Introduction
Among many types of art, music rightfully occupies a special place in aesthetic and artistic education and in the entire system of forming a comprehensively and harmoniously developed person.
The palette of music is rich, its language is flexible and diverse. Everything that is not subject to the word, does not find its expression in it, is reflected in the music. She especially vividly praises the great harmony of nature.
Preschoolers show a special love for the art of music and can be involved in activities that are feasible for their age, the goals of which are the development of interest in music, the correct perception of its content, structure, form, as well as awakening the need for constant communication with it and the desire to actively express oneself in this sphere.
Under the guidance of an adult, a child learns to empathize, fantasizing and imagining in the process of perceiving music, he strives to express himself in singing, dancing, and playing musical instruments. Everyone is looking for a unique character of movement, depicting a cheerful bird and a buzzing bumblebee, a clumsy bear and a cunning fox.
Experience has shown how useful it is for the general development of children to involve them in independent activities, to foster a creative attitude to music. Teaching children, we develop their interest, imagination, that is, immediacy of actions, enthusiasm, the desire to convey the image in our own way, improvise in singing, playing, dancing.
In the process of listening to music, children get acquainted with instrumental, vocal works of a different nature, they experience, experience certain feelings. Listening to music develops interest, love for it, broadens the musical horizons, increases the musical sensitivity of children, fosters the rudiments of musical taste.
Music lessons contribute to the overall development of the child's personality. The relationship between all aspects of upbringing develops in the process of various types and forms of musical activity. Emotional responsiveness and a developed ear for music will allow children to respond to good feelings and deeds in accessible forms, help to activate mental activity and, constantly improving their movements, will develop preschoolers physically.

1.Theoretical part.
1.1 The problem of the development of musical and auditory ideas in children in the psychological and pedagogical literature.
Psychology increasingly invades the theory and practice of music education. Almost any issue of training and education requires the joint participation of teachers and psychologists. Until recently, both sciences developed separately, and we found confirmation of this in the study of this problem. In preschool pedagogy, questions about the influence of ideas in the child's mastery of all types of musical activity are poorly disclosed. It is well known that only in activity does a child develop (D. B. Elkonin, L. N. Leontiev). One of the leading processes of activity is the thought process. Thought processes are also considered in theories about specific types of activity (A. V. Zaporozhets), as well as in the theory about the role of musical activity in the development of musical abilities (B. M. Teplov). Based on the theory of the artistic-figurative basis of musical activity (N.A. Vetlugina), using research on the interaction of arts (M.S. three main spheres - thoughts, feelings, ideas. Literature, music and painting cover these areas "comprehensively and completely" as they have adequate means of expression for this, and various combinations and interactions of types of arts can convey the "interconnection of processes" taking place in spiritual life.
Representation is a thought process, without the formation of which it is impossible to master the three main ways of mastering the world: cognition, comprehension, transformation. A child perceives music on the basis of a store of life impressions, personal experience: sensory, kinesthetic, social. Music is an important and irreplaceable means of forming personal qualities of a person, his spiritual world. In order to comprehend the specifics of art - the generalization of life phenomena in artistic images - it is necessary to simply orientate ourselves in the world around us, have an idea of the objective and sensual world, correctly use the designation of words, and master speech.
The musical image is difficult to describe in detail. To understand the peculiar language of musical works, it is necessary to accumulate minimal listening experience, to acquire some ideas about the expressive features of the musical language. Throughout the history of mankind, certain systems, regularly constructed series of forms, sizes, colors, sounds, etc. received a certain speech designation. The word itself is a representation of something. Cognition of objective properties is carried out in the process of the child's development of ideas about standards and practical actions with objects. Establishing relationships between the subjects being studied occurs by performing logical operations. comparisons, classifications, etc. According to P. Ya. Galperin, the ability to isolate individual features from a whole object, select the most significant of them and find them in other objects, identify the connections that exist between objects and phenomena is an important condition for a child to understand the world around him.
The mental development of the child is impossible without the formation of ideas. The lack of clear representations of external objects affects the child's perception, and the lack of ideas about the existing connections between objects complicates the thinking process. No matter how simple the actions (listen to a play, sing, dance), they are a musical practice. Therefore, ideas are formed and developed with the repeated repetition of various actions. The activity consists of numerous actions (external objective and internal) aimed at solving immediate problems (for example: learning and performing a song). The child listens attentively to the introduction to the song, tries to start it on time, catches the set tempo, nuances, and finishes the performance at the same time with his peers. Without musical and auditory performances, a child is unlikely to cope with a simple task. At the stage of formation of ideas, they can break away from current activities, acquiring relative independence and their own logic of development. Representations, in particular, can anticipate practical actions, providing their regulation.
To master musical knowledge (sequential, ordered, refined, systematized), the child must receive clear ideas of their purpose and properties, which cannot be accumulated without systemic training.
Musical and auditory representations are an ability that manifests itself in the reproduction of melodies by ear. It is called the auditory or reproductive component of the ear for music. This ability develops, first of all, in singing, as well as in the playing of pitch musical instruments by ear. It develops in the process of perception prior to the reproduction of music. To activate musical - auditory representations, it is important to connect with the perception of a just sounding melody, “to continue a sounding melody in the performance,” writes BM Teplov, is incomparably easier than to imagine from the very beginning ”(Teplov BM Psychology of musical abilities , pp. 163-164), that is, without relying on her perception. In addition, since movements contribute to the memorization of melodies, they can be used to develop musical and auditory representations - internal singing, modeling the proportions of sounds in height with the help of hands, etc.
To reproduce a melody with a voice or on a musical instrument, it is necessary to have auditory ideas of how the sounds of the melody move - up, down, smoothly, in jumps, whether they are repeated, i.e. have musical and auditory performances (pitch and rhythmic movement). To play a melody by ear, you need to memorize it. Therefore, musical and auditory representations include memory and imagination. Just as memorization can be involuntary and voluntary, musical and auditory representations differ in the degree of their arbitrariness. Arbitrary musical - auditory performances are associated with the development of inner hearing. Internal hearing is not just the ability to mentally imagine musical sounds, but to arbitrarily operate with musical auditory representations.
Experimental observations prove that many people resort to internal singing for the arbitrary presentation of a melody, and those who teach piano play accompany the presentation of the melody with finger movements (real or barely fixed), imitating its playback on the keyboard. This proves the connection between musical and auditory performances and motor skills. This connection is especially close when a person needs to voluntarily memorize a melody and keep it in memory. "Active memorization of auditory representations," notes BM Teplov, "makes the participation of motor moments especially essential." The conclusion that follows from the above material: the activation of musical and auditory representations is the main link of musical abilities, their constant development is one of the necessary factors for the development of musical thinking.

1.2 Development of musical and auditory performances in preschool childhood.
The child's abilities develop in the process of active musical activity. Correctly organizing and directing it from early childhood, taking into account changes in age levels, is the task of the teacher. Otherwise, developmental delays are sometimes observed. For example, if you do not teach children to distinguish musical sounds in pitch, then a child by the age of 7 will not be able to cope with a task that the younger one easily performs. The most significant features of musical development are:
· Auditory sensation, ear for music;
· Quality and level of emotional responsiveness to music of different nature;
· The simplest skills, actions in singing and musical-rhythmic performance.
First year of life. Psychologists note that children develop auditory sensitivity early. According to A.A. Lyublinskaya, a baby has reactions to sounds on the 10-12th day of life. In the second month, the child stops moving and becomes silent, listening to the voice, to the sound of the violin. At 4-5 months, there is a tendency to some differentiation of musical sounds: the child begins to respond to the source from which the sounds are heard, to listen to the intonations of the singing voice. From the first months, a normally developing child responds to the character of the music with the so-called animation complex, rejoices or calms down. By the end of the first year of life, the baby, listening to the singing of an adult, adjusts to his intonation by humming, babbling.
Second year of life. When perceiving music, children show brightly contrasting emotions: cheerful animation or calm mood. The auditory sensations are more differentiated: the child distinguishes between high and low sounds, loud and quiet sounds and even timbre coloration (a metallophone or a drum is playing). The first, consciously reproduced singing intonations are born; Singing along with the adult, the child repeats the endings of the musical phrases of the song after him. He masters the simplest movements: claps, stomps, whirls to the sound of music.
Third and fourth year of life. In children, the sensitivity increases, the ability to more accurately distinguish the properties of objects and phenomena, including musical ones. There are also individual differences in auditory sensitivity. For example, some toddlers can accurately reproduce a simple melody. This period of development is characterized by the desire for independence. There is a transition from situational speech to coherent, from visual-active thinking to visual-figurative, the musculoskeletal system is noticeably strengthened. The child has a desire to play music, to be active. By the age of 4, children can sing a little song on their own, with a little help from an adult. They master many movements that allow them to dance and play independently to a certain extent.
Fifth year of life. It is characterized by the active curiosity of children. This is a period of questions: "why?", "Why?" The child begins to comprehend the connection between phenomena and events, can make the simplest generalizations. He is observant, able to determine: the music is cheerful, joyful, calm; sounds high, low, loud, quiet; in the piece, the parts (one fast and the other slow) on which instrument the melody is played (grand piano, violin, button accordion). The child understands the requirements: how to sing a song, how to move in a calm round dance, and how to dance. The voice at this age acquires sonority, mobility. Singing intonations become more stable, but require constant support from an adult. Vocal-auditory coordination is getting better. Mastering the basic types of movement - walking, running, jumping - enables children to use them more widely in games and dances. Some strive, without imitating each other, in their own way to play the role (for example, in a story game), others show interest in only one type of activity, depending on the individual inclinations and abilities of each.
Sixth and seventh year of life. This is the period of preparation of children for school. Based on the knowledge and impressions gained, children can not only answer a question, but also independently characterize a piece of music, understand its expressive means, feel the various shades of mood conveyed by the music. A child is capable of a holistic perception of a musical image, which is also very important for fostering an aesthetic attitude towards the environment. But does this mean that analytic activity can harm holistic perception? Research on sensory ability and musical perception in children has shown an interesting pattern. The holistic perception of music does not decrease if the task is to listen attentively, to highlight, to distinguish the most striking means of the "musical language". The child can allocate these funds and, given them, act in accordance with a certain way when listening to music, performing songs and dancing movements. This promotes musical and auditory development, mastering the necessary skills to prepare for singing from notes.
In children of 6-7 years old, the vocal apparatus is even more strengthened, the range is expanded and leveled, a great melodiousness and sonority appear. Songs, dances, games are performed independently, expressively and to some extent creatively. Individual musical interests and abilities are manifested more clearly. This period is characterized by: the expansion of the acquired experience under the influence of upbringing and the perfection of sensations characteristic of this period. A. V. Zaporozhets notes, "that sensations continue to improve mainly due to the development of the activity of the central part of the analyzers." Also, a direct dependence of auditory sensitivity on systematic music lessons has been established. With the perception of phenomena, children at this age are able to coordinate their perception with the verbal instructions of the teacher. Moreover, they are able to verbally formulate the tasks facing them. The growth of the child's life development in the period of senior preschool age is clearly manifested not only in the characteristics of age-related characteristics of perception, but also in changes in the nature of his activity, in particular play.
Understanding the age characteristics of musical development allows the teacher to clarify the sequence of tasks and content of musical education of children at each age stage.
Thus, a preschool child, with active participation in musical and practical activities, makes a huge leap in both in general and in musical development, which occurs:
· In the field of emotions - from impulsive responses to the simplest musical phenomena to more pronounced and diverse emotional manifestations.
· In the field of sensation, perception and hearing - from individual distinctions of musical sounds to a holistic, conscious and active perception of music, to the differentiation of pitch, rhythm, timbre, dynamics.
· In the field of manifestation of relationships - from an unstable hobby to more stable interests, needs, to the first manifestations of musical taste.
· In the field of performing activities - from actions of showing, imitation to independent expressive and creative manifestations in singing and musical-rhythmic movement.
1.3 The method of organizing listening to music, accompanying the development of musical and auditory representations in preschoolers.
The complex process of the development of children's musical perception involves the use of artistic performance of works, the teacher's words and visual aids. Artistic performance of music is expressiveness, simplicity, accuracy. Various simplifications and distortions that deprive children of the necessary emotional experiences are unacceptable here. Since preschoolers listen to vocal and instrumental works, it is important that the sonority and tempo are moderate (without spectacular pop), and the sound is natural and soft.
The teacher's word about music should be short, vivid, figurative and aimed at characterizing the content of the work, the means of musical expression. Lively perception of sound should not be replaced by unnecessary talk about music, its features. It can be considered devoid of pedagogical meaning to conversations that prompt children to formal answers: the music is loud, quiet, fast, etc. But before listening to songs and plays, a guiding word from the leader is necessary.
The teacher's word should clarify, reveal feelings, moods expressed by musical means. Even the teacher's voice when explaining is emotionally colored depending on the nature of the work. Warmly, affectionately tells about a lullaby, joyfully, with enthusiasm about a festive, solemn march, playfully, merrily about dancing.
The forms of verbal guidance are different: short stories, conversations, explanations, asking questions. Their use depends on specific educational and educational tasks, the type of musical work (vocal, instrumental), the moment of acquaintance (initial or repeated listening), genre, nature of the work, and the age of young listeners.
By directing the attention of children to the perception of vocal music, the teacher builds a conversation, relying on the unity of the musical and poetic text. Introducing instrumental music, he makes small explanations of a more general nature. If a play has a program, it is usually expressed in the title, for example, "March of the Wooden Soldiers" by P. Tchaikovsky. Performing it for the first time, the teacher explains: "The music is clear, light, because the soldiers are small, wooden - this is a toy march." On repeated listening, it draws attention to the fact that when the soldiers come closer, the music sounds louder, and when they leave, the sound dies down. Later, children independently distinguish dynamic shades, comprehending their expressive meaning.
The explanations of the teacher in the classroom with the kids are extreme, short, focused on the main image. “The music is fun, dancing, and our dolls are dancing merrily,” the teacher says, performing a folk dance melody, or reminds: “Yesterday we walked with you and heard: birds are singing. How do they sing, how do they chirp? " Children answer. The teacher finishes: "And I will sing you a song about a bird." After that, he first performs the piano accompaniment of M. Rauchverger's song "Bird" so that the children feel the pictorial nature of the music, and then the whole song. Note that the musical introductions and conclusions of songs from the repertoire of the younger groups of the kindergarten are often pictorial in nature. Brief explanations of the teacher, immediately accompanied by musical examples, help children to feel the artistic image.
The teacher's explanations, based on visual musical examples, draw the kids' attention to the peculiarities of the piano presentation, which conveys the images of a cockerel, a bird, a little drummer.
In working with children of middle and especially senior preschool age, conversations are more detailed, attention is paid to the development of an artistic image, the expressive purpose of musical means is explained.
Consider, for example, the play by P. Tchaikovsky "Kamarinskaya". It is built on a folk melody set out in the form of variations. Each variation changes the melody in its own way, and children have the opportunity to perceive these expressive features. The play very figuratively and vividly conveys the character of the perky Russian dance, which gradually develops and, as if breaking off, ends. The sound volume increases and decreases. Therefore, in a conversation, the teacher can note musical nuances and explain their expressive meaning. Children are told that the dance begins with light, graceful movements, which then become wider, faster. Suddenly the sound fades, as if the dancer slows down and finishes the dance. In the conversation, one can note the pictorial nature of the music that conveys the sound of folk instruments. In the first variation, a pipe is played, in the second, a balalaika joins it, then a harmonica.
The conversation is accompanied by the playback of individual variations, musical phrases. Music is perceived in a developing form, children begin to feel and understand "musical speech".
In verbal instructions, the teacher repeatedly (with the help of a figurative, short story or an expressively read poem) notes the connection between music and those phenomena of life that are reflected in it.
The use of visual techniques for enhancing musical perception depends on the source of additional information about the music. If this is a literary work (poetry, a quote from a poetic text of a song, from a story, riddle, proverb) or a fragment of a performed work (recall the musical introduction to the songs "Cockerel", "Bird"), then we can talk about the use of visual and auditory techniques. These techniques are addressed to the child's hearing. Visibility is understood as a method of learning about music. Living contemplation is not necessarily visual. For the development of musical perception, musical and literary quotations aimed at emphasizing any characteristic features of music are very valuable. The use of gramophone is also helpful.
It should be noted that direct communication with the performer makes the child's perception easier. But listening to music on a record has its own advantages. If the children listen to a piece performed by the teacher several times, then, after hearing it in an orchestral presentation, they will receive additional visual representations that will significantly expand and enrich their horizons.
The perception of musical works will also be helped by pictorial illustrations, art toys, manuals, that is, visual-visual techniques.
In the method of working with children, artistic toys are widely used, they "move", "talk" with children, and participate in various events. It turns out, as it were, small theatrical performances, during which children listen to music. Book illustrations, prints are often used in work with older preschoolers. Poetic pictures of nature, human labor, social events, conveyed by the means of visual and musical arts, complement children's performances.
Various teaching aids can also be used that activate musical perception, for example, small cards that depict children dancing and marching (while listening to a dance or march, the guys show a card with a symbol), a running boy and a slowly walking person (perceiving a two- or three-part form a play with a change of pace, children mark the beginning of each movement with a corresponding image on the flannelgraph).
You can also focus on the muscular-motor sensations of children in order to form visual representations of some musical phenomena. When listening to music of a cheerful or calm nature in younger groups, you can use movements with sticks, flags, cubes. In older groups, offering children to distinguish parts, phrases of a piece, high, middle, low registers, rhythmic features, you can also use various motor elements: tapping, clapping, raising, lowering hands, etc.
Hearing the same pieces, songs must be repeated many times, providing for such a technique so that every time the child is happy, he learns something new about them.
The first acquaintance with music provides for a holistic perception, comprehension of its general mood. Therefore, it is important to expressively perform the work as a whole, give a brief description of the content, and note its most striking features.
During repeated listening, the attention of children (especially older ones) is drawn not only to the artistic embodiment of the general idea, but also to individual means of musical expression. At each lesson, new tasks are set that activate children's perception.
Work on the development of listening skills is carried out in the classroom, entertainment, in the course of the child's independent activity. Hearing music in the classroom should be of great importance. The results of this work are not as obvious as in singing and rhythm. However, it is necessary to acquaint children with musical works, developing their hearing, broadening their horizons, raising an active listener, consistently and systematically at each lesson.
Concerts are a very important form of emotional enrichment for young listeners. They fill with impressions, create an upbeat, festive mood. The content of the concerts is usually linked to the training program. They, as it were, summing up the material covered, introduce them into the circle of new interests. For example, concerts dedicated to any composer (P. Tchaikovsky, D. Kabalevsky) allow the teacher to widely and multifaceted acquaint preschoolers with the work of a great master. Concert "Musical Instruments" gives children the opportunity to learn about various musical instruments, how to play them, sound features. Such concerts include various "Musical Riddles", gramophone is used.
The next form of work is the use of music in the child's independent activity. In order for the process of musical perception to have a developing, continuous impact on children, the educator must have a kind of music library in the group room. It should contain a set of records with recordings of program pieces corresponding to the age of the children, cards with drawings illustrating the content of instrumental pieces or songs, etc. Knowing the material available in the library, children examine it, choose their favorite pieces, listen to them. Sometimes the initiative belongs to the educator, who offers to listen to music, solve a musical riddle, talking with the children about a particular piece.
The effectiveness of the results of organizing listening to music is achieved by the expressive performance of musical works, the interaction of verbal and visual methods, the sequential formulation of various tasks that activate children's perception.
2.Practical part.
2.1 Determination of the effectiveness of the methodology for organizing listening to music, contributing to the development of musical and auditory ideas in preschoolers.
The development of musical performances is carried out in a complex and close relationship with the solution of educational problems. Musical educational activity is aimed at mastering elementary information about music, its language, means of expression, its genres, as well as acquiring a certain stock of skills and abilities in various types of performance.
The management of the process of musical education of preschoolers is impossible without taking into account the general level of musical development of all children in the group, as well as without attention to the individual characteristics of the musical development of each child.
To this end, we carried out a diagnosis of the level of musical development of children, inviting them to complete certain tasks that allow us to identify the level of development of children's musical abilities, as well as the degree of their mastery of the necessary skills and abilities in various types of musical activity.
The diagnosis of a child's musical abilities should be based not so much on their one-time assessment, but on the identification of their changes in comparison with the past and, accordingly, the readiness for improvement in the future.
The subject of our survey was the musical development of children in general, which includes:
a) development of musical abilities;
b) assessment of knowledge, abilities and skills in the field of music perception and performing musical activities;
The objects of the study were children of senior preschool age. The validity and reliability of the results of the diagnostics was achieved through the use of instrumental approaches that correspond to the goals and objectives of the study. From all the modern methodological literature on the musical education of children, we have chosen a convenient form and methods of fixing diagnostic results. They suit us as diagnosticians, are quick and easy to use, take into account our individual characteristics and professional capabilities.
To identify the levels of musical development of children, we compiled diagnostic maps and developed diagnostic tasks - one for each indicator of musical development. The children's performance of diagnostic tasks is assessed using a three-point system, based on the criteria for the quality of a child's mastering of a particular ability, i.e.

We use tables to record the observation results.
Based on the results of diagnostics at the beginning of the year, conclusions are drawn about how each child develops, to whom to direct special attention. If new successes are noticeable in the child, then they must be developed until they are fully disclosed. If, on the contrary, the child is at a loss in something - to help him, choosing the right methods and techniques to develop his abilities.
Diagnostic tasks.
(senior group)
Task number 1.
Purpose: to determine the level of development of the modal feeling.
The music director performs a melody or familiar song on a piano or metallophone. First, the song is performed in full, and the second time the teacher asks to hear what has changed in his playing. The child must determine whether the melody is over or the teacher has not played it to the end (to the tonic).
Repertoire: r.n.p. "Once upon a time there was a gray goat at my grandmother's."
Task number 2.
Purpose: to identify the level of development of musical and auditory representations.
The musical director plays any simple song on the piano or metallophone. The task of the child is to pick it up by ear, sing or play the piano or metallophone.
Repertoire: R.N.M. "Andrew the Sparrow" or "Cockerel".
Task number 3.
Purpose: to identify the level of development of the sense of rhythm.
The music director plays the song on a metallophone or piano. The child's task is to repeat the rhythmic pattern of the singing in claps, taps or on percussion instruments.
Repertoire: "Knock, knock, hammer", "Cap-drop" or "Tick-tick-tock".
Task number 4.
Purpose: to reveal the child's knowledge of musical genres (song, dance, march).
Game material: cards depicting marching soldiers, singing and dancing children. Phonograms or piano performances of the following works:

The child is given cards. The musical director performs on the piano or includes a phonogram of musical pieces corresponding to the content of the figures on the cards. The child must recognize the work by genre, raise the appropriate card and answer the teacher's questions:

Task number 5.
Purpose: to determine the child's capabilities in perceiving a piece of music using color indicators of emotional states.
Game material: cards of three colors (red, blue, green), phonograms or musical performances.
The starting point for the construction of such a diagnosis is the correspondence of certain color shades to various emotional states of a person established in psychology.
In the process of listening to a short excerpt from a piece of music, the child is invited to choose a card of exactly the color in which he would draw this melody.
The child's task is to create a color image of a musical composition (cheerful, perky - red; sad, sad - blue; light, lyrical - green.)
Through the introduction of color symbols, the emotional reaction to three different melodies is tested.
Repertoire: "Kamarinskaya", "Disease of a doll" by P. Tchaikovsky, "Sweet Dream" by P. Tchaikovsky.
Task number 6.
Purpose: to reveal the child's ability to determine the form of a piece of music (introduction, conclusion, chorus, singing in a song, 2-3 ch.ph.)
the child is offered to listen to several pieces of music of different forms. After the performance, the child determines how many parts are in the work and by what means of expressiveness he understood this.

etc.................

Internal hearing (musical and auditory performances)

A sound picture emerges in our imagination. It acts on the corresponding lobes of the brain, excites them according to its brightness, and then this excitement is transmitted to the motor nerve centers involved in musical work. This is ... the way the performer transforms his musical idea into a sound reality. Therefore, when learning a new piece, it is imperative that a completely clear sound picture is formed in the mind.

I. Hoffman

On the issue of musical and auditory representations, which in most musicological studies are usually identified with the concept of inner hearing, there are at first glance contradictory statements and opinions. Some experts interpret them as the ability to recreate in the auditory representation ("speculatively") previously perceived sound combinations and combinations (E. Efrussi, I. T. Nazarov). Others (B.M. Teplov and his followers), developing and concretizing the concept of inner hearing, emphasize the side of it that is associated with arbitrariness in operating with the corresponding representations: "Interior hearing we must ... define not simply as the ability to imagine sounds, but as the ability to arbitrarily operate on musical auditory representations "(B.M. Teplov). Finally, still others (S.I.Savshinsky, A.L. Ostrovsky, V.A. musical phenomena ", which turn out to be products of" creative processing of the once perceived. " In particular, the well-known psychologist S. L. Rubinshtein takes similar positions, believing that “ear for music in the broad sense of the word actually goes not only beyond the limits of sensation, but also beyond the limits of perception. Musical ear, understood as the ability to perceive and represent musical images, is inextricably linked with images of memory and imaginations"(My italics. - G. Ts.).

It should be emphasized that the above provisions, with all their apparent independence and even some isolation, differ only insofar as they reflect and characterize different stages (stages) of the formation and development of inner hearing. Thus, the classification of the ability under consideration by E. Ephrussi or I. T. Nazarov, which includes in its framework both the primary images of memory and the representations themselves (i.e., representations separated by a certain period of time from perception), means one of the initial ones, the lower stages of the formation of internal hearing. Interpretation of the same ability by B.M. Teplov, based on the postulate of the obligatory free, arbitrary operating with musical and auditory representations, reflects the characteristic features of the next, higher stage of this formation and development. Finally, definitions where the concept of inner hearing includes moments related to activity imagination, where musical and auditory representations are considered as a kind of derivative from the creative processing of the corresponding perceptions, they are repelled from the specific features inherent in higher stages of development of this ability.

So, the inner ear is an evolving ability, improving in the corresponding activity, progressing in its formation from lower to higher forms (moreover, this process, starting at certain stages of the formation of musical-auditory consciousness, actually does not stop throughout the entire professional activity of a musician). The development of this ability, cultivation teaching it is one of the most difficult and responsible tasks of musical pedagogy.

As for the various definitions and formulations of the inner ear, let us now note that there is in them, with visible differences, an element of commonality, a certain similarity, by which all the above statements seem to be brought to a common denominator. This is the common understanding of the inner ear as a special ability to represent and experience music outside the reliance on external sound, "the ability to mentally represent musical tones and their relationships without the help of an instrument or voice", according to the classical definition of N. A. Rimsky-Korsakov.

The ability of the intra-auditory ("speculative"), which does not need support from outside the presentation of music, is one of the most important (if not the most important) components of the ear for music. In essence, none of the varieties of musical activity, starting with meaningful perception, listening and experiencing music and ending with composing the latter, is impossible outside of manifestations of the internal auditory function, different in nature and degree of intensity.

Auditory representations play a very special role in musical performance practice. In the previous pages, this problem has already received partial coverage. The thesis was substantiated according to which the artistic performance of music always has as a necessary prerequisite a certain auditory representation of the interpreter (the so-called "sound prototype") - a representation that serves as a kind of impulse to direct play action. It was also said that any transformation of the formula "I hear - I play", a change in the places of the joints within it leads directly to mechanically motor forms of music reproduction, to the performance of an anti-artistic sense.

The question is natural: what requirements should auditory representations satisfy in the musical performance process? It is known that for a number of reasons, namely: the unequal development of the inner hearing in individuals, the greater or lesser completeness of the perception of a musical phenomenon, the strength of its fixation in memory, etc., these representations can have a very wide range of differences in their stability, clarity , accuracy, brightness. Which of them are “suitable” in this case and which are not?

As it is clear from all that has been said previously, the full-fledged performance of a musical work is possible only if there is strong, deep, meaningful auditory representations. Moreover, the specificity of the performing inner ear lies in the fact that, along with the representations of high-altitude and rhythmic relationships of sounds, he also operates with such categories as dynamics, paint, timbre, color. A true performer not only sees the musical fabric in his mind's eye, he sees it, so to speak, “in color”. SM Maykapar, for example, clarifying the functions of the pianist's inner hearing, spoke of "the ability to imagine all kinds of sound colors, without receiving any musical impressions from the outside." In short, there is every reason to assert that the internal hearing of music by a qualified performer concentrates in itself all the moments associated with its interpretation, that in the “competence” of this hearing both timbre dynamics, nuances, etc., everything that can be attributed to the range of means actually performing transfer of the content (image) of a musical work. This is the first thing.

The creation of an artistic and poetic concept, an “interpreter's hypothesis” is practically impossible without the ability to manage free, “pure” (in the terminology of S.M.

young from him. It is known that many musicians have the most valuable gift to evoke, at their own will and will, ideas about the work being learned, honing and polishing it in the auditory consciousness; and this is done on purpose, on purpose, at any time convenient for the performer. Ability arbitrary, not constrained by the obligatory reliance on the external sound of operating with auditory representations - the second requirement for the internal hearing of representatives of the musical performing professions.

Finally - and this is the third - the performing art, as long as it is measured by a truly artistic measure, requires not a reproductive reflection of music in the performance of the player, but an initiative, creative one, closely connected with the activity of the imagination, with a complex individual processing of the perceived material. The performing intra-auditory image is a neoplasm, and not a simple copy of a certain sound phenomenon (work); only under this condition does this image promise to become bright, full-blooded, emotionally rich and meaningful. The dialectic of the investigated mechanism of action is, in principle, as follows: being a necessary prerequisite for a truly creative musical performance process, one of its obligatory components, auditory representations themselves develop, enrich, transform in the course of this process, rise to a new, higher level and thereby lead to a qualitative improving and directly performing results, to further improve the artistic side of the game.

The methods of practical actions of the teacher, the system and organization of his classes can either stimulate the inner ear, activate its manifestations, or lead in the opposite direction. So, any methodological ways in teaching, aimed at bypassing the student's auditory consciousness, placing the motor-motor factor at the forefront, cause, as mentioned earlier, the most serious damage to the formation and development of this ability. “The fact that there are such musicians who are deprived of“ free ”musical performances ... is to blame for musical pedagogy,” says BM Teplov. And further, addressing precisely to the pianists, he gives a completely accurate description of the sources from which, most often, “anti-auditory” pedagogy originates: “You have to memorize the melody. It is difficult to memorize it aurally ... this is the path of greatest resistance. But it turns out that it can be memorized in another way, which, without any participation of auditory representations, makes it possible to accurately reproduce the melody - to memorize the piano movements necessary for its performance. The path of least resistance opens. And as soon as this path has opened, the psychic process will necessarily strive to follow it, and making it turn to the path of greatest resistance becomes a task of incredible difficulty. "

The prospects for the development of the student's inner hearing may be completely different if the teacher with first steps training sets education and identification of musical and auditory representations as a special task, helps his pupil to really understand their role and significance in performing practice. Mastering musical material from the ear (selection), establishing and consolidating the connection of the note sign with the corresponding auditory representation (the connection “I see - I hear”, which grows stronger in the process of mentally singing and playing music, which will be discussed later), the construction of a specific and very important for the performer of the overpass "performance - movement" - all this, being skillfully, persistently and consistently used, from the very beginning puts the piano student on the right path, leads him by the shortest path to the formation and development of the ability to hear music internally.

Much more complicated, psychologically multifaceted, the duties of a teacher-pianist at higher levels of education, when musical pedagogy comes into direct contact with the problem of creating a performing concept of a piece - an "interpretive idea"; when the student's imagination is based on creative imaginations begin to gradually take shape and develop into an intra-auditory artistic image.

Summarizing the practical experience of the masters of piano teaching, comparing the musical and didactic concepts belonging to them, it is not difficult to establish that in the overwhelming majority of cases the efforts of outstanding musicians were directed and are directed towards introducing the young performer to the method of preliminary "thinking", a comprehensive and thorough understanding of music "before how the hands will begin to hand it over ”(I. Hoffman). It is from these positions that the method of working on a sound image "in the imagination", in isolation from the instrument, according to the principle of "pointless action", so often recommended by authoritative teachers, is substantiated. By placing the maximum load on the performer's inner ear, this technique trains and improves the latter in the most intense way. “Think more, not play,” Arthur Rubinstein advised students of piano classes. - To think means to play mentally ... "" ... Piano performance as such should always be in second place ... - I. Hoffman develops the same idea. The student will do himself a very good service if he does not rush to the keyboard until he is aware of every note, sequence, rhythm, harmony and all the indications available in the notes ... Only when you master the music in this way, you can "sound" it on the piano ... for "playing" is only an expression with the help of the hands of the fact that he (the performer. - G. Ts.) knows very well. "

Examples from artistic biographies of a number of prominent figures in the musical and performing arts are sometimes examples of surprisingly fruitful "speculative" (or, as some experts say, psychotechnical) work on musical material, the most effective application of the method of "pointless action." F. Liszt, G. Bülov, A. G. Rubinshtein, I. Hoffman, V. Gieseking, E. Petri had phenomenal abilities in this respect; of the Soviet pianists here, first of all, G.R.Ginzburg should be named. Colleagues who knew him closely say that he sometimes deliberately replaced the usual exercises at the piano keyboard - and with quite obvious and real benefit for the cause - with work "in the mind", with exercises "from representation and imagination." “He sat in a chair in a comfortable and calm position and, closing his eyes,“ played ”each piece from beginning to end at a slow pace, evoking in his presentation with absolute accuracy all the details of the text, the sound of each note and the entire musical fabric as a whole.

This work required maximum concentration and concentration of attention on all shades of dynamics, phrasing and rhythmic movement. Both visual and motor sensations participated in such a mental representation of the sound, since the sound image was associated with the musical text and at the same time with those physical actions that took place during the performance of the piece on the piano ”.

It would be erroneous to believe that the methods of work “without a piano with notes” and “without a piano and without notes” (as I. Hoffman called them) are available only to singles from among the highly organized musicians-professionals. The experience accumulated by the piano pedagogical practice proves the opposite.

It is just the work in performance (provided that the young musician is skillfully taught to her), in principle, simplifies the matter: it allows you to distract yourself when solving key interpretational problems, to get away from purely motor ("artisan") difficulties and worries, from that "material resistance", the overcoming of which absorbs a huge share of the performer's attention and energy when playing. Therefore, a musician's "pointless" operations can - and indeed do, according to our observations - give a sufficiently high "efficiency" in his work with a relatively small expenditure of time and nervous energy. Moreover, we emphasize once again, this has nothing to do with isolated phenomena in pianism.

So, recognizing primary moment in the musical performance process, the creation of the most meaningful and multifaceted artistic and interpretive image, advanced piano pedagogy, with all the differences in the existing and existing creative directions, constantly leads the student towards the development and improvement of his musical and auditory representations. Of the means at the disposal of this pedagogy for achieving this goal, one of the most specific and effective is associated with working on a work without an instrument.

Let us now turn to other methods, the use of which can give positive results in the formation and development of the inner hearing of a student of the piano class. The most important of them are:

1. Selection of music by ear (usually practiced in the initial period of training, but then unreasonably quickly forgotten by both learners and teachers). Empirically, it has long been proven that selection as a special kind of pianistic activity is extremely useful, since it irrevocably requires from the one who is behind the instrument, clear and precise auditory ideas (and indeed, while selecting music, one cannot move along the keyboard in a learned-motor way; everything is - from hearing).

What has been said about fitting is fully applicable to transposition.

2. Performance of pieces of the educational repertoire in slow motion, with the installation for prehearing ("intelligence by ear"), the subsequent deployment of music.
3. Playing a piece of music by the "dotted line" method - one phrase "out loud" (real), another "to oneself" (mentally), while maintaining a sense of continuity, cohesion of the movement of the sound stream.
4. Silent playing on the keyboard of the instrument (the playing action is mainly localized in the student's auditory consciousness - “in the mind”; the fingers, making barely noticeable, “rudimentary” movements, lightly touch the keys).
5. Listening to little-known compositions in someone else's performance (or in recording) while simultaneously impregnating the corresponding musical texts. “It is useful ... to follow the performance of the music by sheet music. This kind of practice should be started as early as possible, ”advises A.D. Alekseev.
6. Mastering the musical material, penetrating into its expressive essence exclusively through the mental reproduction of the musical text, the performance “to myself”, according to the principle “I see - I hear”. “You have to develop yourself so that you can understand music by reading it with your eyes,” Schumann instructed the student.
7. Finally, one of the highest, as effective as it is complex, forms of development of the inner hearing of pianists is to learn a piece (or a fragment of it) by heart using the same method. mental(in performance) playing music from sheet music. It is interesting to recall that V. I. Safonov recommended this technique to students of piano classes as an auxiliary one even during technical work: “We advise you to study the most difficult places first with your eye, and only when the passage is clearly imprinted in your memory through reading, start playing it for memory on the keyboard. " In the interests of the development of the internal auditory sphere and the memory of students-pianists, AG Rubinstein, FM Blumenfeld, GG Neigauz resorted to a similar method in their time; it is used, although not often, by some of their followers.

Terminology of K. S. Stanislavsky. On the actor's “non-objective actions”, which are in many respects similar to musical performing actions, see: Stanislavsky KS The work of an actor on himself.
Nikolaev A. A. G. R. Ginzburg. - In Sat: Questions of piano performance. Issue 2.M., 1968, p. 179.

The formation of musical and auditory representations is associated with the awareness of the characteristics of the musical language, the structure of musical speech, its expressive means. Emotional responsiveness to music is formed and nurtured along with the development of special musical abilities, which include musical and auditory performances, ear for music in the broadest sense, and musical memory. The first condition for the development of all these abilities in the process of music perception is the correct selection of musical works not only in terms of content and artistic qualities, but also in terms of their accessibility according to the age and level of both general and proper musical development of a preschooler.

Each child experiences different musical states in his own way. Education must be built as a joint artistic and creative activity of the teacher and the child on the basis of the logical diversity of the personal relationships of children to what is being performed. The interpretation of artistic images in the performing and productive creative activity of a child depends on the availability of knowledge, abilities and skills, as well as on the individual attitude towards them under the influence of the state, mood, character of each.

In this regard, special attention should be paid to the age characteristics of the preschooler.

The most significant features of musical development are:

auditory sensation, ear for music;

the quality and level of emotional responsiveness to music of a different nature;

the simplest skills, actions in singing and musical-rhythmic performance.

Thus, a preschool child, with active participation in musical and practical activities, makes a huge leap in both general and musical development, which occurs: in the field of emotions - from impulsive responses to the simplest musical phenomena to more pronounced and diverse emotional manifestations; in the field of sensation, perception and hearing - from individual distinctions of musical sounds to holistic, conscious and active perception of music, to differentiation of pitch, rhythm, timbre, dynamics; in the field of manifestation of relationships - from an unstable hobby to more stable interests, needs, to the first manifestations of musical taste.

Musical abilities are a kind of combination of abilities, on which the success of practicing musical activity depends. Musical-auditory representations as an integral part of musical abilities is the ability to voluntarily use auditory representations, reflecting the pitch movement of a melodic line, expressed in the ability to memorize a piece of music and reproduce it from memory. Musical-auditory representations are understood as pitch, timbre, and dynamic hearing. Acoustic pitch hearing is the ability to perceive and distinguish high and low sounds, to mentally imagine a melody and its correct reproduction in a voice. Timbre hearing is the ability to perceive and distinguish a specific color of sound. Dynamic hearing is the ability to perceive and distinguish the strength of sound, the gradual increase or decrease in the strength of sound. Psychologists note that children develop auditory sensitivity early. According to A.A. Lublinskaya, the baby has reactions to sounds on the 10-12th day of life. A feature of development in children of middle preschool age is that musical abilities develop in ontogenesis as a single system, but the modal feeling is ahead of musical and auditory representations in development.

Musical auditory representations as the basis for active reproduction of a melody with a voice in most children under the existing conditions of musical education of preschoolers are formed from four to seven years old and at an older age. A qualitative leap, also noted in the fourth year of life, is replaced by a smooth development in the fifth or seventh years.

Sections: Working with preschoolers

At the present stage of development of society, musical and auditory representations in the pedagogical process are increasingly considered as the basis that has a rich potential for a beneficial effect on the personality of the child. In recent scientific research, a trend has been outlined in the interpretation of musical and auditory representations as a complex of properties of a person's personality that arose and develops in the process of the emergence, creation and assimilation of musical art. Musical art has great power to influence a person, directly addressing his soul, the world of his experiences, moods. Musical art plays a huge role in the process of upbringing spirituality, culture of feelings, the development of the emotional and cognitive sides of a person's personality. Musical - auditory representations are manifested in various life situations: when perceiving, experiencing and understanding speech intonations and other natural sound phenomena; in the manifestation of voluntary attention and various types of auditory memory; when stimulating psychoenergetic capabilities (his capacity for work) and creative needs of a person (his imagination, figurative associations); in the formation of personal value orientations. The formation of musical and auditory representations contributes to the preservation and strengthening of the child's psychoemotional health, the development of his internal factors of protection from the provoking - aggressive influence of society, adaptive capabilities and compensation for the positive aspects of human life. Thus, the relevance of the problem of the formation of musical and auditory representations is supported by the needs of musical and pedagogical practice.

Musical abilities are a kind of combination of abilities on which the success of practicing musical activity depends. Musical-auditory representations as an integral part of musical abilities is the ability to arbitrarily use auditory representations, reflecting the pitch movement of a melodic line, expressed in the ability to memorize a piece of music and reproduce it from memory. Musical and auditory representations are understood as pitch, timbre, and dynamic hearing. Acoustic pitch hearing is the ability to perceive and distinguish high and low sounds, to mentally imagine a melody and its correct reproduction in a voice. Timbre hearing is the ability to perceive and distinguish a specific color of sound. Dynamic hearing is the ability to perceive and distinguish the strength of sound, the gradual increase or decrease in the strength of sound. Psychologists note that children develop auditory sensitivity early. According to A.A. Lyublinskaya, a baby has reactions to sounds on the 10–12th day of life. A feature of development in children of middle preschool age is that musical abilities develop in ontogenesis as a single system, but the modal feeling is ahead of musical and auditory representations in development.

The methodological basis for the study of singing activity as a means of forming musical and auditory representations is the works of A.E. Egorov, E.I. Almazov, B.M. Teplov, V.P. Morozov, O.V. Ovchinnikova, A.E. Varlamov , N.A. Metlova. The interrelation of musical - auditory representations (as pitch hearing) and the singing voice is one of the central problems of musical psychology and pedagogy. Many researchers in our country and abroad are engaged in it directly or indirectly. Many works emphasize the importance of ear for music as a factor necessary for the development of a singing voice: control of vocal intonation, the formation of singing skills and control over the sound quality. Preschool age is extremely favorable for the formation and development of musical abilities, musical and auditory performances and singing skills. A.E. Varlamov, a remarkable composer and teacher, one of the founders of the Russian vocal school, spoke about the need for early training in correct vocalization. He believed that if you teach a child to sing from childhood (while observing caution in the classroom), his voice acquires flexibility and strength. Studies in the field of voice physiology using a special apparatus have shown that the main indicators of sound production - pitch, sound dynamics - are determined by the work of two muscle groups: the vocal (vocal), which contract the vocal cords, and the anterior, which stretch the vocal cords. In kindergarten, children are taught the simplest singing skills: correct sound formation, correct breathing, good diction, and purity of intonation. Singing is an active process of reproducing a melody with a voice and experiencing the content of a song. Singing activity is the main type of musical activity for preschool children. When choosing songs, it is necessary to take into account the age of the children, their vocal abilities, the level of musical development, as well as the educational orientation of the content of the songs. In order to teach children how to sing correctly, the singing attitude should be observed. An important condition in teaching children to sing is the singing skill: sound education. This is a way to extract sound. Children should sing in a natural high light sound, without screaming or straining. Singing activity includes 3 consecutive stages.

1st stage - (preparation for singing activity) - familiarization with the song. The purpose of the first stage of training is: to interest children, to reveal the content of a musical work, to determine musical means of expression.

2nd stage - learning the song. At this stage, the main work takes place on teaching children singing skills and abilities.

3rd stage - (creative performance of the song). Work on the recreation of the musical and artistic image of the song, on its emotionally expressive performance.

The formation of musical and auditory performances occurs in the best way at the preparatory stage of singing activity with the use of stimulating material. The work is based on the position of V.P. Anisimov that musical-auditory representations are manifested in the reflection of the sensation of the pitch of sounds and changes in their relationships in intonations (of a given melody), in distinguishing modal functions, timbre and dynamic complexes, reactions to changes in one of the voices of polyphonic presentation of the melody. In my work, I modified the methods and techniques proposed by V.P. Anisimov, aimed at the formation of musical and auditory representations in the process of singing with the use of stimulating materials. The stimulating material is made up of exercises - images, simple tunes or songs, previously learned by the child or suggested by the teacher in the mode of individual vocal performance in a range convenient for the child. “Cat and Kitten”, “Where does the melody go?”, “How many sounds?”, “Cheerful and sad gnome”, “Mood of girls”.

Principles for the selection of stimulating material:

1. Highly artistic and cognitive musical text;

2. Simplicity, brightness and variety of figurative content;

3. Compliance with the melodiousness of the material to the vocal capabilities of children in terms of range;

4. Moderation of tempo performances;

5. The rhythm of the stimulating material is simple and accessible;

6. Simplicity and accessibility of the rhythmic pattern;

7. Sound pitch performances are matched by contrast.

The stimulating material meets the didactic requirements: availability, systematicity and consistency, consciousness, activity.

After using exercises for breathing, diction, articulation, children are offered a series of exercises using stimulating material in stages.

1st stage - the formation of ideas about the high-altitude position of musical sounds in the melodic line. For this stage, a series of exercises was selected that develops in children the skills of an adequate sensation of the ratio of the pitch of sounds. The exercise was used - the image of V.P. Anisimov “Cat and Kitten”. By analogy with this exercise, with the use of stimulating material, exercises have been developed - the images “Duck and ducklings”, “Family”. As a stimulating material, we used a specially selected musical accompaniment performed on the piano within the first and second octaves. Annex 1.

2nd stage - the formation of a pitch feeling to determine the direction of the melody.

Based on the research of musicians - teachers, during the perception of music, the movement of the vocal cords is observed, the perception of height is associated with the participation of vocal motor skills, with the movements of the vocal apparatus. Anisimov V.P. offers an exercise - the game "Musical Answers". Appendix 2.

Since the feeling of the movement of the melodic line is very important when playing the melody with a voice, we propose to reproduce the translational movement of the melody in the stimulating material - the exercise - the song “Matryoshka” proposed by N.A. Metlov. Appendix 3.

3rd stage - the formation of voluntary auditory-motor representations of the vocal type , those. the ability to control (coordinate) the muscles of the vocal cords in accordance with the auditory representations of the intonational standard of the melody. Appendix 4.

After the completion of the preparatory stage of singing activity, in which exercises - images, exercises - games, songs and tunes aimed at the formation of musical and auditory performances were used, we proceed to work on a singing repertoire within the framework of a musical lesson.

As a result, after the work carried out aimed at the formation of musical and auditory representations in children of middle preschool age with an average level of formation of musical and auditory representations, the following are observed:

- positive changes in the quality of pitch hearing;
- the ability to perceive and imagine the direction of the melody.

Children with a sufficiently high level of formation of musical and auditory representations have:

Exercises using stimulating material can be used as additional material by the musical director in the classroom at the preschool educational institution.

Course work

Development of musical and auditory ideas in children

preschool age

INTRODUCTION ……………………………………………………………………… 3

CHAPTER 1.SYCHOLOGICAL-PEDAGOGICAL FOUNDATIONS FOR THE DEVELOPMENT OF MUSICAL AND HEARING IMAGES IN PRESCHOOL CHILDREN …… .. …………… .. …………… .. ……………………………………………………………………………………………………….

1.1 FEATURES OF MUSICAL DEVELOPMENT OF PRESCHOOL CHILDREN ……… .. ……………………………………… ..7

1.2 FEATURES OF WORK ON DEVELOPMENT OF MUSICAL AND HEARING IMAGES IN PRESCHOOL CHILDREN ... ………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………….

2. CONCLUSION ……………………………………………………………… .27
REFERENCES ……………………………………………. ……… 29

INTRODUCTION

Target: to determine effective methods for the development of musical and auditory performance in preschool children.

Tasks:
1) To reveal the theoretical foundations of the development of musical and auditory performance in preschoolers.

2) Development of the general musicality of children.

Object of study: musical and auditory performance in preschool children.

Subject of study: development of musical and auditory performance in preschool children.
Research methods:
1. Analysis of psychological and pedagogical literature on this issue.

2. Pedagogical supervision.

3. Pedagogical experiment.
4. Generalization of the results.

Research hypothesis: the development of musical and auditory performance will be more effective if:

Creation of conditions for the development of musical and auditory performance;
- systematic examination of the degree of development of musical and auditory performance of children.

Relevance:

Musical development has an irreplaceable effect on overall development: the emotional sphere is formed, thinking is improved, sensitivity to beauty is brought up in art and life. “Only by developing the emotions, interests, tastes of the child, can one familiarize him with musical culture, lay its foundations. Preschool age is extremely important for the further mastery of musical culture. If in the process of musical activity a musical-aesthetic consciousness is formed, this will not pass without a trace for the subsequent development of a person, his general spiritual formation ”(O. Radynova).

At the present time it can be considered generally accepted that a person lives more in the world of feelings than in the world of reason; both teachers and psychologists and representatives of other humanitarian branches of knowledge agree on this. And since this is so,music is the art that provides the human spirit with the opportunity for a constant and intense inner life.
Music fixes in harmonious combinations of sounds the spiritual movements of people, in which - both in antiquity and today - a person's attitude to the world around him is most fully expressed. In these spiritual movements and relations with the world, in fact, life consists. Just as in painting, the image on the canvas acquires eternal life, so the musical expression of feelings and emotions, the experience of sensual interactions with the world experienced by a person acquires the right to eternal existence. The reason for this is that in the subtlest, spiritual relationships, in the sensual sphere of a person, there is deep intuitive knowledge, thanks to which he more accurately and more effectively perceives nature and the people around him.
It is not for nothing that in ancient philosophical teachings, intuitive-innate (i.e., inherited, one might say, by social inheritance) knowledge was revered as the highest knowledge. And it was with his help that only a person could comprehend the essence of music.

Musical art is one of the richest and most effective means of aesthetic education, it has a great power of emotional impact, educates human feelings, forms tastes.
Musical development is one of the central components of aesthetic education; it plays a special role in the integral harmonious development of the child's personality.
Modern scientific research shows that the development of musical abilities, the formation of the foundations of musical culture - i.e. musical education should be started at preschool age. The lack of full-fledged musical impressions in childhood is hardly replenished later.
Music has an intonation nature similar to speech.
Like the process of mastering speech, which requires a speech environment in order to fall in love with music, a child must have experience in perceiving musical works of different eras and styles, get used to its intonations, and empathize with moods.
The famous folklorist G.M. Naumenko wrote: “... a child who falls into social isolation has a mental retardation, he learns the skills and language of the one who brings him up, communicates with him. And what sound information he absorbs in early childhood, that will be the main supporting poetic and musical language in his future conscious speech and musical intonation. It becomes clear why those children who were rocked to lullabies were brought up on pestushki, entertained with jokes and fairy tales, with which they played, performing nursery rhymes, according to numerous observations, the most creative children with developed musical thinking ... ".

Preschoolers have little experience with real-life human feelings. Music, which conveys the whole gamut of feelings and their shades, can expand these representations.
The development of musical abilities is one of the main tasks of the musical education of children. A very important question for pedagogy is the question of the nature of musical abilities: whether they are innate properties of a person or develop as a result of the influence of the environment, education and training. Abilities depend on innate inclinations, but develop in the process of education and training. All musical abilities arise and develop in the musical activity of the child. “The point,” the scientist writes, “is not that abilities are manifested in activity, but that they are created in this activity” (BM Teplov).
CHAPTER 1.SYCHOLOGICAL AND PEDAGOGICAL BASIS OF DEVELOPMENT OF MUSICAL AND HEARING IMAGINATIONS IN CHILDREN OF PRESCHOOL AGE

1.1 Features of the musical development of preschool children

All children are naturally musical.

Musical art is one of the specific and complex art forms. Specificity lies in the use of special means of expression - sound, rhythm, tempo, sound power, harmonic coloration. The difficulty lies in the fact that the sound image created using the above means of expression is perceived and interpreted by each listener in his own way, individually. Of all the variety of artistic images, musical images are the most difficult to perceive, especially in preschool age, since they are devoid of immediacy as in the visual arts, they do not have concreteness as literary images. However, music is a powerful means of influencing the inner, spiritual world of a child, forming ideas about the main ethical and aesthetic categories. The educational possibilities of musical art are truly unlimited, since practically all the phenomena of the reality around us are reflected in music, especially concentrating the moral experiences of a person. The harmony of musical and aesthetic education is achieved only when all types of musical activity available to preschool age are used, all the creative possibilities of a growing person are activated.

Distinguish between general abilities, which are manifested everywhere or in many areas of knowledge and activity, and special, which are manifested in any one area.

Special abilities are the abilities for certain activities that help a person achieve high results in it.

The formation of special abilities, according to R.S. Nemov, actively begins already in preschool childhood. If the child's activity is of a creative, diverse nature, then it constantly makes him think and in itself becomes a rather attractive thing as a means of testing and developing abilities. Such activities strengthen positive self-esteem, increase self-confidence and a sense of satisfaction from the achieved success. If the activity being performed is in the zone of optimal difficulty, that is, at the limit of the child's capabilities, then it leads to the development of his abilities, realizing what Vygotsky L.S. called it a zone of potential development. Activities that are not within this zone lead to the development of abilities to a much lesser extent. If it is too simple, then it provides only the implementation of the existing abilities; if it is overly complex, it becomes unfeasible and, therefore, also does not lead to the formation of new skills and abilities.

First of all, it is important to noteindividual nature of abilities. Abilities are not the same in quality and different in quantity "gift", given, as it were, "from the outside", butindividual inherent in this particular persona feature that allows you to successfully cope with a certain task.
Thus, the abilities of different people differ not in quantitative characteristics, but, first of all, in qualitative ones. Therefore, we do not start work on the development of abilities with a "diagnosis" of the presence or absence of them. at a person, but with the study of individual characteristics most person.
B.M. Teplov, considering the concept of "ability", distinguishes three main features.

First, by abilities we mean individual psychological characteristics that distinguish one person from another.

Secondly, not all individual characteristics in general are called abilities, but only those that are related to the success of performing any activity or many activities.

Thirdly, the concept of ability is not limited to the knowledge, skills and abilities that a given person has already developed. Hence it follows that the ability cannot arise outside the corresponding practical activity. It is not the point, he points out, that abilities are manifested in activity, but in the fact that they are created in this activity.
Musical abilities in all children are identified in different ways. In someone, already in the first year of life, all three basic abilities are manifested quite brightly, develop quickly and easily, which indicates the musicality of children, while in others, the abilities are discovered later, develop more difficult.

Musical ability is multifaceted. Are actively developing in the nursery
aged musical and motor abilities. Various manifestations
giftedness in this area (they were studied by A. V. Keneman, N. A. Vetlugina, I. L. Dzerzhinskaya, K. V. Tarasova, etc.). This includes the ability to perceive music, feel its expressiveness, directly and emotionally respond to it, and the ability to appreciate the beauty in music and movement, to appreciate the rhythmic expressiveness, to show musical taste within the possibilities for a given age.

The most difficult development in children is musical and auditory representations - the ability to reproduce a melody with a voice, accurately intoning it, or to pick it up by ear on a musical instrument. Most preschoolers develop this ability only by the age of five.

BM Teplov considered the main feature of musicality to be "the experience of music as an expression of some content."

Among the main carriers of content, he singled out three main musical abilities:

1. A freaky feeling , that is, the ability to emotionally distinguish the modal functions of the sounds of a melody or to feel the emotional expressiveness of pitch movement.
The fretting feeling as a whole manifests itself in a person as an emotional experience. Teplov speaks of him as a perceptual component of ear for music. It can be found when we recognize the melodies, when we determine whether the melody is over or not, when we feel the modal color of sounds.

At an early age, an indicator of modal feeling is a love of music. Since music expresses emotions, the ear for music should also be emotional. In general, the modal feeling is the fundamental facet of the responsiveness of emotions to music. Consequently, the modal feeling becomes noticeable when perceiving pitch movement, therefore, there is a close relationship in it of emotional responsiveness to music and understanding of musical pitch.

2. Ability to use arbitrarilyauditory representationsreflecting the pitch movement.

This ability can also be called the auditory or reproductive component of musical ear. It is directly manifested in the reproduction of melodies by ear, primarily in singing. Together with the modal feeling, it forms the basis of harmonic hearing. At higher stages of development, it forms what is usually called the inner hearing.

This ability forms the main core of musical memory.

And musical imagination.

3. Musical-rhythmic feeling, that is, the ability to actively (motor) experience music, feel the emotional expressiveness of the musical rhythm and accurately reproduce it.
At an early age, the musical-rhythmic feeling is manifested in the fact that hearing music is directly accompanied by certain motor reactions, more or less transmitting the rhythm of the music. This feeling underlies those manifestations of musicality that are associated with the perception and reproduction of a temporary chorus of musical movement. Along with the modal feeling, it forms the basis of emotional responsiveness to music.

The lack of early manifestation of abilities, emphasizes B.M. Teplov, is not an indicator of weakness, or even less a lack of ability. Of great importance is the environment in which the child grows up (especially in the first years of life). The early manifestation of musical abilities is observed, as a rule, precisely in children who receive sufficiently rich musical impressions.

Teplov clearly defined his position on the issue of the innateness of musical abilities. He relied on the work of the physiologist I.P. Pavlov, and emphasized that only anatomical and physiological features can be congenital, i.e. the makings that underlie the development of abilities.

The inclinations are not created in the process of development and upbringing, but they also do not disappear if the necessary conditions for their detection were absent. With the same external influences, the inclinations change in different people in different ways. For example, the so-called explosive realization of the deposit is possible, i.e. Explosive Ability Formation: Ability builds up over days, weeks, as is the case with some geeks. In such cases, the rate of formation of the ability is considered as an indicator of the high representation of the deposit. But it is also possible to gradually reveal the deposit, rather slow and equally full-fledged formation of a certain ability on its basis.

The innate anatomical, physiological, neurophysiological and psychological characteristics that are important prerequisites for successful professional training are considered to be the makings of a musician's abilities.
Among them are called:

Features of the anatomical structure of the body, larynx (for singers), facial muscles (for wind musicians), upper limbs (for pianists, string players, etc.);

Some properties of muscle tissue, organs of movement, respiration, hearing;

The properties of higher nervous activity (primarily those with which the speed and subtlety of mental reactions are associated - the sensitivity of the auditory analyzer, lability as a property of the nervous system, some features of the analyzer-effector and psychomotor systems, emotional reactivity, etc.).

Abilities, considered B.M. Teplov, cannot exist otherwise than in a constant process of development. An ability that does not develop, which in practice a person ceases to use, is lost over time. Only through constant exercises associated with systematic engagement in such complex types of human activity as music, technical and artistic creativity, mathematics, etc., we maintain and develop further the corresponding abilities.

ON. Vetlugina singled out two main musical abilities:fretting hearing and a sense of rhythm.

This approach emphasizes the inextricable connection between the emotional (modal feeling) and auditory (musical-auditory representations) components of the ear for music. The combination of two abilities (two components of musical ear) into one (pitch-pitch) indicates the need for the development of musical ear in the relationship between its emotional and auditory foundations.

For the successful implementation of musical activity, musical abilities are required, which are combined into the concept " musicality ".

The main sign of musicality is the experience of music as an expression of some content.
Musicality - this is a complex of properties of a person's personality that arose and develops in the process of the emergence, creation, and development of musical art; this is a phenomenon determined by social and historical practice, by all kinds of musical activity.
Musicality , according to B.M. Teplov, this is the component of musical talent that is necessary for engaging in musical activity, unlike any other, and, moreover, is necessary for any kind of musical activity. Since each person has a peculiar combination of abilities - general and special, and the peculiarities of the human psyche suggest the possibility of broad compensation of some properties by others, musicality is not limited to one ability: “Each ability changes, acquires a qualitatively different character depending on the presence and degree of development of others abilities ".

Musicality can be viewed as a collection of individual, unrelated talents, which are summarized in five large groups:
musical Feel and perception;
musical action;
musical memory and musical imagination;
musical intelligence;
musical feeling.
Musical abilities are individual psychological properties of a person that determine perception, performance, composition of music, learning in the field of music. Almost all people manifest musical abilities to one degree or another.
Pronounced, individually manifested musical abilities are called musical giftedness.

Musical talentit is impossible to consider apart from the musical ear, which is harmonic and melodic, absolute and relative.

Giftedness - Significant, compared with age norms, advance in mental development or exceptional development of special abilities (musical, artistic, etc.).

From the point of view of the creative potential of the individual, A.M. Matyushkin. The formulation of the concept of creative giftedness is based, first of all, on his own works on the development of creative thinking of children using methods of problem learning; works on group forms of creative thinking, diagnostic methods of teaching that contribute to the personal creative growth of gifted students. Creativity is understood by him as a mechanism, a condition for development, as a fundamental property of the psyche. Structural components of giftedness, he considers the dominant role of cognitive motivation and consistent, creative activity, expressed in the discovery of the new, in the statement and solution

problems. The main signs of A.M. Matyushkin considers her stability, a measure of research activity, disinterestedness.
Research activity is stimulated by novelty, which the gifted child sees and finds in the world around him. He emphasizes that giftedness is not based on intelligence, but on creativity, believing that the mental is a superstructure.

The concept of "amusia" (from gr. amusia - lack of culture, ignorance, non-artisticness) - an extremely low degree of musical abilities or their pathological violation, a deviation from the normal musical development of a person corresponding to a given culture. Amusia is found in about 2 - 3% of people. It should be distinguished from lags in musical development or musical underdevelopment (there may be up to 30% of such people), which can be corrected by individual pedagogical work.

In pathopsychology, amusia is a complete loss or partial violation of musical perception, recognition, reproduction and experience of music or its individual elements (often against the background of speech functions preserved as a whole). Amusia is based on impairment of perception and experience sound relations - a sequence of sounds as a semantic unity. A person does not recognize well-known melodies (for example, the national anthem), does not notice the pitch distortions of the melody, cannot say whether short motives are similar or different, does not distinguish sounds in pitch; musicians stop recognizing intervals, lose perfect pitch. Sometimes the distinction of the pitch of sounds can be preserved, but the ability to perceive and recognize intervals, motives and melodies is lost.

1.2 Features of work on the development of musical and auditory ideas in preschool children.

Musical auditory representations are, first of all, representations of pitch and rhythmic relationships of sounds, since it is these aspects of the sound fabric that appear in music as the main carriers of meaning.
Musical and auditory performances are often identified with the concept of “inner hearing”.
Inner hearing - the ability to clear thought submission (most often - from musical notation or from memory) of individual sounds, melodic and harmonic constructions, as well as completed pieces of music; this type of hearing is associated with a person's ability to hear and experience music “to himself,” that is, without any reliance on external sound;
Inner ear is an evolving ability, improving in the corresponding activity, progressing in its formation from lower to higher forms (moreover, this process, starting at certain stages of the formation of musical and auditory consciousness, actually does not stop throughout the entire professional activity of a musician). The development of this ability, its cultivation in teaching is one of the most difficult and responsible tasks of musical pedagogy.
Musical-auditory representations usually spontaneously, spontaneously arise in more or less close contact with a musical phenomenon: their physiological basis is the beating of "tracks" in the cerebral cortex during the perception of sound sensations. In people gifted in the musical sense, possessing a fairly stable ear for music, these ideas are formed, all other things being equal, faster, more precisely, more firmly; "traces" in the cerebral sphere have clearer and more prominent outlines here. On the contrary, weakness, underdevelopment of the internal auditory function naturally manifests itself in pallor, vagueness, and fragmentation of ideas.
It is widely believed that auditory representations can develop independently of singing or any other equivalent musical activity, and that children may have such a coincidence when auditory representations are well developed, but the ability to implement them is lacking. This assumption is definitely false. If a child does not know how to perform any activity in which musical auditory representations are realized, then it means that he does not yet have these representations.
The perception of music is carried out even when the child is unable to engage in other types of musical activity, when he is not yet able to perceive other types of art. Music perception is the leading type of musical activity in all age periods of preschool childhood.
EVNazaikinsky says: "Musical perception is a perception aimed at comprehending and comprehending the meanings that music possesses as art, as a special form of reflection of reality, as an aesthetic artistic phenomenon."
The perception of music by young children is characterized by an involuntary character, emotionality. Gradually, with the acquisition of some experience, as he masters speech, the child can perceive music more meaningfully, correlate musical sounds with life phenomena, and determine the nature of the work.
It is known that preschool childhood is a period during which the emotional sphere plays a leading role in the mental development of a child, and music is an emotional art in its very content. The interrelation and interdependence of progressive personality changes and musical and emotional development, the role of music in the aesthetic, intellectual, moral development of children has been proven by researchers in the field of pedagogy, psychology, musicology, theory and practice of musical education (B.V. Asafiev, N.A. Vetlugina, L.S.Vygotsky, A.V. Zaporozhets, L.P. Pechko, V.I.Petrushin, B.M. Teplov, and others).
The need to familiarize the child with the world of musical culture, the development of emotional responsiveness to music is emphasized in the works of N.A. Vetlugina, D.B. Kabalevsky, A.G. Kostyuk, V.A. Myasishcheva, V.A. Petrovsky, O.P. Radynova, V.A. Sukhomlinsky, T.N. Taranova, G.S. Tarasova, V.N. Shatskoy et al. Scientists agree that the development of emotional responsiveness to music should be based on the activation of the emotional sphere of children from an early age. T.S. Babadzhan, V.M. Bekhtereva, A.V. Zaporozhets, R.V. Ogandzhanyan, V.A. Razumny, B.M. Teplova et al. Showed that the most important period in the development of emotional responsiveness is the period of early and junior preschool age, characterized by high emotionality of children and the need for vivid impressions.
The art of music provides endless opportunities to expand and enrich emotional experiences.
Music most deeply captures a person and organizes his emotional being; in communication with it, the child easily finds a way out of his emotional activity and creative initiative.
It is emotional activity that gives the child the opportunity to realize his musical abilities, becomes a means of emotional communication, an important condition for the development of emotional responsiveness to music in preschoolers.
In the process of listening to music, children get acquainted with instrumental, vocal works of a different nature, they experience, experience certain feelings. Listening to music develops interest, love for it, broadens the musical horizons, increases the musical sensitivity of children, fosters musical taste.
Musical education, the content of which is highly artistic samples of the world musical art, forms in children an idea of the standards of beauty. Receiving full-fledged musical impressions from childhood, children learn the language of intonations of folk and classical music and, like the assimilation of their native language, comprehend the "intonation vocabulary" of works of different eras and styles.
The musical image is difficult to describe in detail. To understand the peculiar language of musical works, it is necessary to accumulate minimal listening experience, to acquire some ideas about the expressive features of the musical language.

Musical-auditory representations usually spontaneously, spontaneously arise in more or less close contact with a musical phenomenon: their physiological basis is the beating of "tracks" in the cerebral cortex during the perception of sound sensations. In people gifted in the musical sense, possessing a fairly stable ear for music, these ideas are formed, all other things being equal, faster, more precisely, more firmly; "traces" in the cerebral sphere have clearer and more prominent outlines here. On the contrary, weakness, underdevelopment of the internal auditory function naturally manifests itself in pallor, vagueness, and fragmentation of ideas.
To reproduce a melody with a voice or on a musical instrument, it is necessary to have auditory ideas of how the sounds of the melody move - up, down, smoothly, in jumps, whether they are repeated, i.e. have musical and auditory performances (pitch and rhythmic movement). To play a melody by ear, you need to memorize it. Therefore, musical and auditory representations include memory and imagination. Just as memorization can be involuntary and voluntary, musical and auditory representations differ in the degree of their arbitrariness. Arbitrary musical - auditory performances are associated with the development of inner hearing. Internal hearing is not just the ability to mentally imagine musical sounds, but to arbitrarily operate with musical auditory representations.
The child's abilities develop in the process of active musical activity.
The most significant features of musical development are:

· Auditory sensation, ear for music;

· Quality and level of emotional responsiveness to music of different nature;

· The simplest skills, actions in singing and musical-rhythmic performance.
Psychologists note that children develop auditory sensitivity early. From the first months, a normally developing child responds to the character of the music with the so-called animation complex, rejoices or calms down. By the end of the first year of life, the baby, listening to the singing of an adult, adjusts to his intonation by humming, babbling.

In the second year of life, the child distinguishes between high and low sounds, loud and quiet sounds, and even timbre coloration (playing a metallophone or a drum). Singing along to the adult, the child repeats the endings of the musical phrases of the song after him. He masters the simplest movements: claps, stomps, whirls to the sound of music. Over the next few years, some children can accurately reproduce a simple melody, by the fourth year of life, the child can sing simple little songs. It is at this age that the desire to make music appears.
At the age of five, a child is able to determine what kind of music is (cheerful, joyful, calm), sounds (high, low, loud, quiet. Can determine exactly which instrument a piece is played on. Children have well-developed vocal-auditory coordination.
At the age of six, a child should be able to independently characterize a work, he is capable of a holistic perception of a musical image, which is very important for fostering an aesthetic attitude towards the environment.
In the process of growing up, a child can learn the means of musical expression, rhythmic movements, and most importantly, listen and perform music.
This promotes musical and auditory development, mastering the necessary skills to prepare for singing from notes.

Musical-auditory performance is an ability that develops, first of all, in singing, as well as in playing by ear on pitch musical instruments. It develops in the process of perception prior to the reproduction of music. To activate musical and auditory representations, it is important to connect with the perception of a melody that is just sounding, "to continue in a representation an already sounding melody," writes BM Teplov, is incomparably easier than to imagine it from the very beginning. "

In addition to the generally accepted methods and techniques (visual, verbal, play, practical) in the classroom, you can use the methods of forming musical-aesthetic consciousness and the foundations of musical culture, considered in the program of O.P. Radynova "Musical Masterpieces":

1) The method of contrasting works and images;

2) The method of assimilation to the character of the sound of music (motor-motor assimilation, tactile assimilation, verbal assimilation, mimic assimilation, timbre-instrumental assimilation).

To enhance children's impressions of the music they listen to, to conjure up visual images that are close to music, or to illustrate unfamiliar phenomena, it is necessary to use visual clarity.

Love for music, the need for it is formed in a child, first of all in the process of listening to it, thanks to which children develop musical perception, the foundations of musical culture are laid. And figurative characteristics (epithets, comparisons, metaphors) evoke an emotional and aesthetic response, which is the rudiment of musical and aesthetic consciousness. Therefore, in the process of talking about the work, it is necessary to activate the statements of children, which contributes to a deeper and more conscious perception.

The development of children's ear for music, and above all of its main, pitch "component", largely depends on the direction and organization of those types of musical activity, which in this case are priority. These, as already noted, primarily include singing - one of the main and most natural types of musical activity in preschoolers and schoolchildren.

In the practice of musical education and upbringing, this section of the classes is very complex and the least developed methodically. The existing methodological recommendations usually note the importance of working on the purity of intonation, diction and general expressiveness of the performance. This is where the instructions for practicing teachers usually end. As such, music directors in kindergartens and primary school teachers of general education schools, as a rule, are not involved in the production of a children's singing voice. Meanwhile, it is the age that we are talking about that is most favorable for the formation of basic singing skills and abilities.

A normal, healthy child is usually curious, inquisitive, open to external impressions and influences; almost everything interests him, attracts attention. This should be constantly used in teaching in general and in music lessons in particular. There are many things here that naturally awaken a child's curiosity. Music can depict the world around, people, animals, various phenomena and pictures of nature; it can amuse or sadden, you can dance to it, march, act out different scenes "from life."
Children tend to react vividly to light, cheerful, playful music,they like humoresques, picturesque-figurative, genre sketches, etc.

Musical works for children should be artistic, melodious, delight in their beauty. In addition, they must convey feelings, moods, thoughts available to children.

It is useful to precede listening to music with an introductory word from the teacher - laconic, capacious in content, able to interest the children's audience. To captivate, to interest the child, to focus his attention on the "object" is the primary condition for the success of musical educational work, in particular the development of the ability to perceive. This is directly related to the procedure for listening to music. Before introducing children to a new piece of music, you can briefly tell them about the composer, about some interesting episodes of his biography, about the circumstances associated with the creation of this piece (especially if they contain something remarkable that can arouse attention and interest ). It is useful to give the children a "creative" task (for example, to define the nature of the music, explain what it is talking about, what it is depicting, compare two pieces, find the difference between them, etc.). If during the discussion of the music they listened to, schoolchildren argue with each other, the teacher has reason to consider this as his own success, as an achievement in work. Any dialogues, disputes about this or that artistic phenomenon should be encouraged, supported; it is disputes, if they are enoughmeaningful, contribute to the formation of their own opinion, teach to rely on a personal position, to develop their attitude to musical (and not only musical) material.
Interest in classes raises the emotional tone of students; in turn, emotions double, triple the strength and brightness of perception.
The perception of music is successfully formed in the vigorous activity of preschoolers. An active form of activity includes, for example, playing the simplest musical instruments - children's xylophones, metallophones, bells, triangles, percussion instruments (such as a tambourine and a drum), harmonics, etc.

2. CONCLUSION

One of the main components of ear for music is the ability of the auditory presentation of musical material. This ability lies at the heart of playing a melody with a voice or picking it up by ear on an instrument; it is a necessary condition for the harmonious perception of polyphonic music.
It is necessary to develop the ability to adequately perceive music in all children, without exception, without dividing them into more or less gifted, music-receptive, etc. First, complete immunity is as rare as a unique artistic talent; secondly, the teacher's assessments of the natural capabilities of students (both positive and negative) can always be subjective and biased. The main thing iscreate conditions for the all-round development of each student - the development of his artistic and imaginative thinking, emotional sphere, taste, aesthetic needs and interests.
Musical auditory representations do not arise and develop by themselves, but only in the process of activity, which necessarily requires these representations. The most elementary forms of such activity are singing and picking by ear; they cannot be realized without musical auditory representations.
The repertoire for children should be highly artistic, since the music has an aesthetic focus.
In the process of listening to music, children get acquainted with instrumental, vocal works of a different nature, they experience, experience certain feelings. Listening to music develops interest, love for it, broadens the musical horizons, increases the musical sensitivity of children, fosters the rudiments of musical taste.

Music lessons contribute to the overall development of the child's personality. The relationship between all aspects of upbringing develops in the process of various types and forms of musical activity. Emotional responsiveness and a developed ear for music will allow children to respond in accessible forms to good feelings and actions, and help to activate mental activity.

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O.P. Radynova Musical masterpieces M .: "Publishing house Gnome and D", 2010.

Radynova O.P., Katinene A.I. Musical education of preschoolers M .: Academy Moscow, 2008.

Ridetskaya O.G. Psychology of giftedness, Moscow: Eurasian Open Institute, 2010.

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Teplov BM Abilities and giftedness // Reader on developmental and educational psychology. - M., 1981. - P. 32.

Vetlugina N.A. Musical development of the child. - M., 2008.

Luchinina O. Vinokurova E. Some secrets of the development of musical abilities. - Astrakhan, Project "LENOLIUS", 2010