What is a musical fairy tale? Abstract: Musical fairy tale as a means of child development. “Musical development of a preschool child”

Introduction 3

Chapter 1. Musical fairy tale as a means of child development

1.1. Music as a means of development of a preschool child 5

1.2. Formation of the foundations of musical culture of preschool children through

world of musical fairy tale 11

1.3. Methodology for using a musical fairy tale in the program

O. Radynova “Musical development of preschool children 15

Chapter 2. A musical fairy tale in the everyday life of a preschool child

2.1. Musical fairy tale games for preschool children 17

2.2. Creating a musical fairy tale with preschool children 19

Conclusion 27

Bibliography 28

Introduction

Music plays a special role in raising a child. A person comes into contact with this art from birth, and he receives targeted musical education in kindergarten - and subsequently at school. Musical education is one of the means of shaping a child’s personality. In musical education, children's perception of music is the leading activity. Both performance and creativity of children are based on vivid musical impressions. Information about music is also given based on its “live” sound. Developed perception enriches all musical abilities of children; all types of musical activities contribute to the development of the child’s abilities.

The influence and significance of fairy tales for children in preschool age is undeniable. That is why every fairy tale that is offered to a child requires attention from an adult, and the question of psychological and pedagogical examination of modern children's literature increasingly arises, which would include an analysis of different types of fairy tale forms, would evaluate the quality of printed publications for children and the quality of cartoons, as the embodiment of literary fairy-tale images.

This approach allows not only to consciously approach the choice of fairy tales to read or listen to from existing works, but also makes it possible for modern authors and parents to write exactly those fairy tales that will be useful and in demand by children.

Let's think about the influence of the fairy tale form on the development of a child and outline its main features and advantages:

The fairy tale sets an assessment of the positive and negative in life, contrasts the ideal and the erroneous, good and evil.

Audio fairy tales influence the emotional development of a child: a bright figurative form makes the child empathize, worry and rejoice.

A fairy tale promotes the development of imagination, and this is necessary, among other things, for a child to solve his own problems.

It is noted that in the process of listening to fairy tales, in addition to the development of the child’s sensory system, the egocentric side of speech intensively develops, very similar to the inner speech of an adult.

The relevance of research: A musical fairy tale enters a child’s life from a very early age and accompanies him throughout childhood, and often stays with him for the rest of his life.

Object of study: preschool child.

Subject of study: diagnostics and development of children's musical abilities through a musical fairy tale as a means of music.

Purpose of the study: identify and substantiate the influence of a musical fairy tale on preschool children.

Tasks:

1. To activate and develop children’s interest in the world of fairy tales through listening to works on fairy tale themes.

2. Develop auditory attention with imagination.

3. Create the atmosphere of a fairy tale from objects available in your immediate environment.

Research base:

Coursework structure: introduction, main part, which consists of two chapters, conclusion, bibliography.

Chapter 1. Musical fairy tale as a means of development of a preschool child

1.1. Music as a means of development of a preschool child

Music has the potential to influence not only adults, but also very young children.

Moreover, and this has been proven, even the prenatal period is extremely important for the subsequent development of a person: the music that the expectant mother listens to has a positive effect on the well-being of the developing child (maybe it shapes his tastes and preferences). Only by developing children’s emotions, interests, and tastes can they be introduced to musical culture and lay its foundations. Preschool age is important for a person’s subsequent mastery of musical culture. If in the process of children’s musical activity their musical and aesthetic consciousness is developed, this will not pass without leaving a mark on the subsequent development of a person, his general spiritual formation.

Music develops a child mentally as well. In addition to various information about music that has cognitive significance, a conversation about it includes a description of the emotional and figurative content. Children's vocabulary is enriched with figurative words and expressions that characterize moods and feelings conveyed in music. Musical activity involves mental operations: comparison, analysis, juxtaposition, memorization, and thus contributes not only to the musical, but also to the general development of the child.

It is very important to create conditions for the formation of the foundations of the musical culture of preschool children. In preschool pedagogy, music is considered as an irreplaceable means of developing children's emotional responsiveness to everything good and beautiful that they encounter in life.

Music for a child is a world of joyful experiences. In order to open the door to this world for him, it is necessary to develop his abilities, and above all his ear for music and emotional responsiveness. Otherwise, music will not fulfill its educational functions.

Music is an art that affects a child for the first months of his life. Its direct influence on the emotional sphere contributes to the emergence of initial response actions, in which one can see the prerequisites for the further formation of basic musical abilities.

At a very early age, the baby distinguishes music from the sounds and noises around him. He focuses his attention on the melody he hears, freezes for a while, listens, reacts with a smile, humming, individual movements, and exhibits a “revival complex.” Older children already have increased mental abilities. They comprehend certain connections between phenomena and are able to make the simplest generalizations - determine, for example, the nature of the music, name the characteristics of a played piece as cheerful, joyful, calm or sad. They also understand the requirements: how to sing a song of different character, how to move in a calm round dance or in an active dance. Musical interests also develop: there is a preference for one or another type of activity, genre of music.

By the age of six or seven, initial manifestations of artistic taste are observed - the ability to evaluate works and their execution. Singing voices at this age acquire sonority, melodiousness, and mobility. The range is leveled out, vocal intonation becomes more stable. If four-year-old children still need constant support from an adult, then with systematic training, most six-year-old children sing without instrumental accompaniment.

The diversified development of a child’s personality is ensured due to the close relationship between aesthetic education and moral, mental, and physical education. A properly developed program and works selected in accordance with the age capabilities of children help to implement ideological and moral influence. But the most important thing is a “school of feelings”, which are formed thanks to the special property of music - to evoke empathy in listeners.

During music lessons, cognitive and mental activity is also activated. Children learn a lot by listening carefully to a piece. However, they perceive only its most general features, its most vivid images. At the same time, emotional responsiveness does not lose its significance if the child is given the task of listening, distinguishing, comparing, and identifying expressive means. These mental actions enrich and expand the child’s sphere of feelings and experiences and give them meaning.

The harmony of musical and aesthetic education is achieved only when all types of musical activities available to preschool age and all the creative capabilities of a growing person are used. At the same time, by complicating pedagogical tasks, one should not abuse children’s special sensitivity. The art of music itself and its features confront the teacher with the need to solve a number of specific problems:

1. Foster a love and interest in music. Only the development of emotional responsiveness and sensitivity makes it possible to widely use the educational influence of music.

2. Enrich children's impressions by introducing them, in a clearly organized system, to a variety of musical works and the means of expression used.

3. Introduce children to various types of musical activities, developing the perception of music and simple performing skills in the field of singing, rhythm, and playing children's instruments. Introduce the basic elements of musical literacy. All this will allow them to act consciously, naturally, and expressively.

4. To develop the general musicality of children (sensory abilities, pitch hearing, sense of rhythm), to form a singing voice and expressiveness of movements. If at this age a child is taught and introduced to active practical activities, then the formation and development of all his abilities occurs.

5. Promote the initial development of musical taste. Based on the impressions received and ideas about music, first a selective and then an evaluative attitude towards the performed works is manifested.

6. Develop a creative attitude towards music, primarily in such activities accessible to children as the transfer of images in musical games and round dances, the use of new combinations of familiar dance movements, and the improvisation of chants. This helps to identify independence, initiative, the desire to use the learned repertoire in everyday life, play music on instruments, sing, and dance. Of course, such manifestations are more typical for children of middle and older preschool age.

In order for children to develop successfully in this direction, it is necessary to organize work on musical education, taking into account the characteristics of music and the age capabilities of children.

All musical abilities are united by a single concept - musicality. “Musicality is a complex of abilities developed on the basis of innate inclinations in musical activity, necessary for its successful implementation” (Radynova O.P. “Musical development of children”).

The core of musicality is three basic abilities that are necessary for the successful implementation of all types of musical activities: emotional responsiveness, ear for music, sense of rhythm.

Emotional responsiveness to music is the center of a child’s musicality, the basis of his musical activity, necessary for feeling and understanding the musical content and its expression in performing and creative activities.

An ear for music is necessary for clear intonation when singing, a sense of rhythm is necessary for movement, dancing and playing musical instruments.

In the musical education of children, the following types of musical activities are distinguished: perception, performance, creativity, musical and educational activities. They all have their own varieties. Thus, the perception of music can exist as an independent type of activity, or it can precede and accompany other types. Performance and creativity are carried out in singing, musical-rhythmic movements and playing musical instruments. Musical educational activities include general information about music as an art form, musical genres, composers, musical instruments, etc., as well as special knowledge about performance methods. Each type of musical activity, having its own characteristics, presupposes that children master those methods of activity without which it is not feasible, and has a specific impact on the musical development of preschool children. This is why it is so important to use all types of musical activities.

Musical and educational activities do not exist in isolation from other types. Knowledge and information about music are not given to children on their own, but in the process of perceiving music, performance, creativity, along the way, to the point. Each type of musical activity requires certain knowledge. To develop performance and creativity, special knowledge about the methods, techniques of performance, and means of expression is needed. By learning to sing, children acquire the knowledge necessary to master singing skills (sound production, breathing, diction, etc.). In musical-rhythmic activities, preschoolers master various movements and methods of their execution, which also requires special knowledge: about the unity of the nature of music and movements, about the expressiveness of the playing image and its dependence on the nature of the music, on the means of musical expressiveness (tempo, dynamics, accents, register , pauses). Children learn the names of dance steps, learn the names of dances and round dances. While learning to play musical instruments, children also gain certain knowledge about the timbres, methods, and techniques of playing different instruments.

Thus, it must be remembered that musical development has a positive effect on the overall development of children. The child’s thinking improves, the emotional sphere is enriched, and the ability to experience and feel music helps to cultivate a love of beauty in general, and sensitivity in life. Mental operations, language, and memory also develop. Therefore, by developing a child musically, we contribute to the formation of a harmoniously developed personality, which is very important. The musical activity of preschoolers is a variety of ways and means for children to learn the art of music (and through it both the life around them and themselves), with the help of which their general development is carried out.

1.2. Formation of the foundations of musical culture for preschool children

through the world of a musical fairy tale

Musical education plays an important role in the formation of a child’s personality, the development of aesthetic feelings, artistic taste, creative activity and moral qualities. The basis of a preschooler’s musical culture is emotional responsiveness to highly artistic works of musical art. Doctor of Pedagogical Sciences O.P. Radynova emphasizes that “the development in children of emotional responsiveness and awareness of perception (emotional-evaluative attitude towards music) leads to manifestations of preferences, a desire to listen to musical works that are masterpieces of art, and gives rise to creative activity.”

The development of creative abilities and the formation of a child’s harmonious personality occurs through the perception of music, the ability to listen to it, analyze it, as well as through the child’s activity, which manifests itself in various types of musical activities. In the process of learning, children must learn to feel the beauty of a piece of music and express their joy from its perception through words, dance, playing children's musical instruments or visual creativity.

This direction in the field of music education is a priority, since reflection and analysis contribute to the development of logical and associative thinking, and the formation of independent work skills. With the development of thinking, a mature personality is formed, capable of creativity and creation. Practical musical activity activates the child's will and makes the learning process more effective. During music lessons, there is a natural development of speech, the ability to clearly express one’s thoughts, and express emotional perceptions and sensations in words.

Everyone loves fairy tales: both adults and children. What is the secret of this universal love for fairy tales? The main thing here, probably, is that a fairy tale is the embodiment of a people's dream, the people's idea of justice, victory over space and time, the embodiment of faith in the mighty power of their native land. A folk fairy-tale hero, the ideal of the people is a bearer of truthfulness and generosity, physical mental strength, constantly ready to put this strength in the service of goodness and justice.

A fairy tale, being an important means of mental development of a child, develops his imagination and helps him understand music. But music “fills fairy-tale images with a vibrant heartbeat and trembling thoughts. Music introduces a child to the world of goodness” (V. Sukhomlinsky). A fairy tale gives a powerful impetus to the development of the kindest feelings in a little person.

When working with younger preschoolers on this topic, simple plays are used. For example, “Nanny’s Tale”, “Mother” from P. I. Tchaikovsky’s “Children’s Album”, “Evening Tale” by A. Khachaturian. Kids respond emotionally to music, hear its general mood, tempo, dynamic features, some highlight the melody. With the help of the teacher, they speak out about the nature of music, invent fairy tales, try to convey musical images in drawings and elementary movements, and coordinate actions according to the change of parts of a musical work. During musical entertainment, children listen to and sometimes act out musical fairy tales: “Teremok” music by T. Popatenko, “Masha and the Bear” music by E. Tilicheeva. They feature both instrumental and vocal music, which makes it much easier for children to perceive musical images holistically.

To work with older preschoolers on the topic “Fairy tales in music,” cycles of integrated thematic activities have been developed, including various types of artistic activities for children (listening to music, poetry, Russian folk tales; watching video materials; musical improvisations (movement and playing musical instruments); drawing).

“Magic Lake” - a cycle of six integrated lessons for children in the pre-school group includes musical works by A. Lyadov “Magic Lake” and “Kikimora”, P.I. Tchaikovsky "Baba Yaga", M.P. Mussorgsky's "Hut on Chicken Legs"

With older preschoolers, they continue to listen to and act out musical fairy tales, using the best examples of classical music. For example, musical entertainment based on the fairy tale by G.Kh. Andersen's "Thumbelina", where children performed dance improvisations to the music of C. Saint-Saëns "Aquarium", F. Chopin "Nocturne", E. Grieg "Norwegian Dance" and "Morning", then expressed their impressions in drawings. The musical fairy tale “The Snow Queen” (based on the fairy tale by H.H. Andersen) was shown by children at the New Year's party. The music of E. Grieg “In the Cave of the Mountain King”, “Anitra’s Dance”, M.I. Glinka’s “Waltz-Fantasy”, J. S. Bach’s “Minuet” in G major, V. Rebikov’s “Waltz” from the opera “The Christmas Tree”, F. Chopin’s “Waltz”.

Musical tales using small instrumental pieces or excerpts from large musical works are a transitional step to understanding such complex genres as opera and ballet.

During music classes to introduce children to opera or ballet, by reading wonderful fairy tales and looking at illustrations for them, as well as paintings by famous artists, they always try to maintain the priority of music. All means used in classes should help the child better understand music and penetrate deeper into its content.

Over the course of several years, teachers have become convinced that introduction to the music of opera or ballet, even with children of the same age, must be done in different ways, depending on the complexity, and most importantly, on the musical and general development of the children. Acquaintance with literary material occurs in different ways (reading a fairy tale or using the musical and literary composition of this fairy tale), and the forms of conducting classes differ.

The children enjoyed both the process of preparing the performance and, of course, the performance itself. How pleasant it was to see both parents and us teachers when a child, still preparing for his exit, was completely transformed: an inspired face, legs in the right dance position, beautiful, correct posture. And this is especially important for our students, since we have a correctional preschool institution and only children with musculoskeletal disorders attend it. And when dance compositions were performed, everyone completely forgot that these children only yesterday were engaged in physical therapy, attended massages and other therapeutic procedures. And all this happened under the influence of the most beautiful, emotional and sensual music of P.I. Tchaikovsky.

An annual diagnostic examination of children shows that integrated classes in listening to music, including classical music in musical entertainment and holidays, acting out musical fairy tales and staging musical performances, and visiting theaters have a positive impact on the general and artistic development of children, the formation of their musical and creative abilities. And the world of a musical fairy tale is an excellent means of introducing preschoolers to classical music, developing the emotional sphere, and forming the foundations of musical culture.

1.3. Methodology for using a musical fairy tale

in the program of O. P. Radynova

“Musical development of a preschool child”

Fairy tale - it is a world of fantasy intertwined with reality. To understand a fairy tale, you need to be able to fantasize and imagine. To understand music, you also need fantasy and imagination. Thus, to some extent, fairy tales and music have common ground in their perception. Therefore, a fairy tale can help teach people to perceive music. Immediately before starting to get acquainted with music, teachers read the fairy tale or literary composition with the children so that the children know its content and plot. Familiarization with such a large work as opera or ballet takes place over several lessons. The most musically and dramatically striking fragments are offered for listening.

When listening, we pay attention to the sound of the instruments of the symphony orchestra, we find a connection between the timbre of the instrument and the nature of the musical image. So, for the fluffy snowflakes sparkling in the sun, the composer needed to use bells, triangles, and the whistling gentle timbre of the flute in the orchestration; to convey the picture of a snowstorm - harp playing; and the “blizzard” melody was played by tremulous violins. I make sure to show illustrations of these tools.

At the next stage, children are asked to choose musical instruments for joint performance of this or that fragment. For the “March” they choose a drum, tambourine, pipes, rattles, and for the “Lullaby” - a metallophone, a bell, a triangle.

Illustrations and reproductions are selected that correspond to the plot to help children better imagine the scene itself and understand the music. Visual clarity, without a doubt, enhances the impressions of music, evokes visual images in their imagination and encourages them to express their perceptions in creative movement, plasticity, and dance.

The children of the preparatory group are distinguished by an increased level of intelligence and certain life and musical experience. This allows us to present them in an accessible form with a certain amount of theoretical knowledge about music. You can give them an idea not only about ballet, but also tell them about opera, explain what an aria, chorus, overture, recitative, and leitmotif are. It must be emphasized that familiarization with genres and forms of music is not an end in itself. Theoretical information about music is directly related to the content and form of a musical work.

Chapter 2. A musical fairy tale in a child’s everyday life

preschool age

2.1. Musical fairy tale games for preschool children

Musical fairy tale games occupy a large place in the life of a kindergarten. Children perform fairy tale games in their free time from classes. Fairy tale games are often part of children's parties. For example, the game “Fipe” can be performed at the May Day holiday, the fairy tale “Cold Nose, Short Tail” - at a celebration dedicated to the graduation of children from school.

Fairy tale games have a huge educational impact on children. They contribute to the development of artistic taste, singing skills, and evoke joyful emotions. Children better convey the character of music in their movements, they develop speech, clarity of diction, and speech intonations.

Before inviting children to listen to a fairy tale, the music director and teacher must know it well, master the text, learn the music and perform it artistically. The more expressively the music is performed, the brighter and deeper it will be perceived and the more truthfully and expressively children will convey the images of the fairy tale.

A fairy tale is usually learned in several stages.

At the first stage, the teacher expressively reads the fairy tale to the children, performing available songs and music along the way. After listening, children share their impressions with teachers and each other. After some time has passed, after about a week or more, the hearing is repeated. Thus, children listen to the fairy tale 2-3 times, gradually assimilating and remembering it.

At the second stage, children are actively involved in the performance of the fairy tale. Mastering and memorizing text and music can go in two ways: a fairy tale can be learned with the whole group or subgroups. It usually happens this way. The teacher reads a fairy tale, and the children - at their own request or at the request of the teacher - say the words and sing the song of one or another character.

The songs that appear in the fairy tale can also be learned with all the children, and then those who can do it better can be selected for performance. Learning a fairy tale at this stage should be done while sitting on chairs.

At the third stage, children learn the text of the fairy tale and the melodies of the songs and begin to perform them in the game. The director gives some directorial instructions, for example: where should the characters go, in what direction should they move, where should they be, etc. When learning a fairy tale in a game, children should not be forced to impose fixed movements or poses, nor should they be given a ready-made model. It is advisable to encourage children to independently identify images and their creative discoveries.

If children find it difficult to portray a particular character, you can recall its characteristic features (for example, the bunny is timid, cautious, jumps, looks around; the bear is clubfooted, clumsy; the rooster walks with its legs raised high, holds its head proudly, etc.).

At the fourth stage, you can add the necessary attributes and props to the game.

At the fifth stage, the participants of the game put on full costumes or their elements. Costumes help children deepen their image, making it more vivid and emotional.

Reading the text of the fairy tale can be entrusted to the teacher or one of the children who has a good memory and can read the text clearly and expressively. When the fairy tale has been mastered, the participants show it to all the children in their own and other groups. If a fairy tale is not included in the holiday, it is given as an independent performance.

You can organize your visit to this performance as a visit to the theater. Children take tickets from the box office, inspectors check the tickets, indicate where to sit, and after the third bell the performance of the fairy tale begins. To deepen and consolidate the impressions, it is advisable to watch this tale again after some time with the same or (even better) with other performers.

2.2. Creating a musical fairy tale with preschool children

The main goal of creating a musical fairy tale with preschool children is to develop children’s ability to freely creatively perceive the world around them, reflect their impressions and attitudes towards the world around them through creative activity - the art of a musical fairy tale.

Step #1. Introduction to the world of magic.

1. To activate and develop children’s interest in the world of fairy tales through reading, watching films, visiting theaters, listening to music on fairy tale themes.

2. Develop auditory attention, imagination, promote comprehensive speech development (verbal communication, literary speech, work on prosody, clarity of pronunciation, pace and volume of speech, figurative speech). Learn to differentiate the sounds of the surrounding world. Develop associative thinking when perceiving the sounds of the surrounding world.

A specially selected repertoire of “magical music”, sounding in a fairy-tale atmosphere, allows children to evoke a vivid emotional response, allows them to talk about their ideas, experiences, the nature of the sound, timbre, and share their impressions of what they heard.

The world around us is full of different sounds. To show a magical forest, a mysterious country or the singing of birds of paradise, it is necessary to develop qualities such as attention, observation and learn to differentiate the sounds of the surrounding world. For this purpose, research games are conducted with children: “What does a tree sound like,” “What does water sound like.”

3. Use elementary music-making to convey feelings and emotions, characters and moods using instruments and substitute instruments to convey characteristic feelings.

Mastering the skills of playing instruments, using the ensemble in various performances.

4. Create the atmosphere of a fairy tale from objects available in your immediate environment.

A fairy-tale image or action is born in an ordinary setting and the need arises to change the situation, to adapt the surrounding objects for a more vivid visual reflection of a particular fairy-tale situation. Associative thinking is included in the work. How to create a fairy train? How to make a house for three little pigs? An ordinary table turns into a hut on chicken legs, blue ribbons into a lake, gymnastic hoops into puddles on the asphalt. But the most important thing in a fairy tale is still the fairy-tale character.

Every child wants to turn into a fairy-tale hero and feels the need to change his appearance. But how can you do this without a special suit? But there is a large beautiful scarf that can be a veil, a veil for a princess, a cloak for a prince, a wizard, if you tie it on your head you can become a grandmother, if in the form of a turban, then a magician, a magician, etc. Just a wand with the help of “magic” words can become magical and it can also be a magic flute. Take a transparent scarf in your hands and you are already a breeze, take a white scarf and you are an antique statue.

To feel like a loved and famous hero of a fairy tale, some help from a teacher is needed. The teacher offers sets of objects or elements of costumes, from which the child independently chooses what will help him most clearly express his favorite image. Upon careful examination of the objects, it turns out that the same object can be used to identify many characters. For example: cap - Parsley, Clown, Dwarf, Stargazer. Cape - cape - Tsarevich's cloak, Puss in Boots, Prince's robe. A set of hats, skirts, vests, masks opens up unlimited possibilities for transformation.

To develop associative thinking, develop fantasy and imagination, games are used: “Find a Pair”, “Magic Scarf”, “Mask, I Know You”.

Step 2. Introduction to the atmosphere of a specific fairy tale.

1. Selecting a work.

How to choose a work that will really interest children, will correspond to the capabilities and characteristics of a given age, will meet the stated developmental goals, will satisfy children's creative impulse and desire, will bring children the joy of communication and will reveal individuality. The teacher will gain most of the information from the first stage of work. This is how the individual abilities and capabilities of each child will manifest themselves. But how to make a collective decision, because... a fairy tale is a team effort. Since children do not have a rich literary background, the teacher presents well-known and unknown fairy tales in different versions. Children have already become familiar with the main part of fairy tales at the preparatory stage.

Thus, the range of interests and desires of children is determined and the type of fairy tale that arouses interest at a given age is determined.

For example, in older preschool age, girls want to be princesses, fairies, and boys want to be fairy-tale warriors and princes. Children are asked to remember a fairy tale where the desired characters are present. Girls can name the fairy tale “Sleeping Beauty” (there is a princess and a fairy), boys can name it “The Tale of Tsar Saltan” (there are 33 heroes).

2. Acquaintance with the musical design of the performance.

Development of auditory attention. Auditory attention is the most difficult area of development for preschoolers. In order to listen to serious music for a long time, certain preparation is necessary. Children must learn to understand where sounds come from, distinguish them by timbre, monitor the development of sound in dynamics, and determine the nature of sound and music in general. Much attention is paid to this activity in the preparatory period described above. Therefore, children come to the perception of the music of the play already prepared. Since the performance itself is not an exact copy of any fairy tale, but rather a fantasy on a theme, the music in the performance is very diverse. Classical music sounds - Tchaikovsky, Mozart, Vivaldi, Mussorgsky, Rimsky-Korsakov; modern classics – Prokofiev, Sviridov; pop compositions; folk music; children's songs and children's music playing.

Music can be the background against which the action develops, music helps to enter the desired emotional state, music accompanies all rhythmic actions from the simplest game or signal to a staged plot dance, and, of course, music helps to strengthen and more vividly present fairy-tale characters.

Acquaintance with music can occur while reading the text of a fairy tale. Musical fragments can sound as background or illustrate descriptions of a character or action. Individual songs are learned when working on the image, dancing characters become familiar with music when learning the dance, choral or ensemble singing when working on episodes. Very often, getting acquainted with music and reading the text of a fairy tale occurs simultaneously. The artistic word and music complement each other, enhance the impressions of what they hear and encourage children to pick up pencils or paints and express their impressions on paper. Someone in the group immediately draws a princess in a fairytale castle, while someone at home is thinking about a magical forest. The next day we have our own illustrations, which further intensify interest in our fairy tale.

Step 3. Work on the characters.

1. When starting work on characters, the teacher relies on the children’s imagination, the child’s personal experience and memory. The child is asked to tell and show how he imagines this character. Since personal experience is not yet great, the teacher corrects and helps, suggests the most striking features of the character, and helps to understand the image more deeply. To do this, it is necessary to encourage the child to show imagination and fantasy. If you need to imagine a wizard, then the “Dreamer” exercise helps, if you need to feel like a fairy, then the “Sleep Fairy” exercise helps, if you don’t immediately get a cheerful clown, then the “Parsley Jumping” or “Two Clowns” exercise will help you move and jump merrily. There are often very complex characters, special ones that children rarely meet or hear about for the first time. It is the novelty of the topic that provides great opportunities for the development of memory, imagination, and develops cognitive abilities and horizons. Entire sets of group and individual exercises are designed for such characters.

Having well imagined and understood his character, he voices him. The child becomes familiar with the character’s text and, in the process of learning and memorizing, a clear, expressive pronunciation is formed. The child begins to understand that if you present the subject in question well and say it expressively, then the text is remembered better and faster.

Thus, working on a character contributes to the development of mental processes - memory, imagination, fantasy, speech.

Interaction with partners and participation in the performance becomes more and more exciting. Knowing and imagining their hero well, being able to speak his words clearly and expressively, children easily cope with the facial expression of the image.

Children are already familiar with the music of the play. Where music is playing in the background, children can improvise and create a moving image themselves. Each hero in his own way: the music “Forest” - how Little Red Riding Hood walks through the forest, and like a wolf, the music “Ball” - how the ladies dance, and how the guards.

There is music for a specific character. For example, staging a dance, where a certain set of movements is already proposed. In this case, music enhances the expressiveness of the image and conveys the image in a harmonious artistic form.

Each character has its own special creative characteristic. The brightness of the image is achieved in different ways, but most of all through music. What is Little Red Riding Hood without songs? Or what are eastern guests without dancing? How will the guards manage without a brave song and a cheerful march? How will Cinderella talk about her misfortune? Of course, a song. To perform all these particularly interesting musical numbers, it is necessary to develop musical abilities.

All the musical material that the child encounters develops musical memory throughout the performance. Audition music and performance music require memorization in order to follow the flow of the performance, interact with partners, remember your theme song and perform it.

Step 4. Create a stage space.

To do this, you need to be able to navigate in any space, be able to determine the boundaries for a given action, divide the space into sectors, lines, the main place of action, know the sides (left, right, back, forward, diagonally), determine the middle, edges.

Games contribute to the development of orientation: “Remember your place”, “Remember your tree”, “Breeze”, “Forest” (trees and animals), “Needle and thread”, “It’s boring to sit like that”, “Path”, “Decoration”, "Scout".

Various restructuring exercises contribute to the development of orientation. To better visualize the pattern of changes, children are offered a visual series of pictograms. Having learned to see and understand space, children quickly find a place for themselves, partners and objects with which to interact. Children's improvisation and associative thinking come into force. There is a need to use objects (both decorations and substitute objects). Interaction with partners leads to the creation of mise-en-scène.

The teacher remains to correct the children’s creative hint, without imposing his vision, but together “inhabiting” the space with the children. Everything that can serve for the rehearsal of episodes finds its exact place on the set (set elements, props). And the elements of the costume find their performer.

Step 5. Formation of the cast (distribution of roles)

For some time, children immersed themselves in the magical world, created it themselves, learned to watch and listen to famous fairy tales and fairy tales invented by children. During this time, children's desires were formed, a range of interests was identified, and passions emerged. The guys tried themselves in all roles - animate and inanimate. We played in different episodes. Now is the time to take responsibility for a specific role in order to bring the performance to the audience. Children are given the opportunity to express their desires and try themselves in one or another role. As the child performs, he evaluates himself (his capabilities, degree of expressiveness, ability to interact with partners). The child is given the opportunity to feel how comfortable he is in this role, whether this is his “clothes”. On the other hand, he is assessed by his comrades (mutual assistance, how convincing the image is, ability to work with partners). The group of children expresses their wishes and determines their sympathies. The joint choice of children determines the performer of the most suitable role.

The child is given the opportunity to try himself in the image of one or several characters, thereby developing self-confidence and communication skills in relationships with peers. There is a need to determine the second cast of performers so that everyone can reveal their creative potential.

Step 6. Presentation.

Performance is the most exciting and important stage in our work. The child gets the opportunity to express himself and believe in himself. A sense of responsibility for a common cause is formed. The child feels the joy of communicating with peers and adults. Adults are given the role of helpers and connoisseurs. The social and personal development of the child is carried out.

Step 7: Reruns.

Having received the audience's assessment and assessed themselves, the performers want to tell the tale “in a new way” - with additions, changes, or even switch roles altogether. Patient viewers who, for some reason, did not participate in the first show, can also become performers. By consolidating the acquired skills and abilities, each child individually manifests himself and reveals himself through creative activity.

Conclusion

A musical fairy tale, being an important means of mental development of a child, develops his imagination and helps him understand music. But music “fills fairy-tale images with a vibrant heartbeat and trembling thoughts. Music introduces a child to the world of goodness” (V. Sukhomlinsky). A fairy tale gives a powerful impetus to the development of the kindest feelings in a little person.

In musical fairy tales, the spiritual and moral content is enhanced by musical accompaniment and emotional and sensory impact. A certain mood, an attitude towards perception helps to awaken in listeners the instinct of empathy, complicity, and co-creation. A musical fairy tale is a vivid, emotional presentation of fairy-tale events that have spiritual and moral content.

Considering the role of a fairy tale as a carrier of moral and social values and ideals, special attention must be paid to the content aspect, characterological features of the characters, and dialogue speech in the work. Among the main groups of social and moral norms acquired in preschool age are: norms of intra-family relations, norms of behavior, social and moral norms of self-regulation and organization of interpersonal relationships, preferences in choosing the ideal of development, aesthetic ideas, etc. Presented in the language of fairy tales - these norms lay the ideological and moral foundation of the individual.

The work covers the following issues: music as a means of development of a preschool child; formation of the foundations of the musical culture of preschoolers through the world of a musical fairy tale; methodology for using a musical fairy tale in the O.P. program Radynova “Musical development of preschool children”; musical fairy tale games for preschool children; creating a musical fairy tale with preschool children.

The purpose and objectives of the course work have been achieved.

Bibliography

1. Vetlugina N.A. Musical education in kindergarten - M.: Education, 1981;

2. Vetlugina N.A. Musical ABC book - M.: Proveshchenie, 1990;

3. Zimina A.N. Fundamentals of musical education and development. – M.; "Vlados", 2000

4. Koreneva T.F. "In the world of musical dramaturgy." M. "Vlados".

5. Metlov N.A. Music for children - M.: Education, 1985;

6. Methods of music education in kindergarten/under. ed. N.A. Vetlugina. – M, 1982;

7. Makeeva I.P., Churakova M.D., Khoreva L.A. Education with a fairy tale. Program of activities for children of middle and senior preschool age. Psychological, medical and social center “Phoenix” // Collection of practical materials. - M.: “Planet 2000”.

8. Merzlyakova S.I. "The Magical World of Theater" A program for the development of children’s stage creativity through theatrical games and play performances.” M. "Vlados". 1999.

9. Naumenko G.I. Folklore alphabet - M.: Publishing center "Academy", 1996;

10. Petrova V.A. "Baby". Program for the development of musicality in young children (third year of life). M. “Violanta”. 1998.

11. Radynova O.P. "Musical Masterpieces" M. "Gnome-Press". 1999.

12. Radynova O.P., Katinene A.I., Polavandishvili M.L. Musical education of preschoolers/under. ed. O.P. Radynova - M.: Education: Vlados, 1994;

Mordvinova Olga Sergeevna
Job title: musical director
Educational institution: MBDOU No. 104 "Geese-swans"
Locality: Ulyanovsk
Name of material: article:
Subject:"Musical fairy tale or fairy-tale music"
Publication date: 02.10.2017
Chapter: preschool education

Mordvinova Olga Sergeevna,

musical director.

Musical fairy tale or fairytale music.

The fairy tale is a lie,

Yes there is a hint in it

Fabulous music

Music has the potential to influence not only adults, but

and for very young children.

Moreover, and this has been proven, even the prenatal period

extremely important for subsequent human development: music,

which the expectant mother listens to has a positive effect on

well-being of a developing child (maybe shapes his

tastes and preferences). Only by developing emotions, interests,

children's tastes, you can introduce them to musical culture, lay it

basics. Preschool age is important for later learning

a person of musical culture. If in progress

musical activity of children will develop their musical and aesthetic

consciousness, this will not pass without a trace for the subsequent development of man,

his general spiritual formation. “Fairy tale in music” - comprehension

expressive meaning, makes it possible to express one’s impressions in

various manifestations of creativity, she opens up theater for children.

Formation of the foundations of musical culture, and through it both artistic and

aesthetic – the most pressing task of today. A fairy tale is the form

the method of influence that the baby is familiar with from the first days of life, and

together with music, it acquires an effective way to implement

pedagogical tasks.

Everyone loves fairy tales: both adults and children. Probably because a fairy tale is

the realization of a dream, the idea of justice. Fairy tale being

an important means of mental development of a child, develops his imagination,

helps you understand music. But music also “fills fairy-tale images with life.”

heartbeat and trembling thoughts. Music introduces a child to the world of goodness" (V.

Sukhomlinsky). A fairy tale gives a powerful impetus to the development of the kindest feelings

in a little person.

In musical fairy tales, the spiritual and moral content is enhanced

musical accompaniment, emotional and sensory impact.

A certain mood, an attitude towards perception contributes to awakening

in the listeners the instinct of empathy, complicity, co-creation.

A musical fairy tale is a vivid, emotional presentation of fabulous

events that have spiritual and moral content.

A musical fairy tale is an emotional presentation of fairy-tale events,

having spiritual and moral content.

When working with younger preschoolers, it is possible to use simple

plays. For example, “Nanny’s Tale”, “Mama” from “Children’s Album” by P.I.

Tchaikovsky, “Evening Tale” by A. Khachaturian.

Children respond emotionally to music and hear its general

mood, tempo, dynamic features, some highlight

melody. With the help of the teacher, they express themselves about the nature of music,

invent fairy tales, try in drawings and elementary movements

convey musical images, coordinate actions according to shift

parts of a musical work. On musical entertainment with

kids listen to and sometimes act out musical fairy tales: “Teremok”

music by T. Popatenko, “Masha and the Bear” music by E. Tilicheeva, where it sounds

instrumental and vocal music, which makes it much easier for kids

holistic perception of musical images.

To work with older preschoolers, it is possible to complicate tasks according to

theme “Fairy Tale in Music” up to musical improvisations (movement and

playing musical instruments); drawing).

For example, P.I. Tchaikovsky "Baba Yaga", M.P. Mussorgsky's "Hut on

chicken legs."

Musical tales using small instrumentals

plays or excerpts from major musical works are

a transitional step to understanding such complex genres as opera

Over the course of several years, teachers have become convinced that acquaintance

with opera or ballet music, even with children of the same age it is necessary

carried out in different ways, depending on the complexity, and most importantly - on

musical and general development of children. Getting to know each other differently

literary material (reading a fairy tale or using musical

literary composition of this tale), the forms of conducting

The world of a musical fairy tale is an excellent means of introducing

preschoolers to classical music, development of the emotional sphere,

formation of the foundations of musical culture.

Fairy tale - it is a world of fantasy intertwined with reality.

A-musical fairy tale is simply FAIRY-TALE music!!!

Educational:

develop the ability to analyze, compare, generalize;
develop children's creativity and independence.

Educational:

based on the emotional perception of music by N.A.
cultivate interest and need for communication with art
develop students' listening culture.

Equipment:

Portrait of N.A. Rimsky-Korsakov
Phonochrestomathy - Three miracles (fragments from the opera “The Tale of Tsar Saltan” by N.A. Rimsky-Korsakov - Squirrel, Bogatyrs, Swan Princess).
Pushkin “The Tale of Tsar Saltan” (with illustrations)
Reproduction of Vrubel “The Swan Princess”
Shadow theater (figurines of heroes, squirrel, swan, princess)

Lesson type: consolidation lesson.

DURING THE CLASSES

1. Statement of the topic and purpose of the lesson.

Children enter the classroom and sing the musical greeting “Good afternoon.”

Teacher:

Do you love fairy tales? What is a fairy tale?

(Teacher information: “A fairy tale is a folklore genre, predominantly a prosaic work of a magical, adventurous or everyday nature with a focus on fiction” // Encyclopedic Dictionary of V. Dahl)

Who composes them?

a) people - folk tales: “The Snow Maiden”, “The Frog Princess”, “Khavroshechka”, “Ivan the Tsarevich and the Gray Wolf”; Arabic - “A Thousand and One Nights, “Ali Baba”; Danish “The Swineherd”, “The Little Mermaid”;

b) writers - the brothers Grimm, C. Perrault, Afanasyev;

c) poets - A.S. Pushkin, P. Ershov.

Where can you hear (see) a fairy tale?

Oral story, read in a book, see a play, cartoon, fairy tale film; musical performance (ballet Tchaikovsky “The Nutcracker”, R. Shchedrin “The Little Humpbacked Horse”, opera “The Tale of Tsar Saltan”, “Sadko”, “Koschei the Immortal” - N.A. Rimsky-Korsakov, symphonic fairy tale “Peter and the Wolf” ” S. Prokofiev; paintings by artists - Vasnetsov “Three Heroes”, “Ivan Tsarevich on the Gray Wolf”, “Alyonushka”, etc.).

Do songs have fairy-tale content? What songs did you sing in music lessons? (L. Knipper “Why does a bear sleep in winter”, A. Filippenko “The Cheerful Musician”)

What do they have in common? – unreality of the situation, fiction, fantastic images.

Performance of the song “Why does the bear sleep in winter” by L. Knipper.

Guys, what fairy tale formed the basis of Rimsky-Korsakov’s opera “The Tale of Tsar Saltan”? (work by A.S. Pushkin “The Tale of Tsar Saltan”)

Let's remember the music from this opera.

Assignment: determine in which musical fragment the composer describes each of the miracles (students first name all three miracles - Squirrel, Bogatyri and Swan Princess).

Hearing.

You learned everything correctly, but what told you? (music)

Okay, but if the music sounded like this, would you easily cope with this task? (Play examples on the piano in the same register and at the same tempo)

Of course, all the examples became the same, inexpressive, and it became unclear what the music was about.

So, something helps make music unique, special? (they call means of musical expression). Let's put all your answers into the system.

Compare the means of musical expression and fill out the table together with the children.

Fragment name	Wok/instrument	Genre basis	Register	Tempo, dynamics	Timbre	Leading remedy
Squirrel	tool.	dance	high	fast	flute	melody, dance rhythm
Bogatyrs	tool.	march	short	slowly, f	strings	marching rhythm
Swan	tool.	song	average+	moderate, mf	harp	timbre, harmony

When listening to musical fragments again, you can use shadow theater or rhythmoplasty (reflect the movements of fairy-tale characters with your hands).

II. With these means We encounter musical expressiveness in every work, but each time an independent, different, inimitable musical image arises. Remember how we performed the song R.N.P. “Whether in the garden or in the vegetable garden.”

Singing r.n.p. “Is it in the garden...” (with dance movements and children's musical instruments)

Now compare the song and a musical excerpt from the opera. Let's follow her transformation. As scientists would say - metamorphosis.

(help for teachers: metamorphosis (from Greek - transformation) - transformation, transformation (for example, tadpole - frog, pupa - butterfly).

Listening to the fragment “Squirrel”

Together with students, analyze changes in music

Conclusion: the song turns from a round dance into an instrumental piece, and the timbre of the flute gives a fabulous touch to the music.

III. Certainly, These fairy-tale characters are based on real creatures. Which?

What makes them fabulous? (fantasy, fiction, they all know how to do things that don’t happen in real life)

How did the composer suggest through the music that the action is unreal and fairy-tale? (The music clearly emphasizes the theatricality of what is happening)

Pre-listening task: how the fragment begins and what separates each musical number from the next.

Listening (3)

Student answers:

We hear fragments of music that do not contain miracles.
The sound of trumpets resembles fanfares. This is what barkers did at a theatrical performance. (the teacher prompts: it’s like an imitation of a puppet show, when the scenery changes behind a closed curtain).

Lesson summary; a fairy tale can be told through music without the help of words. All words and visual images (from the realm of dramatic theater) replace the means of musical expression (timbre, tempo, harmony, register, rhythm and, of course, melody). You need to be able to listen carefully to music, and it will awaken your imagination, expand and enrich your inner spiritual world.

Additional question:

– What famous instrumental number from this opera, which became an independent work, do you know? ("Flight of the Bumblebee") - hearing

Guys, don't forget that this music is from an opera. But in an opera there is action, there are costumes and scenery. Try yourself as a director, decorator, or costume designer.

Creative tasks (optional):

draw scenery, costumes, portraits, illustrations for this fragment of Rimsky-Korsakov’s opera (impressions after listening to the music);
dramatize any of these fragments.

Introduction
Chapter 1. Distinctive features of a musical fairy tale
1.1. The concept of “fairy tale” in modern literature and its classification




Chapter 1 Conclusions
Conclusion
Bibliography

Introduction

“A fairy tale is the cradle of thought,

manage to raise a child

So that he is for life

retained exciting memories

about this cradle."

V.A. Sukhomlinsky

Music plays a special role in raising a child. A person comes into contact with this art from birth, and he receives targeted musical education in kindergarten - and subsequently at school.

Musical education is one of the means of shaping a child’s personality. In musical education, children's perception of music is the leading activity.

A musical fairy tale enters a child’s life from a very early age and accompanies him throughout childhood, and often stays with him for the rest of his life.

In this work, a musical fairy tale is taken as a basis as a means of developing the social qualities of a primary school student.

Relevance of the research problem:is that a musical fairy tale is one of the most visual forms of artistic reflection of life, based on the perception of the world through images. However, in the field of musical education of primary schoolchildren, musical and theatrical activities of children seem to be the least developed area, while its effectiveness is obvious, as evidenced by numerous psychological and pedagogical studies.

Based on the relevance of the research problem, we formulatedresearch topic:"Musical fairy tale".

Purpose of the study– identify the distinctive features of a musical fairy tale.

Subject of study: musical fairy tale.

Research objectives:

reveal the concept of fairy tale and musical fairy tale in modern pedagogical literature;
trace the history of the emergence of a musical fairy tale;
consider genres and types of fairy tales;
determine the role of a musical fairy tale in the education of children of primary school age.

When researching the issue, the following theoretical research methods were used:

selection and reading of methodological literature;
literature search and analysis;
comparison of the studied material;
systematization and generalization of material.

Chapter 1. Distinctive features of a musical fairy tale

1.1. The concept of “fairy tale” in modern literature and its classification

All people perceive the word “fairy tale” differently and put different meanings into it. Let's try to turn to science and find out how the fairy tale is interpreted by different researchers. Here are several definitions of a fairy tale, taken from various sources:

Vladimir Ivanovich Dal gave the concept of a fairy tale: “A fictional story, an unprecedented and even unrealizable story, a legend.”

Sergei Ivanovich Ozhegov - Russian linguist, lexicologist, lexicographer, researcher of the norms of the Russian literary language, Doctor of Philology, defined the concept of “fairy tale” as“a narrative, usually folk-poetic, work about fictional persons and events, mainly involving magical, fantastic forces.”

In the Dictionary of the Russian Language, a “fairy tale” is understood as a narrative work of oral folk art about fictitious events, sometimes with the participation of magical fantastic forces.

Literary encyclopedic dictionary. One of the main genres of oral folk poetry, an epic, predominantly prosaic work of art of a magical, adventurous or everyday nature with a fictional focus.

Sofia Kimovna Nartova-Bochavernotes: “A fairy tale is To a short, instructive, often optimistic story, including truth and fiction.”

Vladimir Ivanovich Anikin writes: “A fairy tale- P a work in which the main feature is the orientation towards revealing the truth of life with the help of conventionally poetic fiction that elevates or reduces reality.”

Russian pedagogy more than a hundred years ago spoke of fairy tales not only as educational and educational material, but also as a pedagogical tool and method. Thus, the nameless author of the article “The educational significance of the fairy tale” (1894) admits that “if children repeat the same moral maxim at least a thousand times, it will still remain a dead letter for them; but if you tell them a fairy tale imbued with the same thought, the child will be excited and shocked by it.”

Fairy tales provide rich material for the moral education of children. It is not for nothing that they form part of the texts through which children comprehend the diversity of the world. Vissarion Grigorievich Belinsky saw the fairy tale as a profound educational tool: “In childhood, fantasy is the predominant ability and power of the soul, its main figure and the first intermediary between the spirit of the child and the world of reality located outside it.”

Zinkevich-Evstigneeva Tatyana Dmitrievna offers the following classification of fairy tales:

1. Fictional tales

These include fairy tales created by the centuries-old wisdom of the people, and original stories. Actually, it is precisely such stories that are usually called fairy tales, myths, and parables.

2. Folk tales

The most ancient folk tales in literary criticism are called myths. The most ancient basis of myths and fairy tales is the unity of man and nature. This includes:

tales about animals,
relationships between people and animals,
scary tales,
fairy tales.

4. Didactic tales

5. Psychotherapeutic tales.

Fairy tales that reveal the deep meaning of current events. Stories that help you see what is happening from the other side - from the side of the life of the spirit. Such fairy tales are not always straightforward and do not always have a traditionally happy ending, but they are always deep and heartfelt.

The fairy tale has its own varieties:

Legends,

tales,

Myths,

sagas,

parables,

anecdotes - this is not a complete list of fairy tale forms.

There are fairy tales about animals, magical ones, novelistic ones.A fairy-tale image or action is born in an ordinary setting and the need arises to change the situation, to adapt the surrounding objects to more vividly reflect a particular fairy-tale situation. Associative thinking is included in the work. How to create a fairy train? How to make a house for three little pigs? An ordinary table turns into a hut on chicken legs, blue ribbons into a lake, gymnastic hoops into puddles on the asphalt. But the most important thing in a fairy tale is still the fairy-tale character.

Every child wants to turn into a fairy-tale hero and change their appearance. But how can you do this without a special suit? But there is a large beautiful scarf that can be a veil, a veil for a princess, a cloak for a prince, a wizard, if you tie it on your head you can become a grandmother, if in the form of a turban, then a magician, a magician, etc. “Just a wand with the help of “magic” words can become magical, and it can also be a magic flute. Take a transparent scarf in your hands and you are already a breeze, take a white scarf and you are an antique statue.”

1.2. The concept of a musical fairy tale in modern pedagogical literature

Musical education plays an important role in the formation of a child’s personality, the development of aesthetic feelings, artistic taste, creative activity and moral qualities. The basis of a preschooler’s musical culture is emotional responsiveness to highly artistic works of musical art. Doctor of Pedagogical Sciences Olga Petrovna Radynova emphasizes that “the development in children of emotional responsiveness and awareness of perception (emotional-evaluative attitude towards music) leads to manifestations of preferences, a desire to listen to musical works that are masterpieces of art, and gives rise to creative activity.”

A fairy tale is a world of fantasy intertwined with reality. To understand a fairy tale, you need to be able to fantasize and imagine. To understand music, you also need fantasy and imagination. Thus, to some extent, fairy tales and music have common ground in their perception. Therefore, a fairy tale can help teach people to perceive music.

Musical fairy tale- a musical and stage work in which dialogues, songs, music, and dances are intertwined, while the plot, as a rule, is simple.

Musical talescontribute to the development of artistic taste, singing skills, and evoke joyful emotions.

A fairy tale, being an important means of mental development of a child, develops his imagination and helps him understand music. But music “fills fairy-tale images with a living heartbeat and trembling thoughts. Music introduces a child to the world of goodness." A fairy tale gives a powerful impetus to the development of the kindest feelings in a little person.

In musical fairy tales, the spiritual and moral content is enhanced by musical accompaniment. A certain mood helps to awaken empathy, participation, and co-creation in listeners.

Musical fairy tales are a constant favorite among children. Children with great pleasure transform into this or that character, experience current events, fight evil and are always ready to help the weak.

Social teachers of the psychological-medical-social center “Phoenix” Makeeva I.P., Churakova M.D., Khoreva L.A. in 2002 created a program of classes with children of middle and senior preschool age “Education with a fairy tale”, where the primary task is to expand children’s ideas about the world around them by introducing them to literary and musical culture and creating conditions for the active inclusion of children in speech, music, art, and play activities related to the figurative structure and plot of a fairy tale.

Merzlyakova Svetlana Ivanovna is an honored teacher of the Russian Federation, for many years the organizer of methodological work in Moscow on the musical education of preschool children. Author of numerous published works, including programs, teaching aids, collections containing musical and literary practical material, notes of musical lessons, holiday scripts. We are interested in her program for developing children’s stage creativity through theatrical games and play performances “The Magic World of Theater.” In it S.I. Merzlyakova notes that theatrical fairy tales not only introduce the content and recreate specific images, but also teach people to deeply feel the events and relationships between the characters of this work. Theatrical fairy tales contribute to the development of children's fantasy, imagination, memory, and all types of children's creativity (artistic speech, musical play, dance, stage).

Staging a fairy tale is a wonderful key that opens the door to the magical world of images, colors, and sounds. This is creativity, improvisation, which requires work and imagination from children, and imagination and ingenuity in costumes and scenery from adults.

Poetic text is remembered by children better than prose text, which is why many fairy tales of famous writers have been translated into poetic rhythm, which makes working with the text much easier. The plot of the musical fairy tale includes classical and folk music. You can also use modern pop songs that are accessible to children. When performed by children, they sound more emotional.

Music can be the background against which the action develops, music helps to enter the desired emotional state, music accompanies all rhythmic actions from the simplest game to a staged plot dance, and, of course, music helps to imagine fairy-tale characters more clearly.

Zimina Angelina Nikolaevna teacher, Doctor of Pedagogical Sciences, corresponding member of the International Academy of Sciences of Pedagogical Education in the textbook “Fundamentals of Musical Education and Development of Young Children” examines the fundamentals of the theory and methodology of musical development of children, types of children's musical activity and its organizational forms. Chapter II, “Types of children's musical activities,” examines a musical fairy tale as a type of musical activity for a preschooler. The main goal of creating a musical fairy tale with preschool children is to develop children's ability to freely creatively perceive the world around them, reflect their impressions and attitudes towards the world around them through creative activity - the art of a musical fairy tale.

1.3. The emergence of a musical fairy tale

The fairy tale in music is a very interesting, original genre, which owes its approval to Russian musical culture. Although related epic instrumental genres - ballad, legend - were known to Western European music of the 19th century, the fairy tale itself took shape in Russian music, probably due to its deep roots in the archaic layers of folklore.

Many Russian composers turned to fairy tales in their work. Mikhail Ivanovich Glinka recalled: “The songs and fairy tales that I heard as a child were the first reason that I began to primarily develop Russian folk music.” Just as Pushkin opened the era of new Russian literature, so did M.I. Glinka laid the foundation for the Russian classical fairy tale (opera “Ruslan and Lyudmila”). Both artists are united by a bright perception of the world. Another Russian composer, Nikolai Andreevich Rimsky-Korsakov, said this: “My family is a fairy tale, an epic... and certainly Russian.” He knew and loved M.I.’s music well. Glinka. ON THE. Rimsky-Korsakov is a composer-storyteller, since out of fifteen operas, nine of them were written by him based on the plots of Russian fairy tales and epics (the operas “The Golden Cockerel”, “The Tale of Tsar Saltan”, etc.). Initiative of N.A. Rimsky-Korsakov, who created the symphonic “Tale” in 1880, was picked up by Sergei Ivanovich Taneyev, who included the tale in his Concert Suite for violin and orchestra (1909), and was further developed by Nikolai Karlovich Medtner in his works"The Elves' Tale" op. 48 No. 2, Fairy Tale op. 26 No. 1 with an indicative author's remark Allegretto fres-camente. Some of Medtner's tales are designed in the spirit of certain types of musical painting, for example, movement paintings ("Procession of Knights" op. 14 No. 2) or sound-visual ("The Bell's Tale" op. 20 No. 2, "The Birds' Tale" OR, 54 No. 1). And in the fairy tale op. 35 No. 4" King Lear " the characteristics of both of these varieties are combined.Sergei Sergeevich Prokofievcomposed music based on the text of Andersen's famous fairy tale "The Ugly Duckling", fairy-tale scenes based on the ballets "Cinderella" and "The Tale of the Stone Flower". Among Prokofiev’s “fairytale” works are the piano pieces “Tales of an Old Grandmother”, the ballet “The Tale of the Jester Who Tricked Seven Jesters”, the opera based on the Italian fairy tale by Carlo Gozzi “The Love for Three Oranges”. Everyone knows the symphonic tale for a reader and orchestra “Peter and wolf".

The special quality of the synthesis of plot and picturesqueness, their vivid manifestation in music in the absence of a plot program, constitutes a remarkable specificity of the genre, distinguishing it from other programs and limiting its connection with the folk-epic prototype. The musical genre conveys only a general fairy-tale atmosphere, without trying to retell any primary sources. This is its special charm, obviously consciously protected by the authors.

1.4. Genres of music used in musical tales

In music, literature and other forms of art, various types of works have developed during their existence. In literature, this is, for example, a novel, a story, a story; in poetry - poem, sonnet, ballad; in painting - landscape, portrait, still life; in music - oratorio, opera, symphony. The genus of works, their variety, often determined by typical characteristics, within the limits of one art is called by the French word genre (genus, type).

So the genre – a certain type of work within which an unlimited number of works can be written. Over time, various genres have changed, but at the same time they have retained their main features, characteristic “signs” that allow us to judge the origin of the genre. Musical genres differ from each other in terms of content and form, and these differences are caused by life and cultural goals that are unique to each genre.

Genres of lyrical music include a huge area of lyricism, in which there are a wide variety of its types and shades, ranging from serenely calm to dramatic (for example, a dramatic aria or an idyllically light pastoral).

The life purpose of a lullaby is to soothe a child, and the music immerses us in the measured rhythm of rocking movements. A person also needs an artistic understanding of the most subtle movements of the soul. This is how tenderly sad elegies appear, nocturnes shrouded in the mood of the night, intimate leaves from an album, simple songs without words. A romantic prelude, similar to a lyric poem, reflects the most diverse feelings of a person. Fantasy pleases the listener with the uninhibitedness of the imagination and the free flight of thought. Fugue is an example of strict, concentrated reflection.

In music related to the organization of movement or its depiction, the genres of march and numerous dance genres have developed. In a march, melody, rhythm, texture and other means of expression are ideally adapted to the step.

The area of dance is vast, its importance in music is great, because dance and song are the primary genres of all musical art. Cheerful and joyful, folk dance gives a feeling of liveliness and enthusiasm, sedateness and solemnity. And here there is a huge variety of national traits: compare Russian trepak and Georgian lezginka, Hungarian czardash and Latin American rumba, etc. Many dances, which originated as local genres of folk music, later spread throughout the world. Folk dance music had a huge influence on professional art, receiving new impulses for development in its depths, enriching the arsenal of its expressive means.

Genres of high “serious” music, such as sonata, opera, symphony, instrumental concert, require deep, concentrated perception from listeners. Their main goal is the spiritual elevation of man, the development of spiritual culture. Symphony is one of the most capacious and complex genres. In terms of the breadth of life it covers and the versatility of its coverage, it resembles a novel or drama. It symbolically reflects the whirlpool of life’s collisions, struggles, conflicts, and a person’s thoughts about life.

Song and dance genres make an important contribution to professional music of large forms. They give it accessibility to perception, national roots, fullness of expression, and vitality. The musical language becomes concrete and tangible.

The main genres of orchestral music are symphony, one-movement symphonic poem, concert overture, instrumental concert. These are symphonic genres. Genres of choral music are choral suite, cantata, oratorio, mass, requiem. In the twentieth century, new genres emerged - film music, pop music.

1.5. The role of a musical fairy tale in the education of children of primary school age

Introducing children to musical creativity in our kindergarten is carried out by creating a musical fairy tale, which makes it possible to help children discover and develop creative qualities that are so important for a modern person, frees the child from inhibitions, gives him a sense of his own uniqueness, and brings a lot of joyful moments. As well as the ability to experiment, communicate freely with peers and older comrades, manage emotions, make decisions independently - these qualities will be very useful for children in later life.

The main goal of introducing children to a musical fairy tale is to educate a musically developed listener and performer, capable of sensitively and emotionally perceiving the world around them and expressing their attitude to everything that happens.

Musical fairy tales have a huge educational impact on children; they contribute to the development of artistic taste, singing skills, and evoke joyful emotions. Children better convey the character of music in their movements, they develop speech, clarity of diction, and speech intonations. The development of creative abilities and the formation of a child’s harmonious personality occurs through the perception of music, the ability to listen to it, analyze it, as well as through the child’s activity, which manifests itself in various types of musical activities. In the process of learning, children must learn to feel the beauty of a piece of music and express their joy from its perception through words, dance, playing children's musical instruments or visual creativity.

Musical tales using small instrumental pieces or excerpts from large musical works are a transitional step to understanding such complex genres as opera and ballet.

Everyone loves fairy tales: both adults and children. The main thing here is that a fairy tale is the embodiment of a people's dream, the people's idea of justice, victory over space and time, the embodiment of faith in the mighty power of their native land. A folk fairy-tale hero, the ideal of the people is a bearer of truthfulness and generosity, physical mental strength, constantly ready to put this strength in the service of goodness and justice.

Many fairy tales inspire confidence in the triumph of truth, in the victory of good over evil. The optimism of fairy tales is especially popular with children and enhances the educational value of this medium.

Conclusions on Chapter I

Based on the work done, we have determined that musical education is one of the means of shaping a child’s personality.

Musical fairy tales contribute to the development of artistic taste, singing skills, and evoke joyful emotions.

Fairy tales contribute to the development of children's fantasy, imagination, memory, and all types of children's creativity (artistic speech, musical play, dance, stage).

Many great Russian composers turned to fairy tales in their work. Through the perception of fairy-tale material, a musically developed listener and performer is raised, capable of sensitively and emotionally perceiving the world around him and expressing his attitude to everything that happens.

A musical fairy tale helps children develop their creative imagination, and at the same time shows with examples what character traits should be cultivated in themselves, triggers the mechanism of self-development, awakening the child’s personal potential.

Conclusion

A fairy tale does its job: it helps a child navigate the world around him, enriches his mental life, makes him feel like a fearless participant in imaginary battles for justice, for goodness, for freedom, and when the need for it passes, the child himself destroys it. But until the age of seven or eight, the fairy tale for every normal child is the healthiest food - not a delicacy, but daily and very nutritious bread, and no one has the right to take away this irreplaceable food from him. A child needs a fairy tale in order to experience this most beneficial period for his mental development as fully, magnificently, and richly as possible. It is necessary to use the child’s attraction to fairy tales in order to develop, strengthen, enrich and direct their ability to creative dreams and fantasy. The future belongs to those who fantasize. It is now considered generally true that a fairy tale improves, enriches and humanizes the child’s psyche, since a child listening to a fairy tale feels like an active participant in it and always identifies himself with those of its characters who fight for justice, goodness and freedom. It is in this active sympathy of small children with the noble and courageous heroes of literary fiction that the main educational meaning of the fairy tale lies. The task is to awaken, educate, strengthen in the receptive child's soul this precious ability to empathize, sympathize, and rejoice, without which a person is not a person.

Only this ability, instilled from early childhood and brought in the process of development to the highest level, created and will continue to create the Bestuzhevs, Pirogovs, Nekrasovs, Chekhovs, Gorkys...

In our course work, we plan to identify and substantiate the influence of a musical fairy tale on the formation of the artistic and aesthetic taste of preschool children.

Exakustidi Elena Vitalievna
A musical fairy tale as a means of introducing children to the theater

« Musical fairy tale, How "

musical director

Exakustidi Elena Vitalievna.

Musical fairy tale, How a means of introducing children to the theater

Fairy tale -"cradle of thought". This figurative expression of V. A. Sukhomlinsky is not accidental. It was the result of studying the nature of one of the most popular genres of folk art. Exactly at fairy tale the child gets acquainted with the beauty of his native word, learns its emotional colors and shades.

What's happened musical fairy tale? This fairy tale, "written" by using music, and therefore the actions, actions, feelings and moods of the characters appear very clearly. What do the children say? - This fairy tale, where the characters not only speak, but also sing, dance, play musical instruments. This is an exciting journey with music into the world of fairy tales, where you can be a spectator, a performer, and a writer. This is a holiday of meeting with your favorite heroes of well-known fairy tales.

Musical tales different from usual fairy tales for children. They are bright, original, somewhat unusual for traditional perception. Development of the plot fairy tales accompanied by music, which is simple and clear. Musical tales develop artistic taste, creative abilities, form a sustainable interest in theater arts, which subsequently creates a need for the child to turn to theater, as a source of emotional empathy and creative participation. The artistic and pedagogical value of children's musical fairy tales there is no doubt. Famous teachers S.I. Merzlyakova, F.Z. Gershova, Z.Ya. Root, N.V. Zaretskaya, E. Churilova, L. Olifirova work on this topic.

At the same time, this genre of children's musical creativity has not been sufficiently studied; in the methodological literature there is very little data on the experience of its practical application in musical and artistic education children preschool age. Insufficient knowledge of the problem in theory and practice music education for children preschool age determines the relevance of this topic.

Based on this basic principle, goals and objectives are formulated as follows:

Goals:

Formation of an aesthetic attitude towards the surrounding world;

involve children in theatrical activities;

Develop aesthetic feelings through the perception of the best examples musical and artistic culture;

To teach basic artistic knowledge, practical skills in the field theatrical arts;

Develop the fundamentals of acting.

Tasks:

Improve the comprehensive development of creative abilities children through theatrical art.

Develop creative independence in creating an artistic image, using game, song, and dance improvisations for this purpose;

Continue to activate and refine your vocabulary children.

Encourage children improvise on the topic of friends fairy tales, come up with stories of your own composition individually and collectively;

To form a desire to take an active part in holidays and entertainment, using skills and abilities, acquired in classes and in independent activities;

Introduce theatrical genre - musical fairy tale, through the use of all stage funds: word, music, movement, facial expressions, plasticity, improvisation.

Novelty - Music + fairy tale + theater. Who hasn’t dreamed since childhood about merging these words into a single whole? We are trying to realize this dream in our practical activities. Musical fairy tales are a constant favorite among children..

Staging musical fairy tale- this is a wonderful key that opens the door to the magical world of images, colors, sounds. This is creativity, improvisation, requiring children of labor and imagination, and from adults - inventions and ingenuity in costumes and decorations.

Stages of work:

Script writing;

Acquaintance children with fairy tale text;

Acquaintance children with musical fairy tale content(full performance);

Acquaintance children with music and the text of each character separately;

Learning the text fairy tales with all children by the teacher;

Distribution of roles, appointment of backups;

Game exercises, sketches that promote the practical and emotional development of actions in the plot;

Staging work on a complete performance;

Show musical fairy tale.

Poetic text is remembered better than prose text, so many fairy tales famous writers have been translated into poetic rhythm, which makes it easier to work with the text. Into the plot musical fairy tale classical and folk included music. You can also use modern pop songs that are accessible to children. When performed by children, they sound more emotional.

We draw up scenarios for matinees and entertainment as small theatrical performances, or mini-performances where favorite characters familiar from childhood are involved, script developments can roughly be called musical fantasies on fairy tale themes. We successfully weave new, unusual characters invented by children and adults into the traditional plot. This creates a warm environment and thereby helps the child adapt to new conditions. At holidays, children are both spectators and artists at the same time, so they get involved in the action by going out directly from the auditorium, and not from behind the scenes. Adults are active participants in the performance. This form of celebrating holidays allows you to create a figurative game Wednesday, favorable for the development of the child’s creative abilities, and the presence musical and poetic material that meets a high artistic level contributes to the development of the child’s aesthetic taste.

Creative activity children at matinees leads them to the fact that in a preparatory group for school they can perform a children's opera. For the production of a children's opera, the choice of literary work that forms the basis of the libretto is of great importance.

We choose a literary work together with the teacher, taking into account knowledge and interests children. We think in advance with the teacher how best to convey the content of the text to the child and music. We try to get every child interested fairy tale, expressed a desire to play one role or another.

After reading fairy tales We suggest you listen to the opera in its entirety, and then listen music, under which each character acts. We analyze the character and characteristics of the characters and compare them with visual features music.

Then the teacher learns the text with all the children, paying special attention to the expressiveness of speech.

When assigning roles, we take into account individual characteristics children, their vocal capabilities. For each role we select an understudy.

We approach our work creatively: we try to avoid templates and cramming - this gives us the opportunity to develop everyone children at the same time, regardless of their level of training. Our goal is not to limit ourselves to screenwriting, directing and production work with children - "artists", and throughout the life of the kindergarten, through all types of children’s activities, to solve problems aimed at developing creativity in children.

Work on the opera - analysis of the content of the work, distribution of roles, game exercises, etudes that contribute to the practical and emotional development of actions according to the plot, and finally, staging work on the entire performance - is carried out in special classes (circle work, at least once a week for 25 – 30 minutes in the afternoon.

Big performances (musical fairy tales, children's operas) there should not be more than two, as a lot of preparatory work is required. We mainly prepare opera productions for March 8th or for the Graduation matinee, and it has also become a tradition in our kindergarten to hold them at the end of April theater festival, for which all groups are preparing theatrical performances. But throughout the year, thanks to systematic work, it is possible to use a large number of other theatrical games(board, poster, games - dramatization). We introduce them as spectacular entertainment, as a fragment of a festive concert or matinee.

For example, in opera "Kolobok" The storyline develops based on the Russian folk song of the same name. fairy tales. This fairy tale introduces children into the figurative world of Russian folk characters, but uses modern, genre music. The performance makes you feel the connection between poetry and music, plasticity of movement and dramatization.

Genre « Tales of a Stupid Mouse» can be defined as dramatization with elements of choral performance. The children's opera was created based on the work of S. Ya. Marshak, music written by O. Getalova. Children perform the piece in one breath, position themselves like a real choir, the action of the characters takes place against the backdrop of singing children. Ending changed fairy tales: the mouse does not die in the mouth of a cunning cat, but is saved and understands that there is no one better than his own mother. It is with this fairy tales in 2003 I started using children's opera in my work.

Musical "It was in the forest" represents a combination musically– aesthetic education and familiarization children with the basics of life safety. Well known to everyone since childhood fairy tale"The wolf and the seven Young goats" new characters were added - Cuckoo, Fox, even trees in the forest became the main participants fairy tales. In an accessible form of an opera performance for children talks about How to behave when left alone at home, teaches mutual assistance.

The basis of the opera "Fly Tsokotukha" took the score of the opera by Mikhail Ivanovich Krasev. Krasev’s bright, cheerful creativity is almost entirely devoted to children. Opera "Fly Tsokotukha" occupies a special place among musical fairy tales/libretto by the composer according to the famous fairy tale Korney Ivanovich Chukovsky/. Witty, innocently funny music was written in the difficult war year of 1942 for a children's club, which was created by Moscow children evacuated to the Urals.

Music This opera is accessible and expressive, full of rapid movement and very rhythmic. Our students managed to combine simplicity and ease with accurate musical images.

Vaudeville "Our good neighbors" music E. Churilova is a continuation fairy tales C. Ya. Marshak "Cat house". He develops love for his family, and respect for other families. By using music and poetry, children received basic ideas about the traditions, culture, and moral principles of different families.

A musical fairy tale based on the work of S.. Mikhalkova « The tale of How the bear found the pipe" talks about bad habits. In an accessible form, children are told about the dangers of smoking, about diseases that a smoker can develop, and about a smoker’s dependence on tobacco. Sufficiently prepared children took part in the performance: proficient in elementary musical and dramatic skills.

"Fire in the Forest"- this poetic work on fire safety was published in the magazine « Musical director» . Solo and choral parts suited children's songs written by A. Filippenko very well, and also used "Song about a match" music I. V. Kononova from the collection “Fire safety scenarios for preschoolers”.

Fairy tale"The Kid is a Kuraist" very simple in plot and clear in concept. The image of a magic kurai personifies magical power music and gives power over the human soul. And it is very important in whose hands this power is: in good ones, like the Kid’s, or in evil ones, like the Fox’s. Musical fairy tale“The Kid is a Kuraist” written for children primary school age, but the children of the school preparatory group coped with the task superbly: learned not only to pronounce the text well, sing and dance, but also believed that they "turn", and took what was happening seriously. An actor's naivety and faith in the proposed circumstances are one of the main elements of stagecraft.

In 2012 equipment musical The hall was replenished with a multimedia projector and laptop, which allowed us to expand the possibilities of designing matinees. Changing the slides on the screen, according to the opera script, made it possible to perceive the general content more clearly and deeply musical and choreographic fairy tale"The Journey of a Droplet", written by the wonderful children's composer F. Z. Gershova based on Tales of Salavat Karim"Droplet". All vocal parts were written taking into account the children's performing voice, which was very helpful when learning the vocal parts of each character.

This year, my senior group teacher and I planned to prepare musical fairy tale based on Russian folk fairy tales"Puff-puff" composer S.I. Potapov, author of the text A.O. Kraeva ( "Directory music director» , March 2012). Fairy tale designed for everyone to participate children group. It lasts 10-12 minutes. The production requires a minimum of scenery and costumes; children playing the roles of vegetables only need to wear hats. IN there is no dancing in fairy tales, but while singing the characters are in motion, in accordance with the image and event.

Preparation musical fairy tales in kindergarten, as one of the types of choral activities, is of great importance for kindergarten students. Interpenetration of such related arts as music, dance, literature provide conditions for children to express their creative potential.

On a variety of song material musicalopera numbers develop vocal and choral skills: various types of breathing, sound control, meaningful phrasing, tasks of tempo and emotional contrasts, naturalness and expressiveness of sound.

When working with students on a particular role, we pay great attention to analyzing the characteristics of the characters and the expressiveness of their performance. At the same time, we have to compare and contrast the characters and their specific flavor. When working on the expressiveness of choral performance, we use the technique of emotional-figurative analysis of the content, so that children see the relationship between the figurative expressiveness of the word and music. All this contributes to how musical development of children, and mental, stimulates their interest in music.

The educational role of working on an opera cannot be underestimated. Perceiving it as something important and interesting, the children regularly attended classes, understanding how important each choir member is in our work. Performances in front of other kindergarten students were organized each time children, and the success of the production musical fairy tale encouraged children to further work.

The educational function of children's opera is one of its genre characteristics. Fairy tale permeates the entire structure of the opera, achieving a special effect by contrasting positive and negative. Its grain is the moral principle. Idea fairy tales teaches the child to make the right choice, thereby developing positive personality traits.

The meaning of staging parents also appreciated the musical fairy tales. In conversations with them, we found out that they were interested in our work, rehearsals, performances, they were pleased to see singers and dancers in their children. The parents provided considerable assistance in preparing the costumes.

So, the production musical fairy tales very accessible in kindergarten classes, it increases interest in choral singing and develops artistic abilities children, their fantasy, introduces them to high art.

Practical significance: Our experience has been tested for 11 years. Can be used musical heads of preschool institutions, managers theater studios.

Musical fairy tale creates conditions for the development of creative activity children in the theater activities through singing, musical perception, empathy for heroes fairy tales, encourages students to improvise by means of facial expressions, expressive dance movements and intonations, teaches to distinguish between moods and emotional states through music. Musical fairy tale contributes to the formation of a system of value relations to the surrounding world.

Application

How the bear found the pipe

The hall is decorated in the shape of a forest clearing. On the left is a tall oak tree - a chair with a crown, on the right - a den. Two come out storytellers.

1 STORYTELLER- The forester decided to quit smoking - he threw his pipe, a pouch of tobacco and a homemade lighter behind a bush in the forest. And the Bear found them. Since this all started.

2 STORYTELLER- Bear began to smoke a pipe. And he got so used to her that he never wanted to leave. It used to be that the Bear would wake up, go to the river, run to swim and fish, and then climb into the raspberry fields or hollows for honey.

1 STORYTELLER“And now, as soon as he opens his eyes, he fills a pipe, puts it in his mouth, lights it with a lighter and lies under a bush, blowing smoke.” So the whole kid with a pipe in his mouth falls through. And everything would have been fine, but the Bear began to get sick.

The storytellers leave. Lisa comes out.

Aria of the Fox.

The fashionable Fox came out,

It looks straight into the lake.

The lake is crystal, clean, mirror-like.

Oh. What wonderful fur

I'm always the best dressed. (Bear comes out)

Misha! My friend! Is that you?

We haven't seen each other all summer.

How did you lose weight, poor thing?

It’s like I haven’t eaten for a whole year!

What's wrong with you? You are sick?

Aria of the Bear.

I don’t know what’s wrong with me!

I'm not feeling well:

Wool is falling, bones are aching,

I don’t eat anything at all -

I lost my appetite completely!

I started going to bed earlier,

I'm not sleeping! Can't sleep at all!

Cough suffocates in the morning,

Lightheadedness in the evening:

My heart is pounding, my paws are trembling.

FOX - Why don’t you go to Woodpecker?

You need to contact Woodpecker!

He's such a bird for us:

He'll tell you right away what's what.

Do not be lazy. Go see him!

BEAR - I'll wait a week,

It gets worse, so I'll go.

The Fox and the Bear go in different directions. Comes out 2 Storyteller.

2 STORYTELLER - A week has passed, another one passed. Bear got worse. He walked somehow through a ravine. I met a wolf.

Wolf's Aria.

Listen, Misha - Mikhail!

What did you do? How did you live?

The sides collapsed - the skin became big!

Are you sick?

BEAR - Yes. I'm sick.

WOLF - What's wrong with you?

BEAR – I don’t know...

Aria of the Bear.

I'm disappearing!

WOLF – You will be lost1

We need to contact Woodpecker!

He is such a bird for us!

He will figure it out and give advice.

Yes, yes! But no, no!

BEAR - Tomorrow I will go to him!

WOLF - Will you find him?

BEAR - I'll find it!

The bear is walking through the hall. The wolf leaves. The bear approaches "pine"- the chair on which Woodpecker stands.

BEAR - Woodpecker! Woodpecker! Old friend!

You go down to the bottom branch!

Woodpecker - Bah! Hello Toptygin!

Are you healthy?

BEAR - Apparently not!

Aria of the Bear.

Woodpecker - Apparently you smoke if you don't drink?

BEAR - Yes, I smoke. How do you know?

UNCLE - You smell like smoke!

Well, sit under this branch!

Give me your back. Knock-Knock!

Yes - s! Tapping is not easy

Bears are so tall!

Don't breathe or sniffle:

You are sick, even though you are a Bear.

Well, s... Everything seems clear to me...

BEAR - Not fatal? Not dangerous?

Woodpecker – Soot has accumulated in the lungs –

Smoking causes all the trouble!

Do you, Toptygin, want to stomp?

Quit smoking forever!

BEAR - Quit? A pipe? A lighter?

And a pouch with a dry leaf?

I can not! I won't give up! It's a pity!

Woodpecker - Follow my advice!

Otherwise in your den

You'll soon stretch your legs!

The woodpecker flies away. The bear is walking through the hall. He sits down in the den, takes out a pipe, looks at it, puts it in his mouth. There is a knock. The bear hides the pipe, looks around, and puts it in his mouth. (2-3 r).

1 STORYTELLER- All summer and all autumn, until winter, Bear stopped smoking his pipe, but he never quit. Winter came. One day the Forester went to the forest to get firewood.

The Forester comes out and pulls the sleigh behind him. He walks around the den and approaches the Bear.

FORESTRY - Here they are! And smoke is pouring out of the den! Paws up!

He points the gun at the Bear, who cannot raise his paws. He gets up, staggers, rubs his eyes.

FORESTER - Who do you look like? Bear: the fur is in tatters, the eyes are watering from the smoke, there is a pipe in his teeth (he takes the pipe, and the pipe is mine. I didn’t expect it - I didn’t guess!

He puts the pipe into his sheepskin coat, puts the Bear on the sleigh, and drags him. The Forester comes out to meet you.

FOREST WOMAN - What did you bring from the forest, Fedya?

FORESTER - Look, he brought a bear.

FOREST - Real!

FORESTER - Real! And besides, he smokes!

FOREST WOMAN - What should we do with him now?

FORESTER - How to do what? Let's take it to the circus!

They drag the Bear together. Coming out Storytellers.

1 STORYTELLER– There is a bear in our circus.

Come take a look.

If anyone passes by

With a cigarette in his mouth