What are the methods of auditory visualization aimed at? Methods of visual influence. Direct visibility method

How a teaching tool is used in Russian language lessons handout visual material, the basis) of which are drawings (including plot ones) placed on special cards. The drawings help to visually comment on the meanings of words, stimulate students to use the studied vocabulary, and provide material for practicing the norms of the Russian literary language. All this allows the formation of students' spelling and speech skills to be carried out in close unity: spelling tasks are included in tasks related to composing sentences and small statements based on visual material.

The advantage of tasks on cards is the presence in the handouts of exercises of varying degrees of difficulty, which contributes to the implementation of the principle of differentiated learning. The handout includes:

1) enrichment tasks vocabulary students (explain the meaning of a word, establish the difference in the meaning of words, select synonyms, antonyms, related words, etc.);
2) tasks related to teaching schoolchildren the precise, correct use of the studied vocabulary (choose from a number of possible options the option that best suits the task of the statement);
3) tasks aimed at preventing grammatical errors (violation of the norms of the Russian literary language): form certain forms, compose phrases and sentences, correct errors; composing small coherent statements (make captions for drawings, choose a title from a number of possible ones, verbally describe the drawing, etc.).

The manuals contain material on several of the most important sections of the speech development program: the topic and main idea of the statement; dialogue and speech etiquette; letter; description; story; reasoning; formal business style of speech; description of the premises, etc. Drawings depicting popular cartoon characters are also presented. In this case, the drawing becomes an effective speech stimulus. The handouts do not copy cartoon frames, but modify them, showing the characters in new situations, in unfamiliar circumstances. The tasks that are offered to students while working with cards stimulate their speech activity: schoolchildren communicate with cartoon characters, enter into dialogue with them, write letters on their behalf, etc.

The main types of tasks contained in the cards:

Each drawing can be used to study one or two topics of the speech development program; tasks for them are differentiated by degree of difficulty and are variable in nature.

Visual aids also include transparencies (or slides), filmstrips, and banners. They are activated using technical means (graphic projector

or overhead projector, slide projector, filmoscope, etc.) and are reproduced on the screen. These teaching aids are called on-screen visual aids.

Transparencies are one of the types of movable tables that provide portioned supply of material, making it possible to show the image in dynamics. The content of the material projected on the screen is applied to the film, which is demonstrated using a overhead projector (overhead projector). Overlaying transparent films on top of each other allows you to create dynamic tables in the classroom while working with students and thus demonstrate the very process of reasoning when mastering a new rule. First, linguistic material is presented, then graphic symbols explaining the conditions for choosing spelling or punctuation marks, therefore, the pattern that underlies the rule is revealed.

Transparencies can also be used at the stage of developing skills and consolidating what has been learned. With their help, tasks are performed for grouping and classifying language material, selecting examples for a learned rule, selecting test words, and determining correct spellings. Projecting such exercises onto the board screen will speed up the completion of tasks and their checking.

Currently, a series of banners on the Russian language for grade V has been published. Based on the model of the developed banners, the teacher can create similar visual aids himself, taking into account the work in each specific class.

Filmstrips that are used in Russian language lessons can be divided into two groups: filmstrips that provide explanations and descriptions of language facts and concepts, and filmstrips designed to develop and improve students’ speech skills. The content of filmstrips of the first type is material (episodes, plot drawings, photographs, reproductions, illustrations, etc.), with the help of which the learned information on vocabulary and grammar is clarified, expanded, clarified, generalized and consolidated. These are, for example, filmstrips: “Significant parts of speech” (author M. Gorbachevskaya); “From the Life of the Word” (author L.M. Zelmanova); “Dialect and professional words” (author N.F. Onufrieva).

Filmstrips allow the teacher to more effectively and methodologically expediently prepare students for writing essays and presentations of various genres. They contain interesting documentary and factual material, colorful illustrations for literary works, and plot drawings. All this creates a solid basis for completing a particular task: filmstrip materials clarify the speech situation, provide rich factual material, and guide students in the choice of language means.

Filmstrips help the teacher solve problems related to the formation of the necessary special and general educational skills in schoolchildren. Here are some methodological recommendations for using filmstrips in Russian language lessons.

1. When starting to work with a filmstrip, the teacher must clearly define the purpose of its demonstration in the lesson and also clearly set this goal for the students.

2. It is necessary to determine the place of the filmstrip in the structure of the lesson, to organically connect it with all other parts of the lesson.

3. Analyzing the content of the filmstrip before the lesson, the teacher must determine the nature of the tasks for fragments of the filmstrip, for its individual frames, for the filmstrip as a whole, and correlate them with the tasks and questions that are included in the frames.

4. When organizing work on filmstrips, the teacher must take into account the specifics of their construction (fragment) and the peculiarities of the use of visual material (illustrations, stills from cartoons, drawings, etc.). Since filmstrips are constructed in fragments, it is possible to discuss only a certain number of frames in one lesson, and not the entire filmstrip as a whole. Consequently, different fragments of one filmstrip can be used in different lessons, depending on the nature of the educational tasks facing the teacher.

Analyzing visual material, students clarify and comment on the meanings of words and phraseological units, comprehend the characters of the characters literary works, receive factual data about certain events, develop observation and emotional vigilance.

5. And finally, the teacher must carefully analyze the nature of the subtitles, think over a system of additional tasks for the frames of the filmstrip, aimed at explaining or commenting on those already present in the content of the filmstrip, and aim students at expressive and attentive reading of subtitles.

Transparencies (or slides) are close in their methodological capabilities to filmstrips: a static image in a frame, in many ways similar to visual material. However, there are significant differences between these screen aids. Transparency frames are not mounted on one tape, so they are easily varied when presented to students. The teacher, depending on the educational task, can change the number of frames used and their sequence. In addition, a filmstrip frame is easier to reproduce if necessary than a filmstrip frame. And finally, transparencies provide a clear, colorful image, which is primarily necessary when presenting reproductions, photographs, and illustrations.

Thus, transparencies allow the teacher to provide the lesson with more advanced visual material compared to filmstrips. This determines the possibilities of using transparencies primarily in speech development lessons. Using transparencies with reproductions of paintings, photographic reproductions of architectural monuments, and documentary material (photographs depicting literary places), the teacher significantly expands the scope of emotional impact on students and helps create a meaningful basis for a future speech work.

One more feature of educational transparencies should be especially noted: they allow schoolchildren to learn to describe what they see from a certain angle, to see the point of view, the position from which the observation is being made. This is achieved by the fact that in a series of transparencies the frames are selected in such a way that the same object (street, square, area) is shown from different positions. Obviously, it is useful to use diaseries with such visual material when teaching the description of various objects.

Transparencies based on documentary materials help prepare students for writing journalistic essays. The purpose of such transparencies is to enrich the life experience of students, broaden their horizons, and reveal the essence of such moral categories as humanism, sense of duty, and patriotism.

All transparencies created for educational purposes are provided with accompanying text, which helps to combine diacrades into thematic groups, determine the sequence of work.

Transparencies can also be used in lessons studying vocabulary and grammar of the Russian language. In this case, they perform a different function: they are a kind of picture dictionary

Russian language with visual semantization of words, explanation and delimitation of their meanings.

The method of using transparencies is determined by the tasks solved by the teacher in the lesson. The nature of the visual material allows the teacher to expand the range of tasks for students, which are completed after viewing transparencies and answering questions provided by the authors of the diaseries and included in the accompanying text. These can be tasks such as: preparation by students of independent reports based on a group of frames determined by the teacher, creation of an accompanying text for a series of diacrades, writing texts in newspaper genres (essay, report, interview), creating a commentary on transparencies, creating texts for conducting an excursion on transparencies and etc.

Auditory visual aids. The main ways to implement auditory clarity are gramophone records and tape recording. Sound recording in this case performs a special didactic function. It represents samples of spoken speech and serves as a means of forming culture oral speech students. A sound sample helps to develop the skills of correct literary pronunciation, stress, intonation, as well as the skills of constructing an oral coherent statement. Consequently, sound samples are reference speech recorded on a record or tape, demonstrating the norms of the Russian literary language, and oral statements of various nature (story, report, description, dialogue, telephone conversation, etc.).

An audio guide was created for the textbooks by the team of T.A. Ladyzhenskaya, M.T. Baranov and others, the tasks of which complement the exercises in the Russian language textbooks. The basis of this manual is made up of gramophone records with samples of sounding speech. The audio manual contains materials for practicing the norms of the Russian literary language, defined and highlighted specifically by the program for secondary schools. Consequently, the materials of the audio guide are correlated with the materials of the school textbook: those exercises with the help of which words that are difficult to spell are learned and remembered are voiced. As a rule, these are texts, prosaic and poetic, while listening to which the student correlates what was written and heard, and mentally reproduces the sound of the words to be learned. The manual also contains negative material: by listening to it, the student learns to identify mistakes in pronunciation and correct them.

In addition, the manual contains material for the development of oral speech: these are, firstly, texts from the textbook on which

students are preparing to write an exposition; secondly, these are voiced texts from literary works studied at school. And finally, these are additional texts that demonstrate examples of oral statements: stories performed by E. Auerbach, I. Andronikov, expressively read excerpts from works of children's literature, dialogues and monologues of schoolchildren's favorite literary heroes. Many texts are read against a musical background and presented with musical accompaniment, which creates a special emotional mood.

The use of audio aids in the classroom will require the teacher to fulfill a number of special methodological conditions. Particular attention should be paid preparatory stage, preceding listening to the record. At this stage, it is necessary to set students a work task, orient them to what they should hear, indicate what to pay attention to, and make them think about why this exercise is designed for listening to a spoken text. In other words, the teacher must organize purposeful, conscious listening, precede it with special tasks, and set up students for unusual work.

While listening It is important not to disturb the sound of the text with remarks, comments and other actions expressed verbally. The student must listen without being distracted, checking the spoken text with the written one, if the work is consistent with the textbook materials. If the textbook does not have a written analogue, a spoken text, it is useful to teach students to make the necessary notes while listening: to draw up a plan, highlight certain parts of the text, write down words and phrases necessary for further work, and draw up intonation patterns for individual sentences. In addition, in a number of cases (as provided by the assignment of the textbook), while listening, it is necessary to prepare schoolchildren for expressive reading of the text of the textbook, organize observation of the speaker’s reading style of the text: determine the general emotional mood of the reader, analyze where and why pauses are made, the speaker’s tone changes, what words stand out and how when reading, etc.

At the final stage After listening, students answer all the questions posed in advance by the teacher, complete new tasks, practice expressive reading of the text they listened to, and give their own versions of reading certain parts of it. If the text is designed to prepare students for independent composition of speech works, then accordingly the final stage The assignment will be to prepare an oral statement on a specific topic.

Visual-auditory learning aids. Screen-sound teaching aids are presented by filmstrips with sound, films and film fragments.

Filmstrips with sound make it possible to supplement the visual material with narrated text. The combination of an image and a word allows students to more fully present the situation on the basis of which they will perform an independent task. Sound can be used in various ways: switch on and off, apply selectively, play repeatedly, etc. All this ensures the use of such filmstrips at a new methodological level.

The narrated text in filmstrips is often accompanied by music, which enhances the emotional impact on students. Filmstrips with sound are intended primarily for speech development lessons. They use various plots that prepare students for writing descriptive essays, stories, oral statements and reports on a linguistic topic, messages, and discussions of a debatable nature.

Work on filmstrips with sound is determined mainly by the same methodological principles that are implemented in working with conventional filmstrips. However, a number of circumstances should be taken into account. The accompanying text, read by experienced speakers and schoolchildren, performs a special methodological task: it allows students to become familiar with the features of oral statements, reports, reports, and debates.

Although with the help of filmstrips with sound it is possible to work on the development of written speech, but first of all it is necessary to use the opportunity to work on the development of children’s oral speech, since this form of speech activity has not yet been given due attention. In this regard, the teacher and students should be aware of specific techniques for constructing oral speech works: composition; intonation; speech etiquette; means that allow you to attract the attention of listeners, construct a statement logically and demonstrably.

In some cases, working on filmstrips will require quite a lot of preliminary preparation: reading literary works, watching films, analyzing popular science literature, reading newspaper publications, etc. For example, work on the filmstrip “Opinions Divided” (author L.M. Zelmanova) will require students to read V. Zheleznikov’s story “Scarecrow”; work on the film strip "The floor is given"

In addition, it should be taken into account that the speaker’s text (report, speech, essay) can serve as a model for students not only when creating their own statement, but also as a control text that allows them to determine whether the speech task has been completed correctly. Taking this circumstance into account, a filmstrip with sound accompaniment is constructed: it consists of several fragments, each of which performs its own function. First, in some cases, fragments without sound are given (photos, game material), explaining by one means or another the rules for constructing the required text, preventing the most typical mistakes of students. What follows are fragments with samples of texts voiced by speakers. It is these fragments that can be used either as samples (they are reproduced and analyzed before students complete independent tasks) or as control texts (they are analyzed after students complete the tasks proposed by the teacher). At different stages of training, the teacher determines the methodology of work, taking into account a number of objective and subjective circumstances.

It is necessary to take into account other features of filmstrips with sound. Their use will require serious preliminary preparation from the teacher: he must master the instructions for turning on and off the sound recording (they are given in subtitles and narration) in order to achieve a correspondence between sound and image; think about which students will read subtitles and prepare them for this work; determine how the speakers’ tasks will be completed; prepare to record student responses on tape; develop tasks that take into account the specifics of work in each specific class.

Unlike all other visual aids films and film fragments provide image dynamics, synchronous presentation of sound and visual material, which determines their methodological capabilities. Complete educational films, sometimes consisting of several parts (the duration of each part is 10 minutes), and film fragments, the demonstration of which takes from 3 to 5 minutes, are used to solve educational problems of various nature. Like all other visual aids, films and film fragments are used both in Russian language lessons and in speech development lessons.

Movies in Russian language lessons complement the textbook materials, help students understand more deeply the essence of linguistic phenomena, master the method of application

rules in practice. For this purpose, various visual materials are used: drawings, tables, cartoons, game and visual situations, documentary material, etc. Narration provides audio commentary on visual material, a story, business instructions, questions, and the use of excerpts from works of art.

Special educational films have been created for Russian language lessons, such as “The World of Native Speech”, “Alive as Life”, “If You Are Polite”, etc. Their demonstration is combined with the study of lexical and grammatical topics from the textbook. Consequently, the teacher must determine the place that the film will occupy in the system of studying the topic as a whole; create questions and assignments that allow you to correlate the textbook material with the content of the film; prepare students for conclusions and generalizations that need to be made after watching the film; help to include information given in the film into a story about a particular phenomenon, etc.

During speech development lessons cinema is used more widely, since with its help a variety of situations are intensively introduced that stimulate the speech activity of students. In educational films, plot and visual materials are used for this purpose. The possibilities of cinema make it possible to present specific scenes in dynamics, from different angles. The film camera organizes and directs the viewer’s attention, makes him see what is necessary to solve the educational task, helps him see the subject close and at a distance, from different points of view. All this makes it easier to collect material for a future statement. It is obvious in this regard that films can be used to work on various kinds of descriptions. This is precisely why such films as “Monument”, “Forest Lake”, “Bear Cub”, etc. were created.

Movies are also used to teach storytelling. Using a movie, you can clearly show students the compositional features of the narrative genre. For this purpose, such specific techniques are used as showing a series of main episodes of the filmed story at the end of the film (they are restored using a freeze frame); analysis of episodes related to the development of the story; plot development based on the beginning or ending of the story; analysis of the speaker's text, its addition and transformation; analysis of film music, etc. Some films help prepare students for oral presentations. Such films are based on an example of oral storytelling. Working on the film will require students to complete a number of special tasks: follow the tone of the narrator’s speech; determine how he conveys his feelings and his mood, how he behaves; think about it

why the story turned out to be interesting, why it was easy to listen to. To work on the story, such educational films as “The Story of a Little Lynx”, “Height 136”, “Like Me Once” were created.

Some films ("Take Care of the Book") are used to work on reasoning. The narration text helps to determine the rules for constructing texts of this nature, teach how to introduce arguments when proving the main thesis, use the necessary vocabulary, etc.

In order to solve all the problems caused by the nature of educational films, it is necessary to follow the following methodological recommendations.

When thinking through the goals and objectives of using an educational film (or film fragment) in a lesson, the teacher must determine the stage at which the film will be shown, and methods for correlating the work on the film with the content of the entire lesson.
Particular attention should be paid to preparing students to perceive the film: formulate the tasks of the work, guide students to record certain details when watching the film, talk about the creators, characters and actors (if any), etc. In other words, the preparatory work should help ensure that from the first minutes of watching the film, students are not distracted from solving the main task this stage lesson.
After watching a movie, it is useful to find out the general impression that it made on them: what they remembered, what they liked, etc. This will make it possible to determine which of the students was attentive when watching the film, which of them more fully understood its content. Consequently, further conversation with students will be more fruitful.

In the course of performing special tasks aimed at understanding linguistic phenomena or developing speech, the teacher leads students to the necessary conclusions. During a conversation with schoolchildren, it is useful to teach them to take notes, which will subsequently facilitate the completion of tasks related to watching a film: sketches of a plan or compositional diagram of a future statement, vocabulary that is new to students and necessary for future work, rough-written fragments of text, etc.

Modern technical means allow you to use videos as visual aids that are shown using a VCR. Currently for

lessons of the Russian language, a video film “Russian language with the help of a fairy tale” was created, which included educational films “If you are polite”, “Dog Martyn writes an ad”, “Take care of the book”, etc. (author L.M. Zelmanova). The creation of educational videos in the Russian language is in its early stages, so the specifics of their use have not yet been determined.

Currently, the arsenal of visual aids is expanding and replenished. Thus, in Russian language lessons, radio and television broadcasts, computer and language equipment are used for educational purposes.

As an example of using a computer, N.N.’s manual can serve. Algazina" Didactic materials on spelling with computer support" (M., 1997), which describes the experience of using computers in studying and summarizing material on spelling. Working on a rule (or block of rules) at the first stage involves studying or repeating the corresponding material from a school textbook. After this, schoolchildren Using a series of computer programs, they once again study spelling rules, then practice choosing a spelling based on the algorithm embedded in the program, controlling their actions at all stages of applying the rule, including the last, final stage, at which the choice of spelling is made.With the help of a computer, schoolchildren master spelling analysis, the scheme of which is presented by a computer, which makes it possible to judge the level of students’ mastery of spelling theory, as well as the ability to apply this theory in practical activities.

The use of a computer in Russian language lessons is not an end in itself. Its use allows you to effectively solve a number of didactic tasks: to intensify educational process, optimize it, intensify the cognitive activity of schoolchildren, awaken interest in educational work, increase the level of their knowledge, achieve tangible results in the work to improve skills.

The use of computer programs provides a differentiated and individual approach to learning, since they provide the ability to provide training work of varying durations depending on the mastery of the method of action by specific students. The program provides for the use in the training process of options of varying degrees of difficulty that can be offered to students taking into account their capabilities.

Computer support is possible when studying various topics of the school curriculum, especially when studying punctuation

Using visuals in the learning process

INTRODUCTION

Visual material - effective remedy knowledge of objective reality. Visualization not only facilitates the cognitive activity of students, but also organizes their perception and activates the memorization process.

The use of visual aids not only to create figurative ideas in schoolchildren, but also to form concepts, to understand abstract connections and dependencies is one of the most important principles of didactics.

The importance of visibility in teaching children was emphasized by teachers such as L. M. Tolstoy, V. A. Sukhomlinsky, K. Ushinsky, A. S. Makarenko. They argued that the leading activity in children's mental development at a young age is play and visualization.

Visualization as a teaching principle was first formulated by Ya. A. Kamensky, and later developed by I. G. Pestalozzi, K. D. Ushinsky, L. V. Zankov and other teachers.

Ya. A. Kamensky in his famous “golden rule of didactics” gave a clear formulation of the principle of clarity. “Visibility is everything that can be represented for perception by the senses: visible for perception by sight;

audible - by hearing; smells - by smell; subject to taste - taste; permissible to touch - by touch. If any objects or phenomena can be immediately perceived by several senses, imagine them with several senses.”

In the musical education of children, the use of visual aids is of particular importance. The complexity and originality of music, the peculiarity of its education, require the use of auxiliary “extra-musical” means. Prominent Soviet music teachers and psychologists drew attention to this. B. M. Teplov noted that music, taken by itself, can only express emotional content, but together with other extra-musical means of cognition, the cognitive meaning of music develops to the widest limits.

As B. Astafiev said, “music is an art, that is, a certain phenomenon in the world created by man, and not a scientific discipline that is taught and studied.” The use of visual aids in the musical education of children makes it possible to give an idea of music and its expressive capabilities in a simple, accessible form to children; teach to distinguish a diverse range of feelings and moods conveyed by music. Thanks to the use of visual aids, children more actively develop musical-sensory abilities, as well as general musical abilities - pitch hearing, sense of rhythm, etc. They develop an interest in music. Musical tasks performed with the help of visual aids significantly activate the child’s mental activity, develop his independent musical activity, which acquires a creative character.

This is exactly what will be discussed in course work.

The object of my research is the use of didactic visuals in a music lesson.

The subject of the study is the role of visibility in the process of teaching music.

The purpose of the course work is to determine the role of visual materials in the learning process in music lessons.

Objectives: 1) study pedagogical and methodological literature on the use of visualization in the learning process;

) identify the conditions for the effective use of visual aids and requirements for the selection of visual aids;

) describe practical use visual materials for music lessons.

In order for a child to develop visual ideas, it is necessary to create them, providing visual support, widely using visual aids. The hypothesis follows from this: the use of didactic visuals contributes to optimal learning of educational material in a music lesson.

Main research methods: - experimental method;

pedagogical observation;

diagnostic conversation;

analysis of the results of creative activity

students;

literature study

CHAPTER 1. Theoretical foundations for studying the use of visualization in the learning process

1 Visual teaching methods and their classification

Why are children not always interested in class? Either they get tired, or boredom overcomes them. Why is school life sometimes not similar to the colorful, bright world that accompanies a child in his communication with friends and books? School and school life should captivate the child, introducing him to amazing world knowledge.

What should a teacher do to achieve this goal?

There are many in various ways that would help the teacher solve this problem. One of these methods is visual teaching methods.

Visual teaching methods are teaching methods in which the assimilation of educational material during the learning process depends on the use of visual aids and technical means. Visual methods are used in conjunction with verbal and practical teaching methods.

These methods contribute to the development of memory, thinking, and imagination.

Nowadays, the number of visual aids has increased (once it was mainly the blackboard, pictures and the speech of the teacher himself). Now the teacher has, in addition, a large arsenal of technical teaching aids: gramophone recordings, tape recordings of works and speeches of speakers, films, videos and films, tables, diagrams, disks, DVDs, computer, etc.

However, not all teachers yet realize the importance of using these manuals. Some consider their use too much of a luxury that requires additional time, others do not know the technique of using them. Meanwhile, the teacher must keep up with the times, and not only make full use of what is given to him, but also seek opportunities to develop new means of visualization.

Research by psychologists, psycholinguists, teachers, educators note a high degree of perception and comprehension of information with the simultaneous inclusion of all perception systems: visual, auditory, kinesthetic, i.e. when expanding the perception system. Individual perception systems in people are not evenly developed: the development of one or two systems predominates. This is due to historical life experience, the characteristics of the geographical environment, the anatomical and physiological development of the body, and the characteristics of training and upbringing.

In human training and development, it is very important for a teacher to learn how to connect all systems to perceive information. Listening at school only to the teacher’s explanations (listen to what I’m telling you!) leads to concentration of perception in one system, which generally narrows the perception of information. With age, this develops into a habit, blocks the development of other systems, inclinations, abilities and inclinations of a person, leading to the appearance of hallucinations in the system that is least controlled and developed.

Among the visual teaching methods, there are illustrations, demonstrations, video methods, etc. Thanks to the demonstration, students’ attention is directed to significant, and not accidentally discovered, external characteristics objects, phenomena, processes under consideration. Illustrations are especially useful when explaining new material. Then the teacher should illustrate his story on the blackboard with chalk. The drawing explains the teacher’s words, and the story makes the content of what is depicted on the board clear. The video method maximally activates visual-sensory perception, ensures easier and more durable assimilation of knowledge in its figurative-conceptual integrity and emotional coloring, significantly influences the formation of a worldview, stimulates the development of abstract-logical thinking, and reduces learning time.

a) Method of illustration

Illustration as a method of educational interaction is used by the teacher in order to create in the minds of students, using visual aids, an accurate, precise and clear image of the phenomenon being studied.

The function of illustration is to figuratively recreate the form, essence of a phenomenon, its structure, connections, interactions to confirm theoretical positions. Illustrations are used in the teaching of all academic subjects. Natural and artificially created objects are used as illustrations: layouts, models, dummies; works of fine art, fragments of films, literary, musical, scientific works; symbolic aids such as maps, diagrams, graphs, diagrams. The illustration method in some cases is illustrative in nature, in other cases it facilitates the process of forming abstractions. This method helps systematize and generalize knowledge, as well as intensify the mental activity of students.

The effectiveness of the illustrated method depends on the presentation technique. The teacher must think through the didactic meaning, place and role of illustration in the lesson. A large number of illustrations distract students from the essence of phenomena. The illustrations speak in advance, but are only shown at a certain point in the lesson. In some cases, it is advisable to use handouts (photos, diagrams, tables...). Abuse of illustrativeness leads to inhibition of the development of thought processes.

b) Demonstration method

Demonstration (lat. demonstratio - showing) is a method expressed in showing the whole class during the lesson various visual aids.

The demonstration method consists of: showing the operation of real instruments or their models, various mechanisms, technical installations, setting up experiments and conducting experiments, demonstrating processes (of various origins), design features, properties of materials, collections (minerals, art products, paintings, samples materials, etc.).

The demonstration method ensures the perception of both external forms (characteristics) and internal content not only in statics, but also in the dynamics of their flow, which is very important for students to understand the deep essence, laws, patterns and principles of their action and existence, the conditions that give rise to them.

The effectiveness of the method is achieved with the active participation of students in its demonstration, who have the opportunity to directly measure results , change the course of processes, set operating parameters of mechanisms, record and study the properties of materials, structures of objects, etc.

Apparently, excursions should be considered a variation of the demonstration method. An excursion can be used as a method of introducing new material, in-depth study of it, or to consolidate what has been learned. An excursion as a demonstration method provides the study of objects, processes, technologies that exist in reality (factory, factory, weather station, design office, test benches, laboratories, etc.), the study of flora and fauna (forest, field, farm, zoo, terrarium, aquarium, dolphinarium, etc.).

The demonstration method provides a comprehensive, multidimensional perception of information, promotes the development of all systems of perception in students, especially visual-sensory, which improves the quality of assimilation of educational material; acquisition of both theoretical and practical skills and abilities; develops cognitive activity and motivation for educational and research activities. Popular wisdom goes like this: It's better to see once than to hear a hundred times.

However, the demonstration method must be skillfully combined with the word: focus on what is being studied, on the main thing, characterize the property of the object, show its different sides; explain the purpose of the demonstration, what to keep in sight, highlight objects of observation, and perhaps use some handouts preceding or accompanying the main demonstration, making an appropriate comment.

The effectiveness of the method is achieved:

By involving students’ explanations in revealing the content of what is being demonstrated, by their implementation comparative analysis, formulating conclusions, proposals, stating one’s position, one’s attitude to what he saw, to the search hidden , new content in the studied facts, phenomena, processes, objects.

Correct selection, i.e. coordination of the demonstrated material with the content of the lesson, its volume, the number of units demonstrated, the place and time in the structure of the lesson of the material being studied, the condition of the demonstration; teaching students how to search for and select the necessary visual aids in the process of independent homework.

Compliance of the demonstrated material with the psychological readiness of students to master it, taking into account age and other characteristics.

The demonstration process should be structured so that:

all students clearly saw the demonstrated object;

all students could perceive it with all their senses if possible;

will provide children with the opportunity to independently study the quality of the object.

c) Video method

Among visual teaching methods, the “video method” is increasingly being distinguished. With the intensive development of video equipment, it is distinguished from a demonstration method into an independent one. It is based on: screen sources of information (filmoscopes, overhead projectors, overhead projectors, movie cameras, televisions, video recorders, computers, scanners, etc.). The use of video materials helps in a very short time to present a large amount of information in a condensed, concentrated form, professionally prepared for perception, helps to look into the essence of phenomena and processes inaccessible to the human eye ( ultrasound image, spectral analysis, the influence of radioactive elements on the course of biological, chemical and biochemical processes, the course of fast and slow processes, etc.).

The video method is one of the powerful sources of influence on a person’s consciousness and subconscious. It can be used at all stages of training as a multifunctional method.

By maximally activating visual-sensory perception, the video method ensures easier and more durable assimilation of knowledge in its figurative-conceptual integrity and emotional coloring, significantly influences the formation of a worldview, stimulates the development of abstract-logical thinking, and reduces learning time.

The use of the video visualization method creates favorable conditions for increasing the efficiency of the entire educational process.

d) Method of working with a book

The book is the greatest invention of man. Working with it is an important method of learning and, perhaps, the main one. It can be used as a method of acquiring new knowledge and developing skills. This is a multifunctional method that provides learning, development, perception; encouraging learning and self-improvement, performing a control and corrective function. Working with a book is quite a difficult task. And for this, students need appropriate knowledge, skills and abilities. In their educational work, children have to work a lot and constantly with literature of various purposes.

Working with a textbook and a book is the most important teaching method, including a number of techniques for independent work with printed sources: note-taking (a summary, a brief recording of what was read), drawing up an outline of the text (breaking the read text into fragments that are more or less independent in meaning and titling them), annotating (a brief summary of the main thoughts (theses) of the text read), citation (a verbatim excerpt from the text with the obligatory indication of the output data of the cited publication: author, title of the work, place of publication, publisher, year of publication, page), annotation (a brief condensed summary of the contents of the read without loss of essential meaning), reviewing (writing a short review expressing your attitude to what you read), drawing up a certificate (a selection of information of a statistical, biographical, bibliographic, terminological, legal, etc. nature, obtained as a result of a search), drawing up a formal logical model (verbal - schematic representation of what has been read), compilation of a thematic thesaurus (an ordered set of basic concepts for a specific section or topic), compilation of a matrix of ideas (comparative characteristics of homogeneous objects, phenomena in the works of different authors).

Working with a book should not be considered as a purely independent method. It can provide high results of training, development and education only in combination with other methods.

e) Computer technology and the Internet age are no longer a near future that will come someday. This is the reality of our days. We very quietly crossed this line. It seems to many teachers that nothing has changed in the life of the school: and the children who come to our class are the same as they were ten to fifteen years ago. Alas, this is not true. Today's boys and girls perceive things completely differently. the world, have excellent command of technology: they know where and how to get important information; Consequently, both the status and role of the teacher change. The task of teachers is still to ensure the intellectual, moral, cultural, and physical development of the younger generation. It is impossible to do this using old methods and means. The amount of information that a teacher must convey to children increases several times every year, therefore, it is not possible to achieve this through reproductive methods. It is necessary to introduce scientific achievements of pedagogy, psychology and technical means into the daily life of the school. It is important to interest students in the learning process itself, to support them at this difficult moment, and to coordinate actions. Computer technology and the Internet can provide enormous assistance in this process.

A modern schoolchild does not always perceive a teacher with chalk in hand. He is interested if instead of a blackboard in the classroom there is a computer with a multimedia projector or a SMART board and during the lesson the teacher uses modern visual aids. And a teacher who knows how to work with technology and teaches where you can “get” information and how to use it evokes more respect from his students. Students enjoy doing homework related to working on the Internet. In the lessons of teachers who have the necessary modern technology in their workplace, you will not see boring faces or distracted eyes. Where can they come from if the lesson is about art, they express their opinions, children fantasize. And the computer helps them with this. Almost every lesson can use a presentation that includes the necessary visual aids and musical fragments. Students will learn the biography of composers, the history of creation of works, or other information.

Some scientist-teachers (N.V. Naumchik, V.V. Davydov) do not share the concept of “visual methods”. They motivate their point of view by the fact that the substantive characteristics of these methods traditionally come down to “visuality”. Visibility presupposes, according to V.N. Naumchik, in addition to visuality, reveals the inner essence of the pedagogical process.

Therefore, the choice of teaching methods and means should be approached very carefully. And methods of visibility play an important role in this, since visibility, in addition to visuality, presupposes the disclosure of the inner essence of the pedagogical process. Visual teaching methods require a deep understanding of the relationship between figurative and logical, concrete and abstract, sensory and rational in the cognitive activity of schoolchildren.

When using visual teaching methods, a number of conditions must be met:

a) the visualization used must be appropriate for the age of the students;

b) visualization should be used in moderation and should be shown gradually and only at the appropriate moment in the lesson;

c) observation should be organized in such a way that all students can clearly see the object being demonstrated;

d) it is necessary to clearly highlight the main, essential things when showing illustrations;

e) think through in detail the explanations given during the demonstration of phenomena;

e) the clarity demonstrated must be precisely consistent with the content of the material

visibility learning music emotional

1.2 Justification for the visibility of teaching by teachers of the past

On early stages development of humanity, when learning was directly related to labor activity adult, children did not experience significant difficulty in imagining and understanding what they were taught. With the advent of writing and books, learning became more complex and difficult. A contradiction arises between personal experience child and social experience reflected in books. Complex relationships between the sensual and the rational arise when studying material.

For the first time in pedagogy, the theoretical justification for the principle of visual teaching was given by Jan Amos Kamensky (17th century). In his “golden rule” of didactics, he gave a clear formulation of the principle of visibility, which was already mentioned in the course work (“Visibility is everything that can be imagined for perception by the senses: visible - for perception by sight, audible - by hearing, smells - by smell, subject to taste - taste, what is permissible to touch - by touch. If any objects or phenomena can be immediately perceived by several senses - provide several senses.").

Based on sensualist philosophy, Comenius justifies the need for deeper reliance on sensory cognition in the learning process. Visibility in Komensky’s understanding becomes a decisive factor in mastering educational material.

Even Ya. A. Kamensky believed that “... everything that... can be provided for perception by the senses...”. The requirement that students gain knowledge primarily from their own observations played a big role in the fight against dogmatic, scholastic teaching. However, the limitations of the sensationalist philosophy on which Comenius relied did not allow him to reveal the principle of visual teaching with the necessary completeness and versatility.

I. G. Pestalozzi sees visibility as the only basis for all development. Sensory cognition comes down to the visualization of learning. Visibility becomes an end in itself.

The principle of visibility was significantly enriched in the works of I. Pestalozzi. Defending the need for visualization in teaching, he believed that the senses themselves provide us with random information about the world around us. Teaching should eliminate confusion in observations, differentiate objects, and connect homogeneous and similar words, i.e., form concepts in students.

J. J. Rousseau brought learning directly into nature. Therefore, the visibility of learning does not acquire independent and significant significance. The child is in nature and directly sees what he needs to learn and study.

K. D. Ushinsky gave a deep psychological justification for visibility primary education. Visual aids are a means for activating mental activity and forming a sensory image. It is the sensory image formed on the basis of a visual aid that is the main thing in teaching, and not the visual aid itself.

In the pedagogical system of K. Ushinsky, the use of visualization in teaching is organically connected with the teaching of the native language. Ushinsky believed that the best remedy To achieve children's independence in the process of developing the gift of speech, visibility serves. It is necessary that the object is directly perceived by the child and that, under the guidance of the teacher, “... the child’s sensations are transformed into concepts, from concepts a thought is formed, and the thought is clothed in words.”

L.V. Zankov studied various forms of combining words and visuals in teaching.

In modern didactics, the concept of visibility refers to various types of perception (visual, auditory, tactile, etc.). None of the types of visual aids have absolute advantages over others. When studying nature, for example, highest value have natural objects and images close to nature, and in grammar lessons - conventional images of the relationships between words using arrows, arcs, by highlighting parts of the word different colors etc. Often there is a need to use different kinds visual aids when familiarizing yourself with the same issues. For example, in a history course, it is advisable to consider objects that have survived from the era being studied, models and pictures depicting relevant phenomena, historical maps, watch films, etc.

It is very important to use visual aids purposefully, not to clutter up lessons with too many visual aids, as this prevents students from concentrating and thinking about the most important issues. This use of visualization in teaching is not beneficial, but rather harms both the acquisition of knowledge and the development of schoolchildren.

3 Visual teaching methods in music

At all times, people tried to use music as a powerful psychological force to influence the feelings and will of people. This energetic potential of music is also successfully used by modern show business, which, with the help of often low-quality musical products, has formed not only “tastes”, but also a persistent reluctance of young people in general to notice the greatest wealth of high art. In this situation, the problem of organizing musical training and education in secondary schools becomes particularly relevant, which can constitute an alternative to the mass expansion of the subculture.

Accordingly, the problem arises of developing a comprehensive and deep scientific and methodological foundation for music education. However, historically it has developed that general pedagogical teaching methods are often mechanically transferred to the teaching of music at school. It is generally accepted by the pedagogical community that art, primarily music, has enormous educational potential associated with an emotional impact on a person. However, the problem of the method of teaching art subjects at school is the least developed area of pedagogical knowledge. Currently, it is impossible to build a concept of teaching art, relying only on the principles of general didactics, which does not fully apply to the types of cognition associated with the aesthetic development of the world. In order to theoretically substantiate this position, let us move on to consider the specifics of using general didactic visual methods in teaching students musical disciplines in the lower grades, and identifying special techniques and methods of educating children, characteristic only of musical subjects.

In music education, the use of visual aids is of particular importance. The complexity and originality of music, the peculiarity of its perception, require the use of auxiliary, “extra-musical” means. Prominent Soviet music teachers and psychologists drew attention to this. B. M. Teplov noted that “music, taken by itself, can only express emotional content, but together with other extra-musical means of cognition, the cognitive meaning of music develops to the widest limits.”

A well-known specialist in the field of musical education, N.A. Vetlugina, believes that in the musical education of children it is necessary to use auxiliary visual aids that explain the content of music.

The use of visual aids in the musical education of children allows, in a simple, playful form accessible to children, to give an idea of music and its expressive capabilities; teach to distinguish a diverse range of feelings and moods conveyed by music. Thanks to the use of visual aids, children more actively develop musical-sensory abilities, as well as general musical abilities - pitch hearing, sense of rhythm. They develop an interest in music. Musical tasks performed with the help of visual aids significantly activate the child’s mental activity, develop his independent musical activity, which acquires a creative character.

Such visual aids include musical and didactic aids and board music and didactic games. There is a lot in common between them. Both serve primarily educational purposes, developing in children an understanding of the pitch and duration of musical sounds, the ability to understand the nature of different musical works, etc. However, there is a significant difference between musical teaching aids and games. It lies in the fact that a musical didactic game (like any other) has its own game plot, game action, and rules that must be followed. A special feature of musical and didactic games is that they can be used by children independently, while musical and didactic aids are used mainly in lessons.

Musical teaching aids

One of the important tasks of the comprehensive development of modern youth is the education musical culture. Its foundations are laid in childhood. In this regard, a large place is given to music in elementary school - it is heard both in lessons and independent musical activities, and during holidays and entertainment.

The content of musical education involves instilling in children receptivity, interest, love for music, developing emotional responsiveness to it, introducing them to various types of musical activities (listening, singing, musical-rhythmic movements, playing children's musical instruments), which allows them to develop general musicality child, his creative abilities.

Based on the knowledge children acquire about music, they first develop a selective and then an evaluative attitude towards it, and the initial forms of musical taste appear.

However, practice shows that a child’s full perception of music is possible only if he understands what it “tells” and is able to compare what he hears with something objective that he has already encountered in life. Musical images “... encourage the child to empathize and make him think about what the music “tells”,” writes N. A. Vetlugina. “The child not only perceives musical sounds, the beauty and harmony of their combinations, but also strives to compare all this with something real.”

Music perception is a complex process that requires a person’s attention, memory, developed thinking, diverse knowledge. Junior schoolchildren don’t have all this yet. Therefore, it is necessary to teach the child to understand the features of music as an art form, to consciously focus his attention on the means of musical expressiveness (tempo, dynamics, etc.), to distinguish musical works by genre and character.

In pedagogical practice, for this purpose, musical and didactic aids have increasingly begun to be used, which, influencing the child in a complex manner, cause him visual, auditory and motor activity, thereby expanding musical perception as a whole.

All benefits are divided into three groups:

The first includes such manuals that give children an idea of the nature of music (cheerful, sad), musical genres (song, dance, march).

"Sun and Cloud"

Target. To develop in children an idea of the different nature of music (cheerful, cheerful; calm, lullaby; sad).

Description. A cardboard card or thin wooden board (size 21 x 7 cm) is divided into three squares by two vertical lines. Separately, squares of the same size are made: one of them depicts a shining sun; on the other - the sun, slightly covered by a cloud (“sleeping”); on the third there is a cloud with rain. The drawings conventionally correspond to the different nature of the music: cheerful, cheerful; calm, lullaby; sad.

Methodology. Children are given cards (one set at a time) and asked to listen to three pieces of music. Children take turns determining the character of each of them, covering the empty squares on a rectangular card with squares with a conventional image.

Musical repertoire. “Rondo March” by D. Kabalevsky, “The Moon Walks over the Meadows” by S. Prokofiev, “Winter” by M. Krutitsky.

"Song - Dance - March"

Target. Develop an understanding of the main genres of music, the ability to distinguish between a song, dance, and march.

Description. The squares of a large card depict: on the first - a singing girl; on the second - a dancing girl; on the third there is a boy marching with a drum. Instead of small cards, chips (circles) cut out of cardboard or plywood are given.

Method of application. Children listen to three plays of different genres in turn. After listening, they take a square with a picture corresponding to the genre of the play, and cover the corresponding image on one of the squares of the rectangular card.

Musical repertoire. “Trumpet” by E. Tilicheeva or “Two Grouse” (Russian folk song, arranged by V. Agafonnikov), “Under the Green Apple Tree” (Russian folk song, arranged by R. Rustamov), “March” by T. Lomova or “March” by E. Tilicheeva.

The second includes manuals whose purpose is to give an idea of the content of music and musical images.

Target. To develop in children an understanding of the visual possibilities of music, its ability to reflect natural phenomena.

Description. Three cards made of cardboard (size 10 X 5 cm) depicting lines that conventionally convey different states of the sea: on the first - a curved line on a gray-blue background - “turbulent sea”; on the second there is a strongly curved line, a purple background - “a raging sea”; on the third - the line is slightly wavy, the blue background - “the sea is calming down, the storm is calming down.”

Method of application. Children listen to a recording of “The Sea” by N. Rimsky-Korsakov. After the performance, they share their impressions about the nature of the music. The teacher draws attention to the fact that the composer painted a vivid picture of the sea, showing its very different states; it is now agitated, now raging, now calming down. Then the teacher introduces the children to the manual and explains the conventional images that convey this or that state of the sea. The teacher suggests listening to the piece again and observing how the character of the music changes throughout the sound of the entire piece. One of the children uses cards to show these changes, i.e., lays out the cards in the sequence that corresponds to the development of the musical image.

Musical repertoire. “The Sea” by N. Rimsky-Korsakov (excerpt from the introduction to the opera “Sadko”).

The third group consists of manuals that form children's understanding of the means of musical expression.

"Ladder"

Target. Distinguish the pitch of sounds in the direction the melody moves up and down.

Description. Two square cards (square side 7 cm) depicting a ladder with five steps. One card shows a girl walking up the steps; on the second there is a girl going down the stairs.

Method of application. After getting acquainted with the singing song “Ladder,” the teacher plays the piano and invites the children to find out where the girl is going (up the ladder or down), and then show a card with the corresponding image.

Musical repertoire. “Ladder” by E. Tilicheeva.

The methodology for using manuals in music lessons is as follows. The teacher introduces the children to each manual, explaining the task. It can be performed to music by one child or the whole class.

As practice has shown, the systematic use of manuals arouses in children an active interest in music, in the tasks themselves, and also contributes to the rapid mastery of the musical repertoire by children.

Thus, musical and didactic aids contribute to a more active perception of music by children and allow them to be introduced to the main forms of art in an accessible form.

Board music and didactic games

Musical and didactic games are an effective means of developing pitch, rhythmic, timbre and dynamic hearing in children. In order for the game to be fun, interesting, and at a good pace, children must quickly and easily recognize the various expressive properties of musical sounds.

Board music and didactic games are developed in accordance with the tasks of musical and sensory education of children of primary school age. The classification of games is based on the tasks of forming the education of four important properties of musical sounds (pitch, rhythmic relationships, timbre coloring and dynamic shades).

In this regard, four types of games are given:

Games that develop children's pitch hearing.

"Circus Dogs"

Target. Exercise children in distinguishing a complete scale (seven steps), an incomplete scale (five steps), and sequences of three sounds of a major triad. All sequences of sounds are given in a progressive movement up and down. Know the song “Circus Dogs” by E. Tilicheeva.

Description. Two large cards depicting ladders made of cubes, with circus dogs jumping on them. Each step has its own color and corresponds to a specific sound (starting from bottom to top: do, re, mi, fa, sol, la, si). Music notes are drawn on small cards, the same size as the steps. Two sets of small cards are the same color as the two large cards. To play you need cards with tasks: 1) draw a complete scale; 2) a sequence of five sounds going up: do - salt; 3) a sequence of five sounds going down: salt - do; 4) a sequence of three sounds of a major triad: do - mi - salt; 5) a sequence of three sounds of a major triad, going from top to bottom: G - E - C; 6) two sounds of different heights: do1 - do2. To play you need incentive tokens, a metallophone and four screens.

Progress of the game. Three children participate in the game, one of them is the leader. He gives the players large cards and corresponding small cards, which they hide behind the screen. The task cards and the metallophone are kept by the presenter behind the screen. He mixes up the task cards and reminds the children what the sound sequences on the cards sound like. Then he takes the top card and loses the task. Children behind the screen place small cards on the corresponding steps of the ladders. Then they raise the screen and everyone watches how the task is completed. Behind right action the child receives an incentive token. The game ends when children complete all six tasks. The winner is the one who collects the most tokens.

Games that develop a sense of rhythm.

"Merry Pipes"

Target. Exercise children in the perception and discrimination of three rhythmic patterns, conditionally corresponding to the rhythm of sound:

a) trumpets (a bear plays); b) pipes (played by a fox); c) pipes (played by a mouse). Knowledge of the song “Merry Pipes” by G. Levkodimov is required.

Description. Three cards with outline images of animals playing wind instruments: a bear on a trumpet; there is a fox on the pipe; on the flute - a mouse. Cards of the same size, but with a color image, are cut into four parts. Metallophone, screen.

Progress of the game. Four children play, one of them is the leader. He distributes one colored card to three players. Children sing a song, listen to the animals play their instruments, and begin to play. To the presenter’s question “Who is playing this?” The one who has a large non-colored card matches the rhythmic pattern performed answers.

Games that develop timbre hearing.

"Know Your Instrument"

Target. Exercise children in distinguishing the timbres of a piano, bell and pipe. Knowledge of the song “Merry Instruments” by G. Levkodimov is required.

Description. Three cards with an outline image of a piano, a bell and a pipe. The same colored cards are cut into four parts. Screen, children's musical instruments: piano, bell, pipe.

Progress of the game. The cut pieces of colored cards along with the tools are placed behind the screen in front of the leader. He suggests singing a song and listening to the sound of the instruments again. Then the game is played. To the host’s question “What did I play?” The answer is the one whose drawing of a large non-colored card corresponds to the sounded instrument. If the answer is correct, he receives a piece of a colored card and places it on the corresponding piece of a large non-colored card. If the child answered incorrectly, then the leader puts this card down under all the cards. The game ends when all the children have folded large colored cards from four parts.

Games that develop dynamic hearing.

"Loud quiet"

Target. Exercise children in distinguishing between loud and quiet sounds. You need to know the song “Loud - Quiet” by G. Levkodimov.

Description. Two cards with an outline image of a large and small accordion, conditionally corresponding to loud and quiet sounds. These colored cards are cut into four parts. Screen, children's musical instrument accordion.

Progress of the game. Three children take part in the game, one of them is the leader. He suggests singing a song, listening to the loud and quiet sound of an accordion. Then the game is played. To the presenter’s question “How did the instrument play: loud or quiet?” The answer is the one whose drawing of a large non-colored card corresponds to the sounded dynamics of the instrument. If the answer is correct, he receives a piece of a colored card and places it on the corresponding piece of a large non-colored card. If the child answered incorrectly, then the leader puts this card down under all the cards. The game ends when all the children have folded large colored cards from four parts.

Visual methods are intended in pedagogy to sensually familiarize students with life phenomena, processes, objects in their natural form or in symbolic representation using all kinds of drawings, reproductions, diagrams, models.

Due to the sound nature musical art The visual-auditory method, or the method of auditory visualization, of teaching acquires special importance. The priority type of visualization in a music lesson is the sound of the music itself, which involves demonstrating musical works both in live sound and using sound-reproducing equipment. Of particular value in this regard is the performance of music by children themselves: choral singing, singing individual melodies, vocalization, elementary music playing, playing imaginary instruments, plastic intonation, conducting, musical stage performance, etc. The volume and quality of music played in the lesson, as well as its function in the dramaturgy of the lesson are an important indicator of the success of the musical pedagogical process.

Among a wide range of methods and techniques of auditory orientation prominent figures mass musical education (B.V. Asafiev, B.L. Yavorsky, N.L. Grodzenskaya, D.B. Kabalevsky) especially emphasized the observation method and considered it a fundamental link in music education.

To observe art, according to B.V. Asafiev, means, first of all, to be able to perceive it. This first of all means that any form of performing activity, composing music by children acquires a heartfelt and conscious character. “Observing it (music) leads to an orientation of consciousness not towards individual objects and their properties, as “separateness,” but towards the interdependence and conjugation of phenomena, as usually happens when observing the properties of phenomena that are only tangible, but invisible.” Only in this case, B.V. Asafiev believes, music has an educational effect on children, on the basis of which their life experience is enriched, “socially valuable mental states” are awakened, “initiative, resourcefulness, organizational flair, critical attitude” are developed, students learn to draw conclusions and generalizations.

In music pedagogical practice, the visual-visual method, or the method of visual clarity, is also widely used. For example, visual teaching aids, diagrams, sheet music, a dictionary of emotional characteristics. Reproductions are used to prepare children to perceive music and enrich musical impressions with visual associations. Similar functions in music lessons are performed by children’s drawings about music and to music.

According to the famous Russian psychologist A. N. Leontiev, the use of visualization should take into account two points: the specific role of visual material in assimilation and the relationship of its subject content to the subject to be assimilated. Based on this, it is necessary to use such clarity, which is determined by the very essence of music as an independent auditory intonation-time art, the meaningful intonation-sound form of the work and the actual musical activity of children.

CHAPTER 2. Practical use of didactic visualization in the learning process

In order to trace how the use of didactic visuals contributes to the optimal assimilation of educational material in a music lesson, I conducted two identical lessons in second grade. Only in the first lesson did I use visuals, but in the second - almost none.

) Methodology for using the principle of clarity when conducting a lesson in grade 2 “A”.

Equipment and musical material: accordion; blank cards for the keyboard; music disc with E. Grieg's work “Morning”; printed words of the song “Seven Paths” by E. Krylatov; task cards; comic drawings depicting treble and bass clefs, notes of different durations; painted sky and handouts (sun rays and clouds); picture with a rainbow and notes; a drawn train and station names; portraits of composers E. Grieg, P. I. Tchaikovsky, W. A. Mozart, J. S. Bach, L. V. Beethoven, D. B. Kabalevsky; table with note durations.

explanation of new material;

performance of the song;

consolidation of new material during execution

exercises;

listening to music;

lesson summary;

homework assignment.

During the classes:

The sound is “The Little Engine Song” from the cartoon “The Little Engine from Romashkov”. The colorful name of the lesson topic, the train and the names of the stations are pasted on the board.

Teacher. Guys, today we have an unusual music lesson. Today we will go to the magical land of “Note Writing”. And we will go on this beautiful train from Romashkov (shows). But first, guys, tell me what does a composer need to compose music? (Sounds, notes, musical image, inspiration, musical instrument, etc.)

II. Explanation of new material. 1 station “Musical sound”:

So, let's go! (The “Song of the Little Engine” sounds again. It will sound in all intervals between stations.) The first station is “Musical Sound”.

So what is sound? (Vibration of some body.) Let's move on. And our next station is “Zvukoryad”.

Zvukoryad station:

There are sounds of all octaves on the piano keyboard (shows). In the middle of the keyboard is the first octave. It is comfortable and easy to sing in the first octave. The further to the right the keys are located, the higher the sounds. The further to the left the keys are located, the lower the sounds. The keyboard has white and black keys. Look at the keyboards you have on your desk. The black keys are arranged in twos and threes. The "C" key is in front of the two black keys. Sounds of the same octave are located on adjacent white keys.

Children know everything in the world

There are different sounds.

Farewell cries of cranes,

The plane's loud murmur,

The hum of a car in the yard,

Dog barking in the kennel

The sound of wheels and the noise of the machine,

The quiet rustle of the breeze.

These are noise sounds.

There are just others:

No rustling, no knocking -

Musical sounds are sounds.

III. Performance of the song. Station 3 “Note writing”:

To indicate medium and high sounds, the treble clef is used: or the “sol” clef: (Shows a comic picture and tells the rules of writing. Children draw in a music notebook.)

To denote low sounds, the bass clef, or “fa” clef, is most commonly used: (Shows a comic picture and tells the rules of writing. Children draw in a music notebook.)

You won't open it rashly:

Music box

Lock with two keys.

Unusual shape,

Special dressings:

The first clef is... treble clef,

And the second one is...bass.

Guys, now I’ll sing you a song, and you tell me what it’s about. (Performs E. Krylatov’s song “Seven Paths.” The children answer that this song is about the rainbow and its colors.) That’s right, the rainbow has seven colors. So in music there are seven notes-colors. (Shows a picture with rainbow colors and notes.) Now we will learn this song. (The teacher distributes the words of the song. The moment of learning the song and its performance takes place.)

IV. Consolidation of new material during exercises. 4th station “Note durations”:

Tails from one to three (rarely up to four or even five) are added to the sticks on the right. (When talking about each note, the teacher shows a comic picture of the notes.)

The main division of durations is as follows: in a whole note there are 2 half notes, in one half there are 2 quarter notes, in one quarter note there are 2 eighth notes, in one eighth note there are 2 sixteenth notes. (Explains using the table.)

Label the indicated sounds:

It started to rain:

The rain came faster:

The rain began to calm down:

The sun came out:. Listening to music. 5th station “Creativity”:

Guys, our musical train brought us to a country like Norway. This country is located far to the north. The sea carved its shores with deep bays, around which rise mountains covered with forests.

Listen to a piece by Edvard Grieg called “Morning” performed by a symphony orchestra. (Listen. The teacher removes the portrait of the composer.)

Guys, what kind of morning did E. Grieg “paint” in his work? (The tender red sun rises. Its rays barely appeared on the tops of the trees. Gradually nature wakes up, etc.)

And now, there will be such a task for you. I hung several portraits of famous composers on the board. Your task is to remember which of them is E. Grieg and who the others are. (The guys complete the task.)

VI. Lesson summary. 6 station "Terminal":

Well guys, our journey has come to an end. We have arrived at the “Terminal” station. Let's review which stations we visited and what new we learned. (Repeat.) II. Homework assignment.

And who helped us travel around the country today “Musical Literacy”? (Locomotive from Romashkov.) That's right. But it's time for him to go to the depot. We will see it off and say “Goodbye!” And you will have an unusual homework assignment. You will need to draw your morning at home. Maybe today's lesson and what piece will help you? (“Morning.”) Who is its composer? (Edward Grieg.)

Our lesson is coming to an end, and I want to know if you liked the lesson. To do this, I handed out a ray of sunshine and a cloud to your desks. On the board you see the sky drawn. Those who liked the lesson, attach a ray of sunshine to the sky, and those who didn’t, attach a cloud. And to make it more fun for you to say goodbye, I will play you a song. (The song “Spring Drops” sounds.)

Goodbye, guys!

) Methodology for conducting a lesson in grade 2 “B” without using the principle of clarity.

Lesson topic: “Travel to the country of “Note reading”.”

Purpose of the lesson: familiarization with the basics of musical literacy; consolidation of concepts: “scale”, “octave”, “staff”, “notes”, “keys”, “duration”.

Educational objectives: - improving the ability to construct notes on a stave;

determine the duration of notes during exercises;

developing the ability to give an accurate description of a piece of music.

Developmental tasks: - development of vocal and choral skills, development of rhythmic hearing;

develop the ability to determine the nature of a musical work.

Educational tasks: - fostering personal interest in participating in the creative process;

formation of sustainable interest in the music of foreign composers;

nurturing emotional responsiveness to music.

Equipment and musical material: accordion; music disc with E. Grieg's work “Morning”; task cards; drawn sky and handouts (sun rays and clouds).

Lesson structure: - organizational point;

explanation of new material;

performance of the song;

consolidation of new material during exercises;

listening to music;

lesson summary;

homework assignment.

During the classes:

I. Organizing time. Introduction to the topic of the lesson. Explanation of new material.

Teacher. Guys, today we have an unusual music lesson. Today we will go to the magical land of “Note Writing”. But first, guys, tell me what does a composer need to compose music? (Sounds, notes, musical image, inspiration, musical instrument, etc.)

City "Musical Sound":

The first city "Musical Sound".

In order to correctly understand the content of music, one must take into account its features, its difference from other arts. While in literature the content is conveyed through words, in painting through drawing and paint, in music the content is embodied through sounds, from which musical images are created.

Sound as a phenomenon is the oscillatory movement of a body (for example, a string). Sounds existing in nature are divided into noise and music. Musical sounds can be sung or played on a musical instrument, but noise sounds cannot. This is, for example, the rustling or roar of thunder.

So what is sound? (Vibration of some body.) Let's move on. And our second city is “Zvukoryad”.

city "Zvukoryad":

All sounds found in music, arranged in sequential ascending or descending order, form a scale. The main ones are seven steps (sounds) of the scale: do, re, mi, fa, salt, la, si or c, d, e, f, g, a, h.

The name of the sounds is of very ancient origin. In the Middle Ages it was accepted letter designations sounds. Nowadays, both syllabic and alphabetic names are used. In the Russian language, syllabic names have become widespread for a long time.

The seven basic degrees are repeated periodically, forming sections of the scale called octaves. The beginning of each octave is the sound “do”. Starting from the lowest octave, their names are as follows: subcontractive, counteroctave, major octave, minor octave, first octave, second octave, third octave, fourth octave, fifth octave.

There are sounds of all octaves on the piano keyboard (shows). In the middle of the keyboard is the first octave. It is comfortable and easy to sing in the first octave. The further to the right the keys are located, the higher the sounds. The further to the left the keys are located, the lower the sounds. The keyboard has white and black keys. The black keys are arranged in twos and threes. The "C" key is in front of the two black keys. Sounds of the same octave are located on adjacent white keys.

Children know everything in the world

There are different sounds.

Farewell cries of cranes,

The plane's loud murmur,

The hum of a car in the yard,

Dog barking in the kennel

The sound of wheels and the noise of the machine,

The quiet rustle of the breeze.

These are noise sounds.

There are just others:

No rustling, no knocking -

Musical sounds are sounds.

Now let's stand up and sing R. Rogers' "The Sound of Music." (Sing.)

II. Performance of the song. 3 city “Note writing”:

The first attempts to record musical sounds date back to very ancient times. Several monuments of musical works dating back to antiquity have been preserved. In these ancient records, the pitches of sounds are indicated by letters that indicate the exact pitch of the sound. But this was extremely inconvenient for recording polyphonic music; in addition, the letters did not indicate the duration of the sounds.

A turning point in musical notation occurred in the 12th century, when the four-line system began to be used. Musical signs changed their appearance over time, a fifth was added to the four lines, but the basis of musical notation, introduced in the 11th century, has been preserved to this day.

The main elements of musical notation are the stave (stave), notes, and keys.

The staff consists of 5 horizontal lines. The lines of the staff are counted from bottom to top.

Notes are special signs for recording music.

Notes are written on the lines, between them, above and below the staff, on additional rulers. (Draw in a music notebook.)

Notes have a name only if at the beginning of the staff there is a corresponding musical sign - a key.

Several different keys are used in musical practice. The most common are two of them: violin and bass.

To indicate medium and high sounds, the treble clef is used: or the “sol” clef: (The teacher shows how to write the treble clef. Children draw in a music notebook.)

To denote low sounds, the bass clef, or “fa” clef, is most commonly used: (Shows the rules of writing. Children draw in a music notebook.)

Now guess the riddle: Music box

You won't open it rashly:

Music box

Lock with two keys.

Unusual shape,

Special dressings:

The first clef is... treble clef,

And the second one is...bass.

Guys, now I’ll sing you a song, and you tell me what it’s about. (Performs E. Krylatov’s song “Seven Paths.” The children answer that this song is about the rainbow and its colors.) That’s right, the rainbow has seven colors. So in music there are seven notes - colors. Now we will learn this song. (There is a moment of unlearning.)

III. Consolidation of new material during exercises. 4th city “Note durations”:

The sounds of a melody differ from each other not only in pitch, but also in duration: we hear either long or short sounds.

There are a number of basic musical notations to indicate the duration of sounds:

An oval that is applied empty or filled.

Stil (vertical stick), which is added to the oval. A filled oval is always calm. The style is written up to the right or down to the left of the oval.

Tails from one to three (rarely up to four or even five) are added to the sticks on the right.

What sounds exist in music? Write them in ascending order.

Label the indicated sounds:

Find the indicated sounds on the keyboard: “la”, “do”, “re”, “mi”, “si”, “do” of the second octave, “fa”, “sol” and their numbers, i.e. “la” - 1, “before” - 2, etc.

What is an octave? Name the sounds with which it begins and ends. How many octaves are there?

Locate the C note of each octave on the piano:

Name the location of the shaded key on the keyboard. For example: the "C" key is located on the left near the two black keys.

Which sound is higher and which is lower? Place a down arrow opposite the sound if it is lower, and an up arrow opposite the sound if it is higher: “A” of the small octave and “F” of the second octave, “C” of the first octave and “C” of the second octave, “G” of the counter octave and “ B" of the third octave.

Name the duration of the notes. (Whole, half, quarter, eighth, sixteenth.)

Which duration is shorter? Compare the notes and put the or signs.

Now let’s play a game called “Rain”. I'll show you the notes on a card, and you clap the rhythm for me. But first, we'll rehearse. (Explains how durations expire. The game begins.)

It started to rain:

The rain came faster:

The rain began to calm down:

The sun came out:

IV. Listening to music. 5th city “Creativity”:

Guys, we are in Norway. This country is located far to the north. The sea carved its shores with deep bays, around which rise mountains covered with forests.

More than a hundred years ago, a boy named Edward was born here. From childhood he remembered interesting tales about gnomes, elves - magical spirits and little people who seem to live in the mountains. E. Grieg spoke about all this very vividly in his music. (The teacher shows a portrait of E. Grieg.)

Listen to a piece by Edvard Grieg called “Morning” performed by a symphony orchestra. (Listen.)

Guys, what kind of morning did E. Grieg “paint” in his work? (The tender red sun rises. Its rays barely appeared on the tops of the trees. Gradually nature wakes up, etc. Children listen again.)

VI. Lesson summary. 6 city “Goodbye!”:

Well guys, our journey has come to an end. We are in the city of “Goodbye!” Let's review which cities we visited and what new things we learned. (Repeat.)I. Homework assignment.

You will have an unusual homework assignment. You will need to draw your morning at home. Maybe today's lesson and what piece will help you? (“Morning.”) Who is its composer? (Edward Grieg.)

Goodbye, guys!

) In order to trace the role of visibility in the learning process, I want to analyze the main stages of the lessons I taught in the second grade on the topic “Travel to the country of “Musical Literacy””:

) Organizing time.

The little engine, which was in the 2nd "A" class, set the children up to work. The children became interested, were lively, active, and ready to work.

He was absent from 2nd grade B. The children were not organized, they were not interested.

The little train contributed to the children's willing response to the questions posed. In

In class B, the children were reluctant to contact the teacher.

With the help of colorful station names attached to the board, students of class 2 “A” clearly and visually represented the sequence of the lesson.

) Performance of the song.

Children in grade 2 “A” learned the song faster and performed it with a joyful mood than children in grade 2 “B,” because printed words for each student speeded up the process of learning and memorizing the song. And the picture with the image of a rainbow set the children up for joyful emotions.

Learning in grade 2 “B” took a long time, since the students only perceived the words of the song by ear, and at the same time they still needed to learn the intonation of the work.

) Musical notation.

With the help of handout keyboards, children in class 2 “A” remembered the location of sounds better than in class 2 “B”.

Without a table with note durations, students in grade 2 “B” did not understand how notes are divided by duration. The verbal method was not enough for them and I had to resort to writing a table on the board and explaining it.

Comic pictures depicting keys and notes helped students of grade 2 “A” understand musical notation. Children quickly mastered the rules of writing notes, treble and bass clefs. They were interested in learning new signs and concepts.

“B” class was indifferent to the letter. For children, writing musical notation was incomprehensible and caused them difficulties. Some of the children never learned how to write treble and bass clefs and notes.

) Knowledge of composers.

When I asked the children of grade 2 “B” at the end of the lesson: “Who is depicted in the portrait?”, not all the students answered that it was E. Grieg. This means that just showing one portrait in class is not enough. You need to work with it (the portrait) and visualization alone is not enough.

Playing with portraits in grade 2 “A” helped expand children’s knowledge about composers visually. Everyone answered that it was E. Grieg. I am sure that the students of class 2 “A” will not confuse the composers when they have to encounter them again.

) Completing tasks.

In class 2 “A”, where I used visual aids, the results of completing assignments on musical notation were much better than in class 2 “B”, in which they were absent.

In 2 "A" class the results were as follows:

student - score 10

students - score 9

student - score 8

student - score 7

The results were better because they relied on visibility. The children understood the material better.

In grade 2 “B” the results were as follows:

4 students - score 8

students - score 7

student - score 6

In this class, the study of musical notation took place almost exclusively by ear and on the basis of guesswork. The children did not have support for visualization; moreover, the children had difficulties with the placement of sounds on the keyboard and the duration of notes.

) Children's mood.

Reflex results

After I taught a lesson in grade 2 “B”, I decided to check if the children liked the lesson. I asked to attach it to a piece of paper that depicted the sky and the sun without rays, or a cloud (if you didn’t like the lesson) or a ray (if you liked the lesson). 10 students took part in the survey. 6 students attached clouds because the lesson seemed boring and uninteresting to them. The music lesson was similar to all other lessons and there was nothing memorable about it. 4 students attached the rays.

During the lesson in grade 2 “B” I practically did not use visual aids. All material was verbal. The children were inactive in class. They were reluctant to answer questions and complete tasks. By the end of the lesson, almost the entire class did not listen to the teacher's words. They were not interested, and their attention switched to other objects.

I made the same request to the students of class 2 “A”. All 12 students took part in the survey. 9 students attached rays because they liked the lesson. Only one student didn’t care and attached the cloud.

In grade 2 “A” I used a lot of visual aids and handouts. Since the lesson was held in a non-standard form using didactic visuals, the children worked easily, they were interested in performing various tasks, each student tried to stand out and show what he was capable of. The implementation of collective tasks was also carried out in an organized manner. With the help of visuals, students developed creative and logical thinking. Visualization contributed to better assimilation of all material.

IV. CONCLUSION

Having studied the pedagogical and methodological literature on the use of visual aids in the learning process, identified the conditions for the effective use of visual aids and examined the use of visual materials in practice, I found out that the use of didactic visual materials in practice contributes to the optimal assimilation of educational material in a music lesson. Consequently, the hypothesis has been proven, since didactic clarity helps to recreate the form, essence of the phenomenon, its structure, connections, interactions to confirm theoretical positions. Didactic visualization helps to bring into a state of activity all analyzers and the associated psychological processes of sensation, perception, and representation, resulting in a rich empirical basis for the generalizing-analytical mental activity of children and teachers. Didactic visibility forms students' visual and auditory culture. It gives the teacher feedback: based on the questions asked by students, one can judge the assimilation of the material, the movement of students’ thoughts towards understanding the essence of the phenomenon.

Thus, visibility is a property, a feature of that mental image, object or phenomenon that is created by a person as a result of the processes of perception, memory, thinking, and imagination; there is an indicator of the simplicity and clarity of this image. And the clarity of the image depends on the characteristics of the individual, on the level of development of her cognitive characteristics, on her interests and inclinations, on the need and desire to see, hear, feel a given object, to create a bright, understandable image of this object.

The teacher can use various means of visualization: real objects, their images, models of the objects and phenomena being studied. Knowledge of the forms of combination of words and visual aids, their variants and comparative effectiveness enables the teacher to creatively use visual aids in accordance with the assigned didactic task, the characteristics of the educational material and specific learning conditions.

V. LITERATURE

1. Aksenova L. N. “Non-standard lesson - methodological recommendations.” Minsk, 1999.

Pidkasisty P.I. “Pedagogy. Educational aid for students ped. Universities and pedagogical Colleges." Moscow, 1998.

Baturina B. I., Kuzina T. F. “Introduction to the teaching profession.” Moscow, 2009.

Kharlamov I. F. “Pedagogy”. Minsk, 2010.

Abdulin E. B. “Theory of music education. Textbook for students. higher ped. textbook establishments." Moscow, "Academy", 2004.

Podlasy I. P. “Pedagogy 100 questions - 100 answers.” Moscow, Vladospress, 2009.

Komissarova L.N., Kostina E.P. “Visual aids in the musical education of junior schoolchildren.” Moscow, “Enlightenment”, 1986.

Asafiev B.V. “Selected articles on music education and enlightenment.” Moscow, 1973.

Vygotsky L. S. “Psychology of Art.” Rostov-on-Don, “Phoenix”, 2008.

Kholopova V. N. “Music as an art form.” Saint Petersburg, "Lan", 2010.

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Modern visual aids

Introduction

In modern conditions, the role of science and technology in the education system is decisive. Computer technologies not only change the existing educational process, but also create a different worldview, a different pedagogical culture and have a significant impact on the professional activities of teachers.

An object Research is a means of visualization in teaching.

Subject this study are modern means of visualization in teaching the Russian language.

Purpose of this study - to consider what visual aids are used in modern schools when teaching the Russian language, which of them were used before, and which appeared in Lately. In this regard, one can formulate tasks research:

1. Consider the importance of using visuals in Russian language lessons.

2. Consider the main classifications of visual aids and methodological recommendations for their use.

3. Identify what new visual aids have appeared in the field of teaching the Russian language and what are the possibilities for their use.

IN structure This work includes an introduction (defining the goals and objectives of the study), the first paragraph, revealing theoretical basis the use of visualization in teaching and the classification of visualization, the second paragraph (characteristics of visual aids used in modern school), a conclusion formulating general conclusions.

Relevance This study is determined by the rapid development of teaching aids, their diversity, and the emergence of a large number of fundamentally new aids.

TO methods Research can be classified as descriptive, systematizing.

Practical significance The research is that it contains information about the latest visual aids that can be used by language arts teachers while working in a secondary school, as well as by students when preparing coursework and dissertations.

Chapter 1. Theoretical foundations of using visualization

1.1 Necessity of applicationvisibility

In the process of cognition of the surrounding reality (the same in the process of learning), all human senses are involved. Therefore, the principle of clarity expresses the need to form ideas and concepts in students based on all sensory perceptions of objects and phenomena. However, the capacity of the senses or “communication channels” of a person with the outside world is different. According to some experts, if, for example, the organ of hearing misses 1000 conventional units of information per unit of time, then the organ of touch misses 10,000 conventional units of information in the same unit of time, and the organ of vision - 100,000, i.e. About 80% of information about the world around us is obtained through vision.

Y. A. Komensky also put forward the “golden rule”: “everything that...is possible should be left to the senses for perception...”. The requirement that students gain knowledge primarily from their own observations played a big role in the fight against dogmatic, scholastic teaching. However, the limitations of the sensationalist philosophy on which Comenius relied did not allow him to reveal the principle of visual teaching with the necessary completeness and versatility.

The principle of visibility was significantly enriched in the works of G. Pestalozzi. Defending the need for visualization in teaching, he believed that the senses themselves provide us with random information about the world around us. Education should eliminate confusion in observations, differentiate objects, and connect homogeneous and similar objects again, that is, form concepts in students.

In the pedagogical system of K. D. Ushinsky, the use of clarity in teaching is organically connected with the teaching of the native language. Ushinsky believed that the best way to achieve children's independence in the process of developing the gift of speech is visualization. It is necessary that the object is directly perceived by the child and that, under the guidance of the teacher, “... the child’s sensations are transformed into concepts, from concepts a thought is formed, and the thought is clothed in words.” Ushinsky formulated the very principle of visualization as follows: “What is visual teaching? Yes, this is a teaching that is built not on abstract ideas and words, but on concrete images... A teacher who wants to firmly imprint something in youthful memory must take care of "that as many senses as possible - the ear, the eye, the voice, the sense of muscular movements and even, if possible, the sense of smell and taste - take part in the act of memorization."

Subsequently, these theories were developed and enriched. Let's consider the theoretical foundations of the use of visualization and the classification of visual teaching aids.

Visualization helps to create ideas about individual objects and phenomena. But to form concepts, active mental activity is needed. Visual aids help the emergence of ideas, and thinking transforms these ideas into concepts. With the help of visualization, learning situations are created that help develop speech activity, preparing students for practical activities in real life situations. Visualization contributes to the development of students’ emotional and evaluative attitude towards the acquired knowledge. By carrying out independent tasks, students can verify the reality of the processes and phenomena that they learn about from the teacher. And this allows the child to be convinced of the truth of the information received, which leads to awareness and strength of knowledge. The principle of clarity is carried out using linguistic (context, interpretation of new words with familiar words of the language being studied, selection of synonyms and antonyms, teacher’s speech) and extralinguistic means (visual means, facial expressions, gestures, movements, demonstration of objects and observation of phenomena in the surrounding reality).

Thus, the use of visual aids to manage cognitive activity in the learning process contributes to:

Creating an educational environment capable of demonstrating visual images of the processes and phenomena being studied in various educational situations, as well as operating with them.

Development of intellectual thinking. At the same time, we can talk about visual thinking, communicative thinking, etc.

Changing the illustrative properties of visual aids to cognitive ones, which become the basis of the entire learning process.

Visual teaching methods are understood as those methods in which the assimilation of educational material is significantly dependent on the visual aids and technical means used in the learning process. Visual methods are used in conjunction with verbal and practical teaching methods and are intended to visually and sensorially familiarize students with phenomena, processes, objects in their natural form or in a symbolic representation using all kinds of drawings, reproductions, diagrams, etc. Visual teaching methods can be divided into two large groups: illustration method And demonstration method. The illustration method involves showing students illustrative aids, posters, tables, paintings, maps, sketches on the board, flat models, etc. The demonstration method is usually associated with the demonstration of instruments, experiments, technical installations, films, videos, etc.

1.2 Types of visibilityin didactics

Visualization used in the process of studying various academic disciplines, has its own specific characteristics, its own types. However, didactics studies the learning process as such, regardless of any academic subject, therefore it studies the most general types of visibility (P. N. Shimbirev and I. T. Ogorodnikov):

Natural or natural visibility. This type includes natural objects and phenomena, i.e. such as occur in reality. For example, during the learning process, plants or animals are demonstrated in biology lessons, electric motors when studying physics, etc.

Visual clarity. This type includes: layouts, models of some technical devices, stands, various screen media (educational films, filmstrips, etc.), graphic teaching aids (posters, diagrams, tables, drawings, etc.). Most of the visual aids that are used in the learning process belong to this type.

A specific type of visibility is verbal-figurative clarity. This type includes vivid verbal descriptions or stories about interesting cases, for example, when studying history or literature, and various kinds of audio media (video and tape recordings).

Another type of visibility is practical demonstration teaching certain actions: performing physical exercise in physical education lessons, working with a certain instrument in labor training lessons, performing specific practical operations when studying at a vocational school, etc.

All of the named main types of visibility are very often supplemented by another unique type, this is the so-called internal visibility, when in the learning process there is, as it were, a reliance on the students’ previous experience, when they are asked to simply imagine some situation, some phenomenon. For example, when deriving a formula for calculating the resistance of a conductor (in physics lessons), students do not need to be shown conductors of different cross-sections and made of different materials. Here it is necessary that they imagine an abstract conductor and logically reason about what its resistance may depend on.

Recently, special importance has been given in the learning process visual clarity(although it is advisable to use a variety of types in combination). The advantages of visual clarity (educational films, for example) are that it makes it possible to show some phenomena at an accelerated pace (the formation of rust during metal corrosion) or at a slower pace (the combustion of a combustible mixture in an engine).

D.E. Denisov and V.M. Kazansky believe that the classification of visual aids and their presentation may include five groups (according to the purpose of the visual aids):

1 group. Facilities presentation of information: blackboard, chalk; posters; projection devices with appropriate storage media; overhead projectors, epiprojectors, overhead projectors, film projectors; television equipment; sound recording equipment; handout graphic material; textbooks and teaching aids (printed in the form of microfilms).

2nd group. Facilities control knowledge: special inspection machines; classes with feedback; machineless control means.

3rd group. Educational machines and simulators.

4th group. Lectures demonstrations and natural show objects.

5 group. Tools used in the educational process as auxiliary: Computer Engineering; statistical accumulators; reference devices, etc.

Chapter 2 Modern visual aids

2.1 Ttraditionalvisual aids and methods of working with them

Visibility as one of the most important didactic principles is developed and implemented in the theory and practice of teaching the Russian language at all stages of development school education. The main way of its implementation is the use of visual aids in the educational process. Visual materials can only be useful if they are organically connected with the content of the lesson as a whole, with all its components and tasks. When starting to use visual aids, the teacher must realize for what purpose he is doing this, determine at what stage of the lesson to work with them, and how to connect this stage with other parts of the lesson.

Visual aids help solve problems such as mobilizing students’ mental activity; introducing novelty into the educational process; increasing interest in the lesson; increasing the possibility of involuntary memorization of material; expansion of the volume of digestible material; highlighting the main thing in the material and its systematization. Thus, visual aids are used at almost all stages of learning: at the stage of explaining new material (presenting information), at the stage of consolidating and developing skills (teaching students certain actions), at the stage of monitoring the acquisition of knowledge and the formation of skills (evaluating work results students), at the stage of systematization, repetition, generalization of the material (highlighting the main, most important in the material being studied).

According to the method of perception, visual aids are divided into visibility: visual, audio, visual-auditory.

Visual aids. Visual aids include so-called printed media (tables, demonstration cards, reproductions of paintings, handouts) and screen media (films, transparencies and slides, banners).

The most common and traditional means of visual clarity in Russian language lessons are tables. The main didactic function of the tables is to equip students with a guideline for applying the rule, revealing the pattern underlying the rule or concept, and facilitating the memorization of specific language material. In this regard, they are divided into linguistic and speech. Language tables reflect a pattern, the essence of a rule or concept, which contributes to the fastest assimilation of this concept, memorization of a rule, a certain norm, etc. You can place words with a given spelling in the table, illustrating each of the roots with alternating e-i relevant examples. But you can do it differently. In the table, record only roots that are characterized by alternation letters e-i(-ber bir-, -der dir-). Highlight the suffix -a-, which serves as a condition for choosing the correct spelling. Enter the appropriate symbols, use color to show different spellings of roots. In this case, the table will present a model of the spelling rule, its structure, reflecting the pattern of choosing the correct spelling. Such a table does not illustrate the phenomenon, but helps to understand its essence, which contributes to the activation of students’ cognitive activity and the development of their logical and abstract thinking. Verbal explanations in tables of this nature are either absent or used as an additional technique.

Speech tables contain specific speech material (words, phrases) that needs to be remembered. An example of such a table is the selection of words (in the margins of a textbook, on a special stand, on a portable board) and presenting them to students in order to clarify or clarify their meanings, as well as to remember their spelling appearance. In other words, with the help of speech tables, work is organized to enrich students’ vocabulary and improve their spelling literacy. One of the ways to present such speech material is specially designed demonstration cards. These are dynamic, moving aids from which tables are formed. The contents of the tables are words (and phrases), the spelling and pronunciation of which are not regulated by clear rules. Demonstration cards are combined into a table containing no more than 6 words, related by thematic or some other principle.

Tables can be used at the stage of awareness, comprehension of rules, definitions, concepts, at the stage of consolidating what has been learned, when repeating and systematizing the material. Students can be offered the following types of tasks: answers to the teacher’s questions, with the help of which students understand the essence of a concept or rule; drawing up an algorithm for applying the rule; grammatical construction according to a given model; independent compilation of tables; composing a coherent statement on a linguistic topic, etc.

Painting(reproduction, illustration) serves as a source of student statements when teaching different types of essays: description of a person’s appearance, description of an animal, description of a location. The methodology defines the principles for selecting paintings (reproductions) for work in the classroom: high artistic skill, accessibility for students of a given class, simplicity of composition, clarity of the author's intention, compliance with the tasks of developing students' speech, taking into account the material of literature lessons.

The method of working with a picture as a source of students’ statements varies depending on the level of development and capabilities of different classes, the specific objectives of the lesson, and the nature of the statement. In this case, the painting (reproduction) should, first of all, be analyzed as a work of art, not forgetting those specific ways of reflecting reality that are characteristic of painting or graphics.

The picture (reproduction) is also used in the process of teaching schoolchildren how to write sentences (on a given topic, based on key words, etc.), as well as when writing creative dictations. But even in these cases, its methodological capabilities are aimed at helping students select the necessary speech components when creating a statement. A correctly selected and methodically correctly applied picture (reproduction, illustration) helps the teacher solve a whole range of educational tasks: introduce and update certain vocabulary; activate grammatical forms and structures being studied at a given time; teach how to formulate a specific speech statement, which is based on an analysis and description of a work of art.

To help teachers and students, special manuals are created, which present reproductions of paintings, images of works of sculpture and architecture. They can be used to solve the listed problems, and, above all, problems related to the development of schoolchildren’s speech, preparing them for oral and written statements (describing a picture, understanding impressions of a picture, talking about a picture during an excursion, as part of a message or report, etc.).

How a teaching tool is used in Russian language lessons handout visual material, which is based on drawings (including plot ones) placed on special cards. The drawings help to visually comment on the meanings of words, stimulate students to use the studied vocabulary, and provide material for practicing the norms of the Russian literary language. All this allows the formation of students' spelling and speech skills to be carried out in close unity: spelling tasks are included in tasks related to composing sentences and short statements based on visual material.

The advantage of tasks using cards is that the handout contains exercises of varying degrees of difficulty, which contributes to the implementation of the principle of differentiated learning. The handout includes:

1) tasks to enrich students’ vocabulary (explain the meaning of a word, establish the difference in the meaning of words, select synonyms, antonyms, related words, etc.);

2) tasks related to teaching schoolchildren the precise, correct use of the studied vocabulary (choose from a number of possible options the option that best suits the task of the statement);

3) tasks aimed at preventing grammatical errors (violation of the norms of the Russian literary language): form certain forms, compose phrases and sentences, correct errors; composing small coherent statements (make captions for drawings, choose a title from a number of possible ones, verbally describe the drawing, etc.).

The above allows us to determine the basic methodological rules for using this type of visualization:

· Handouts should be used at the stage of creative consolidation of the studied material, when students have already developed the basic skills and abilities associated with mastering the material.

· When using handouts, it is necessary, first of all, to intensify the creative activity of students.

· It is necessary to fully realize the capabilities of handouts for the organization individual work with students.

Working with cards takes 6-8 minutes of class time.

Visual handouts have also been created, intended primarily for speech development lessons.

The manuals contain material on several of the most important sections of the speech development program: the topic and main idea of the statement; dialogue and speech etiquette; letter; description; story; reasoning; formal business style of speech; description of the premises, etc. Presented and drawings, which depict characters from popular cartoons. In this case, the drawing becomes an effective speech stimulus. The handouts do not copy cartoon frames, but modify them, showing the characters in new situations, in unfamiliar circumstances. The tasks that are offered to students while working with cards stimulate their speech activity: schoolchildren communicate with cartoon characters, enter into dialogue with them, write letters on their behalf, etc.

The main types of tasks contained in the cards:

Describe and comment on the drawing;

- “voice” the drawing;

Conjecture what is depicted by the artist;

Offer your own version of the drawing.

Each drawing can be used to study one or two topics of the speech development program; tasks for them are differentiated by degree of difficulty and are variable in nature.

Visual aids also include transparencies (or slides), filmstrips, banners. They are activated using technical means (graphic projector or overhead projector, overhead projector, filmoscope, etc.) and reproduced on the screen. These learning aids are called screen-based visual aids.

Banners- one of the types of movable tables that provide portioned supply of material, making it possible to show the image in dynamics. The content of the material projected on the screen is applied to the film, which is demonstrated using a overhead projector (overhead projector). Overlaying transparent films on top of each other allows you to create dynamic tables in the classroom while working with students and thus demonstrate the very process of reasoning when mastering a new rule. First, linguistic material is presented, then graphic symbols are presented that explain the conditions for choosing spelling or punctuation marks, therefore, the pattern that underlies the rule is revealed.

Filmstrips that are used in Russian language lessons can be divided into two groups: filmstrips that provide explanations, descriptions of language facts and concepts, and filmstrips designed to develop and improve students' speech skills. The content of filmstrips of the first type is material (episodes, plot drawings, photographs, reproductions, illustrations, etc.), with the help of which the learned information on vocabulary and grammar is clarified, expanded, clarified, generalized and consolidated. These are, for example, filmstrips: “Significant parts of speech” (author M. Gorbachevskaya); “From the Life of the Word” (author L.M. Zelmanova); “Dialect and professional words” (author N.F. Onufrieva).

Viewing filmstrips of this nature is accompanied by the presentation of a series of special tasks to students, which are performed as in the process of viewing a filmstrip (compose captions for frames without subtitles, describe what is depicted in the frame of the filmstrip, find shortcomings in the speech of the hero of the filmstrip, explain the meaning of a word based on the picture, comment frame content, etc.) and after viewing the filmstrip. The use of filmstrips in this case stimulates independent work of students: reading and analysis of popular science literature, analysis of the speech of others, lexical and stylistic analysis of works of fiction.

1. When starting to work with a filmstrip, the teacher must clearly define the purpose of its demonstration in the lesson and also clearly set this goal for the students.

2. It is necessary to determine the place of the filmstrip in the structure of the lesson, to organically connect it with all other parts of the lesson.

By analyzing visual material, students clarify and comment on the meanings of words and phraseological units, comprehend the characters of the heroes of literary works, obtain factual data about certain events, and develop observation and emotional vigilance.

Transparencies(or slides) are close in their methodological capabilities to filmstrips: a static image in a frame, in many ways similar to visual material. However, there are significant differences between these screen aids. Transparency frames are not mounted on one tape, so they are easily varied when presented to students. The teacher, depending on the educational task, can change the number of frames used and their sequence. In addition, a filmstrip frame is easier to reproduce if necessary than a filmstrip frame. And finally, transparencies provide a clear, colorful image, which is primarily necessary when presenting reproductions, photographs, and illustrations.

Thus, transparencies allow the teacher to provide the lesson with more advanced visual material compared to filmstrips. This determines the possibilities of using transparencies, first of all, in speech development lessons. Using transparencies with reproductions of paintings, photographic reproductions of architectural monuments, and documentary material (photographs depicting literary places), the teacher significantly expands the scope of emotional impact on students and helps create a meaningful basis for a future speech work.

All transparencies created for educational purposes are provided with accompanying text, which helps to combine diacrades into thematic groups and determine the sequence of work.

Transparencies can also be used in lessons studying vocabulary and grammar of the Russian language. In this case, they perform a different function: it is a kind of picture dictionary of the Russian language with a visual semantization of words, explanation and delimitation of their meanings.

The method of using transparencies is determined by the tasks solved by the teacher in the lesson. The nature of the visual material allows the teacher to expand the range of tasks for students, which are completed after viewing transparencies and answering questions provided by the authors of the diaseries and included in the accompanying text. These can be tasks like: preparation by students of independent reports based on a group of frames determined by the teacher, creation of an accompanying text for a series of slides, writing texts in newspaper genres (essay, report, interview), creating a commentary on slides, creating texts for conducting a tour of transparencies, etc.

Auditory visual aids. The main ways of realizing auditory clarity are gramophone records and tape recording. Sound recording in this case it performs a special didactic function. It represents samples of spoken speech and serves as a means of developing students’ oral speech culture. A sound sample helps to develop the skills of correct literary pronunciation, stress, intonation, as well as the skills of constructing an oral coherent statement. Consequently, sound samples are reference speech recorded on a record or tape, demonstrating the norms of the Russian literary language, and oral statements of various nature (story, report, description, dialogue, telephone conversation, etc.). An audio guide was created for the textbooks by the team of T.A. Ladyzhenskaya, M.T. Baranov and others, the tasks of which complement the exercises in the Russian language textbooks. The basis of this manual is made up of gramophone records with samples of sounding speech. The audio manual contains materials for practicing the norms of the Russian literary language, defined and highlighted specifically by the program for secondary schools. Consequently, the materials of the audio guide are correlated with the materials of the school textbook: those exercises with the help of which words that are difficult to spell are learned and remembered are voiced. As a rule, these are texts, prosaic and poetic, while listening to which the student correlates what was written and heard, and mentally reproduces the sound of the words to be learned. The manual also contains negative material: by listening to it, the student learns to identify mistakes in pronunciation and correct them.

In addition, the manual contains material for the development of oral speech: firstly, these are texts from the textbook, from which students are preparing to write an exposition, and secondly, these are voiced texts from literary works studied at school. And finally, these are additional texts that demonstrate examples of oral statements: stories performed by E. Auerbach, I. Andronikov, expressively read excerpts from works of children's literature, dialogues and monologues of schoolchildren's favorite literary heroes. Many texts are read against a musical background and presented with musical accompaniment, which creates a special emotional mood.

The use of audio aids in the classroom will require the teacher to fulfill a number of special methodological conditions. Particular attention should be paid to the preparatory stage before listening to the record. At this stage, it is necessary to set students a work task, orient them to what they should hear, indicate what to pay attention to, and make them think about why this exercise is designed for listening to a spoken text. In other words, the teacher must organize purposeful, conscious listening, precede it with special tasks, and set up students for unusual work.

While listening, it is important not to disturb the sound of the text with remarks, comments and other actions expressed verbally. The student must listen without being distracted, checking the spoken text with the written one, if the work is consistent with the textbook materials. If the textbook does not have a written analogue, a spoken text, it is useful to teach students to make the necessary notes while listening: to draw up a plan, highlight certain parts of the text, write down words and phrases necessary for further work, and draw up intonation patterns for individual sentences. In addition, in a number of cases (as provided by the assignment of the textbook), while listening, it is necessary to prepare schoolchildren for expressive reading of the text of the textbook, organize observation of the speaker’s reading style of the text: determine the general emotional mood of the reader, analyze where and why pauses are made, the speaker’s tone changes, what words stand out and how when reading, etc.

At the final stage, after listening, students answer all the questions posed in advance by the teacher, complete new tasks, practice expressive reading of the text they listened to, and give their own versions of reading certain parts of it. If the text is designed to prepare students for independent composition of speech works, then, accordingly, the final stage of the work will be the task of preparing an oral statement on a specific topic.

Visual-auditory aids training. Screen-sound teaching aids are represented by filmstrips with sound, films and film fragments.

Filmstrips with sound make it possible to supplement the visual material with narrated text. The combination of an image and a word allows students to more fully present the situation on the basis of which they will perform an independent task. Sound can be used in various ways: switch on and off, apply selectively, play repeatedly, etc. All this ensures the use of such filmstrips at a new methodological level.

In addition, it should be taken into account that the speaker’s text (report, speech, essay) can serve as a model for students not only when creating their own statement, but also as a control text that allows them to determine whether the speech task has been completed correctly. Taking this circumstance into account, a filmstrip with sound accompaniment is constructed: it consists of several fragments, each of which performs its own function. First, in a number of cases, fragments are given without sound (photos, game material), explaining by one means or another the rules for constructing the required text, preventing the most typical mistakes of students. What follows are fragments with samples of texts voiced by speakers. It is these fragments that can be used either as samples (they are reproduced and analyzed before students complete independent tasks) or as control texts (they are analyzed after students complete the tasks proposed by the teacher). At different stages of training, the teacher determines the methodology of work, taking into account a number of objective and subjective circumstances.

Unlike all other visual aids films and film fragments provide image dynamics, synchronous presentation of sound and visual material, which determines their methodological capabilities. Complete educational films, sometimes consisting of several parts (the duration of each part is 10 minutes), and film fragments, the demonstration of which takes from 3 to 5 minutes, are used to solve educational problems of various nature. Like all other visual aids, films and film fragments are used both in Russian language lessons and in speech development lessons.

Films in Russian language lessons complement the textbook materials, help students more deeply understand the essence of linguistic phenomena, and master the way of applying the rules in practice. For this purpose, various visual materials are used: drawings, tables, cartoons, game and visual situations, documentary material, etc. Narration provides audio commentary on visual material, a story, business instructions, questions, and the use of excerpts from works of art.

In speech development lessons, cinema is used more widely, since with its help a variety of situations are intensively introduced to stimulate students’ speech activity. In educational films, plot and visual materials are used for this purpose. The possibilities of cinema make it possible to present specific scenes in dynamics, from different angles. The film camera organizes and directs the viewer’s attention, makes him see what is necessary to solve the educational task, helps him see the subject close and at a distance, from different points of view. All this makes it easier to collect material for a future statement. It is obvious in this regard that films can be used to work on various kinds of descriptions. This is precisely why such films as “Monument”, “Forest Lake”, “Bear Cub”, etc. were created.

In order to solve all the problems caused by the nature of educational films, it is necessary to follow the following methodological recommendations.

· When thinking through the goals and objectives of using an educational film (or film fragment) in a lesson, the teacher must determine the stage at which the film will be shown, and methods for correlating the work on the film with the content of the entire lesson.

· Particular attention should be paid to preparing students to perceive the film: formulate the tasks of the work, guide students to record certain details when watching the film, talk about the creators, characters and actors (if any), etc. In other words, the preparatory work should help ensure that from the first minutes of watching the film, students are not distracted from solving the main task of this stage of the lesson.

· After watching a movie, it is useful to find out the general impression that it made on them: what they remembered, what they liked, etc. This will make it possible to determine which of the students was attentive when watching the film, which of them more fully understood its content. Consequently, further conversation with students will be more fruitful.

Work on a film ends, as a rule, with the completion of independent assignments (at home or in class), determined by the content of the film and its purpose: the preparation of oral and written statements of various genres. Modern technical means make it possible to use videos as visual aids, which are shown using a VCR. Currently, a video film “Russian language through fairy tales” has been created for Russian language lessons, which includes educational films “If you are polite”, “Dog Martyn writes an ad”, “Take care of the book”, etc. (author L.M. Zelmanova) . The creation of educational videos in the Russian language is in its early stages, so the specifics of their use have not yet been determined.

2.2 Newestfacilitiesvisibility

Recently, the latest visual aids have been developed, which include computer programs and media technologies. New kits have also been created teaching aids:

· Schemes-tables in the Russian language by S. I. Lvova, handouts(18 tables). The proposed handouts will help organize work on spelling and punctuation at different stages of learning the Russian language in primary and high school. These visual aids are made taking into account modern publishing capabilities: an easy-to-use format of 21 x 29.5 cm, double-sided lamination, which makes the manuals practical to use and durable. Bright Feature of these table diagrams - the use of a variety of colors to highlight semantic blocks educational information. The color scheme of these schemes allows you to simultaneously influence the child’s visual, logical and emotional memory, which makes it possible to more fully use different channels for obtaining educational information and helps improve the quality of learning. Schemes for spelling and punctuation were compiled taking into account the unusually increased interest in the use of various methods of presenting information in teaching, including using multimedia.

· Set of tables “Types of analysis” by S. I. Lvova. The set, published in 2008, includes 10 tables.

· Schemes-tables for the Russian language: spelling and punctuation. The set, published by the Drofa publishing house, consists of 36 tables.

· Multimedia applications to the textbooks “Russian Language” from grades 5 to 8 based on the textbook edited by M. M. Razumovskaya.

· Multimedia educational complex"1C:Tutor. Russian Language" contains a presentation of the entire school course of the Russian language and includes the following sections: phonetics, lexicology, word formation, morphology, syntax, spelling, punctuation, preparation for university.

The program is a textbook, problem book and reference book, united by a hypertext structure and includes:

2 levels of complexity, which allows you to use the course both for preparing for the entrance exam in the Russian language at technical universities, and for preparing for the exam at a humanitarian or language university, a detailed presentation of theoretical material, equivalent to 1200 pages of A4 format,

14,000 questions and problems with answers, combined into 461 language workshops,

1500 articles of reference material,

600 linguistic dictionary entries,

46 voiced animation models,

10 interactive tables,

3 hours of narration,

biographies of philologists and information on the history of linguistics, the ability to update via the Internet.

The program "1C: Tutor. Russian language" is certified by the Ministry of Education of Russia (ININFO certificate No. 42 dated 01/02/00) and is used in more than 5,000 educational institutions Russia. The complex was rated by experts from the PC World magazine as the best multimedia program among new products on Russian market(Leader-Disk ratings in Nos. 11, 12/1999 and No. 1/2000), and at the most representative teachers’ conference “Information Technologies in Education” the course took 1st place in the “Best” category training program in the Russian language" in 1999 and 2000. The series "1C: Tutor" was awarded the All-Russian Exhibition Center medal.

· Computer “Russian language course”. Developer: Com.Media. Age: from 13 years old Packaging: JC (1CD), Box (1 CD + reference book).

The computer course consists of a practical and theoretical part. The theoretical part includes a grammar reference book. The practical part contains educational, monitoring, and game tasks on all topics of Russian spelling and punctuation. Some exercises are static, others are dynamic, playful; some require self-control, others are immediately checked by the computer.

The electronic tutor-simulator "Russian Language Course" is published in two versions: basic and complete. The basic version of the program contains 5 difficulty levels (600 tasks), the full version - 10 levels (1300 tasks). Each level includes 15-17 topics on the basic rules of spelling and punctuation, and each topic, in turn, consists of 5-10 different types of tasks and exercises. At the end of each level, you are asked to complete final test assignments and write exam dictations.

The full course also comes with a printed spelling and punctuation guide.

Each level of the tutor-simulator is an independent “mini-course” of the Russian language, including rules for common mistakes. Having completed all the tasks at the first level, the student moves on to the second level and so on until the last level inclusive. From level to level, exercises and tasks become more difficult.

All exercises performed by the user in the training computer program are graded. Ratings are placed next to the name of the exercise in this topic. Thus, the menu (content) of the level becomes a kind of report card. The integral assessment of literacy on all topics studied is summarized in a special section called “Journal”. The "Journal" contains a list of all topics studied and an average score for all exercises on this topic, taking into account the level. The user can immediately see his “weak” places and repeat poorly understood topics again.

The tutor-simulator "Russian Language Course" ends with a final test. The educational computer program includes fun games and "Did you know" pages.

What are the methods of auditory visualization aimed at? Methods of visual influence. Direct visibility method

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