Begin with a cradle. Part II
Children`s musical instruments
In 3 - 4 years great value in musical development of the kid buy children`s musical instruments. These are not just copies of the real musical instruments for entertainment. Children`s musical instruments develop hearing, a rhythm, an emotional susceptibility of the child. In some measure form its musical taste.
In purchase of such tools should know when to stop too. Sometimes parents buy many similar tools at once. The kid rushes about from one to another, quickly is tired of surplus of impressions and, at last, throws the wealth all this ringing, singing, whistling in a corner, without having learned to play. Children`s musical instruments should be mastered serially. Until the child learned to play on one, you should not give him following. And here your help, of course, will be required.
Selection of a melody aurally
Such selection not only develops ear for music, not only gives to the child pleasure, but also is the first important step in training in its playing the real musical instrument. Begin with selection of the simplest songs, counting rhymes, humourous catchphrases. From two - three and even one note:“ The Torah - that is that, the Torah - that is that, from - in - ryay - those in - ro - that“. At first sing a song, and then show to the kid as it sounds on this or that children`s musical instrument. Children at this age adore imitating, and yours the son or the daughter by all means will try to pick up a melody. Praise the kid. Correct if he was mistaken. Gradually melodies and songs can be complicated.Play
Remember how painfully and to little purpose taught us at comprehensive school to notes. Meanwhile, by means of simple game, the child already from three - for very short term can learn to play four years from music. Both on children`s musical instruments, and on a usual piano.Begin
with studying 2 - 3 - x notes and gradually bring quantity of the used notes to one octave.Explain
to the baby where notes “to“, “re“, “mi“ are written. On the first additional ruler, under the first, on the first. The leaf with distinctly written notes let lies in a visible place. Show where these notes are played the piano (it is possible toy) or on other children`s musical instrument. Distinctly write on musical lineechka a note “to“ and ask the child to play this note. If he made it correctly, then receives one point and your applause if it is wrong - the point is received by you. Game to 3 - 5 points. Do not forget that the child has to win more often, than lose. At least at first.
Gradually quantity of notes can be increased. The kid will take a special satisfaction if he plays not a set of notes, but a song known to it. It is possible to enter also rhythmic designations a bit later: whole notes, halves, quarters. Our experience shows that for many children such game becomes darling, and they quickly enough (of a month before half a year of occupations) begin to play from music within the first octave.
of the Note can be studied and separately, without musical instrument. You distinctly write on lineechka, suppose, a note “to“ and ask what this note. At the correct answer the point is received by the child. At wrong - you. But such game gives to the child less pleasures and therefore is less effective. An important condition - equality in game. Therefore do not forget to change roles from time to time: let the kid ask, and you will answer.
Development of hearing
This game at 70 - 80% of children (such result two groups 3 - 4 summer children with of whom we took care two times a week showed) develops perfect ear at which the person not just hears a sound, and at once can precisely tell what is a note - “to“, “mi“ or “salt“. Such type of hearing is important for professional works music, especially when playing string instruments.to
For game is suitable any keyboard tool or even a glockenspiel. Begin with three notes - “to“, “re“, “mi“ the first octave. Ask the child to turn away and press one of these notes. The kid presses in turn all three notes and says what note, in his opinion, sounded. At the same time surely calls it - “to“, “re“ or “mi“. It becomes in order that the sound at the child was associated with the name of a note. In case of the correct answer the point is received by it, in case of wrong - you. Gradually the quantity of notes increases. Game continues to 3 - 5 points. Do not forget about change of roles!
to Rescue the song and dance
the Problem, without exaggeration costs exactly as it is formulated in heading - it is necessary not so much to teach children to sing and dance how many to rescue in them the song and dance
At first about the song. Kids - the musical people. They have musical abilities about which we do not even suspect, and adore singing. The soul of the child is sensitive to song intonation, and is frequent as we already mentioned, children begin to sing, “earlier, than to go“. At first they sing as hear. Here their ability to imitation is fully shown. Gradually in singing it becomes clearer and clearer identity of the kid is visible. Often children play the whole performances, holding the microphone, or the subject representing the microphone in hand and singing songs which are pleasant to them. Such game should be encouraged in every possible way.
It is fine when singing takes the important place in the child`s life. The voice device, an articulation is improved. Feelings, art taste, memory develop. Both musical, and “usual“. The song is not only music, but also verses. Besides, early singing - a way to musicality development. The streamlet of a good song will lead your kid to good music sooner or later. Both serious, and easy.to Sing
loudly - does not mean to sing well
Here several words about features of the voice device of the child. It is the tool gentle and fragile. Air turns into a sound, passing through throat ligaments. Sheaves are attached to edges of a throat by muscles, and their formation lasts till 12 years. Thus, till 12 years children sing at the expense of thin and weak vocal chords which are easy for overstraining or as musicians are expressed, “to break“. Therefore small it is impossible to sing loudly, especially on the street during cold or wet weather. There are examples when “having strained“ a voice in the early childhood, the person cannot sing all life.
Crucial importance here, as well as in any educational action, has an example of parents. At examination in music school the five-year-old girl unexpectedly begins very loudly, with an anguish to sing the heart-felt, lyrical song. The girl is not guilty of it. In such execution she heard the song from adults and imitates them. Sometimes parents abuse the kid:“ What do you purr under a nose there? You sing - so sing“. And the child gets used to thought that to sing loudly - means to sing well.
when in a family congregational singing enters tradition. S. V. Obraztsov in the memoirs wrote about value of such singing for familiarizing with music:“ In the evenings we gathered and sang. Songs we knew much. It were the most pleasant minutes of the childhood. The song also brought me into the world of music“.
At congregational singing with the kid do not muffle the child`s voice. Let in these the song the kid be the soloist, and you quietly sing along with him. Do not deride and do not abuse the child if he sings out of tune.It is important
. The child is, especially, small, it is not confident in the forces, and the disapproval of adults can deprive for a long time of it desire to sing. We know the girl of 12 years who refuses flatly to sing only because at the age of 3 - 4 years mother derided her for false singing. It, of course, does not mean that it is impossible to correct singing of the child or to make it the remark. You watch that when singing the voice of the kid coincided with your voice or about sound of a musical instrument which you play a song melody.
Use dolls and drawings
Kids think concrete, real images. Therefore to teach to sing them available examples from life expressively will help. Let`s tell, you want to learn the song “Hare“ where having started singing with the child the refrain quickly in the “jumping“ rhythm is sung slowly, and. Take a doll - hare and accompany singing of a song with its movements. During a zapev the doll moves also slowly, as well as music, and during a refrain jumps. It is possible to use when learning a song and illustration. For example, when you study a New Year`s song, before the child the drawing representing Father Frost, Snow Maidens or just winter landscape lies. You listen to a song about summer - you admire a summer landscape. You study songs about horses, a cockerel or a fox - you consider images of these animals. It helps little singers to concentrate attention, to enter an image of a song.
In the game “Who Will Start Singing the First?“ it is good to play together with the brother, the sister or other child who came to you on a visit. You begin to play a melody of the song famous to children quietly. Or, if there is no house a musical instrument, sing a melody by voice without words. Who the first learns the song, receive a point. Game continues to 3 - 5 or more points.
Can play this game even if the child has no company. But then he has to recognize the song by the first five, six or more notes.
Other option of guessing of a song - on a rhythm. You knock to the child a rhythm of a well-known song. Then you ask it to make the same. And the song is already guessed by you. Such games develop feeling of a rhythm.
Now about dance...Kids like to dance
. The movements under music not only are useful to health and help to learn to coordinate the movements, but also develop musicality, feeling of a rhythm at children and just bring joy. I. M. Sechenov wrote about direct link in which there are acoustical and muscular feelings. It is not necessary to have special knowledge to help the baby to seize the elementary dancing movements. Especially it is necessary for the children who are not attending kindergarten.Teach the kid to be turned by
under music, rhythmically killing with a heel in a step, to other simple movements. Often small children dance, without listening to music. Pay their attention to it. Explain that under music of march walk vigorously, do sharp, confident movements. Under a smooth melody make the slow, quiet movements. Turn on the music of different character, and let kids or together with you under it dance. Thinking out the various movements. You will see, abilities of the baby to motive improvisation are how big. Such reception, by the way, is actively applied in the Valdorfsky kindergartens using an educational system of the German teacher Rudolf Steiner.It is very good
when dances of the kid are taught by his elder brother or the sister. It is worth to remember one of the important principles of pedagogics of Maria Montessori:“ Children train other children better, than adults“.
If an opportunity is, invite friends of your child and arrange group dances. In this case the adult or the child able to dance gets up in the center of a circle, and all carry out the movements behind it.
Dances and singing will bring a smile and good mood in your life and life of the kid. Observing as children sing and dance, you learn about them a lot of new - what was not known earlier.Shinichi`s Method Suzuki
Revolution in musical education began
in Japan in the late sixties, but came to Europe including to Russia only now, at the beginning of the 21st century. The violinist, the teacher, the philosopher Shinichi of Suzuki was an ideologist of this bloodless revolution. Already then, in the late sixties, he wrote the words which cleared an essence of the revolutionary hypothesis: “Musicality not congenital talent, but ability which, as well as each ability, can be developed“. And further:“ ... any child trained properly can become musical. It is not more difficult, than to speak the native language“.
However, the words which are not supported with affairs remain words. Doctor Suzuki not only spoke. It did. Having seen as children easily master in the earliest childhood foreign languages, he made the assumption that also easily they will be able to learn to play any musical instrument. And as Suzuki was a violinist, decided to try with 2 - 3 - x years to train children in playing a violin. And not individually, and groups. At the same time doctor Suzuki recognized from belief that kids at this age like to imitate, and, having seen as more “adult“ and more “skilled“ violinists play, will try to keep step with them.It is amazing
. It is difficult to believe in it. It never and anywhere was. But at doctor Suzuka it turned out. In several years of occupations the ensemble of little violinists was created. At first from ten, and later from twenty and more kids. Musicians of 4 and 5 years on tiny violinists purely and synchronously played Vivaldi`s concerts, and also the music which is specially written for them by the teacher. We, unfortunately, did not see and did not hear these unique violin ensembles, but we trust certificates of those who saw and heard.
B what essence of a method of Shinichi Suzuki? Let`s give three basic positions. Doctor Suzuki believed (here and further we write in past tense as the remarkable teacher died in 1998) in musical abilities of any person. He considered that people are divided not on musical and not musical, and into those to whom developed musicality in the early childhood and those to whom these abilities did not develop.
Doctor Suzuki loved children. The love of children is included into its method as an important component. We had to work with the smallest, and we know that any most correct words and actions at such occupations which are not supported with love of children are doomed to a failure. Kids extraordinary thinly feel falseness, insincerity in the relations with them. For the person who is not loving children to be engaged with remains painfully.
Important part of a method of doctor Suzuka - attraction to work of parents. Without involvement of fathers and mothers, that is people who more than others love and know the child, the method does not work. What did the parents who entrusted to train the children in playing Shinichi Suzuki`s violin have to do? It is a lot of. They visited lessons. They were engaged with children at home. And some even studied playing a violin to impart the knowledge to children.
there Passed more than ten years from the date of death of doctor Suzuka, and now it is possible with big degree of probability to claim that in his method a lot of things were connected as it happens quite often, to the identity of the teacher. It is not enough to study its method. Occupations with the smallest - the difficult and fragile sphere demanding big sensitivity and patience. Therefore the identity of the teacher in attempts to go on the way of Suzuki, has the if not defining, then very great value. Uniqueness of the genius, without looking on any theories, remains uniqueness. So the question how to become the second Mozart, Paganini or the same Suzuki, remains open so far.Doctor Suzuki repeatedly repeated
: “My purpose - to make of the kid not of the musician, and the good, noble person. Having fallen in love with good music, my pupils will strive for beauty and harmony in all aspects of life“. Agree that words of doctor Suzuka have something in common with wisdom:“ Having taken a violin in hand, the person will not be able to become a bandit“.
Instead of the conclusion. To see behind trees the wood
you Should not be fond of some one technique of education. You should not inspire since the earliest childhood both in the child, and yourself: “Main thing sport (music, drawing)“. As a result children receive unilateral, and, therefore, ugly education. We repeatedly wrote about it, many followers of early active development of children also speak and write about it: Montessori, Gleman, Nikitina, etc. And then we are surprised from where the athletes, to put it mildly, who are not shining with erudition or the mathematics which is not understanding how it is possible to fade undertake, listening shubertovsky “Ave Maria“. Without receding from our subject, it is possible to tell unambiguously: what comprehensively developed the child, that better forms his musical abilities.
After lecture about musical education in a family which I carried out at comprehensive school and concerned this urgent problem, one father approached me and started talking the angry tone:
- I do not agree with you. Whom do you suggest to bring up? Versatile laymans? Half-educated persons of a wide profile? Really to dig where still nobody dug, it is necessary to stick teeth into some business and not to unclench teeth till an old age. And then still it is unknown whether something acceptable will turn out...
Us were surrounded by parents, with interest listening to words of the young father. It continued:
- I Know, you remember Leonardo da Vinci or Einstein, on a violin of the player now. Exception it.
Yes, it is valid, Lev Nikolaevich Tolstoy wrote that to make something considerable “... it is necessary to focus all forces in one point“. And life of the writer was to that an example. But, in - the first, it is about the earliest childhood and, in - the second, did not prevent Lev Nikolaevich to love it work, music, to play towns. On the contrary, helped. Tying the kid to something to one, we develop him unilaterally. Perhaps, we earth the talent lying absolutely in other area.
in conclusion we want to remember words of the remarkable Russian teacher K. D. Ushinsky: “Only well put general education can become reliable base of vocational education“.