs.

Music supervisor.Well done! And Anton has prepared a real surprise for us in gratitude; he invites us to a symphonic fairy tale. (Background music plays)

From a swamp overgrown with duckweed,
From the fields, from the forest hollow,
A melodious, kind fairy tale,
I went down the musical paths.
To the plank house under the fir tree,
The path will lead you
They will tell about Peta and the Wolf,
violins, clarinet and bassoon.
Hidden in sheet music pages
Glades, meadows and forests.
For every beast and bird
the fairy tale has its own voices:
The flute will whistle like a bird,
The bassoon quacks like a duck,
And the evil, despicable wolf,
Horns will replace
However, why rush?
This fairy tale is yours, take it,
Magic - page doors,
Open it quickly.

Music supervisor.Today we will talk about the symphonic fairy tale “Peter and the Wolf,” which S.S. Prokofiev wrote for children. (Slide 1) Why do you think the fairy tale is called “symphonic”? (Slide 2). (Children's answers)

Music supervisor.This musical composition for symphony orchestra. The composer, creating a fairy tale, wanted to help children “enter” the world of symphonic music. (Slide 3). Many (even adults!) symphonic music seems complicated and incomprehensible. S.S. Prokofiev was the first who decided to introduce children to the instruments of a symphony orchestra in an exciting way, in the form of a fairy tale.

The teacher draws the children’s attention to the “Symphony Orchestra” poster.

Music supervisor.Look, guys, how many different instruments are collected in the symphony orchestra. There are strings, and winds, and percussion, and keyboard instruments. There are a lot of them. But today we will get to know only some of them, those who participate in our fairy tale. (Slide 4-8).

Each character in the fairy tale is depicted with a musical instrument similar in sound to him. Each hero has his own melody, which always sounds when he appears. (Slide 9). The bird has its own, the cat has its own. Such a melody - a recognizable portrait - is called a leitmotif. The nature of the theme may change depending on the action taking place in the tale, but it is always recognizable. Now we will see this for ourselves.

Fairy tale (listening).

Music supervisor.Early in the morning Petya opened the gate and walked out onto a large lawn. (Slide 10). Petya is a brave, resourceful and kind boy. He walks easily, even skipping. Petya's melody is carefree, friendly, cheerful. Petya is portrayed stringed instruments– soft, with a warm timbre.

A bird familiar to Petya was sitting on a high tree. “Everything around is calm,” she shouted cheerfully. (Slide 11). The bird is busy, nimble, nimble, and the theme of the bird is the same - sometimes fast, nimble, sometimes light, fluttering, jerky, sometimes more smooth, fussy, flying. The bird is represented by a flute. The sound of the flute is bright, light, high. The voices of the bird and the flute are very similar.

Following Petya, a duck appeared, waddling from side to side. She was glad that Petya did not close the gate, and decided to swim in a deep puddle on the lawn. (Slide 12). The duck waddles around awkwardly. The duck's melody is slow and clumsy. The music depicts this gait - a leisurely, important Duck Melody played by the oboe. He has a slightly nasal voice and imitates a quack very similar. The bird flies to the duck. Duckbegins to argue with the bird about who should be considered a real bird - the Duck, which does not fly, but swims, or the bird, which does not know how to swim.

Suddenly Petya became wary. He noticed a cat sneaking through the grass. (Slide 13). The melody of an insidious, cunning cat is played by a clarinet. This tool has great opportunities. It sounds very flexible, with different timbre colors. He depicts a sneaking cat, ready to rush after its prey at any moment, with low, insinuating, cautious sounds. The cat thought: “Is the bird busy arguing? Now I’ll grab it.” And silently, on velvet paws, she approached her.

"Look out!" - Petya shouted, and the bird instantly flew up the tree. And the duck from the middle of its puddle quacked angrily at the cat.

Grandfather came out. (Slide 14). He was angry that Petya had gone out the gate. Dangerous places. If a wolf comes from the forest, what then? The old grandfather is portrayed by a strict, leisurely, grumpy melody. Grandfather walks slowly and with difficulty. And the music is slow, conveying his heavy gait. Grandfather's voice is low. Its melody is played by the bassoon, the lowest woodwind instrument. Grandfather took Petya home and locked the gate tightly.

And indeed, before Petya and his grandfather had time to leave, a huge gray wolf appeared from the forest.(Slide 15). The wolf is represented by three horns. Their voices form chords - ugly, harsh, grinding, hoarse. The wolf theme is frighteningly menacing. The cat quickly climbs the tree, and the Duck jumps out of the pond, but the wolf overtakes her and swallows her.

Petya climbs over the fence with the help of a rope and finds himself on a tall tree. He asks the bird to distract the wolf, and when he tries to catch her, he puts a noose around the wolf's tail. The Wolf tries to free himself, but Petya ties the other end of the rope to a tree, and the noose is tightened even tighter on the Wolf’s tail.

Hunters emerge from the forest. (Slide 16). Hunters' favorite thing is to shoot and they are represented by the thunder of drums and kettledrums. They had been watching the Wolf for a long time. Petya helps them tie up the Wolf and take him to the zoo.

The work ends with a general procession. (Slide 17) In which all his characters participate: Petya is in front, behind him the Hunters are leading the Wolf, the Bird is flying above them, and behind them is the grandfather with the cat, who continues to grumble. A quiet quack is heard: this is the voice of the Duck, sitting in the belly of the Wolf, who was in such a hurry that he swallowed her alive.

This is where it ends symphonic tale Prokofiev, in which there is a lot of cheerful and funny music, a lot of witty musical discoveries.

This is not just a fairy tale, but a textbook fairy tale. The composer wrote it in order to introduce you to the instruments of a symphony orchestra and teach you to recognize their sound.

And just as actors on stage talk first to each other, then to themselves or to the audience, so the instruments in the orchestra play their roles: sometimes they sound separately, sometimes together. For example, a duck and a bird (oboe and flute) argue very funny with each other - each plays a piece of his theme song. Here the clarinet sounds - a cat is sneaking; the bassoon grumbled - grandfather scolds Petya; The horns barked terribly - a wolf appeared; The oboe quacked in fear and fell silent - the wolf swallowed the duck.

So musical language The composer tells a symphonic tale.

Music supervisor.Guys, the composer drew it so believably musical sounds the image of a wolf that all the characters in the fairy tale ran away and abandoned their tools. I ask you to help me and choose a pair for each character.

During the final procession from the fairy tale “Peter and the Wolf,” children pick up musical instrument, who performs main party each character.

Music director.Guys, today we are talking a lot about the heroes of the fairy tale “Peter and the Wolf”. We listened musical portraits these characters, and also these heroes can be drawn plastically. Convey in motor studies characteristics each of their characters. And the magic of music will help us again.

Plastic improvisation

Under each of musical themes children perform motor improvisations, trying to convey plasticity, facial expressions and character traits, inherent in this or that character.

Music director.Guys, did you like our musical journey to the fairy tale “Peter and the Wolf”?

Music director.What do you think, if I just read a fairy tale to you, told the plot in words, would it be so bright, colorful, magical?

Music director.Absolutely right. Today we are once again convinced of magical power music that helps us get to know many people more vividly and colorfully interesting things. I suggest you make friends with music and carry this music throughout your life, and it will give you many more unforgettable encounters with beauty. And we, in turn, will give our guests a wonderful song about music.

Children perform the song "Magic Key". Zinaida Root.

The lesson is over.

Bibliography.

1. Davydova M.A. Musical education V kindergarten: middle, senior and preparatory groups. - M.: VAKO, 2006. - 240 p.

2. Vinogradova L.N., Koreneva T.F., Tatarzhitskaya O.T. and etc.; Comp. Bekina S.I. Holidays in kindergarten: Book. for educators and music. Head of Det. Sada.- M.: Education, 1990.- 207 p.

3. Radynova O.P. Musical development children: At 2 o'clock - M.: Humanit. Ed. VLADOS center, 1997 Part 2 - 400 p.

4. Root Z.Ya. Songs and holidays for kids. - M.: Iris-press, 2003.-96p.