Academic literature on the topic 'Singing while playing'
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Journal articles on the topic "Singing while playing"
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Gumiandari, Septi. "INTRODUCING ENGLISH TO EARLY CHILDHOOD THROUGH SINGING WITH THE TOTAL PHYSICAL RESPONSE METHOD." Acitya: Journal of Teaching and Education 3, no. 1 (January 30, 2021): 86–94. http://dx.doi.org/10.30650/ajte.v3i1.2138.
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Introducing English from an early age should be supported by adequate media and infrastructure. Learning should be arranged in such a way as to give birth to learning activities that are important and fun. Therefore, it requires perfect and efficient teaching methods. Research on "Introducing English to early childhood through singing with the TPR method" aims to introduce English by singing to early childhood at al-Hidayah Kindergarten, Greged District, Cirebon. The method used is a descriptive analysis of activities carried out by fostering the ability to recognize English in early childhood. The process is carried out using several methods such as singing while playing and singing, with movements using learning media. The conclusion is that by using the singing and playing method, early childhood children can easily recognize the vocabulary, and can accidentally add to the vocabulary of the child.
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Mubarak, Mahfuz Rizqi, Ahmadi Ahmadi, and Noor Amalina Audina. "KOMBINASI STRATEGI BERNYANYI DAN BERMAIN: UPAYA DALAM MENUMBUHKAN MOTIVASI MAHASISWA TADRIS BIOLOGI (TBG) DALAM PEMBELAJARAN BAHASA ARAB." ALSUNIYAT: Jurnal Penelitian Bahasa, Sastra, dan Budaya Arab 3, no. 1 (April 30, 2020): 15–31. http://dx.doi.org/10.17509/alsuniyat.v3i1.23996.
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This study aims to explore the process of lecturing Arabic by implementing a combination of singing and playing strategies. As for the main problems in this study are: (1) what is the process of implementing a combination of singing and playing strategies in Arabic lectures for Tadris Biology Study Program students? (2 how do their perceptions of the results of Arabic lectures by combining the two strategies?. This research uses a descriptive qualitative approach with triangulation techniques. The results of this study indicate that the implementation of a combination of singing and playing strategies uses the following steps: (1) The lecturer started the Arabic lecture by singing Arabic songs that the Lecturer got while still teaching Arabic at the Al-Azhar Pare Institute, Kediri, East Java, (2) The lecturer explained the theme of the material and the purpose of the lecture to be held, (3) The lecturer implemented the "Memory Game" which was adopted from the book "99 Games in Arabic Language Learning. Researchers also found that 80.6% (29 students) and 19.4% (7 students) of the 36 TBG study program students who participated in lectures gave very positive responses.
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Khoiruddin, Khoiruddin. "Pengenalan Bahasa Arab melalui Nyanyian pada Anak Usia Prasekolah di PAUD Terpadu Ihyaul Ulum Puncu Kediri Jatim." Jurnal Obsesi : Jurnal Pendidikan Anak Usia Dini 1, no. 1 (June 10, 2017): 12. http://dx.doi.org/10.31004/obsesi.v1i1.27.
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The purpose of the event is to introduce Arabic through singing at early childhood in Education Ihyaul Ulum Gadungan Puncu Kediri Integrated School, and know the process of learning to teach Arabic through singing. The research method used a descriptive analysis of the activities undertaken in an effort to improve the ability to recognize Arabic language in early childhood. The process is done by using several methods such as singing while playing and singing using the movement and singing using the learning media. The conclusion of this activity is; (1) through singing with the method of play is singing with the movement, then pre-school children can easily recognize the vocabulary of Arabic, (2) Kindergarten children have a high interest in knowing Arabic. This can be seen from children's enthusiasm when singing familiar Hymnic songs, and (3) The content of short songs and easy-to-use language so that students easily digest and
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Torppa, Ritva, Andrew Faulkner, Teija Kujala, Minna Huotilainen, and Jari Lipsanen. "Developmental Links Between Speech Perception in Noise, Singing, and Cortical Processing of Music in Children with Cochlear Implants." Music Perception 36, no. 2 (December 1, 2018): 156–74. http://dx.doi.org/10.1525/mp.2018.36.2.156.
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The perception of speech in noise is challenging for children with cochlear implants (CIs). Singing and musical instrument playing have been associated with improved auditory skills in normal-hearing (NH) children. Therefore, we assessed how children with CIs who sing informally develop in the perception of speech in noise compared to those who do not. We also sought evidence of links of speech perception in noise with MMN and P3a brain responses to musical sounds and studied effects of age and changes over a 14–17 month time period in the speech-in-noise performance of children with CIs. Compared to the NH group, the entire CI group was less tolerant of noise in speech perception, but both groups improved similarly. The CI singing group showed better speech-in-noise perception than the CI non-singing group. The perception of speech in noise in children with CIs was associated with the amplitude of MMN to a change of sound from piano to cymbal, and in the CI singing group only, with earlier P3a for changes in timbre. While our results cannot address causality, they suggest that singing and musical instrument playing may have a potential to enhance the perception of speech in noise in children with CIs.
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Suryati, Suryati, and Tri Wahyu Widodo. "SIGHT SINGING SEBAGAI STRATEGI PEMBELAJARAN INSTRUMEN PIANO DI PRODI PENDIDIKAN MUSIK ISI YOGYAKARTA." Resital: Jurnal Seni Pertunjukan 21, no. 2 (June 1, 2021): 99–112. http://dx.doi.org/10.24821/resital.v21i2.3379.
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Sight Singing is the ability to read the notation and immediately sing the tune in accordance with the melody on the sheet music. Sight Singing is the activity of singing with solmisasi or movabel "do". This study aims to improve the ability to read beam notation in learning mandatory piano instruments using the Sight Singing approach. The Mandatory Piano Instrument course is one of the practical courses that must be taken by all Music Education Study Program students, ISI Yogyakarta. Not all new students in Music Education Study Program can read the beam notation, so this Piano Compulsory Instrument course course is always feared by students who have not read fluent notation. Sight singing as a strategy to enhance the learning of Piano Mandatory Instruments. This research is focused on the application of Sight singing in learning Mandatory Piano Instruments in Music Education Study Program. This research uses Classroom Action Research which can be categorized as a qualitative-experimental research by applying the Sight singing method. The results of this study are the learning process of the Mandatory Piano Instrument with the application of the Sight singing method more effectively to improve the ability to learn to read notation while playing the Piano Instrument, and students can be more expressing, impressed singing by accompanying themselves.
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Yadnyawati, Ida Ayu Gde. "BUILDING CHILDREN’S CHARACTER THROUGH TRADITIONAL BALINESE GAME: MEGALA-GALAAN REVISITED." International Journal of Interreligious and Intercultural Studies 1, no. 1 (October 1, 2018): 62–70. http://dx.doi.org/10.32795/ijiis.vol1.iss1.2018.37.
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Character is the values of human behavior associated with God Almighty, self, fellow human, environment, and nationality embodied in thoughts, attitudes, feelings, words, and deeds based on religious norms, law, etiquette, culture, and customs. Character education, according to Thomas Lickona (1991), is the education to shape the personality of a person through character education, whose results that can be seen in the actual actions of a person that are considered good, honest, responsible, respectful of the rights of others, hard work, and others. Building the character of children can be done through a traditional Balinese game called megala-galaan. This game is often played with accompaniment of singing Goak Maling Taluh. The poem Goak Maling Taluh sound simple with rhythm or easy rhythm, and the author was still anonymous until now. Behind the simplicity of his poetry hides a deep philosophical meaning about the nature of karma phala. The megala-galaan game with the singing Goak Maling Taluh implementation of fun learning concepts, a traditional Balinese educational concept that emphasizes aspects of learning while playing, and playing while learning.
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Palupi, Warananingtyas, Ruli Hafidah, and Karsono Karsono. "SONG AND MOVEMENT AS MEDIA OF EARLY CHILDHOOD LANGUAGE DEVELOPMENT." Early Childhood Education and Development Journal 1, no. 1 (August 23, 2019): 12. http://dx.doi.org/10.20961/ecedj.v1i1.33020.
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The early childhood learning should cover many aspects of development, ranging from religious and moral values, social, emotional, cognitive, physical motor, linguistic and artistic. Song and Movement are still identified with motion. Early childhood learning is synonymous with singing, clapping and playing while active. Motion and song activities are very tightly attached and can not be separated, especially in providing learning to young children. Motion and song learning is an activity in playing while learning and learning through playing, so activities performed through motion/movement and song are expected to please the child as well as touch the development of language, sensitivity to the rhythm of music, motor development, confidence, and the courage to take risks. Through motion or movement and song, children learn to develop their linguistic ability, it is through listening song dan music rhythm, children develop their receptive ability in language. And children’ expressive ability in language is developed while children sing the song. Therefore, it is necessary for an activity that can train early childhood educators in giving stimulation to children through motion and song.
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Trollinger, Valerie L., and Robert T. Sataloff. "It’s All about the Voice . . . for Wind Instrumentalists, Too!" Music Educators Journal 105, no. 2 (December 2018): 36–42. http://dx.doi.org/10.1177/0027432118803430.
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While many music teachers are familiar with strategies to prevent damage due to vocal abuse or misuse, they are generally not acquainted with other vocal problems that can affect their own or their students’ singing ability. Such damage can also occur when playing a wind instrument. While vocal abuse and misuse are commonly understood in music education, problems (in children and adults) associated with laryngopharyngeal reflux (LPR), continuing unresolved issues in child voice pedagogy, and issues concerning protecting the larynx in young wind instrumentalists are not as well known to music educators. This article presents some new research of importance to music educators.
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Hidary, Richard. "Revisiting the Sabbath Laws in 4Q264a and Their Contribution to Early Halakha." Dead Sea Discoveries 22, no. 1 (April 17, 2015): 68–92. http://dx.doi.org/10.1163/15685179-12341312.
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This article evaluates the reconstruction of 4Q264a offered by Vered Noam and Elisha Qimron. While those scholars find precedent in this scroll fragment for later rabbinic and Karaitic Sabbath prohibitions regarding playing musical instruments, using fire, and reading Scripture, the current article argues that this reconstruction is anachronistic and has insufficient support in the text. Instead, this article supports previous scholars whose reconstructions of this fragment of Sabbath laws include a rule encouraging singing, a prohibition against using fire for cooking but not for other uses, and a requirement to study Scriptures on the Sabbath.
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Erlina, Erlina. "Mengenal Bahasa dan Budaya Asing dengan Bernyanyi dan Bermain Bersama Siswa SDN Desa Pantai Bahagia 02 Muara Gembong." Metahumaniora 7, no. 2 (September 3, 2017): 145. http://dx.doi.org/10.24198/metahumaniora.v7i2.18836.
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ABSTRAKAda banyak cara bagi anak-anak untuk belajar, salah satu diantaranya melalui bermaindan bernyanyi. Apapun yang mereka pelajari, metode ini dapat dianggap sebagai metode yangpaling efektif sekaligus menyenangkan. Karena bermain dan bernyanyi adalah bagian darikehidupan anak-anak, masa kanak-kanak, dinamika belajar ini sesuai untuk mengembangkandaya pikir anak-anak melalui tawa ria. Tak ada yang harus mereka khawatirkan, tak perlumenghapalkan aturan-aturan dalam tatabahasa, tak harus menghapalkan kosa kata yangrumit; mereka dapat melupakan semua kesulitan yang dapat membayangi keceriaanmereka tersebut, yang perlu mereka lakukan hanyalah untuk bergabung bersama dengananak-anak lain untuk mengulangi syair-syair yang dinyanyikan, mengikuti gerakan-gerakanyang dicontohkan sambil bernyanyi riang. Ada lebih dari lima puluh siswa sekolah dasar,dari SDN 02, Desa Pantai Bahagia, Muara Gembong, turut berpartisipasi di lokasi tempatpelaksanaan Pengabdian Kepada Masyarakat se Universitas Padjadjaran SuperCamp 2017untuk mengikuti pengenalan bahasa dan budaya asing. Pengenalan bahasa dan budaya asingmelalui bermain dan bernyanyi ini sebagai bagian dari wujud nyata pengabdian masyarakatFakultas Ilmu Budaya Universitas Padjadjaran memperlihatkan efek-efek yang positif;anak-anak berpartisipasi penuh karena mereka menganggap mereka tidak sedang belajartapi sedang bermain, mereka paham apa yang harus mereka lakukan meskipun instruksidiberikan dalam bahasa asing, mereka memberikan perhatian penuh pada penjelasanyang diberikan karena mereka tidak ingin ketinggalan gerakan-gerakan yang mereka inginlakukan, dan segala sesuatunya menjadi mudah manakala mereka melakukannya sambilbersenang-senang dan bergembira berkumpul bermain bersama yang lain.Kata kunci: bernyanyi, bermain, Super Camp 2017, SDN Desa Pantai Bahagia 02ABSTRACTThere are many ways for children to learn, one of them is through playing andsinging. No matter what subject they learn, this method can be identified as the most effectiveway as well as fun. Since playing and singing is a part of their life, a childhood life, the dynamicof learning is appropriate to develop their mind through laughter and cheers. They shouldnot worry about memorizing any rules of grammar, any complicated vocabularies; they canforget the hardship surrounding them, all they need to do is just to come along by repeating,imitating, and making some moves while singing. There are more than fifty students of primaryschool, SDN 02, Desa Pantai Bahagia, Muara Gembong, the location of Unpad’s SuperCamp2017 join the activity, the introduction of foreign language and culture. The introduction tosome foreign languages and cultures through playing and singing which is given as a partof Universitas Padjadjaran’s community service, ‘Pengabdian Kepada Masyarakat’, showspositive effects; the children participate fully as they feel like they are not studying but264 | METAHUMANIORA, Vol. 7, Nomor 2 September 2017: 263—272Erlina, 2Yuyu Yohana Risagarniwa, 3Taufik Amperaplaying, they understand what to do though the instruction is in foreign languages, they payattention to the explanation as they do not want to miss the move they want to do. Andanything becomes easy when they are having fun and happy gathering together with others.Keywords: singing, playing, SuperCamp 2017, SDN Desa Pantai Bahagia 02
Dissertations / Theses on the topic "Singing while playing"
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"Humming and Singing While Playing in Clarinet Performance: An Evidence Based Method for Performers and Resource for Composers." Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.53820.
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abstract: Two different techniques utilizing vocalization in clarinet performance were examined through a research study in which one subject (the author) played several tasks utilizing each technique with different played pitches, vocalized pitches, and dynamic levels for each task. The first technique was singing while playing, which is also sometimes referred to as growling. This technique is produced by engaging the vocal folds during regular clarinet performance to create a second vocalized pitch that resonates in the oral cavity and exits through the mouthpiece as part of the same air stream as that used by the vibrating reed. The second technique studied was a much more recently pioneered technique that the author has labelled humming while playing due to its similarity to traditional humming in vocal pedagogy. This technique is produced by filling the oral cavity with air, sealing it off from the rest of the vocal tract using the tongue and soft palate, and humming through the nasal cavity. The cheeks are simultaneously used to squeeze air into the mouthpiece to maintain the clarinet pitch, much like in the technique of circular breathing.
For the study, audio, nasalance, and intraoral pressure data were collected and analyzed. Audio was analyzed using spectrograms and root mean square measurements of sound pressure for intensity (IRMS). Analysis of the nasalance data confirmed the description of the physiological mechanisms used to generate the humming while playing technique, with nasalance values for this technique far exceeding those for both singing while playing and regular playing. Intraoral pressure data showed significant spikes in pressure during the transitions from the regular air stream to air stored in the oral cavity when humming while playing. Audio analysis showed that the dynamic range of each technique is similar to that of regular playing, and that each technique produces very different and distinct aural effects.
This information was then used to help create a method to assist performers in learning how to produce both singing and humming while playing and a resource to help educate composers about the possibilities and limitations of each technique.Dissertation/Thesis
Example of Singing While Playing
Example of Humming While Playing
Doctoral Dissertation Music 2019
Books on the topic "Singing while playing"
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Hallam, Susan, Andrea Creech, and Maria Varvarigou. Well-Being and Music Leisure Activities through the Lifespan. Edited by Roger Mantie and Gareth Dylan Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190244705.013.30.
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Music constitutes a leisure activity for many people, either through listening or making music. For some, singing or playing constitutes a “serious” leisure activity while for others it is recreational. Similarly, listening for some is a hobby to which they devote considerable time and energy; for others it constitutes casual engagement. Despite these differences in forms and levels of engagement, music can have a considerable impact on subjective well-being. Well-being can be enhanced through listening while undertaking other tasks or through using music to change moods and emotions. However, music can cause distress when it is not to the liking of a listener and out of their control. Music can also play a role in the development and maintenance of identity through the kind of music listened to. Attending live music requires a greater level of interest but leads to similar benefits as active music making.
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Edwards, Jane, and Jeanette Kennelly. Music Therapy for Hospitalized Children. Edited by Jane Edwards. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199639755.013.28.
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This chapter provides information about music therapy practice with children receiving care in a hospital, including information about music therapy service development in new settings. Music therapy offers opportunities for children and their families to be supported while undergoing difficult experiences following an injury or during an illness. Children with life-limiting conditions, and with chronic illness are also treated in hospitals, and can benefit from specialized support and help to cope with their circumstances. Music therapy can be provided to address treatment goals relating to psychosocial care, rehabilitation, pain management, developmental skill attainment, palliative care, and family issues. Music therapists use music improvisation, song singing, instrumental playing, music listening, and music composition, particularly song writing, to support young patients and their families. There is an emerging evidence base to support the role of music therapy as helpful to children and families needing support to cope with hospitalization and treatments.
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Bull, Anna. Class, Control, and Classical Music. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190844356.001.0001.
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Through an ethnographic study of young people playing and singing in classical music ensembles in the south of England, this book analyses why classical music in England is predominantly practiced by white middle-class people. It describes four ‘articulations’ or associations between the middle classes and classical music. Firstly, its repertoire requires formal modes of social organization that can be contrasted with the anti-pretentious, informal, dialogic modes of participation found in many forms of working-class culture. Secondly, its modes of embodiment reproduce classed values such as female respectability. Thirdly, an imaginative dimension of bourgeois selfhood can be read from classical music’s practices. Finally, its aesthetic of detail, precision, and ‘getting it right’ requires a long-term investment that is more possible, and makes more sense, for middle- and upper-class families. Through these arguments, the book reframes existing debates on gender and classical music participation in light of the classed gender identities that the study revealed. Overall, the book suggests that inequalities in cultural production can be understood through examining the practices that are used to create a particular aesthetic. It argues that the ideology of the ‘autonomy’ of classical music from social concerns needs to be examined in historical context as part of the classed legacy of classical music’s past. It describes how the aesthetic of classical music is a mechanism through which the middle classes carry out boundary-drawing around their protected spaces, and within these spaces, young people’s participation in classical music education cultivates a socially valued form of self-hood.
Book chapters on the topic "Singing while playing"
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Aycan, Kivanc. "Is Experiential Learning Possible with Active Music Education?" In Education at the Intersection of Globalization and Technology. IntechOpen, 2021. http://dx.doi.org/10.5772/intechopen.93754.
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This study was designed to understand the effects of experiential learning style test on elementary music and movement education experiences of students. Despite the general music education in Turkey elementary music and movement, education was used. The students were expected to gain experience, by the way, perceiving the rhythm of the words, singing, dancing, and playing free and regular games. The rhythm studies similar to the prosody written according to the rules of classical Ottoman poetry were developed with the participants. And also the students interpreted the test results according to these experiences. At the end of the study, the rhythm studies similar to the prosody written according to the rules of classical Ottoman poetry were developed with the participants. While the rhythm of the syllables and words were studied by the applications and also the letters were provided with the correct accent and intonation during the syllables. The experiential learning style test was used to understand how the students affected their elementary music and movement education experiences. And also the students interpreted the test results according to these experiences.
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Berry, Jason. "Sister Gertrude Morgan." In City of a Million Dreams, 235–56. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469647142.003.0012.
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By the 1930s, civic leaders were promoting New Orleans as a tourist destination while the city lurched toward bankruptcy. As the city continued to develop through the 20th century, it became a melting pot of diverse cultures and a mecca for bohemians and LGBTQ people. Gay bars prospered in the French Quarter, and jazz clubs hired integrated bands. Sister Gertrude Morgan was a self-appointed missionary and preacher, Bride of Christ, artist, musician, poet, and writer of profound religious faith. After a revelation in 1934, she decided to travel to New Orleans to evangelize. In the late 1950s, she began singing on French Quarter corners, playing the guitar and tambourine, and selling her paintings. Her work caught the attention of art dealer Larry Borenstein, who helped launch her career as an artist. Borenstein came from a family of Russian Jews in Milwaukee. He worked in a wide variety of jobs in his youth, eventually settling in New Orleans and expanding into real estate and art dealership. He made friends with members of the gay community, artists, and musicians, and helped found the Preservation Hall jazz club.
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Soileau, Jeanne Pitre. "History and Scope of This Project." In Yo' Mama, Mary Mack, and Boudreaux and Thibodeaux. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496810403.003.0002.
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This chapter discusses the method and manner used in compiling the folklore of South Louisiana children. Using varied means, recordings, note-taking, video, and questionnaires, schoolyard folklore collections were compiled over forty-four years. Recordings include children telling jokes and stories, playing ring and line games, chanting, singing, and break-dancing. The folklore collected presents children communicating in subtle and sophisticated ways. Over forty years the use of Black English vernacular remained the speech of choice for schoolyard and street. It entered the vocabulary of countless white teenagers who grew up in integrated schools. Play and laughter functioned as survival tools, and Black English vernacular provided a feeling of community and solidarity.
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Bushman, Richard Lyman. "Learning Slavery." In The American Farmer in the Eighteenth Century. Yale University Press, 2018. http://dx.doi.org/10.12987/yale/9780300226737.003.0013.
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Plantation agriculture created a culture in which commanding a slave became a mark of distinction. Large owners left a slave to each of their children as one of the accoutrements of a respectable lady or gentleman. White children of necessity had to learn to be masters and their black companions to be slaves. Much of this learning occurred through the stories of black-white relationships which slaves told each other. The stories formed a body of black literature which was passed along with other skills like singing and playing. White masters had to learn to provide supplies for their workforce—food, clothing, housing. Management of a large plantation called for the skills of a quartermaster. Whites, furthermore, even white women, had to learn to demand and to punish. As they grew, black children had to decide if they were to seek to be trusted by their masters or take a chance on resistance. Resistance could involve little more than slacking off work when not under the master’s gaze. Or it could mean running away. During the Revolution, black families that were seemingly quiescent took the chance on joining the British forces and ran away. Blacks concealed their true feelings in hiding places in their minds.
Conference papers on the topic "Singing while playing"
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Vyshpinska, Yaryna. "Formation of Creative Personality of Students Majoring in «Preschool Education» in the Process of Studying the Methods of Musical Education." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/38.
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The body of the article goes on to discuss the creative models of a student’s personality’s development in the process of mastering the course «Theory and methods of musical education of the preschool children». In general, the teacher's profession accumulates a big number of opportunities for the creative improvement of a would-be teacher's personality. All types of activities used while working with children in the process of mastering the artistic competencies (like fine arts, modeling, designing, appliqué work or musical activities) require not only technical skills, but also sufficient creative imagination, lively idea, the ability to combine different tasks and achieve the goals. Achieving this task is possible if students are involved into the process of mastering the active types of musical activities – singing, musical-rhythmic and instrumental activity, development of aesthetic perception of musical works. While watching the group of students trying to master the musical activity, it is easy to notice that they are good at repeating simple vocal and music-rhythmic exercises. This is due to the young man's ability to imitate. Musical and instrumental activities require much more efforts and attention. It is focused on the types and methods of sound production by the children's musical instruments, the organization of melodic line on the rhythm, the coherence of actions in the collective music: ensemble or the highest form of performance – orchestra. Other effective forms of work include: the phrase-based study of rhythmic and melodic party, the ability to hear and keep the pause, to agree the playing with the musical accompaniment of the conductor, to feel your partner, to follow the instructions of the partiture. All the above-mentioned elements require systematic training and well selected music repertoire. Students find interesting the creative exercises in the course of music-performing activities which develop musical abilities, imagination and interpretive skills of aesthetic perception of music, the complex of improvisational creativity in vocal, musical-rhythmic and instrumental activity. The experiments in verbal coloring of a musical work are interesting too. Due to the fact that children perceive music figuratively, it is necessary for the teacher to learn to speak about music in a creative and vivid way. After all, music as well as poetry or painting, is a considerable emotional expression of feelings, moods, ideas and character. To crown it all, important aspects of the would-be teacher’s creative personality’s development include the opportunities for practical and classroom work at the university, where they can develop the musical abilities of students as well as the professional competence of the would-be specialist in music activity. The period of pedagogical practice is the best time for a student, as it is rich in possibilities and opportunities to form his or her creative personality. In this period in the process of the direct interaction with the preschool-aged children students form their consciousness; improve their methodical abilities and creative individuality in the types of artistic activity.