Interaction between a speech therapist teacher and educators and a music director within the framework of the implementation of AOPDO GBDOU. The relationship between the work of a music director and a speech therapist teacher in the correction of speech and movements. Consultation on the topic.

It is well known that children almost always react to music with movements: in some cases involuntary, in others conscious. Interesting for children are musical and didactic games that promote the development of phonemic hearing and attention, exercises for distinguishing musical sounds by pitch, for adjusting voices to a specific musical sound, chants for automating those sounds that children learn in speech therapy classes. Teachers have developed long-term planning for a speech therapist and music director for older children.

The current situation in the education system, in which changes are taking place associated with an orientation towards the value foundations of the pedagogical process, its humanization and individualization in approaches to solving the problems of a particular child, encourages teachers and specialists to create new models, search for new forms and technologies of specialized assistance to children, with problems in development, learning, communication and behavior. Overcoming sound pronunciation disorders in preschool age is of great importance in the child’s subsequent life. Deficiencies in sound pronunciation can cause deviations in the development of mental processes such as memory, thinking, imagination, and also form an inferiority complex, expressed in difficulties in communication. Timely elimination of pronunciation deficiencies will help prevent difficulties in mastering reading and writing skills. Specialists working with children with speech disorders are faced with the task of finding the most effective methods for developing pronunciation capabilities, creating an articulatory base that would ensure the most successful mastery of normative pronunciation skills. Teachers working with children with speech disorders are required to strive to understand the essence of the disorder, take a meaningful, non-standard approach to work, and gradually develop strong skills in the child. They must form in the child the motives and strong-willed qualities necessary for long-term work that produces stable results. And all this needs to be done easily, naturally, in a playful way, interest the child, without turning classes into tedious training. Data from recent years show that the majority of children upon admission to a speech therapy group are diagnosed with general speech underdevelopment with a dysarthric component.

Such children often suffer from pronunciation of vowel sounds; they pronounce them unclearly, as if dampening their sound. Meanwhile, the correct pronunciation of vowel sounds is very important, since vowels serve as the basis for the development of the skill of sound, sound-syllable analysis, which prepares the child for learning to read and write. The most important direction of correctional speech therapy work is the development of articulatory motor skills. It is recommended to carry out the work in two directions: the formation of the kinesthetic basis of movement, the formation of the kinetic basis of movement.

In addition to the well-known methodology, teachers suggested developing speech motor skills based on the child’s intact capabilities. It is well known that children almost always react to music with movements: in some cases involuntary, in others conscious. This spontaneous motor-emotional reaction of the children should be made meaningful. Singing and movement have a positive effect on children with various types of speech disorders. Interesting for children are musical and didactic games that promote the development of phonemic hearing and attention, exercises for distinguishing musical sounds by pitch, for adjusting voices to a specific musical sound, chants for automating those sounds that children learn in speech therapy classes.

An analysis of the literature on this topic showed that programs for conducting logorhythmic classes have mainly been developed. The direction of work on correcting sound pronunciation in music classes has not been systematized in any literary source.

Target : increasing the efficiency of work on correcting sound pronunciation using the law of unconditional activity of children in cognitive activity.

The planning we offer helps to implement the following tasks:

This long-term planning was developed on the basis of the program by G. A. Kashe “Preparing children with speech impediments for school” and the teaching aid by T. B. Filicheva, T. V. Tumanova “Children with general speech underdevelopment. Education and training” and is designed for two years.

1. Ontogenetic principle. As sound pronunciation develops, the order of phoneme acquisition becomes more and more subject to the laws of the phonemic system of the language being acquired. The sounds that define the core of the phonological system of the Russian language are formed first. Later, sounds that make up the periphery appear. Specialists should observe the basic patterns of normal acquisition of language units.

2. The principle of consistency. Speech therapy work should contribute to the formation of language as a whole as a system of interconnected and interdependent units.

3. The principle of relying on intact functions or the principle of a workaround. The belonging of speech sounds to a single phonetic system and the articulatory base on which they are formed are the basis of their relationship and interdependence. The result of this connection is that work on one sound prepares and facilitates the correct pronunciation of other sounds, the same phonetic group, and sounds of other groups (producing the sound “s” completely prepares the articulatory structure of the sound “z” and partially the structures of hissing sounds). This mutual connection allows healthy sounds to be used to produce sounds that are poorly pronounced.

4. The principle of taking into account the level of development of the child . L. S. Vygotsky proposed to distinguish two main levels in the development of a child: the level of actual development (independent solution of proposed problems) and the level of potential development (the ability to solve problems with appropriate help from the teacher), thus, the child should be trained from completing a task with help from the teacher to solve it independently. Any proposed task must be obviously easy to complete, taking into account the child’s level of development and the stage of correctional intervention.

5. Pathogenetic principle . The main content of correctional speech therapy work is to overcome the pathological mechanism of speech defect.

6. The principle of consistency . Each of the correctional directions is implemented in a process of step-by-step work.

7. Principle of selection of linguistic material . Correctly selected linguistic material acts as one of the important basic conditions for correction. A text that is easy to pronounce, in which difficult sound combinations are absent or rarely occur, and there are many vowel sounds.

The form of correctional classes is group, twice a week. The duration of phonetic exercises (pronouncing sounds, syllable combinations, words and phrases with changes in intonation, strength and pitch of the voice) is 5-7 minutes.

The work began with the formation of extra- and speech breathing. When teaching children non-speech breathing, they taught them to inhale calmly, deeply enough and exhale smoothly and protractedly without uttering sounds with varying strengths. We used the games “Warm your palms”, “Wind”, “Whose dandelion will fly farther?” Then they developed the switchability of the organs of articulatory structure on the material of sound and syllabic combinations with purely pronounced sounds with the inclusion of movement and facial expressions. Reproduction of sound and syllabic series is carried out based on clarity, and is presented in a playful way. For example, Mother Goose asks the Gosling not to walk far, the syllables are pronounced in a low voice: Ga-ga-ga. The gosling did not listen. The syllables gya-gya-gi are pronounced in a high voice. He went and got lost. The syllables are pronounced sadly. A cuckoo (cuckoo) saw him and told him where the gosling was. The goose scolds the gosling (ha-ha-ha) with an angry intonation. We use the following sound combinations: pa-pu-py, py-po-pa, ta-tu-you-te, do-du-de, di-dya-de, pta-pto-ptu-pty-pte, bda-bdo -bdu, bde, fta-fto-ftu-fte, mna-mno-mnu-mny, pti-pty-pte-pty, bdi-bdya-bde-bdu, pa-ta-ka, to-ko-ho. To strengthen the lip muscles, we vigorously pronounce “p-b”, “p-b”. To strengthen the muscles of the tongue “t-d”, “t-d”, to strengthen the muscles of the pharyngeal cavity - sticking out your tongue, vigorously pronounce “p-b”. In the process of producing sounds, the work becomes more complicated.

We bring to your attention long-term planning in the senior group.

Nursery rhyme “Frog”, pure sayings with the sound “L”

Sounds iotized

Chants

During the examination in the older group, it was revealed that 10 children experience difficulties in maintaining articulatory postures; they exhibit pronounced changes in strength, accuracy, volume, and deviation of the tongue. In 5 children, minor changes in the volume, strength and accuracy of movements were revealed. SOUND PRONUNCIATION IS IMPAIRED IN ALL CHILDREN, A TOTAL OF 106 SOUNDS IS IMPAIRED.

In the course of the work done, at the end of the preparatory group we have the following indicators: sound pronunciation has been corrected for all children, one child experiences minor difficulties in speech motor skills. The level of development of phonemic hearing in children is close to the age norm.

1. Pravdina O. V. “Speech therapy” Moscow “Enlightenment” 1973 p. 119.
2. Pozhilenko E. A Methodological recommendations for staging sounds pp. 25-30
3. Karelina I. B. “Correction of voice disorders in preschool children” Moscow 2005 Iris-press p. 83
4. Tseytlin S. N. Language and the child. Linguistics of children's speech. M., “Vlados”, 2000
5. Maksakov A. “Development of speech voice in preschool children” “D/education” 1984
6. Del S.V. “Musical exercises in the correction of stuttering” “speech therapist in kindergarten” No. 3(6), 2005
7. Gavrisheva L. B., Nishcheeva N. V. “Speech therapy chants” - St. Petersburg Children's press 2005
8. Filicheva T. B., Tumanova T. V. “Children with general speech underdevelopment. Education and training” M. “Gnome and D”, 2000
9. Zheleznova E. Zheleznov S. “ABC nursery rhyme” M. “Gnome and D.” 2001

More lesson notes for kindergarten:
Speech therapy session in a preparatory group | work speech therapist | musical | School of Music | head | classroom teacher | formation | formation of culture | sound pronunciations | sound pronunciation correction | preschoolers | development of preschool children | children's | kindergarten | Speech therapist's page| Interaction between a speech therapist teacher and a music director in the formation of sound pronunciation in preschool children. Kindergarten

“Interaction between a teacher-speech therapist and a music director” We work in a municipal budgetary preschool educational institution of a combined type 68. In correctional groups, correctional training and education of children with general speech underdevelopment of different levels is carried out. Severe speech defects are combined with a variety of pathologies of non-speech functions (increased excitability, fatigue, impaired spatial orientation and general, fine motor skills, attention and memory deficits).

If speaking is difficult for you, music will always help! Logorhythmics is one of the forms of a unique active therapy based on the connection between movement, music and words. It is part of the educational and correctional development work in the speech group. The goal of logorhythmics is the correction and prevention of existing deviations in the development of a child. Objectives: development of general, fine and articulatory motor skills; - formation of correct breathing; - development of the ability to navigate in space; - development of clear coordinated movements in conjunction with speech; - development of phonemic hearing; - formation of relaxation skills; - development and correction of musical-rhythmic movements In correctional work with children with speech disorders, a positive role is played by the joint activities of a speech therapist and a music director, who combine movement, speech and music, and contribute to the normalization of motor skills and the rhythmic side of speech. During joint activities, speech development occurs through the synthesis of words, movement and music. Movement helps to comprehend the word. Word and music organize and regulate the motor sphere of children, which in turn activates their cognitive activity and emotional sphere. Joint correctional intervention eliminates speech dysfunction and develops the child’s functional systems: movement, vocal function, articulatory apparatus, attention, processes of memorization and reproduction of speech and motor material, which is planned in accordance with lexical topics.

In recent years, unfortunately, there has been an increase in the number of children with speech disorders.

Speech function is one of the most important mental functions of a person. In the process of speech development, higher forms of cognitive activity and the ability to conceptual thinking are formed. The meaning of words in itself is a generalization and, in this regard, represents not only a unit of speech, but also a unit of thinking.

A child’s mastery of speech contributes to awareness, planning and regulation of his behavior. Speech communication creates the necessary conditions for the development of various forms of activity and participation in collective work.

Speech disorders, to one degree or another, negatively affect the entire mental development of the child and affect his activities and behavior. Severe speech impairments can affect mental development, especially the formation of higher levels of cognitive activity, which is due to the close relationship between speech and thinking and the limited social, in particular speech contacts, during which the child learns about the surrounding reality.

In our group there are children with such speech disorders as general underdevelopment of speech of various levels, an erased form of pseudobulbar dysarthria. Children with this diagnosis have disorders of all components of the speech system, as well as a number of non-speech mental functions. Children have violations of general and oral praxis, insufficiency of phonemic perception, difficulties in switching from one movement to another, insufficiency of fine differentiated movements of the fingers, and automated execution of simple rhythms is impossible. Immaturity of the emotional-volitional sphere is combined with low mental performance and emotional lability.

Correctional work with preschoolers with SLD poses a difficult problem for specialists, since this category of children has impairments in all components of the speech system, as well as a number of non-speech mental functions. The more diverse the forms of work with a preschool child, the more successfully deviations in his development are overcome. Therefore, when organizing a comprehensive correctional impact on the speech and personality of the child as a whole, logorhythmic classes were included in the work system of our kindergarten.

In the specialized literature, logorhythmics is considered as a system of musical-motor, speech-motor and musical-speech games and exercises carried out for the purpose of speech therapy correction (Volkova G.A. Speech therapy rhythm. - M.: Prosveshchenie, 1985). Thus, speech development is formed and corrected through words, movement and music. Movements help to deeply experience the musical and emotional characteristics of a word and comprehend it. Word and music organize and regulate the child’s motor sphere, which activates cognitive activity, contributing to the social rehabilitation of children with speech pathology. This is relevant because In children with speech pathology, as a rule, there is a mismatch in a number of motor and mental functions. Rhythm occupies a special place in this trinity, without which neither music nor organized movement can exist. It is no coincidence that the concept of rhythm is introduced into the very name of the course - logorhythmics. There are two known ways of rhythm influencing a person. We use both, and consistently. In the early stages, motor contagion predominates, then the rhythm is connected to the regulation of the duration of mental processes. When a child learns to speak, first of all, he learns to sing. He learns not the word, but the sound forms that he reproduces in sound. Thus, musical speech and verbalization of thought are organically interconnected in the same way as phonemic and musical hearing. An equally important development factor is controlled elementary movements. As the child's fingers become skillful and strong, his intelligence and intelligence increase.

It is known that in preschool age the adequacy of the perception of reality, including educational and pedagogical influence, is determined by the emotional attitude of the child. High emotional activity stimulates the adequacy of perception, and a constantly expressed negative emotional state leads to physiological changes in the body and diseases, which ultimately has a destructive effect on the information and energy structures of the individual. And here the great emotional stimulant - music - comes to the rescue. It has been proven that any emotional reaction has one movement or another as its final stage. This obligatory motor ending of any emotional act is a psychophysiological constant. In other words, by practicing a certain system of movements, regulating and directing them, we directly influence the emotional sphere of the child.

In planning logorhythmic lessons, I used the principle of concentrically building up material in all sections of lexical topics studied annually (seasons, harvesting, New Year's holiday, wintering birds, etc.). The basis of classes can be very diverse: a fairy tale plot, an imaginary journey or excursion, folklore sources, plot and didactic games.

The thematic focus and organized variability of classes that I have proposed contribute to the formation in children of a sustainable interest in musical and speech activities, support a positive emotional attitude of children to logorhythmic exercises, and therefore help to achieve better results in training and education.

The presented logorhythmic classes include elements that have a health-improving focus (general developmental exercises, work on singing breathing and the development of the singing voice, simple massage techniques, gymnastics for the eyes). Breathing exercises are based on the method of B. Tolkachev (sounded exhalation), sound breathing of M. Lazarev, accessible techniques, according to the method of V. Emelyanov. Each lesson includes finger games or finger massage. In terms of saturation of acupuncture zones, the hand is not inferior to the ear and foot. In Eastern medicine, there is a belief that massaging the thumb increases the functional activity of the brain, the index finger has a positive effect on the condition of the stomach, the middle finger on the intestines, the ring finger on the liver and kidneys, and the little finger on the heart. When including eye exercises in classes, it is first recommended to select exercises without fixing your gaze on a finger, stick or other objects, because It is difficult for children to manipulate objects and follow their movements with their eyes without turning their heads.

As a result of practical work, the following structure of the logorhythmic lesson developed:

• Movements to music, exercising various types of walking and running;
• Dance (round dance);
• Learning quatrains, accompanied by movements;
• Song accompanied by gestures;
• Speech therapy gymnastics (according to T.V. Budennaya);
• Mimic exercises;
• Massage (back, arms, legs, etc.) or eye exercises;
• Finger game;
• An active or communicative game.

Depending on the plot, the lesson may include relaxation exercises accompanied by music, pure speech, speech or musical games; classes to develop a sense of rhythm or attention.

The following tasks are implemented in the presented logorhythmic classes:

1. Clarification of articulation - the position of the lips, tongue, teeth when pronouncing the sound being studied;
2. Development of phonemic awareness and phonemic representations;
3. Expansion of vocabulary;
4. Development of auditory attention and visual memory;
5. Improving gross and fine motor skills;
6. Development of clear coordinated movements in conjunction with speech;
7. Development of melodic-intonation and prosodic components, creative imagination and imagination.

All exercises are carried out by imitation. Speech material is not pre-learned. During class, it is advisable for children to stand with the teacher in a circle or sit in a semicircle. This arrangement allows the children to clearly see the teacher, move and pronounce speech material synchronously with him.

It is advisable in the middle of the lesson to include an introduction to a new game from more complex categories - for the development of spatial imagination, logical analysis, classification, symbolization or verbal, creative games, which usually cause greater difficulties than all others. After this, it is good to include in the lesson a game related to movement, for example, from the rhythmic game section. At the next stage, musical, active, creative games are held. To relieve muscular and emotional tension, creative gymnastics is used, in particular, surface relaxation, which ends with playful self-massage or finger gymnastics. After these speech-motor exercises, instrumental music playing or play-dance is usually performed. The task of the final stage of the lesson is to maintain the positive emotional charge received. To do this, we use children's favorite game tasks. At the end of the lesson, the speech therapist sums up and evaluates the activities of each child.

Achieving effectiveness in correctional and developmental work is possible through the interaction of all participants in the pedagogical process, in particular the teacher - speech therapist and music director. The activities of teachers have much in common and are aimed at solving educational, educational and correctional problems.
In the system of correctional classes for children with speech disorders, music classes occupy a special place.
Object: a child with speech pathology.
The subject is various disorders of psychomotor functions and the system of movements in combination with music and words.
The goal is to overcome speech disorders through the development, education and correction of the motor sphere in combination with words and music.
Basic principles of interaction:
- classes are based on the general provisions of correctional and pedagogical work with preschoolers with developmental disabilities;
- classes are conducted systematically because only under this condition do preschoolers form and consolidate correct motor dynamic stereotypes;
- principle of comprehensive influence
- the principle of accessibility and individual approach. The content and didactic techniques for conducting joint classes are selected and implemented differentially, in accordance with the age of the children, the structure and composition of speech disorders;
- the principle of clarity;
- the principle of gradual complication of motor, speech and musical tasks.
Tasks:
Wellness:
Strengthen the musculoskeletal system.
Develop breathing.
Develop coordination of movements and motor functions.
Form correct posture.
Educational and upbringing:
To educate and develop a sense of rhythm, the ability to sense rhythmic expressiveness in music and movements.
To develop the ability to perceive musical images.
Improve personal qualities and a sense of teamwork.
Corrective:
Develop speech breathing.
Develop the articulatory apparatus.
Form prosodic components of speech.
Develop phonemic awareness.
Develop grammatical structure and coherent speech.
The main directions of correctional and developmental work:
Teacher speech therapist:
- staging diaphragmatic-speech breathing;
- strengthening the muscular apparatus of the speech organs through speech therapy massage;
- formation of an articulatory base to correct incorrectly pronounced sounds;
- correction of disturbed sounds, their automation and differentiation;
- development of phonemic perception, analysis and synthesis;
- improvement of the lexical and grammatical aspects of speech;

Learning the ability to coherently express one’s thoughts;

Literacy training, prevention of dysgraphia and dyslexia;

Development of the psychological basis of speech;

Improving fine motor skills;

Speech therapy of classes and routine moments.

Musical director:

Development and formation:

Auditory attention and auditory memory;

Optical-spatial representations;

Formation and consolidation of pronunciation skills;

Visual orientation to the interlocutor;

Coordination of movements;

Ability to convey a simple musical rhythmic pattern.

Upbringing:

Rate and rhythm of breathing and speech;

Oral praxis and voluntary facial motor skills;

Prosodics;

Phonemic hearing.

Forms and types of interaction between the music director and speech therapists:

Joint design of a plan for interaction between a speech therapist and a music director for the school year, its adjustment as common problems are solved;

Interaction Notebook;

Joint selection of methodological literature, manuals and repertoire;

Participation of a speech therapist in the preparation and conduct of themed entertainment, holidays, and open events;

Compiling card files of speech games, word games, etc.;

Speech by the music director at pedagogical councils on topics related to corrective exercises, word games, singing, etc. for the prevention of speech disorders;

The use of speech therapy chants, speech games, logorhythmic exercises, word games, finger games, dramatizations of fairy tales and songs, vocal and choral work in music classes, holidays and entertainment.

Modern goals and objectives of preschool education outlined in FGT cannot be realized by each participant in the pedagogical process individually. Therefore, the problem of cooperation between specialists and teachers in the context of the holistic development of the child must be solved in every kindergarten.

Thus, the joint correctional and developmental work of the teacher - speech therapist and music director successfully contributes to the improvement of the general emotional state of children, the development and correction of the motor sphere, the establishment of correct diaphragmatic-speech breathing, the development of strength, height, timbre of the voice, its expressiveness, sensory abilities of children with speech pathology, helps eliminate speech disorders and ensure the socialization of each child. And as a result of using a differentiated selection of techniques and content of correctional pedagogical influence, the process of speech correction and development is optimized.

Thanks to interaction, it was possible to establish continuity, which had a positive impact on the quality of work (85% of graduates went to school with clear speech), the time for correctional work was reduced by one third, and relapses were practically minimized.

Interaction between a speech therapist and a music director in correctional and educational work

If it’s difficult for you to speak -
music will always help!

In correctional work with children suffering from various speech defects, a positive role is played by joint classes of a speech therapist and a music director, which are a combination of a system of movements, musical background and vocabulary content. Indeed, in addition to correctional goals, an increase in efficiency in the development of non-speech and speech functions is achieved, which contributes to more intensive adaptation of children.

During such classes, speech development occurs through the synthesis of words, movement and music. Movement helps to comprehend the word. Word and music organize and regulate the motor sphere of children, which activates their cognitive activity, emotional sphere, and helps adapt to environmental conditions.

Joint correctional classes, on the one hand, eliminate impaired speech functions, and on the other, develop the child’s functional systems: breathing, vocal function, articulatory apparatus, voluntary attention in general, processes of memorization and reproduction of speech and motor material.

The interaction between the speech therapist and the music director is carried out in two directions:

1. correctional and developmental;

2. informational and advisory.

When carrying out their work, both the speech therapist and the music director must take into account:

Both the speech therapist and the music director have the same requirements for conducting joint classes with children.

Principles for constructing joint classes:

1. Classes are based on the general provisions of correctional pedagogical work with preschoolers with developmental disabilities

2. Classes are conducted systematically because Only under this condition do preschoolers form and consolidate correct motor dynamic stereotypes.

3. The principle of comprehensive influence

4. The principle of accessibility and individual approach. The content and didactic techniques for conducting joint classes are selected and implemented differentially, in accordance with the age of the children, the structure and composition of speech disorders.

5. The principle of clarity.

6. The principle of gradual complication of motor, speech and musical tasks.

We can identify the main tasks facing the speech therapist and music director when carrying out correctional and educational work. These are health, educational and correctional tasks.

Wellness

Educational

Corrective

Strengthen the musculoskeletal system.
Develop breathing.
Develop coordination of movements and motor functions.
Form correct posture.

To educate and develop a sense of rhythm, the ability to sense rhythmic expressiveness in music and movements.
To develop the ability to perceive musical images.
Improve personal qualities and a sense of teamwork.

Develop speech breathing.
Develop the articulatory apparatus.
Form prosodic components of speech.
Develop phonemic awareness.
Develop grammatical structure and coherent speech.

At the same time, each of the subjects of correctional and developmental work carries out the development of the following areas:

Teacher speech therapist:

Musical director:

Development and formation:

Upbringing:

The effectiveness of correctional work with children of speech therapy groups is determined by the clear organization of their stay in kindergarten, the correct distribution of the load during the day and continuity in the work of the speech therapist and other preschool specialists.

Forms and types of interaction between the music director and speech therapists.

Coordination plan for joint activities

Pedagogical tasks

Speech therapist

Musical director

Development of fine motor skills

Exercises with various didactic materials.
Finger games.

Playing children's musical instruments.
Dance moves.
Theater using bibabo puppets

Development of facial expressions

Face massage.
Gymnastics of facial muscles.
Arbitrary formation of certain facial poses.
The connection between facial expressions and intonation

Developing expressiveness in singing and dancing

Development of speech breathing

Tongue Twisters. Blowing exercises. Differentiation of oral and nasal breathing. Development of lower diaphragmatic breathing

Use of musical wind instruments. Chants. Breathing exercises in dance.

Sound gymnastics. Exercises to develop flexibility of the soft palate

Choral singing.
Movements with speech to music.
Using character roles.

Development of phonemic hearing

Reading poems highlighting phonemes. Distinguishing phonemes that are similar in method and place of formation and acoustic characteristics. Education of the acoustic-articulatory image of sound. Formation of speech control through acoustic control.

The use of chants. Choral and individual singing. Musical and rhythmic movements.

Articulation development

Exercises with a mirror.
Articulation gymnastics.
Pure talk.
Massage of the articulatory apparatus (individual)

Learning and singing songs. Singing songs with onomatopoeia

Development of grammatical structure of speech

Formation of word formation and inflection skills.
Overcoming agrammatism

Learning song lyrics. Dramatization.
Musical performances, dramatizations.
Puppet show.

Dictionary development

Developing an understanding of various speech structures and grammatical forms.
Development of nominal, predicative and adjective vocabulary.

Replenishment of the dictionary with musical terminology.
Enrichment of vocabulary during classes.

Development of dialogic speech

Formation of dialogue composition skills

Dramatization.
Puppet theater and bibabo dolls. Musical performances.

Development of monologue speech

Development of the child's desire to speak.
Developing skills in mastering monologue speech.

Learning lyrics

Development of communication skills

Psychological studies and communication games

Children's participation in musical performances.

Musical finger games for children of primary and senior preschool age.

1. Manipulation games: “Okay, okay" - the children clap their hands rhythmically, "Magpie - white-sided" - make circular movements with the index finger. “Finger-boy, where have you been?”, “We shared an orange”, “This finger wants to sleep”, “This finger is grandpa”, “One, two, three, four, who lives in my apartment”, “Fingers go "walk" - the child bends each finger in turn. He can perform these exercises independently or with the help of an adult. They develop imagination: the child sees one or another image in each finger.

2. Subject finger exercises “Fingers say hello” - the fingertips touch the thumb (right, left hand, two at the same time). “A flower is blooming” - fingers “appear” one after another from a clenched fist. “House” - we study parts of the body, feeling them tactilely. Wall, wall, (touch cheeks) Ceiling, (touch forehead) Two steps, (walk fingers over lips) Ring - bell! (press on the nose) This group also includes exercises that allow children to depict objects of transport and furniture, wild and domestic animals, birds, insects, trees,

3. Finger exercises combined with sound gymnastics in older preschool age. The child can alternately connect the fingers of each hand to each other, or straighten each finger in turn, or clench his fingers into a fist and unclench and at this time pronounce the sounds: b-p; etc; k-g.

4. Finger kinesiology exercises(“brain gymnastics”) With the help of such exercises, the work of the left hemisphere is compensated. Their implementation requires attention and concentration from the child. “Ring” is a good exercise to perform with a waltz (music in 3/4 time). Alternately move your fingers, connecting the index, middle, etc. into a ring with the thumb smoothly and alternately. The test is performed in direct (from the index finger to the little finger) and in the reverse (from the little finger to the index finger) order. First, the technique is performed with each hand separately, then together, then with the transition from one hand to the other - in this case, we start with the left little finger, reach the index finger, move to the right hand from the index finger, reach the little finger and return back to the left little finger. “Fist-rib-palm” - this exercise is good to perform under cheerful march music, for example, under the well-known song “Geese at Grandma’s”. The child is shown three positions of the hand on the plane of the table, successively replacing each other. Palm on the plane of the table; palm clenched into a fist; palm edge-on on the plane of the table. (You can conditionally call these gestures “stone”, “knife”, “paper” or whatever you like.) First, we learn to perform these movements with separate hands, then together, then with the transition from the left hand to the right. "Mirror drawing" Place a clean sheet of paper on the table (it should be large enough to avoid slipping), or tape it to the surface. Place a pencil or felt-tip pen in both of your baby's hands. Grasp his hands with your hands and begin to draw mirror-symmetrical drawings with both hands at the same time. It’s good to draw while listening to any calm, smooth music. Don’t forget to write captions on the drawing and read them later. “Symmetrical drawings” - draw mirror-symmetrical drawings in the air with both hands (it’s better to start with a round object: apple, watermelon, etc.) The main thing is that the child looks at his hand while “drawing”. “Horizontal figure eight” - draw in in the air in a horizontal plane the number eight three times - first with one hand, then with the other, then with both hands,

5. Finger exercises combined with self-massage of the hands and fingers. These exercises use traditional massage movements - kneading, rubbing, pressing, pinching (from the periphery to the center). In conclusion, I would like to note that consistent, systematic work on solving the problems of music education in combination with solving correctional problems develops children’s imagination, their creative activity, teaches a conscious attitude towards perceived music, emotional and dynamic understanding of movements, promotes the development and correction of the motor sphere , sensory abilities, helps prevent and eliminate speech disorders in children.