Logopedia" href="/text/category/logopediya/" rel="bookmark">logopedic deficiencies. Classes have a beneficial effect on mental functions: imagination, memory, thinking, speech.

We attach great importance to the protection of children's voices and health-saving technologies. The content of the program is built taking into account the characteristics of the children's voice, corresponds to the age, psychological capabilities of children.

The program plans to work with gifted children, which is aimed at the in-depth development of their vocal and performing abilities.

The program involves a repertoire that combines works of Russian and foreign classics, folklore and songs, musical fairy tales by contemporary authors.

The program includes the following sections.

2. Stage speech.

The subject "Musical theater" is designed for 2 hours a week.

Projected Results

1. Children will develop a strong interest in theatrical and musical activities, an emotionally positive attitude towards the role of the performer; enrichment and expansion of moral and artistic experience.

2. Children will acquire a detailed understanding of theatrical art, vocal performance, stage speech.

3. They will master the basic singing performance skills and be able to apply them when performing various musical works.

4. Children will have stage behavior skills that will allow them to successfully participate in theater festivals and competitions.

Section 2. THEMATIC EDUCATIONAL PLAN

	Topic name	Quantity
	Development of a singing installation Singing Breathing Skills Articulation Round vowel formation singing legato Purity of intonation of all steps of the mode Dynamic Shades (singing forte) Dynamic Shades (Singing Piano) Scenic speech Exercises that relieve muscle tension Mixed diaphragmatic breathing skills Vowel training Consonant practice. Classification Written and oral speech. letter and sound Vowel pronunciation Pronunciation of consonants Rules for logical reading of text. Logical accents Role work Preparing a musical performance Total for a year

* Several topics can be presented for one lesson (one for preliminary acquaintance, another for detailed study, the third for consolidating skills), so the indicated total number of hours should be understood as the time spent on the topic throughout the year.

This section helps to understand and realize what place and what role vocals play in musical theater, shows the synthesis of vocals and theater.

Vocal lessons provide an opportunity to actively participate in the performing process, develop musical abilities, develop musical ear and taste. Help the student to more fully reveal the image of his chosen character.

The child, with the help of musical expressiveness (sound science, articulation, strokes, nuances), conveys to the viewer the character of his hero, his emotions. But before the viewer sees all this, there is a huge joint work of teachers and students.

Develop in students:

*general cultural and musical level;

*professional singing skills;

*singing steady breathing on a support;

* evenness of sound throughout the entire range of the voice;

*high vocal position and precise intonation;

* diction skills, clear, clear articulation;

The moral education of children is carried out in the process of discussing the moral conflicts of the content of plays, poems, songs, discussing negative and positive life phenomena in the children's and adolescent environment.

Regular conversations are held with the children on how to protect their voice, if necessary, the children are sent for a consultation with a phoniatrist. In chanting and training, we use the "Healing Sounds" development (see Appendix 3) and Tibetan gymnastics (see Appendix 4). The involvement of parents in the educational process is welcome: invitations to performances, concerts, joint tea parties; attracting for tailoring costumes, decorating scenery. This contributes to the formation of a common interest of children and parents, serves as an emotional and spiritual closeness.

BIBLIOGRAPHY

METHODOLOGICAL LITERATURE

1. Zhinkin's speech. - M., 1958.

2. Cossack of stage speech. - M., 1974.

3. Ivanesov literary pronunciation. - M., 1972, 1984.

4. Culture of stage speech.// Ed. . - M., 1979.

5. Monardi and orthoepy. - M., 1967.

6. Peter's speech. - M., 1981.

7. Promptov director on poetic dramaturgy. - M., 1981.

8. Russian stage pronunciation.// Ed. N.I. Kuzmina. - M., 1986.

10. Stage speech. - M., 1955.

11. Stanislavsky actor above himself. - M., 1951.

12. Stage speech // Ed. . M., 1976.

13. Timofeev theory and history of Russian verse. - M., 1958.

14. Khvattsev. - M., 1959.

15. Grabbers of speech among schoolchildren. - M., 1958.

16. Chareli of the speech apparatus to sound. - M., 1976.

CHILDREN'S CHOIR COLLECTIONS

1. How Ryzhik learned to sing. - M .: Soviet composer, 1989.

2. Funny and funny songs / comp. - L .: Music, 1990.

3. Spring is coming. Songs and choirs on verses by F. Tyutchev, A. Maikov, A. Fet - M .: Muzyka, 1989.

4. Lark / comp. G. Struve. - M .: Music, 1975.

5. Kids sing the classics / comp. L. Afanasiev-Sheshukova - St. Petersburg, 1998.

6.Musical theater (Issue 1,2,3). Theatrical performances with piano accompaniment for children of primary and secondary age. - M .: Music, 1986.

7. School of choral singing. - M .: Music, 1986.

8. Choral class. – Manual for children's music schools and art schools. - M .: Soviet composer, 1988.

9. It's fun to walk with a song. Popular songs for children. - M: Music, 1991

10. Reader of Russian folk songs / comp. L. Mekanina - M .: Music, 1991.

Attachment 1.

REPERTOIRE LIST

FIRST YEAR WORKS

WORKS OF CLASSIC COMPOSERS

1. sl. nar. "Pussy".

2. sl. nar. "Shadow, shadow, sweat."

3. sl. nar. "Magpie".

4. sl. nar. "Lullaby".

5. sl. nar. "Rain, rain."

6. sl. nar. "Lambs".

FOLK SONGS

1. Russian folk. song "Like ours at the gate."

2. Russian folk. song "Bird".

3. Russian folk. song "Jump-jump".

4. Russian folk. song, ed. P. Tchaikovsky "Before the spring."

5. Russian folk. Song "Like thin ice"

WORKS OF MODERN COMPOSERS

1. "Wonderful Song".

2. "About frogs and a mosquito."

3. "These are the miracles."

4. "The cat is crying."

5. "A simple song."

6. "Chickens".

7. "Shishkovyak".

8. "Game of guests."

9. "About the lazy worm."

10. "It's nice and comfortable to sing."

11. "I can sing beautifully."

12. "Fashionista".

Appendix 2

GAMES - EXERCISES

Games - exercises can be used as a warm-up or training. The purpose of the exercises is theatrical and creative development (development of individual expressiveness and accuracy of the logic of actions, as well as the ability to work collectively).

1. "RELAY". Students should stand one after another as follows: as soon as the previous one sits down, the next one gets up. The order of getting up can be changed - in rows, from desk to desk, snake, alphabetically, etc. The main thing in the task is not to push, not to call, not to interfere in the work of another person. In this case, the teacher stops the chain because the specified condition is violated. Standing up can be replaced by passing claps.

The "relay race" is a collective exercise, in which everyone has their own duty, which must be completed on time. This "on time" is the only difficulty. Moreover, for the performer, the difficulty lies in correctly determining the moment when he himself needs to get up and sit down, and for the whole team - so as not to interfere in the work of everyone, wait patiently, do not rush, do not push, do not stop. This patient attitude towards each other in such a simple task turns out to be anything but simple.

For theatrical literacy in this exercise, complete independence in determining the moment of one's entry into a common cause, a feeling of dependence on each other is important.

2. "STAND ON THE FINGERS". It is explained to the students that, at the command of the teacher, as many people in the class should rise and stand as many people as the teacher shows fingers, this will be the signal to start the exercise. The teacher throws out a hand or two with the planned number of fingers and says: “One, two, three - freeze!” There should be as many students in the class as there were fingers thrown out. No one in the class knows how many people will have to stand up and who exactly from the class. Therefore, immediately after the task, how many fingers, how many people should stand up - each of the participants internally decides and externally determines the measure of his participation in the task. The exercise helps to activate the student's position in the lesson. On "excellent" the exercise is performed only if everyone is focused on the overall result. The willingness of everyone to stand up (if there are not enough people standing up) or immediately sit down (if he sees that there are more people standing up than necessary) effectively affects the general mood of each of the participants in the classes. Often in a group there are 2 - 3 students who get up every time, and 5 - 6 non-working. To make a change in the mood of each of them, the following measures should be taken: ask too active to get involved in work after 5-6 seconds. after the group's first attempt to complete the task; create a separate subgroup from the inactive ones and give a new task for this subgroup; you can divide the class into three groups and arrange a competition for reaction speed or even counting: group 1 - number, group 2 - number, group 3 - sum. For acting literacy in this exercise, a kind of mobilization of all workers is important. Readiness to act and not to move, all depending on what those around will do.

3. "SIMultaneously bow, clap your hands." The whole class at once or one row, one group is given the time during which the children must gather and, without any commands from either side, simultaneously clap their hands, and after some pause (for example, 3s) clap again, etc. Claps can be replaced by bowing to the waist, raising hands or jumping. The exercise is considered well performed when done simultaneously, when there is no ricochet in the claps or inconsistency in the movements.

Simultaneity is a high indicator of coordination of actions in a group, team. Theatrical performance art requires the ability to be independent and obey. Exercise trains submission to the general rhythm, movement. Learning to do things at the same time as others is an important skill in performing theater. The training of simultaneity, at first glance, suppresses the courage to be independent, but in reality only it prepares true courage and originality. Therefore, the “simultaneously” type of exercise is important and must be done at all stages of training. Moreover, for middle and low-endowed children, training at the same time is at first the only accessible and favorite form of activity, which should be taken into account when working with a full class.

4. "EXERCISE FOR THE MEMORY OF PHYSICAL ACTIONS (PFA)". The student performs manipulations with imaginary objects, that is, he acts exactly as he would act with real objects. The accuracy of the direction of gaze and attention, the nature of the muscular work of the arms, fingers, body, legs, back, neck, etc. are taken into account.

Exercises on PFD should occupy a fairly large place in the work with the class. The meaning of all exercises is to implement the correct (as in reality) distribution of attention and muscle tension when working with objects (not people): “Where are the eyes?” (where the gaze is directed - attention), “What muscles work?” (fingers, palm shoulder, abdominals, legs). Moreover, all this happens in a special way for every real object and for every real person. Generalization in the work of muscles and attention takes the exercises out of the realm of acting training into the realm of pantomime. It is easy to start the exercises, the children themselves choose objects and actions that they can perform from memory (open the bag, hammer in nails, etc.). Or the exercise is performed by the whole class with one object: a mop, a handkerchief, a chair, a decanter, a briefcase. Then the action chosen by the student is practiced with each student, and it is important that there is always the possibility of its real implementation. Only by acting with a real object, the teacher and students can check the correctness of the exercise and give advice. Later, it’s good to introduce paired tasks (carry a bucket, a log, a scoop and a broom, a tablecloth, play ball, pull, etc.), and then “voice” non-objective exercises. In choosing the tasks themselves, the dynamics is as follows: from the memory of the work of the fingers and the entire body to the complex switching of muscle tensions in all parts of the body; from straightforward simple attention to its switching. The theatrical meaning of PFD exercises is to fix in the mind of the student the fact of the subtle features of actions, their dependence on the characteristics of a person and a number of features of the object. The ability for theatrical art is manifested in the birth of an illusion, in the emergence from scratch of the reliability and truth of not only movements, but also feelings.

5. "WHERE WE HAVE BEEN, WE WILL NOT SAY, BUT WHAT WE DID - WE WILL SHOW." A traditional children's game, but in essence a group exercise for the memory of physical actions. In order for this game to have the character of a training game in theatrical art, it is necessary to specify the requirements for reliability, persuasiveness, similarity, recognizability, scrupulousness, accuracy of actions, feelings, dialogues, atmosphere. Of course, the game will not satisfy all these requirements, but emphasizing them will lead the children to perform a theatrical sketch.

6. "THE SAME IS DIFFERENT". Children are invited to raise their hand, sit, walk in different ways. For example, raise your hand when you want to be called and when you don't; sit at the TV, at the chessboard, at the lesson, at the concert, on the bus, on the plane. In the task, the “business” is first given - to walk, sit, wave your arms, listen, command, etc. The task itself can be performed in several versions by one person, or each performer plays only one option, and their set arises as the sum of different performances . Playing one version, but without repeating what the previous one played, is easier and at first well activates the imagination in the field of behavior. But when repeating similar tasks, it becomes too easy.

7. "DISCUSSION OF SEEING AND FANTASY" - two useful forms of work in the theatrical and creative and general education of children. We saw how “a person is walking”, and identified all the “suggested circumstances” associated with what they saw.

8. "TRANSFORMATION OF THE SUBJECT". If a chair is turned into a bus motor, then other students can become passengers, a conductor, an assistant locksmith, a fellow driver, etc. When the audience guesses about the content, place and time of the transformation, each of them can invent a role and business for themselves, but to make the transformation given by the first performer more complete and expressive.

9. "TURNED HIMSELF". A group of students (3-7) is invited to turn into bushes, trees, fruits, flowers, toys, tools, bread, etc. The task can be given in the form: “We are entering (pause, attention gathers) ... a sports store. One two Three". After the “three” command, each of the group depicts an object, changing their posture so that the body resembles the intended object. This exercise trains courage, imagination, ingenuity. For example, to portray a morel mushroom, the boy squats down, shrinks, stretches and makes a wrinkled face-grimace. The exercise is convenient for starting classes, it becomes more difficult along the line of more complex words of tasks.

10. "DIVIDE INTO TEAMS". All players are divided into pairs, at least by calculating the first and second. Then each pair offers the facilitator a choice: sun - rain; a train is an airplane, cabbage is an onion, etc. Moreover, these words should not be said, but played. Over time, it is possible to agree on the nature of words, for example, only animate or inanimate; adjectives, flowers, events, etc.

11. "TAKE A PARTNER, SWAP PLACES." “Taking a partner” means making eye contact with someone in the group. At the same time, you can’t use gestures, words, only catch a glance current in order to connect eye to eye. Then there are pairs of partners who can then be given any additional task - to change places, ask each other a question, one to stand up, the other to sit down, etc. This exercise is also convenient to ask when, for some reason, you need to quickly change the order of distribution of children in the classroom: “We took the eyes of a partner (pause). They left this partner, they took another. In any group work, it is important to be able to communicate carefully and calmly with each other. It is important to keep your attention on your partner and notice his attention to yourself. The beginning of this skill will be training to quickly link with a glance (look at each other). Those standing in a circle in front of the class and those sitting at their desks make eye contact and change places. Complicate: changing places, ask a question; swap places with chairs without rattling and knocking, etc.

12. "EXERCISES WITH CHAIRS" - the whole group on the command "Ready! Please!" at the same time he gets up, raising the chairs, puts them in the form of some kind of figure and sits down at the same time. For example: “We prepared to simultaneously place the chairs in a semicircle facing the door! Please!" It is important that there are no conversations during the execution of the task, no one is in command, everyone works at the same time, adapting to each other. Such a simple tool as a chair makes it possible to work out a high level of attention to each other, coherence of actions with a real opportunity to evaluate the progress and result of work.

13. "HANDS - LEGS". The group must accurately perform simple movements under the command of the teacher: raise their hands with one clap, stand up with two clap. If the rivers are already raised, then they need to be lowered one at a time, and if they are already standing, sit down at two claps. By changing the sequence and pace of the clapping, the teacher tries to bring down the students, training their composure. The exercise very effectively collects attention, it can be included in any type of work and in all stages and periods of training.

14. "SPAROWS - CROWS". The players are divided into two teams that face each other. The team named by the leader catches, the other team runs away. The leader says slowly: “Wo-o-o-ro-o ...” - at this moment they are ready to run away and catch. It is this moment of contradictory readiness that is important in the exercise.

15. "LIVING ALPHABET" - the leader distributes the letters of the alphabet among all students and sets a word, for example "fungus". After that, those guys whose letter is included in the word should come out on the clap and line up in the sequence of letters in the given word. A comma, a period can be indicated by a general clap of the hands.

16. "EVENLY OCCUPATE THE CLASS." On command, a group of students should be distributed at an equal distance from each other, occupying the entire free area of ​​\u200b\u200bthe room. None of the students knows in advance where he should stand. The exercise is performed without words.

17. "ABBREVIATIONS". Pupils are invited to give their decoding to the abbreviated names that can be seen on signs, covers - REM, SHDR ... An exercise in imagination, knowledge of the surrounding reality and intellectual development. To see the words behind the letters, and even organized among themselves into a name, is not so much a difficult task as an unexpected one. Children easily begin to joke and laugh, coming up with funny names. Restrictions should be introduced: “This is a name from the Land of Laughter, Tears, Animals, Stars, Trees,” etc.

18. "IN TRUTH AND FAKE". First, the real “case” is performed - to look for a hidden needle, then it is done for fun, i.e., the performer, knowing that there is no needle, looks for it in the same way as he was looking for it in truth. “Things” can be very different: aim and throw a ball at a target, wash walls, water flowers, sweep the floor, train: in truth, then for fun. An exercise that develops observation and the ability to find an explanation is the justification for all the features of a person’s behavior in given circumstances, engaged in a certain business. Comparison of how we "play" a situation and how it unfolds, is actually realized, is a necessary step in the development of performing theatrical culture. If you invite the student to play “we hid the pointer, find it”, he will do one thing, and if the pointer is really hidden, and the student will look for it in truth, then he will act in a completely different way. This difference is easy to see. And it is she who makes the children try to behave “in truth” under the conditions of “pretending”.

19. "REPEAT, DIFFER, COMPLETE". The introduction of these tasks (one by one or alternately, but all in one lesson) is of great importance for the formation of a performing culture and a creative approach. Any of the previous tasks can be associated with "repeat", that is, a student is called who must exactly repeat everything that another performer has done. For repetition, you can call not one, but two or three. It is possible that each next one repeats the previous one. Many tasks allow you to set a prerequisite - "distinguish yourself." This means that the next one should distinguish his work from the previous one as much as possible - do something wrong, wrong, differently, about something else. Finally, a number of exercises allows you to set the task of “complement” - to develop, expand, add something of your own to the work of the performer, which does not cross out, but complements his game. Exercises are important in any kind of collective work, and in the process of mastering the logic of actions, their features, i.e., educating perception skills, are extremely necessary. In order to repeat, supplement, excel in the performance of actions, they must be understood and fixed. "Repeat" is the central direction of attention at the first stage, at the second - "distinguish" at the third - "complete".

20. "RUNS, CATCHES, RUN." Each teaching shows these three types of running. Children find out the difference in the quality of actions (behavior) of each of the options. When completing the task, you should briefly get acquainted with the circumstances proposed by the performer: “Who are you?”, “From whom?”, “Why?”, “To whom are you running?”. At the first stage, it is important that three performances of each student excel. At the second stage - the same student plays different “runs away”: from the wave, from the ball, from the enemy, from the chase. At the third stage - pair studies: two run away, and what happens between them? One runs away, the other catches up. And what happened and how did it happen, how did it end?

21. GROUP EXIT. On command, the children go to speed so that the first do not slow down the last, so that there are no “traffic jams”. Over time, the task is complicated by the requirement of silence, up to absolute.

22. "Dance". The students, clasping their hands, “write” the letter given by the teacher in their round dance: B, E, G, O, I, P, L, R, V, etc. Before the beginning of the letter, everyone should stand in a chaotic order, each himself yourself. The exercise is easy to perform if the round dance is obedient and quick-witted, if the leader writes well. The exercise gives a good warm-up, coordination of movements and a clear result.

23. "PHRASE FROM WORDS". The host calls any set of words: “ladder, person, clock” (it is better to make sets based on some real situation surrounding you). Students are invited to make a sentence, a picture from one sentence, in which all the given words would be. It is allowed to change the cases and tense of given words. Even an unexpected set of words develops easily if the words are light, from everyday life (sparrow, stairs, candy, bow, cold), and much more difficult when words are involved that the teacher wants to introduce into the everyday life of children (premier, role, rehearsal, pause, audience, applause, fantasy, reflected). To enrich the speech of children, this form of training is very useful.

24. "NOISES". Students determine "what, where, when" by the "noises" that one or two students invisible to the class emit. The reproduction of a life picture, the situation of an episode, circumstances, an event can be reduced to the reproduction of the sounds included in the picture. You can set the name of the sketch in one or more options: morning at the sea, night in the forest, at the dentist's. You can play puzzles. The performer or performers play an etude, the class listens and tries to determine "where it was." A collective study requires a sufficient measure of composure, interconnection, seriousness, and clarity in work. Often children start with the etudes “In the Morning”, “Birdyard”, “At the Zoo” and gradually invent and play the etudes “Mosquito on the Night Train”, “Accident on the Highway”, “City Street”.

25. PICTURE OUTSIDE THE WINDOW. The task is given to write down or tell what you see now outside the window. The description should be understandable, clear, so that the listener can later give an account of what is behind him, and all others can check the quality of the description based on his story. After such a report, the listener is allowed to turn, look and tell as he would do it himself. Each of us sees something specific, the difference of “visions” is an important point in artistic practice. At the first stage, you can describe what you see outside the window or saw along the road. At the second stage - what they see behind the word, phrase, text. On the third - for the words of the play, dramaturgy. Vision from reality, picturesqueness must reach the vision of the plot, the logic of behavior, character, image.

26. "WEIGHT". A person’s different feeling of his weight depends on his well-being, mood: joy, jubilation give a feeling of weightlessness, flight, lightness. This state is indicated by the number "one". With the “one” command, all children turn into lungs, with the “two” command, they turn into solid, but happy ones; "three" - dissatisfied, boring, tired, offended, upset; “four” - everyone became heavy to the point of impotence, even their heads can’t hold, the body is filled with lead, it’s hard to stand up, raise your hand.

27. "ANIMALS" - domestic, wild. Zoo. Pets' corner. Aviary. Children invent, transform, the audience guesses. Playing animals is one of the most traditional forms of mastering the elements of acting. Faith, courage, play as such, observation - these are the components of transformations into animals. For children, it is interesting not only to play an animal, but also to distinguish the behavior, habits, features of domestic, wild animals and animals in the zoo.

28. "ROOM TRANSFORMATION". Like the exercise of transforming things, it involves the implementation of appropriate actions. The student does something in the room, and we understand that this is no longer a room, but a forest, for example, or a train station, etc. We consider this exercise the central theatrical task of the first stage of acquaintance with acting. Since in class conditions one cannot rely on anything other than the "logic of action" to turn the class into a bus or a museum, the central phenomenon of the theater - action - comes to the fore both in the implementation and in the evaluation of the performance of the task.

The work steps are usually:

initial trials;

Analysis of the result and the formation of wishes for more perfect transformations;

Drawing up a plan-order-idea with a list of necessary cases and participants;

Implementation of one of the plans by the whole group;

Isolation of the playwright, director, actors, spectators.

Already at the last two stages, a new level of the game of transformation arises, since "help" requires the preservation of the plan and the coordination of actions. One performer successfully copes with the transformation of the class into a swamp, into a museum, into a forest. But in each case it is easy to imagine the collective accomplishment of the same task: one wanders through the forest, another frightens him by hiding behind the trees, a third meets him and asks for directions, a fourth plays a hare, a fifth plays a bird, and so on. it is useful to isolate the duties of those who help. Usually the group offers the following types of "help in transformation": I will make noise design, I will depict scenery (trees, bushes, houses); I will also do something in this place (walk in the forest, climb through the swamp ...); I will be an opponent (bear, director of the museum); I will be an assistant partner (grandfather, who teaches to look for mushrooms; mother, who shows pictures of nature and explains). All these types of assistance are based on different theatrical professions in their purpose - to create conditions for the artist to work.

29. "So and not so." The game consists of paired cards, on which the same situation is drawn in two versions of its living: the correct and incorrect type of behavior. Shuffled cards are distributed to all students, children are invited to raise their hands, who have pictures depicting "wrong" behavior. One is called and tells the class how not to behave what his picture is about. Children listen and look for the opposite among their cards. The one who got such a card continues the conversation: he already tells how to behave in such a situation. And so on. The first stage of the game is just getting to know the courtesy rules embedded in its set. The second is the acting performance of the situations set by the game. At the third stage, the set of rules should be expanded, including the inclusion of rules for communicating with theatrical art. By playing bad behavior well, the student, as it were, receives an inoculation against such behavior in the future.

30. "ON THE FIVE SENSES". Attention to the work of each of the senses - sight, hearing, taste, smell, touch - is manifested in human behavior. We will always distinguish the behavior of a person who has seen or is looking at something from the behavior of a person who has smelled (for example, burnt milk or something pleasant). A person also has a special behavior when he tastes or relishes his favorite sweet. This is what you need to play. Etudes can be set for one, two, three, four, five senses. Everyone can invent the place and circumstance of the action, the main requirement for children is to truly live a piece of a fictional story. Such etudes can be played as separate scenes even in front of an audience.

Appendix 3

HEALING SOUNDS

The beneficial effect of singing on the body has long been known. Singing requires lower diaphragmatic breathing from us, which is very healthy. Sound, due to its wave nature, can affect cells and change their activity.

Long and drawn-out singing of the sound “I” stimulates the brain, eyes and nose. They can treat runny noses, sinusitis and inflammation of the eyes. It stimulates the pituitary gland, the thyroid gland. When a person sings this sound for a long time, he begins to feel joyful excitement. This is a good remedy for bad mood.

The sound "U" fills a person with wisdom. Singing a sound gives a surge of strength and energy for vigorous activity, enhances the dynamics of his life. The sound "A" stimulates the upper part of the lungs.

A long “A” cleanses a person, relieves stress, enhances creative possibilities and their realization.

The sound "E" has a harmonizing effect. When singing a sound, the throat and trachea are stimulated. Singing a sound tunes in to a feeling of love for the world and people, gives a feeling of stability, peace and satisfaction.

Singing the sound "E" makes a person sociable, enhances intelligence and enterprise.

The sound "Yu" has a beneficial effect on the kidneys, relieves pain spasms. Singing this sound opens up new horizons in life, promotes well-being.

The sound "O" is the main harmonizing sound. The more “O” sound in the words, the more harmony. Singing a sound helps to concentrate on something, structures the mind, allowing you to focus on the main thing.

The very important sound "NG" helps to tune in to information that contributes to the achievement of the goal, expands the creative possibilities of a person.

Pronouncing the sound "MN" simplifies life. These vibrations seem to split everything into its component parts, we begin to see separate fragments that are easier to understand.

Singing the sounds "YuYa" helps to adapt to the social environment without losing one's individuality.

The sound "Ya" has a beneficial effect on the heart.

The sound of "PA" activates the work of the heart in a sparing mode. Stimulates the activation of thinking and gives self-confidence.

The sound "HA" produces a cleansing effect, has a beneficial effect on breathing.

Appendix 4

TIBETAN GYMNASTICS

1. Strongly massage the ears with pressed palms from top to bottom and from bottom to top 42 times. In this case, the thumbs massage the back of the neck, below the ears. Exercise improves memory.

2. With the tips of your index fingers, massage the tragus at a fast pace 42 times. Exercise normalizes blood pressure.

3. Insert index fingers into the ear passages and “pour out” water from the ears with 42 vibrations. Exercise prevents and cures deafness.

4. With the back of the thumbs bent fingers 42 in circles towards the nose, massage the eyeballs. Relieves tension, prevents and treats glaucoma and cataracts.

5. Exercise "Chakras". Inhaling through the nose, strongly inflate the stomach. Then exhale twice as long as inhalation through the mouth - lips with a tube, with the sounds: "fu-fu-fu ..." Take such breaths 42 times. Restores the work of the main respiratory abdominal muscle, treats asthma, bronchitis, improves the functioning of internal organs.

6. Massage the abdomen with palms: 42 circles clockwise and 42 circles counterclockwise.

7. With your fingertips, massage the scalp vigorously - from the ears to the top of the head and from the forehead and back of the head to the top of the head 42 times. Improves memory, helps with headaches.

8. Press your ears with your palms and “hit” the back of the head 42 times with your fingertips. Exercise treats deafness, relieves headaches, lowers blood pressure.

9. Hands are clasped in a lock on the back of the head. Head in place, and hands to the right - to the left 42 times. Helps with osteochondrosis.

10. Standing, feet shoulder width apart, arms to the sides. Make 12 or 22 axial rotary movements to the right and left. Prevention of osteochondrosis.

11. Massage the “points of life” daily for at least 5 minutes - it is located three fingers placed across the fingers below the kneecaps, on the outside of the knee. Normalizes metabolism and strengthens the immune system.

Maria Kirilova

Novelty: One of the most popular types of arts and crafts creativity is sculpting. Today such material as salty dough become more and more popular in our country, successfully competing with traditional materials - clay and plasticine. In working with it, many are attracted not so much by its availability and relative cheapness, but by the endless possibilities that this material provides for creativity. Products made from this material, unlike plasticine, are durable and do not require expensive processing fired like pottery. Also, salty dough in many respects (first of all, technical and, of course, environmental) surpasses the popular polymer clay abroad, which has appeared on the shelves of our stores for a long time. The implementation of the course allows not only to satisfy formed needs of the population, but also to create conditions for the development of the child's personality, ensure his emotional well-being, introduce him to universal values, create conditions for creative self-realization, to teach tolerant behavior, respect and tolerance.

Target: The development of an aesthetic attitude and artistic abilities in children of senior preschool age in pictorial activities using technology testoplasty.

Tasks:

Contribute to the development of artistic perception of life;

Clarify ideas about the surrounding life;

To form the ability to perceive and reproduce objects of complex shape;

Promote development creative abilities in progress images of objects, phenomena and states of the surrounding world, in the choice pictorial materials.

To form the ability to convey the shape, structure of an object and its parts; the color of the object, using paints of spectral, warm, cold, contrasting colors, different shades and different tonality; the correct proportions of objects;

Encourage the development of compositional skills image groups of objects or plot.

Exercise the hand, fixing the correct position when drawing horizontal and vertical lines with paints.

Contribute to the development of the techniques of modeling from test: the presence of many small details;

Encourage the desire to make your work beautiful, meaningful, expressive.

To promote the cooperation of children in the performance of collective work, which can be based on both plot and decorative images, correlating the ideas and actions of children; encourage them to use different techniques in modeling and painting.

Result:

1. Creation creative workshop for older preschool children

2. Improvement visual activity of children: children independently determine the idea, create an expressive image, independently select impressions, experiences to determine the plot, choose the most appropriate image graphic techniques and materials plan activities, achieve results and evaluate them.

3. The manifestation of activity and independence of children in visual activity.

4. Children's products activities: medallion "Letter cap", "Wonder Buns", "Gifts of Autumn" still life, modeling according to plan.

Working with parents:

Creation of conditions in the group for the implementation of the KOP " Droplets of creativity.

Facilitate the involvement of parents in the creation salt dough patterns at home through interviews and individual consultations.

long term plan (preparatory group)

1 Lesson.

Medallion "Letter cap"(manufacturing)

Tasks:

1. Introduce children to the technology of making salty test; with the features of sculpting from test; the presence of many small details; twisting, stretching, interlacing parts; gluing.

2. Teaching children to sculpt a medallion "Letter cap".

3. To educate children in accuracy when doing work.

4. Familiarize children with testoplasty as a form of decorative art.

5. To interest children, to evoke an emotional response in them, a desire to sculpt and paint decorative items.

Equipment:

Cooking algorithm

salty test. Flour, salt, water, vegetable oil, board, rolling pin, stacks, brush.

Illustrations, Photos,

Ready. decor. products from test, fairy tale character "Kolobok".

2 Lesson.

Medallion "Letter cap"(painting)

Tasks:

1. To acquaint with the painting of the finished product.

2. Master the technique of dense painting.

Equipment:

Dried products - medallions, gouache paints, brushes No. 2 and 5, water, lace.

3 Lesson. "Wonder Buns".(manufacturing)

Tasks:

1. Introduce children to the manufacture of bakery products.

2. Introduce children to small sculpture.

3. Learn to sculpt different shapes (drying, buns) from a whole piece test

4. Learn to convey the form, proportions.

Equipment:

Illustrations of products from test, a game "Looks like, doesn't look like", models of bakery products, sculptures of small forms, ready-made salted dough, stacks, brushes №3, water, board.

4 Lesson. "Wonder Buns".

Tasks:

1. Finish the watercolor sculpture.

2. Develop figurative perception, sense of color.

3. To educate children in an emotional attitude when perceiving ready-made images.

4. Finish work on the products by painting it with paints.

Equipment:

Illustrations from a fairy tale "Spikelet", watercolor, brushes No. 2 and 5, water.

5 Lesson.

panel "Gifts of Autumn".(manufacturing)

Tasks:

1. Introduce the concept "still life".

2. Learn to create a composition using composition construction schemes.

3. Strengthen the skills to sculpt different shapes (cucumber, carrot, pea, garlic) from a whole piece test, convey the features of each of them.

4. Develop imagination when creating a composition

Equipment:

Still life illustrations, composition schemes, game "Make a Still Life", technological

cooking map test, riddles about vegetables, vegetables, ready dough, board, stacks, rolling pin, water, brush.

6 Lesson. panel "Gifts of Autumn". (painting)

Tasks:

1. Introduce the concept of tonality

2. Develop aesthetic perception, a sense of color

3. Teach children to finish what they started

4. To educate children in an emotional attitude when perceiving pictures.

5. Finish work on the panel by painting it with paints.

Equipment:

A game "Make no mistake", color scheme, illustrations with picture of vegetables, gouache, brush, water.

7 Lesson. "Fantasy world".

Tasks:

1. Practice in the practical application of the acquired skills.

2. Develop aesthetic taste and creation.

3. Strengthen the ability to sculpt small details.

Equipment:

Sequence diagrams for work, tools for work, colored dough, board.

Municipal autonomous educational institution

2. Technique weaving on wire

Types of weaving loops, Parallel loops, needle weaving, circular technique.

Practical lessons. Weaving bracelets. "Tsvetkov".

3.Beaded flowers

Theoretical information. The main beading techniques used for making flowers are: parallel, looped, needle weaving, stringing with arcs. Combination of tricks. Technique for performing the middle, petals, sepals, stamens, leaves. Model analysis. Sketching diagrams.

Practical work. Implementation of individual elements of colors. Assembly of products: brooches, a bouquet of flowers. Drawing up compositions of spring, summer, autumn and winter bouquets. Preparing the base of the decorative panel: wrapping the cardboard with a cloth. Attaching composition elements to the base. Decoration with flowers from beads of gifts and other items.

Final lesson.

Stages of product design. Requirements for the product during design, quality control of products. Types and composition of the ornament. Development of a sketch of compositions.

Practical lessons.

Making a product on a free topic. Selection of the best works of circle members. Registration of the final exhibition Summing up.

Equipment standards:

When working with beads:

For each student: Needles, nylon thread, scissors, colored beads, ruler, copper wire (thin).

Program provision.

Instruments:

Scissors, glass frame for stained glass,

Materials:

Paints on stained glass; beads, wire,

Methodological support.

Today, the pedagogical level should have all the methodological equipment for conducting classes in accordance with the requirements and methodological guidelines. The list of educational and methodological support includes educational methodological literature for students and teachers, a separate room for conducting group and individual classes. All equipment must be appropriate for this item, scissors, wire, glass frame, etc.

Methodological literature is available for each age category provided by the curriculum.

LITERATURE

1. "Beading" M.., 1997

2. Drawing. Obninsk, publishing house "Titul"

3. Painting. Obninsk, publishing house "Titul"

4. . Needlework.

5. Magazine "Lena needlework".

6. enechki and beads St. Petersburg, 1998.

8.Yu.Davydova. 2005

nine., . Studio of decorative and applied arts Edition 2008

10. . Folk arts and crafts. M, 1984

11. Magazine "Lena needlework"

12.. Needlework..

13. Painting on glass.

"Short-term additional educational program of the specialized detachment "Playing to Know" Age of children -7 - 12 years Implementation period - 1 month..."

Short-term additional educational

profile squad program

"Playing to know"

Age of children -7 - 12 years

Implementation period - 1 month

Compiled by:

Gorbunova Olga Yurievna,

additional education teacher

MBOUDOD "GCIR"

Tolyatti

Passport of the educational program

Name of the program Short-term additional education

the program of the summer specialized detachment "Playing to know"

Institution, MBOUDOD TsDODD "Humanitarian Center Implementing the Program of Intellectual Development" of the city district of Togliatti Address: 445012, Togliatti, st. Kommunisticheskaya, 87A, tel.

It is designed for younger students and is aimed at the formation of their cognitive interests, health promotion and leisure activities during the summer holidays.

The main idea that unites both the content of each individual day and the course as a whole is to immerse children in a situation of joint play, when the fulfillment of the game conditions, the full enjoyment of the game provides not only pleasure, but also development, improvement of skills, qualities, abilities Year of development 2014 G.

programs By whom and when approved Based on the decision of the pedagogical council. Protocol program No. 4 dated May 15, 2014

The program was adopted on the basis of the decision of the Methodological Council. Implementation Protocol in the new No. 4 dated 12.05.2015

academic year Orientation of the socio-pedagogical program Direction (type) of gaming activity Type of program by authorship degree Coverage of children by age 7-12 years old groups of different ages Type of program by subject method of organizing content Implementation period 1 month of the program

Program reviewers:

EXPLANATORY NOTE

The short-term additional educational program "Playing the Knowledge" of a socio-pedagogical orientation is an integral part of the educational program of the MBOUDOD "Humanitarian Center for Intellectual Development" in the city of Togliatti and makes it possible to organize cognitive leisure for children 7-14 years old in the summer on the basis of a daytime school camp.

Many children attend summer school camps and playgrounds. In addition to supervision, such a playground should provide children with interesting and meaningful activities. During the school year, children have accumulated a certain amount of fatigue, reduced motivation for learning. Good weather and a lot of objective distractions also impose certain restrictions both on the selection of the content of the work, and on the nature and methods of teaching in general. To solve this problem, the game was chosen as the main form of work, which included both educational and developmental content.

The main idea that unites both the content of each individual day and the course as a whole is to immerse children in a situation of joint play, when the fulfillment of the game conditions, the full living of the game provides not only pleasure, but also development, improvement of skills, qualities, abilities.

The purpose of the program is to provide meaningful and useful leisure time for children in a summer day camp.

Work tasks:

Contribute to the development of valuable personality traits of children, characteristics 1.

cognitive processes.

To teach children new games that are highly conducive to development in 2.

leisure activities.

Provide emotional comfort and interest to children involved in the program.

Contribute to the actualization, systematization, enrichment of children's knowledge in 4.

some (thematic) areas of reality.

Contribute to the formation of friendly relations, the development of the children's team.

Organizational bases of the program The program was created to provide educational leisure for children in the day camp. The duration of the program is one camp shift (18 days).

Daily classes with children for 2 hours are supposed. Thus, the total number of hours for the program is 36 hours.

Group formation procedure: The group is formed on a voluntary basis from students of different ages attending a school day camp.

The group size is up to 18 people.

Age of students: from 7 to 12 years. It is supposed to operate a group of different ages.

The beginning and end of classes is coordinated with the administration of the day camp, on the basis of which the detachment operates.

Classes - five times a week for 2 hours. The weekly load on the child is 10 hours.

Forms and methods of classes In the implementation of the program, various forms are used: a game, training, competition, a quiz, independent work, creative work, etc.

Methods: various methods are used, which can be conditionally grouped according to the source of knowledge:

Verbal (oral presentation, conversation, story, fairy tale);

Visual (examples, samples, illustrations and demonstrations);

Practical (games, exercises, sketches, creative works, drawing, etc.).

Organizational forms of work: frontal (training format), in subgroups.

Planned results of the program development:

As a result of mastering the program "Playing to Know", students should acquire the following knowledge and skills, gain experience:

update, systematize, acquire some knowledge and ideas about emotions, etiquette, creativity, etc.;

get acquainted with new games and exercises with which you can diversify your leisure time;

improve individual characteristics of cognitive processes - attention, memory, thinking, imagination;

gain experience of emotional communication with peers.

Evaluation of the results of mastering the program is carried out in the form of included pedagogical observation in the classroom and analysis of the results of games-competitions.

Summing up the results of the program implementation

Reflective tasks and recall exercises - what we learned, what we did.

Self-assessment for the work in the shift according to the criteria.

EDUCATIONAL AND THEMATIC PLAN

–  –  –

Section 1. Introductory lessons Topic 1.1. Introductory lessons. Acquaintance.

Theory. Safety rules in the classroom.

Practice. Games for getting to know each other, remembering the name, learning each other. A mobile game for cohesion, group formation.

Theory. How can we develop through the game.

Practice. Quiz "About everything in the world", completing tasks for the speed of thinking.

Section 2. Treasure chest Topic 2.

1. Crosswords and puzzles.

Theory. Crossword rules. Rules for compiling puzzles.

Practice. Team compilation of crossword puzzles based on famous fairy tales. Team drawing up puzzles about the nature of the native land. The game "Red Book": compiling and presenting a crossword puzzle and a rebus about an animal, a story about it (using reference literature). Compilation of the book, preparation of illustrations.

Topic 2.2.

Treasure chest: encryption and coding.

Theory. Encryption and coding.

Practice. The game "Treasure Chest": compiling and solving ciphers and cards. Treasure search.

Topic 2.3.

Games on a piece of paper.

Theory. Game rules on a sheet of paper.

Practice. Education and games "Tic-tac-toe", "Sea battle", "Triangles", "Finish the word", etc. Conducting championships in these types of games.

Topic 2.4.

Adventures of Karik and Vali.

Topic 2.5.

Uninhabited island.

Practice. Team game for the development of creativity and communication. List of five necessary things - discussion. What to build a house from, how to make a fire ....

Encrypted letter for help. "For" and "against" living on a desert island - who is more. Sports mini-competition.

Section 3. Question for backfill Topic 3.

1. Team quiz games.

Theory. Quiz rules: question-answer.

Practice. Completion of assignments, self-compilation of assignments (using reference literature) on various topics: the Russian language, literary works and heroes, etiquette rules, mathematics. Thinking up and staging situations. We solve modern and ancient problems. Presentation and "playing out" of arithmetic operations.

Topic 3.2.

Such fun physics.

Theory. World around us.

Practice. Performing (on commands) elementary experiments and explaining them. Search for physical phenomena and objects in the environment. Creativity - how this phenomenon could be applied in the economy of the future.

Topic 3.3.

History and sights of the city of Tolyatti.

Theory. History and sights of the city of Tolyatti.

Practice. It is held in the form of "intellectual hockey" (children collectively prepare questions, ask for speed). Compiling a rating of the most famous, beautiful, clean, etc. city ​​places.

Topic 3.4.

Walking with dinosaurs.

Theory. The distant past of the planet Earth.

Practice. Several people are preparing stories and illustrations in advance about nature, dinosaur species, extinction, and so on. Listeners ask questions. Game for creativity "If you combine a ball (book, table) and a dinosaur, you get ....". Making a dinosaur from a sheet of paper using the cutting method, an exhibition.

Topic 3.5.

Tricky question.

Theory. Teamwork.

Practice. Team game according to the format of the TV show “Own Game”, “Who Wants to Be a Millionaire”, “Clever and Clever Girls”.

Section 4. Final lessons Topic 4.

1. Final lessons.

Parting.

Reflective tasks and recall exercises - what we learned, what we did. Writing encrypted letters to each other with wishes. Self-assessment for the work in the shift according to the criteria.

METHODOLOGICAL SUPPORT OF THE PROGRAM

Literature for the teacher:

Afanasiev, S.P. Three hundred creative competitions. / S.P. Afanasiev, S.V. Comorin. – M.:

Methodological center "Variant", 1997. - 112 p.

Kovalenko, V.I. Younger schoolchildren after lessons: 750 educational games, exercises, 2.

physical education minutes .. / V.I. Kovalenko. - M. : Eksmo, 2007. - 336 p.

Kupriyanov, B.V. Organization and methodology of games with teenagers / B.V.

Kupriyanov, M.I. Rozhkov, I.I. Frishman. - M. : Vlados, 2001. - 215 p.

Myers, B. Intellectual games. Logic games for children / Bernard Meyers. – M.:

Eksmo-Press, 2013. - 80 p. - (Logical games).

Nikitin, B.P. Steps of creativity, or Educational games / B.P. Nikitin - M.:

Enlightenment, 1990. - 160 p.

Popova, E.N. Imagine: Let's play - let's dream: a book for developing the imagination. / 6.

E.N. Popova, I.Yu. Matyugin, E.I. Chakaberia. - Volgograd: Teacher, 2001. - 76 p. – (School of development of memory and imagination).

Sharygin, I.F. Lessons from grandfather Gavrila, or Educational holidays / I. F. Sharygin M. : Bustard, 2009. - 156 p.

Shaulskaya, N.A. Shall we play erudite? Ideas for school quizzes and olympiads. / 8.

N.A. Shaulskaya. - Rostov-on-Don: Phoenix, 2008. - 224 p. - (Series "Hello, school!").

Shaulskaya, N.A. Questions for smart people and smart girls for elementary school. / ON THE. Shaulskaya. Rostov-on-Don: Phoenix, 2013. - 288 p. - (Series "Hello, school!").

Shmakov, S.A. From the game to self-education: Collection of games - corrections. / S.A. Shmakov, N.Ya.

Bezborodov. - M. : New School, 1995. - 80 p.

Internet resources http://summercamp.ru/index - MethodWiki site for counselors.

http://tak-to-ent.net/load/121-1-0-1249 Summer camp games.

http://www.trepsy.net/ psychological exercises for trainings.

Didactic and visual materials for students:

A selection of books, pictures, reproductions illustrating theoretical material 1.

Media presentations on the topics of classes.

Materials for conducting quizzes and games-competitions "Own game", "Who wants 3.

become a millionaire”, “Clever and clever”.

Task cards.

Logistics

1) Game room equipped with tables, chairs, cabinets. Requirements for the premises: for the implementation of the program, a sufficiently large room is required.

The space will be repeatedly rebuilt - it should be possible to move desks, line up chairs in a circle.

2) Equipment and materials necessary for the implementation of the program:

2.1. multimedia projection installation;

2.2. digital camera;

2.3. printer black and white, color;

2.4. Xerox;

2.5. tape recorder with music recordings;

2.6. clock or stopwatch.

3) Game props for organizing games: board games "Gyenesh Blocks", "Scrabbles", etc., counting sticks, clothespins, different balls for games, a ball of thread, soft toys.

4) Materials for children's creativity: watercolor, gouache, pastel, white and colored paper and cardboard, glue, drawing paper, a set of pencils, paper tape, scissors.

five). Stationery: pens, pencils, markers, proofreaders; paper of different types and formats (A1, A2, A3, A4, whatman, xerox); glue, scissors, staplers; files, folders, buttons, crayons, magnets, etc.

6). Souvenir products for rewarding the best players, the best teams in game championships and competitions.

LIST OF REFERENCES used in compiling the program

1. Afanasiev, S.P. Cheerful holidays: Handbook of the educator. / S.P. Afanasiev. M. : AST - PRESS BOOK, 2004. - 288 p.

2. Afanasiev, S.P. What to do with children in a country camp. / S.P. Afanasiev, S.V.

Komorin, A.I. Timonin. - 3rd ed. - Kostroma: LLC MC "Variant", 2001. - 223 p.

3. Ah, summer! : Work with children in summer country and school camps. / Auth., comp.

S.V. Savinova. - Volgograd: Teacher, 2003. - 77 p.

4. Bayborodova, L.V. Educational work in a children's country camp: Teaching aid / L.V. Baiborodova, M.I. Rozhkov. - Yaroslavl: Academy of Development, 2003. - 256 p.

5. Baryshnikova, G. B. Weekdays and holidays in a children's health camp: a counselor's reference book. / G. B. Baryshnikova. - Yaroslavl: Academy of Development, 2007. - 192 p.

6. Besova, M. A. Paddle games for a friendly detachment: holidays in a country camp / M. A.

Besov. - Yaroslavl: Academy of Development, 2006. - 160 p. - (After school).

7. Buylova L.N., Klenova N.V., Postnikov A.S. Methodological recommendations for the preparation of author's programs for additional education of children [Electronic resource] / Palace of Children and Youth Creativity. To help the teacher. – Access mode: http://doto.ucoz.ru/method/.

8. Children's health camp: educational space: Collection of articles to help the organizers of summer holidays and children's health improvement. / Comp. G.S. Sukhoveyko;

Ed. L.N. Ignatieva; Interregional public organization "Promotion of children's recreation". - M. : TsGL, 2006. - 152 p.

9. Kovalenko, V.I. Younger schoolchildren after lessons: 750 educational games, exercises, physical education minutes. / V.I. Kovalenko. - M. : Eksmo, 2007. - 336 p.

10. Summer health camp: mass events (theatrical, themed evenings, holidays, competitions, games, quizzes, sports competitions) / Comp. L.I. Trepetunova - Volgograd: Teacher, 2005. - 280 p.

11. Summer recreation camp: regulatory framework (planning, work program, job descriptions, security in school and country camps) / Comp. E.A. Gurbina - Volgograd: Teacher, 2006. - 197 p.

12. Marfina, S.V. Summer camp from A to Z. / S.V.Marfina. - Yaroslavl: Academy of Development, 2005. - 160 p. - (After school).

14. Decree of the Chief State Sanitary Doctor of the Russian Federation dated April 3, 2003 No. 27 “On the Enactment of Sanitary and Epidemiological Rules and Regulations SanPiN 2.4.4.1251-03” [Electronic resource] / Legislation, judicial practice. Norms, rules, standards of Russia. – Access mode: http://www.kodeks.ru/noframe/aids?d&nd=901859071&prev Doc =901909220. Pedagogical Director of the School of the Methodological Council of the Association / E.V. Petrova / teachers Protocol No. 1 Protocol No. 1 Order No. 26 on ... "I APPROVE: Head of the Pedagogical Council MBDOU "TOGUCHINSK KINDERGARTEN No. 2" MBDOU "TOGUCHINSK KINDERGARTEN No. 2" I.A. Shipovalova ""_20_g. ""20g. Protoko...»

"MINISTRY OF EDUCATION AND SCIENCE OF THE RUSSIAN FEDERATION Federal State Budgetary Educational Institution of Higher Professional Education "Tomsk State Pedagogical University" (TSPU) KZ.A. 03 CANDIDATE EXAM PROGRAM BASIC AND ADDITIONAL 09.00.13 PHILOSOPHICAL ANTHROPOLOGY, PHILOSOPHY OF CULTURE...»

«B.3.B.10 "Psychology of Physical Culture" Compiler of the annotation: Ph.D., Associate Professor Bobylev E.L. Department of Psychology The objectives of the study The objectives of mastering the discipline are: disciplines: to show future specialists the importance and content of the psychological aspect in the activities of a teacher of physical education ... "

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