Foundations are laid in kindergarten expressive speech, articulatory skills are worked out, the ability to listen to sounding speech is brought up, speech hearing and lexical-semantic ability develop. The development of these skills and abilities in a certain sequence is the most important task of kindergarten teachers in the process of speech classes. Stop on the concept "expressiveness of speech" compared to the concept "expressive reading" . Free or spontaneous speech, which we utter for the purpose of communication, persuasion, is always expressive. When a person makes a speech in the natural conditions of communication, it is characterized by rich intonations, brightly colored timbre, saturated with expressive constructions.

The necessary means of speech expressiveness are born naturally and easily under the influence of emotions and speech motivation. But the same person who had just spoken passionately and vividly in a situation free communication, suddenly found himself in front of a microphone. His voice became dull, metallic, tense, intonations - dull, monotonous. The same thing happens with the voice and speech of a child who is placed in the conditions of the need to pronounce a monologue or read by heart in the unnatural conditions of an educational situation, when he is guided not by the desire to tell the interlocutor something new and interesting, but by educational necessity.

Work on the expressiveness of speech is a complex work. If the kindergarten teacher in all age groups works on the development of the creative imagination of children in a certain system and at the same time carries out an individual approach, he largely prepares work on expressive reading in the lower grades of the school. Raised from early childhood "sense of the word" , its aesthetic essence, expressiveness - makes a person emotionally rich for life, creates the opportunity to receive aesthetic pleasure from the perception of a figurative word, speech, fiction.

Expressive speech maintains the attention and interest of the listener or reader. There are several conditions on which the expressiveness of speech depends. This is the independence of thinking of the author of the speech, his not indifference, interest in what he speaks or writes about, and in those for whom he speaks or writes; good knowledge of the language, properties and features of language styles; the conscious intention of the author of the speech to speak and write expressively.

The expressiveness of different styles is not achieved by the same means - it is specific to each style. The scientific and educational style of speech is characterized by an emphasized logical presentation. In speech, terms are widely used denoting scientific concepts, as well as words denoting the transition to the next part of the sentence, words like "therefore, therefore" emphasizing cause-and-effect relationships. The conversational style is characterized by the use of emotionally colored language means, evaluative words and constructions such as “Oh is it? That's how!" The artistic style is distinguished by figurativeness, emotionality, originality and freshness of expressions, brightness, visibility of descriptions. Example. How did my mom not believe me? . Mom and I went to the mowing. Suddenly I saw a bear. How I scream: "Oh, bear!" Well, yes, my mother was surprised. "Truth! Honestly!" Then the bear once again appeared from behind the birch, and mother would shout: "Oh, really, bear!" Compare. Mom and I went to the mowing. Suddenly I saw a bear and shouted: "Mama bear!" Mom didn't believe me. I began to convince her. Then the bear came out again, and mother saw him. A comment. Both texts are colloquial. The girl shares her experiences, strives to vividly convey what happened to her. The first of the stories is more expressive and lively. About everything girl "tells with feeling" . We think this incident just happened.

Let's talk about the intonation coloring of speech.

Intonation is not only raising and lowering the tone, it is also strengthening and weakening of the voice, slowing down and speeding up the tempo, various changes in timbre, these are breaks in the sound of the speech flow or pauses. Intonation, participating in the construction of statements and "layering" on syntax and vocabulary, creates excellent opportunities for expressing the most diverse, subtle and complex shades of meaning - logical, emotional, volitional, artistic. Intonation enhances the expressiveness of speech. Each writer and poet, when creating a text, hears the intonation of his speech. To understand speech, a test that would bring the reader closer to the writer, to his artistic conception, one needs, among other conditions, a good knowledge of intonation. mother tongue reader. It is forbidden "hand over" listeners the richness of a literary text, if "transmitting" Poor command of the national wealth of the language. Unfortunately, many pupils do not acquire a real taste for the artistic word - and one of the reasons for this is the intonational monotony and inflexibility of the teacher's speech.

Expressiveness is born in such a selection of words, sentences, intonations, such their use, which help to awaken not only the logical, but also the emotional, volitional, aesthetic areas of our consciousness. Expressive speech affects our feelings more strongly than ordinary speech in the process of communication.

intonation expression. For oral speech The correct use of intonational expressive means is very important:

1. logical stress (selection from the phrase of the main words or phrases by meaning by raising or lowering the voice).
2. Pause (temporary stop of the voice in speech).
3. Melody (voice movements in height and strength).
4. Pace (number of words spoken in a given unit of time).
5. Voice volume changes.
6. Timbre.

Intonation makes speech lively, emotionally saturated, the thought is expressed more fully, complete.

Exercises.

(Played by a girl, not a boy).
The girl is playing with a doll in the garden. (And not just carried it there).
The girl is playing with a doll in the garden. (And not in the park, in the forest).
The girl is playing with a doll in the garden. (Not with another toy).

2, Read the phrases, highlighting individual words in each phrase with your voice; see how the meaning of the phrase changes.

The coat hung on a hanger.
The boy read an interesting book.
There is a cinema in our street.
Mom bought her son a new bike.

3. Read the proverbs, sayings, highlighting the main words in their meaning with your voice.

Every vegetable has its time.
Softly spread, but hard to sleep.
The sun shines, but the moon only shines.
There is no better friend than a mother.

What is written with a pen cannot be cut down with an axe.

4. Read aloud a poem or text and highlight with your voice the words and phrases that are the most important in meaning.

Fluffy white snow is spinning in the air
And quietly falls to the ground, lays down.
And in the morning the field turned white with snow,
Like a veil, everything dressed him.

The dark forest that covered itself with a wonderful hat
And fell asleep under it soundly, soundly.
The days have become short, the sun shines little,
Here come the frosts and winter has come. (I. Surikov).

5. Read proverbs and sayings, making pauses in the right places.

Stand up for the right cause.
Life is given for good deeds.
Don't trust the beginning, trust the end.
Where the needle goes, there goes the thread.

Curls curl, but do not forget about business.
An old friend is better than two new ones.

6. Read the text aloud, highlighting the pauses in the right places. When reading the text, highlight with your voice the words that are the most important in meaning; Watch your breathing, take air in a timely manner during pauses.

Mishka took out a lollipop, put it in his mouth, and wanted to put the sugar bowl in its place. I took it, and it stuck to my hands - and bang on the floor. Broke into two halves. The sugar crumbled. The bear was scared “What will mom say now?” He took two halves and leaned against each other. They're nothing, hold on. It is not even noticeable that the sugar bowl is broken. He folded the sugar back, covered it with a lid, and placed it carefully on the sideboard. (N. Nosov).

7. Read the phrases, depending on the text, raising and lowering your voice (with ascending or descending melody).

Is the book published in Moscow?

The book was published in Moscow.

By the end of the year, the plant exceeded the plan.

He felt great!

Have you been to Sevastopol?

No, I have not been to Sevastopol.

8. Read the tongue twisters, changing the pace of speech when they are pronounced: slowly, moderately, quickly.

Three trumpeters are blowing trumpets.
Sixteen mice walked and six found pennies.
They gave Klasha porridge with curdled milk, Klasha ate porridge with curdled milk.

9. Read tongue twisters, changing the volume of your voice: in a whisper, quietly, moderately, loudly.

To live without work is only to smoke the sky.
Whoever loves to work cannot sit idle.
Make new friends, but don't lose old ones.
Happiness does not wind in the air, but gets it with your hands.

Use poetry and prose texts as training exercises. When reading them, observe the norms of literary pronunciation, clarity, clarity of pronunciation of sounds and words.

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Posted on http://www.allbest.ru/

Ministry of Education and Science of the Russian Federation

Federal State Budgetary Educational Institution of Higher Professional Education "Ural State

Pedagogical University"

Course work

“Psychological and pedagogical foundations for improving

expressiveness of speech in older children school age

in the process of familiarization with children's literature "

Executor:

Rykova Maria Anatolievna

student of group BSh-42zc,

Scientific adviser:

Shuritenkova Vera Alekseevna

Introduction

Federal state educational standard preschool education(hereinafter GEF DO) implies a comprehensive approach, ensuring the development of children in all five complementary educational areas: socio-communicative, cognitive, speech, artistic and aesthetic, physical development.

Speech development includes the possession of speech as a means of communication and culture; enrichment of the active dictionary; development of coherent, grammatically correct dialogic and monologue speech; development of speech creativity; development of sound and intonation culture of speech, phonemic hearing; acquaintance with book culture, children's literature, listening comprehension of texts of various genres of children's literature; formation of sound analytic-synthetic activity as a prerequisite for literacy training.

Artistic and aesthetic development involves the development of the prerequisites for the value-semantic perception and understanding of works of art (verbal, musical, visual), the natural world; the formation of an aesthetic attitude to the world around; formation elementary representations about the types of art; perception of music, perception of fiction, folklore; stimulation of empathy for the characters of works of art; implementation of independent creative activity of children (fine, constructive - model, musical, etc.).

Preschool age is a period of active assimilation by a child spoken language, formation and development of all aspects of speech: phonetic, lexical, grammatical. Full mastery of the native language in preschool childhood is necessary condition solving the problems of mental, aesthetic and moral education of children in the most sensitive period of development. The sooner the teaching of the native language is started, the freer the child will use it in the future. expressiveness speech preschool literature

One of the areas of work on the development of the speech of preschool children is the education of love and interest in the artistic word; acquaintance of children with fiction, the formation of interest and need for reading (perception of books).

An outstanding teacher V. Sukhomlinsky wrote: "Reading is a window through which children see and learn about the world and themselves."

Fiction plays a special role in the upbringing of children, expanding their understanding of living reality, helping the child to learn about life, shaping his attitude to the environment, educating him spiritually and morally. Having learned to empathize with the heroes of works of art, children begin to notice the mood of their loved ones and those around them, which awakens humane feelings in them - the ability to show participation, kindness, mercy, a sense of justice. Works of fiction reveal to children the world of human feelings, causing interest in the personality, in the inner world of the hero.

This is the basis on which adherence to principles, honesty, and true citizenship are brought up. “Feeling precedes knowledge; whoever did not feel the truth did not understand and did not recognize it, ”wrote V. G. Belinsky.

The child's feelings develop in the process of assimilation of the language of those works with which the teacher introduces him. The artistic word helps the child to understand the beauty of the sounding native speech, it teaches him the aesthetic perception of the environment and at the same time forms his ethical (moral) ideas.

Fiction accompanies a person from the first years of his life. A literary work appears before the child in the unity of content and artistic form. Perception literary work will be complete only if the child is prepared for it. And for this it is necessary to draw the attention of children not only to the content, but also to the expressive means of the language of a fairy tale, story, poem and other works of fiction. Gradually, children develop an inventive attitude to literary works, an artistic taste is formed. In senior preschool age preschoolers are able to understand the idea, content and expressive means of the language, to realize the wonderful meaning of words and phrases. All subsequent acquaintance with a huge literary heritage will be based on the foundation that we lay in preschool childhood.

The speech maturity of a child of senior preschool age must reach a certain level, at which speech turns into a universal means of cognition and communication, into an instrument of thinking. The child can express his thoughts coherently and logically, emotionally and expressively. An important indicator of speech maturity is the understanding of a literary work, the ability to convey expressively, to state the sequence of actions in the text, to convey its imagery and expressiveness.

“If from childhood a child has not been brought up with a love for a book, if reading has not become his spiritual need for life, then in the years of adolescence the soul of a teenager will be empty, crawling out into the light of day, as if something bad has come from nowhere” V.A. Sukhomlinsky

Today, the problem of familiarizing preschoolers with fiction is especially relevant, since one cannot but note a decrease in interest in the book, both among adults and children, which results in a decrease in the personal culture of children of early and preschool age. With the advent of television and the computer, the flow of information has fallen upon man with unprecedented force. Children master the computer before they learn to read, navigate the keyboard better than in the table of contents of the book. Their literary experience is limited to stories from the "ABC" and anthologies, and subsequently - attempts to master the works school curriculum in an abridged version.

Therefore, in accordance with federal state requirements, today it is necessary to introduce a child to a book, to reading already in the preschool period, otherwise it will be difficult to educate a reader in the future, which will negatively affect not only the development of a particular child, but also the spiritual and moral potential of society as a whole .

Modern researchers of children's reading attach importance to the impact of a work of art on the moral, aesthetic, emotional, speech development of children, while paying special attention to the psychological and pedagogical features of familiarizing preschool children with fiction.

All of the above determines the relevance of the chosen topic "Psychological and pedagogical foundations for improving the expressiveness of speech in children of senior preschool age in the process of familiarization with children's literature."

The purpose of the study: improving the expressiveness of speech in the process of familiarization with children's literature.

To achieve this goal, the following tasks were formulated:

1. Consider the theoretical foundations of the expressiveness of speech in children of older preschool age.

2. Study the means of expression.

3. To characterize speech in children of senior preschool age in terms of its expressiveness.

4. The possibilities of children's literature in the study of the expressiveness of speech.

5. Substantiate the psychological and pedagogical conditions for the expressiveness of speech.

1. Expressiveness as a communicative quality of speech

1.1 Types of expressiveness

An important quality of children's speech is expressiveness. “The expressiveness of speech is the ability to clearly, convincingly and at the same time, as concisely as possible, express one's thoughts and feelings; the ability to influence the listener and reader with intonation, choice of words, construction of sentences, selection of facts, examples,” wrote N.S. Christmas.

The expressiveness of speech is the communicative quality of speech, a feature of its structure, which affects not only the mind, but also the emotional area of ​​human consciousness; maintains the attention and interest of the listener and reader (B. N. Golovin).

The main purpose of the expressiveness of speech is to ensure the effectiveness of communication, at the same time, expressiveness can be considered a significant means of speech self-expression of the individual. The expressiveness of speech is used in the process of communication to enhance the influence of the speaker on the feelings of the listener by influencing the emotional sphere of the interlocutor.

The development of speech is based on an active creative process of mastering the language, the formation of speech activity. It is well known that children, even without special education, from a very early age show great interest in language activity, create new words, focusing on both the semantic and grammatical side of the language. However, with spontaneous speech development, only a few of them reach a high level. Therefore, purposeful teaching of speech and speech development is necessary.

The effectiveness of the process for the formation of communicative abilities in children of senior preschool age largely depends on the teacher building situations of communication and interaction in which the child solves certain communicative tasks.

There are several directions in the work on the development of communication skills in preschool children.

1.2 Formation of colloquial (dialogical) speech

Starting from preschool age, it is necessary to teach children to listen carefully and understand the speech of adults and peers, to be able to answer questions correctly, to use interrogative intonation; educate the desire to maintain a conversation with adults and peers.

At an older age, children develop the ability to take part in a collective conversation, answer questions briefly or more extensively, depending on the nature of the question.

Dialogic speech is a particularly vivid manifestation of the communicative function of language. Oral dialogic speech takes place in a specific situation and is accompanied by gestures, facial expressions, and intonation. Hence the language design of the dialogue. Speech in it may be incomplete, abbreviated, sometimes fragmentary. Dialogue is characterized by: colloquial vocabulary and phraseology; brevity, reticence, abruptness; simple and complex non-union sentences; short-term reflection. The coherence of the dialogue is provided by two interlocutors. Dialogic speech is characterized by involuntary, reactive. The development of dialogic speech plays a leading role in the process speech development child and occupies a central place in the overall system of work on the development of speech in kindergarten. Mastering different aspects of speech is a necessary condition for the development of dialogic speech, and at the same time, the development of dialogic speech contributes to the child's independent use of individual words And syntactic constructions. Connected speech incorporates all the achievements of the child in mastering the native language, its sound structure, vocabulary, grammatical structure.

The structure of the dialogue is a variety of combinations of initiative and response statements, among which the following functional dialogic pairs can be distinguished: question - answer; motivation (offer, order, request) - fulfillment (refusal to fulfill); message (informing, assertion) is an expression of a relationship. It is unjustified to limit the content of teaching dialogue to the development of only the ability to answer questions and ask them. It is necessary to include in this content the development of the following skills in older preschoolers:

Understand the variety of appeals (messages, questions, urges) and respond to them in accordance with the functional task of communication: express in socially accepted forms the attitude to the information received, answer questions and urges, perform or politely refuse to perform;

Enter into verbal communication in various ways: report on your impressions, experiences, etc.; to ask questions; encourage communication partners to joint activities, action.

As a kind of human behavior, dialogue requires the assimilation and implementation of certain rules that have developed in the socioculture for its conduct, therefore it is important to determine the range of rules available to the child. Children can gradually learn to: observe the order in the conversation; listen to the interlocutor without interrupting; support general theme conversation; show respect and attention to the interlocutors, listening to them, look into their eyes or face; do not speak with a full mouth, etc.

The teacher must ensure that each child easily and freely enters into a dialogue with adults and children. It is necessary to teach children to express their requests in words, to answer the questions of adults with words.

In the process of communication, the child should be taught the skills of speech culture: do not interfere in the conversation of elders, do not interrupt the interlocutor, do not turn away during the conversation, do not lower your head, calmly listen to the one who speaks, look into the eyes, avoid a rude, dismissive tone. The child's speech must be expressive.

1.3 Formation of monologue speech

Oral monologue speech is a complex speech creative activity, which the child begins to master at preschool age under the influence of organized systematic classes, as well as during the enrichment of life experience.

Timely mastery of coherent speech is one of the conditions for the formation of a full-fledged personality, preparation for schooling.

Children master the monologue gradually. Depending on the age features, first, the child learns to understand the story, and later - to tell on his own: retell short tales, describe a toy, object, picture, compose a story based on a plot picture, about events from his own life.

The formation of skills for constructing coherent detailed statements requires the use of all the speech and cognitive abilities of children, while simultaneously contributing to their improvement.

For older preschoolers, the requirements for stories and retellings are increasing. Children must adhere to a clear composition, the logic of plot development, truthfully depict reality in stories on real topics, evaluate life phenomena and facts. To maintain the interest of preschool children in retelling, it is necessary to select a work for staging in accordance with the age and individual characteristics of children in this group. The plot of a fairy tale, story, poem should be full of actions, rich in dialogues.

Possession of coherent monologue speech incorporates the development of the sound culture of the language, vocabulary, grammatical structure and occurs in close connection with the development of all aspects of speech - lexical, grammatical and phonetic.

Vocabulary development.

A person begins to talk when he learns a certain number of speech units. The unit of language is the word. It is necessary to constantly increase the child's vocabulary, expand, enrich the vocabulary while getting acquainted with the outside world (objects, living phenomena and inanimate nature, public life). This should happen in such a way that children learn the connections between objects, phenomena, properties and actions.

By the older preschool age, a child is already consciously approaching certain linguistic phenomena, he thinks about his speech, he himself creates by analogy a number of new and original words. Word creation is the most important feature of children's speech and is an indicator of the development of the morphological elements of the language, which are associated with the quantitative accumulation of words and the development of their meanings.

The development of concepts goes in parallel with the development of the processes of thinking and speech and is stimulated when they begin to connect with each other. By the age of 6, a child's vocabulary consists of approximately 14,000 words. In order for the child's dictionary to meet all the rules, it must include different types of vocabulary: everyday (names of body parts, toys, utensils, furniture, clothes, etc.); natural history (names of objects of inanimate and living nature); social science (names of professions, holidays, etc.); emotional and evaluative (qualities, feelings, states, etc.); temporal and spatial.

Knowledge of the native language is not only the ability to correctly construct a sentence, even if it is complex. The child must learn to tell: not just name an object, but also describe it, talk about some event, phenomenon, or sequence of events. Such a story consists of a series of sentences. They, characterizing the essential aspects and properties of the described object, event, must be logically connected with each other and unfold in a certain sequence so that the listener accurately understands the speaker. In this case, we will be dealing with connected speech, i.e. with meaningful, logical, consistent speech, quite well understood in itself, not requiring additional questions and clarifications.

To form the ability to use words correctly, it is necessary to develop the skills of semantic selection.

The development of the semantic side of speech is one of the main conditions for the formation of the skills of coherent speech and verbal communication of a preschooler. This is explained by the fact that the degree of formation of the lexical-semantic system of a preschool child has a direct impact on his ability to accurately and adequately select words in accordance with the situation of communication and the context of the utterance. Such development contributes to the improvement of coherent speech, both in terms of its qualities, and in terms of its figurativeness, expressiveness.

1.4 Formation of grammatically correct speech

Grammatically correct speech is formed in the process of speech practice, communication of the child with adults. Parents should ensure that children learn the syntactic and morphological structure of their native language: correctly use sentences of different grammatical categories (simple, common, complex), correctly use conjunctions and connecting words in complex and compound sentences, use and agree on words in gender, number, case and time, teams and indeclinable nouns, adhered to the alternation of sounds in the basis when declining nouns and verbs.

The formation of the grammatical structure of speech is also closely connected with the development of coherent speech, and especially with lexical work.

By the age of 5-6, children master the rules of the grammar of their native language without much difficulty and without special training. By the age of 6, the child already owns inflection, the formation of tenses, the rules for composing sentences. The speech of a child of 5-6 years old already includes complex sentences. The first extended forms of dialogic speech appear. When talking with each other, children address each other their statements.

Mastering the grammatical structure of the language by a child is of great importance, since only morphologically and synthetically formulated speech can be understood by the interlocutor and can serve as a means of communication for him with adults and peers.

At preschool age, the child needs to develop the habit of speaking grammatically correctly.

The assimilation of the grammatical norms of the language contributes to the fact that the child's speech begins to perform, along with the function of communication, the function of communication when he masters the monological form of coherent speech. Syntax plays a special role in the formation and expression of thought, that is, in the development of coherent speech.

Mastering grammatically correct speech has an impact on the child's thinking. He begins to think more logically, consistently, to generalize, to abstract from the concrete, to correctly express his thoughts.

The child learns the connections between objects and phenomena primarily in objective activity. The formation of the grammatical structure is successful provided that the subject activity is properly organized, the daily communication of children with peers and adults, special speech classes and exercises aimed at mastering and consolidating difficult grammatical forms.

1.5 Education of sound culture of speech

The sound culture of speech includes the correct pronunciation of all sounds and words of the native language, the expressiveness of speech and the formation of phonemic hearing (the ability to perceive the sounds of the native language, distinguish them, determine their presence in words). It is also necessary to work on improving diction, to learn how to correctly place stresses, use interrogative and exclamatory intonation, adjust the height, strength of the voice, and adhere to a uniform pace of speech.

The constituent components of sound culture - speech hearing and speech breathing - are a prerequisite and condition for the emergence of sounding speech.

Mastering the pronunciation of all the sounds of the native language by the age of five is possible with proper guidance on the development of children's speech. Targeted Learning, the use of an appropriate methodology creates the conditions for the realization of the prerequisites that children have. The formation of the sound side of speech is carried out in a kindergarten in two forms: in the form of training in the classroom and the education of all aspects of the sound culture of speech outside the classroom.

Two types of classes are organized with children, containing the task of educating sound culture. Some sections of the sound culture of speech should be introduced into the content of classes that solve other problems of speech development (for example, pay attention to the expressiveness and loudness of the voice when reading nursery rhymes).

The education of the sound culture of speech is aimed at the development of the phonetic-phonemic component of the speech system; its full development ensures a favorable flow of the level of motor programming of speech activity.

1.6 Familiarization with fiction and fostering a love of reading

From an early age, parents should instill in their children a love for various genres of children's fiction and folklore - fairy tales, songs, nursery rhymes, classics, etc. Develop the ability to listen carefully, understand works of art, evaluate the actions of heroes, express their attitude towards them. Also, children should learn to memorize and expressively, with intonation, recite poems. Literary material is a bright, visual-figurative standard of the speech culture of the people.

Literary images, storylines allow a preschooler to master the social and moral norms and rules, form the communicative culture of the child. In the course of work on literary material, the child's speech is intensively enriched with means of expressiveness of speech. The speech development environment allows the preschooler to master and creatively use the norms and rules of the native language, develops the ability to flexibly apply them in various situations.

Reading literary works reveals to children the inexhaustible richness of the Russian language. At the same time, sensitivity to the expressive means of artistic speech develops, the ability to reproduce these means in one's work. Boc accepting a literary work, understanding its content and moral meaning, the child discovers the ability to notice and allocate funds artistic expressiveness. Later, when creating his own essay (fairy tale, story, poetry) on the theme of a literary work, the child reflects some phenomenon of reality, turns on the imagination, invents an event, develops an action, builds an image. At the same time, he uses a variety of linguistic means, learned from literary material, which make his statement figurative and expressive.

Teaching children the elements of literacy.

At senior preschool age, children should be introduced to the concepts of letters, syllables, words, sentences, and the formation of the first reading and writing skills should begin.

Senior preschool age is a very favorable period for learning the elements of literacy, including primary education reading. As a rule, children are happy to find and name individual letters, begin to draw them. So a certain number of well-known letters gradually accumulates. As you get to know the letters, they fit into the scheme of the word. Children learn that a syllable contains one vowel sound, there are as many syllables in a word as there are vowel sounds. Much attention is paid to exercises for transforming words by replacing, rearranging, adding sounds. It emphasizes the need for meaningful reading.

The most important component of the successful work of preschoolers in acquiring literacy is the formation of phonemic perception. Since literacy is based on reliance on speech hearing, on phonemic perception and the skills of sound, and then sound-letter analysis, it becomes necessary to identify shortcomings in phonemic hearing in children and organize systematic work on its development.

Parents should remember that the formation of speech begins and ends at preschool age. It is during this age period that children must master oral speech. And it is carried out only in a practical way.

Thus, we can conclude that speech accompanies and improves cognitive activity children, makes labor activity more purposeful and conscious, enriches games, promotes the manifestation of creativity and fantasy in visual, musical, literary activities.

In teaching children the development of speech, the following areas are distinguished: structural (formation of the sound, grammatical side of speech); functional (formation of dialogic monologue speech, verbal communication); cognitive or cognitive (development of elementary knowledge of the phenomena of language, speech).

The directions of development of communication skills considered in the psychological and pedagogical literature made it possible to draw up a program for the development of communication skills, which involves working with all participants in the educational process of preschoolers.

The effectiveness of the process for the development of communicative abilities in children of senior preschool age largely depends on the teacher building situations of communication and interaction in which the child solves certain communicative tasks.

The culture of speech is a multifaceted phenomenon, its main result is the ability to speak in accordance with the norms of the literary language; this concept includes all elements that contribute to the accurate, clear and emotional transmission of thoughts and feelings in the process of communication. The correctness and communicative expediency of speech are considered the main steps in mastering the literary language. Development figurative speech should be considered in several directions: as work on children's mastery of all aspects of speech (phonetic, lexical, grammatical), perception of various genres of literary and folklore works, and as the formation of the language design of an independent coherent statement.

Works of fiction and oral folk art, including small literary forms (proverbs, sayings, phraseological units, riddles, tongue twisters), are the most important sources for the development of the expressiveness of children's speech. An indicator of the richness of speech is not only a sufficient volume of an active dictionary, but also the variety of phrases used, syntactic constructions, as well as the sound (expressive) design of a coherent statement. In this regard, the connection of each speech task with the development of imagery of speech is traced. Thus, lexical work aimed at understanding the semantic richness of the word helps the child to find the exact word in the construction of the statement, and the appropriateness of the use of the word can emphasize its figurativeness. In the formation of the grammatical structure of speech in terms of figurativeness, possession of a stock of grammatical means is of particular importance. If we consider the phonetic side of speech, then the intonational design of the statement largely depends on it, hence the emotional impact on the listener. The coherence (planning) of the presentation of the text is also influenced by such characteristics of the sound culture of speech as the strength of the voice (loudness and correctness of pronunciation), clear diction, and the pace of speech.

The most important sources for the development of the expressiveness of children's speech are works of fiction and oral folk art, including small folklore forms (proverbs, sayings, riddles, nursery rhymes, counting rhymes, phraseological units). The educational, cognitive and aesthetic value of folklore is enormous, since, by expanding knowledge of the surrounding reality, it develops the ability to subtly feel the artistic form, melody and rhythm of the native language. The artistic system of Russian folklore is unique. The genre forms of works are extremely diverse - epics, fairy tales, legends, songs, legends, as well as small forms - ditties, nursery rhymes, riddles, proverbs, sayings, the language of which is simple, accurate, expressive. The formation of figurativeness of speech should be carried out in unity with the development of other qualities of a coherent statement, based on ideas about the compositional features of a fairy tale, story, fable, poem, a sufficient supply of figurative vocabulary and an understanding of the appropriateness of its use in relevant essays.

IN senior group children are taught, when perceiving the content of literary works, to notice expressive means. Older children are able to more deeply comprehend the content of a literary work and realize some features of the art form that expresses the content. They can distinguish between genres of literary works and some specific features of each genre. When introducing preschoolers to poetic works, it is necessary to help the child feel the beauty and melodiousness of the poem, to better understand the content. Introducing the children to the genre of the story, the teacher should reveal to the children the social significance of the phenomenon described, the relationship of the characters, draw their attention to the words the author characterizes both the characters themselves and their actions. Questions offered to children should reveal the child's understanding of the main content and his ability to evaluate the actions and deeds of the characters.

Familiarization with fiction includes a holistic analysis of the work, as well as the performance of creative tasks, which has a beneficial effect on the development of poetic hearing, a sense of language and verbal creativity in children.

The correctness of speech is its main quality, derived from the relation "language - speech", since the category of the norm considered above is nothing more than a complex of elements of the language system that determine and regulate the construction and deployment of the speech continuum. In the closest interaction with the category of correctness is such a communicative characteristic of speech as accuracy. If correctness is mainly addressed to the formal aspect of speech (although it is not limited to it), then accuracy as a communicative quality characterizes speech, primarily from the side of content. The degree of accuracy of speech is directly dependent on the nature of the "correlation between the semantics of speech and the meaning of the text" (B.N. Golovin), i.e. on the degree of adequacy of the speech message of the extra-verbal information, the expression of which it is. Two types of accuracy can be distinguished: subject and conceptual. Subject accuracy is based on the relationship "speech - reality" and consists in the correspondence of the content of speech to the circle of phenomena of reality that are displayed by speech. Subject accuracy is an extremely important communicative characteristic of speech (since the effectiveness of the act of transmitting information depends on it), being at the same time an aesthetic characteristic (for a literary text). Conceptual accuracy is given by the connection "speech - thinking" and is expressed in accordance with the semantics of speech units to the content and scope of the concepts they express (a typical example of a violation of conceptual accuracy is the incorrect use of terminology in scientific speech). It should be noted that accuracy as a communicative characteristic differently describes various areas of language. In terms of the main parameters of speech accuracy, another communicative quality is close - logic, which no longer characterizes the relationship of speech semantics with extra-speech and extra-linguistic information, but the structure of speech semantics itself from the point of view of the basic laws of thinking. Just as with regard to accuracy, they distinguish subject and conceptual consistency; the first consists in the correspondence of semantic connections and relations of language units in speech to the connections and relations of objects and phenomena in reality, the second is a reflection of the structure of logical thought through the semantic connections of language elements in speech. Logic is realized at different levels of speech, and in each case it has specific aspects of its expression. So, at the level of utterance, logic lies in a) the consistency of word combinations, b) the correct word order here should include purity, expressiveness, richness (diversity) and relevance of speech. Thus, the purity of speech is assessed through the correlation of speech with the literary (i.e., processed form) language and ethical attitudes (all elements alien to the literary language - dialectisms, barbarisms, jargon, etc. - and moral norms - are taken out of pure speech - - vulgarisms, argotisms, vocabulary). Expressiveness is actually an aesthetic characteristic of speech and can be defined as an internal speech focus on maintaining the attention and interest of the addressee of the message; the expressiveness of speech is provided by specialized language means - tropes and figures, however, we can say that almost all elements of the language system are involved in it, starting with sounds and ending with syntax. The richness of speech in its various aspects (lexical, semantic, syntactic, intonational richness) makes it possible to describe an individual active stock linguistic means that a particular speaker actually or potentially operates with. Finally, the relevance of speech is its extralinguistic characteristic, which evaluates the compliance or inconsistency of speech and its structure with the conditions of communication and the communicative task as a whole. So, the considered communicative qualities allow us to talk about the problems of the culture of speech from different points of view, and at the same time, in interaction, they represent a certain integral system in which and from the positions of which speech can be described as exhaustively as possible.

The culture of speech is a combination and system of its communicative qualities, and the perfection of each of them will depend on different conditions, which will include the culture of the language, the ease of speech activity, semantic tasks, etc. Scientists define the concept in different ways “culture of speech”: as possession of the norms of oral and written literary language (rules of pronunciation, stress, word usage, grammar, style), as well as the ability to use the expressive means of the language in various communication conditions in accordance with the goals and content of speech; as a set and system of communicative qualities of speech; mastery of literary norms at all language levels in oral and written forms of speech, the ability to use stylistic means and techniques, taking into account the goals and conditions of communication; an ordered set of normative speech means developed by the practice of speech communication that optimally reflect the content of speech and satisfy the conditions and purpose of communication.

2. Means of expression

Means that provide expressiveness of speech are divided into two large groups:

1) language - lexical, morphological, phonemic-accentological, intonation, etc.;

2) non-linguistic - facial expressions, pantomime (gestures, posture, gait).

According to M. R. Lvov, expressiveness in oral speech is the richest, truly inexhaustible possibilities of intonation, stress, pauses, tone, timbre, tempo. The main means of expressiveness of speech is intonation, “the rhythmic-melodic side of speech, which serves as a means of expression in a sentence. syntactic meanings and emotionally expressive coloring".

Intonation is "... the most important sign of sounding oral speech, a means of designing any combination of words in a sentence, clarifying its communicative meaning and emotionally expressive shades."

Intonation, according to N. V. Cheremisina, acts as a kind of sound "addition" to the main phonemic composition of words and performs the following main functions: communicative, semantic (phonological), culminative (excretory), synthesizing (unifying), delimitative (delimiting), emotional - expressive.

All functions are interconnected and interact with each other. The communicative function of intonation is that it forms a sentence as a minimal, relatively independent unit of communication. At the same time, it serves to establish and maintain contact between speakers, highlights the informative center of the utterance. The rest of the functions are connected with it, like the particular with the general.

The emotionally expressive function of intonation is an intonational expression of the speaker's attitude to the reported and (or) addressee of the speech.

The implementation of these functions are the structural components of intonation (prosodic means or prosodemes).

This is the melody of speech, carried out by raising and lowering the voice in a phrase;

rhythm - the alternation of stressed and unstressed, long and short syllables; intensity - the strength and weakness of pronunciation, associated with an increase or decrease in exhalation;

pace - the speed of speech in time and a pause between speech segments;

timbre - a sound coloring that gives speech certain emotional and expressive shades (cheerful, gloomy, etc.);

phrasal and logical stresses, which serve as a means of highlighting speech segments or individual words in a phrase.

Stress is a component of intonation based on the intensity, strength of the sound. There are verbal stress - “a kind of power and tonal peak of the word, a “critical point” through which the intonational movement of the phrase is carried out”, as well as semantic stress - syntagmatic, phrasal and logical. Syntagmatic and phrasal stress has the greatest emotional significance, since the stressed word is the main “point” of subtext expression, therefore, the concentration of emotions. Logical stress is characterized by a strong emphasis, a clear intonation highlighting the "psychological predicate" in the sentence. In the flow of speech, logical stress coincides with syntagmatic and phrasal stress, "absorbing" them. L. V. Shcherba singles out a special type of stress - emphatic. Emphasis serves to enhance the emotional richness of speech. This type of stress puts forward and enhances the emotional side of the word or expresses the affective state of the speaker in connection with a particular word. Logical stress draws attention to the given word, and emphatic stress makes it emotionally saturated: “... in the first case, the intention of the speaker is manifested, and in the second, an immediate feeling is expressed”.

tempo - speed of speech relative acceleration or slowing down its individual segments (sounds, syllables, words, sentences and more voluminous fragments), "depends on the style of pronunciation, the meaning of speech, the emotional state of the speaker, the emotional content of the statement" . A vivid emotional means is the variation of the tempo. A fast pace creates the impression of dynamism, its slowdown is associated with tempo imitation, sometimes used to convey solemnity.

A pause is a peculiar, “often “non-sound” intonational means.” NV Cheremisina considers the real and imaginary (zero) pause. A real pause is a stop, a break in sound. An imaginary pause is characterized by the absence of a break in sound, but by the presence of a change in the tonal contour. Emotionally rich colloquial speech is characterized by the absence of normative pauses; there is a so-called "failure" of speech - the appearance of unexpected pauses, pauses of hesitation, which indicates unpreparedness, spontaneity of speech. A number of special studies are devoted to the study of non-linguistic means of expressiveness in linguistics (A. A. Akishina, T. E. Akishina, E. V. Krasilnikova, T. M. Nikolaeva, B. A. Uspensky, etc.). Scientists believe that the use of expressive means in speech has a national, social, individual coloring. Non-linguistic means of expression include melodic voice modulations, called "sound gestures", as well as facial expressions (movement of facial muscles and head), hand gestures, body position and general movements. Mimicry, embodied in the movement of the muscles of the face, is considered as “a product of nervous activity, as a response to automatic, unconscious and conscious signals from the corresponding parts of the central nervous system» ; as "changes in the face, depending on the work of numerous muscles, giving the face unusual mobility and variability"; "expressive movements of the face are an objective indicator of the experiences of the individual, a sign of her states." The means of non-verbal speech communication also include posture - the position of the human body, “typical for a given culture, an elementary unit of a person’s spatial behavior”. The human body can take about a thousand different postures; some of them are rejected and forbidden by society, others are welcomed and fixed. For example, the posture of readiness for communication: a smile, the head and body are turned towards the partner, the torso is tilted forward. Depending on the posture, you can determine the relationship of the interlocutors. Gestures are the movements of the arms or hands. Based on gestures, one can draw conclusions about a person's attitude to some event, person, object. A gesture can express the intentions and state of the individual. A person, forming as a person in a particular social environment, in the course of communication learns the methods of gestures characteristic of this environment, the rules for their application and reading. A person can gesticulate both voluntarily and involuntarily; gestures can be typical for a person, and not at all characteristic of him, expressing his random state. T. M. Nikolaeva divides all gestures into two large groups: conditional and unconditional. Conditional gestures are not always clear to an uninitiated participant in communication, since they have a national, highly specialized, rarely international character. The Russian system of conditional gestures is characterized by a small number of generally accepted gestures associated with speech etiquette. There is no strict external distinction between conditional and unconditional gestures. Unconditional gestures, with an appropriate agreement between the participants in communication, can turn into conditional ones. Unconditional gestures are understandable without prior explanation. They are divided into four groups: 1) indicating; 2) showing (transmitted), which have two varieties: depicting and emotional; 3) emphasizing; 4) rhythmic. Pointing gestures are directed to the subject or object of speech. Showing (transmitting gestures) include depicting, conveying the form and appearance objects of speech, as well as emotional, expressing the internal state of the speaker. Emphasizing gestures have no independent meaning. Their function is to help the listener understand and understand the speaker's thought. They start and end the speech, separating the main from the secondary. Rhythmic gestures in speech merge with the rhythm of sound, words, emphasize it. The first group includes gestures of hesitation, uncertainty (movement of the shoulders, spreading of the arms, etc.). Thus, the grouping of non-linguistic expressive means is universal and can be applied to voice (intonation), mimic, pantomimic manifestations. N. I. Smirnova divides all expressive movements into three groups. The first group includes communicative gestures, facial expressions, body movements, posture, i.e. expressive movements that replace elements of language in speech. This is a greeting and a farewell; gestures of threat, attracting attention, calling, inviting, forbidding; offensive gestures and body movements; teasing, found in the communication of children; affirmative, negative, interrogative, expressing gratitude, reconciliation, as well as gestures found in other situations interpersonal communication. The second group includes descriptive-pictorial, emphasizing gestures, they accompany speech and lose their meaning outside the speech context. The third group is made up of modal gestures. They can rightfully be attributed to expressive movements, since they express an assessment, attitude towards objects, people, and environmental phenomena. Modal gestures include approval, dissatisfaction, irony, distrust; gestures that convey uncertainty, ignorance, suffering, reflection, concentration, confusion, confusion, depression, disappointment, denial, joy, delight, surprise. Scientists (A. A. Akishina, T. E. Akishina, T. M. Nikolaeva and others) note national features that are characteristic of the use of linguistic means of expression in sounding Russian speech. So, expressive melodic characteristics with large voice modulations (up to an octave) correspond to "a mean range of gestural and mimic accompaniments". Russians are characterized by a certain restraint in the use of gestures: it is not customary to stretch the arms forward strongly, to gesticulate, pressing them to the body. The movements of the arms are often replaced by the movement of the head, shoulders. During a conversation, synchronous hand movements are not used: gestures are carried out with one hand, the second hand does not participate at all or does not repeat the movements of the first. There is a certain style of facial expressions, gestures, postures of the interlocutors, which is determined by the situation, the relationship of the speakers, their social affiliation. Non-verbal means expressiveness, which is paid attention to in reference books on etiquette, is a component of the general culture of human behavior. We give a description of the look and bow in the situation "Greeting". Sight. Refers to facial expressions and is a very subtle and difficult to convey form of human communication, but at the same time very important. Try saying hello to someone without making eye contact. The effect will be unpleasant: you will be suspected of insincerity. You can say hello only with a glance, slightly closing your eyes or smiling. A smile, by the way, warms any greeting. It must be remembered that you can greet the interlocutor only by adopting the correct posture and looking straight into the eyes.

...

Similar Documents

Analysis of literary sources on the problem of the formation of expressiveness of speech in preschoolers. Pilot study expressiveness of speech in stuttering preschool children. Guidelines on the development of expressiveness of speech in children.

term paper, added 09/13/2006


Theoretical basis formation of expressiveness of speech in older preschoolers. Experimental study of the development of expressive speech in preschool children. Conditions in preschool institutions for the organization of theatrical games.

term paper, added 10/19/2010


Theoretical foundations, methods and methods of forming the expressiveness of speech in children of senior preschool age. Experimental work on the development of speech culture by means of theatrical games; the role of communication for personal self-expression.

thesis, added 12/24/2010


Psychological and pedagogical foundations for the development of speech in children of senior preschool age. Classes in the theater circle as a means of developing children's speech. Analysis of the change in the level of development of speech of older preschoolers - participants in the theater circle "Teremok".

thesis, added 06/21/2013


Psychological and pedagogical foundations for teaching the sound culture of speech to preschoolers. Methods and techniques of work on the formation of phonemic hearing, speech breathing, correct pronunciation, speech tempo, orthoepic correctness, expressiveness of speech.

thesis, added 02/10/2016


Psychological and linguistic foundations and problems of the development of coherent speech of children in the theory and practice of preschool education. The content and methodology of experimental work on the development of coherent speech of children of senior preschool age using pictures.

thesis, added 12/24/2017


Psychological and pedagogical features of the development of children of senior preschool age. The influence of small folklore forms on the development of a child's speech in early age. Ways of speech development of preschoolers. Collection of games for children with folklore genres in kindergarten.

term paper, added 08/16/2014


Psychological and pedagogical conditions for the depiction of plot compositions in the drawings of middle preschoolers: figurative expressiveness and the specificity of means of artistic expression. Knowledge, skills and abilities in the compositional construction of a drawing by a preschooler.

thesis, added 11/18/2009


Theoretical foundations for studying the speech of children of younger, middle and older preschool age. Consideration of the periodization of speech development in the context of standards for preschool children. Organization of research and description of diagnostic methods.

thesis, added 10/22/2014


The problem of the formation of coherent speech in preschoolers with OHP. The concept of general underdevelopment of speech. Features of the development of coherent speech in children in the norm and with ONR. Methodology development corrective work with children of senior preschool age with OHP level III.

Introduction
Chapter 1. Analysis of literary sources on the problem of the formation of expressiveness of speech in preschoolers.
§ one. Definition of the concept of "expressiveness of speech".
§ 2. The development of expressiveness of speech in normally speaking preschoolers.
§ 3. Characteristics of the state of expressiveness of speech in stuttering children of preschool age.
§4. Formation of the intonational side of speech in stuttering preschool children.
Chapter 2 An experimental study of the expressiveness of speech in stuttering children of preschool age.
§ one. Scientific and methodological equipment of the study .
Conclusion
Bibliography

Introduction.

At present, the sphere of speech expressiveness in the study of stuttering remains insufficiently developed. Experimental data on melody and speech tempo are scarce, especially in stuttering preschoolers. The main data on these intonation characteristics were obtained from adult stutterers. It has not been established for what reasons the intonation of stutterers changes. Is the change in intonation a component of a speech disorder or a compensatory mechanism in the normalization of the speech of stutterers.

Due to this relevance of our research consists in determining the tactics of working on intonation in overcoming stuttering: eliminating the existing features of intonation or fixing them? In the development of directions and forms of organization of work on intonation.

The aim of our study was the study of the expressiveness of the speech of stuttering preschoolers, as well as the improvement of the methodology for working on the intonational characteristics of speech.

Theoretical significance of the study is that: - the role of intonation in speech therapy work with stutterers is determined. Considering speech as a system, and intonation as a component of this system associated with other speech components, the main attention in overcoming stuttering is given to the normalization of this component. Influencing intonation, relying on the semantic, lexical, morphological components of speech preserved in the speech of stutterers, we influence the speech system.

Practical significance of the study thing is:

Research hypothesis:

When overcoming stuttering, work on intonation occupies an important place, as it is a link in a single system of speech activity. By forming this element, we influence other components of stuttering speech and their speech in general.

Chapter 1 . Analysis of literary sources on the problem of the formation of expressiveness of speech in preschoolers.

§one. Definition of the concept of "expressiveness of speech".

A person's speech rich in various intonation characteristics is considered expressive.

Prosody- a complex set of elements, including melody, rhythm, intensity, tempo, timbre and logical stress, serving at the sentence level to express various syntactic meanings and categories, as well as expression and emotions.

Intensity of pronunciation- the degree of strengthening or weakening of exhalation, voice, tempo and articulation when pronouncing speech sounds, that is, the strength or weakness of pronunciation when articulating sounds, especially vowels.

Melody of speech- a set of tonal means characteristic of a given language; pitch modulation when pronouncing a phrase.

Rhythm of speech- orderliness of the sound, verbal and syntactic composition of speech, determined by its semantic task.

Speech rate- the speed of the flow of speech in time, its acceleration or deceleration, which determines the degree of its articulatory and auditory tension.

logical stress- intonation means; highlighting a word in a sentence with intonation; words are pronounced more articulately, for a long time, loudly.

§ 2. The development of expressiveness of speech in normally speaking preschoolers.

Many researchers dealt with the issue of studying children's speech: Gvozdev A.N., Khvattsev E.M., Shvachkin N.Kh. and etc.

Research conducted by E.M. Khvattsev (22, p. 14) indicate that immediately after birth, the child involuntarily utters cries like “uh”, “uh”, etc. They are caused by all kinds of irritants unpleasant for the baby's body: hunger, cold, wet diapers, uncomfortable position, pain.

The cry of a healthy child, who is in a calm, alert state, is moderate in strength, pleasant to the ear, and not tense. This cry exercises the vocal organs, including the respiratory ones, since during a cry, as in speech, the exhalation is longer than the inhalation.

By the beginning of the second month, the baby is already joyfully “gurgling”, making indistinct, grunting sounds like “gee”, “khy”, and from the third month in a good mood they begin to “walk”: “agu”, “boo” and later: “ mom, umm", "aphid, dl". Quite clear speech sounds can already be distinguished in the cooing.

With age, cooing is replaced by babbling, which appears as a result of imitation of the speech of adults. The child, as it were, amuses himself with the sounds pronounced, enjoys them, and therefore willingly repeats the same thing (ma-ma-ma, ba-ba-ba, na-na-na, etc.). In babble, it is already possible to clearly distinguish some quite regular sounds and syllables of speech.

Cry, cooing, babble is not yet speech, that is, a conscious expression of thoughts, feelings, desires, but by their intonation, timbre, the mother guesses about the state of the child and his needs.

By repeatedly repeating sounds, the child exercises his organs of speech and hearing, and therefore every day more and more often and better pronounces these sounds, their combinations. There is a training, a kind of preparation for pronouncing the sounds of future speech. The child gradually begins to distinguish and understand various expressive shades in the speech of the mother and the adults around him by the voice and rhythm of words. This is how the primary verbal communication of the child with people is established.

The child listens more and more to the speech of the adults around him, begins to understand some frequently spoken words addressed to him, and then, by the end of the first year, not only understand, but also, imitating, pronounce individual, often heard words.

The psychological feature of the sound expressions of a child of the first year is that the main carrier of the meaning of speech is not a word, but intonation and rhythm, which are accompanied by sound. Only with the advent of the word does the semantic meaning of sounds begin to appear. Through the word, the child masters the system of sounds of the language. The child becomes sensitive to the sound of the words of adults, and from time to time he is guided in mastering the sounds of the language, mainly either by hearing or by articulation. However, the child does not immediately master the system of sounds of the language. In the field of speech expression and perception, his rhythmic-intonational mood is still clearly manifested. Cases have been repeatedly noted when a child, grasping the syllabic composition of a word, pays little attention to the sounds of this word. The words uttered in these cases by children, for the most part, correspond quite exactly in the number of syllables to the words of adults, but in terms of the composition of sounds they differ extremely from them. This phenomenon was first noted by the Russian psychologist I.A. Sikorsky. Let us give examples of it: the child says “what gut” instead of “close the lid”, “nanakok” instead of “light”. Sometimes the word used by the child does not contain any of the proper consonants, such as "titity" instead of "bricks" and "titity" instead of "biscuit".

This rhythm of speech expression and perception by the child is also found in cases of so-called syllabic elision, that is, the omission of the syllables of a word. The generally accepted definition of syllabic elision is that a child emphasizes a stressed syllable in a word and usually omits unstressed syllables. For example, instead of "hammer" the child says "current", instead of "head" - "va".

However, there are cases when a child omits the stressed syllable and says instead of “hurts” - “ba”, instead of “big” - “boo”.

As can be seen, syllabic elision sometimes occurs due to the lack of articulation of the child, despite the fact that the omitted syllable is stressed. This is the second cause of syllabic elision.

Finally, its third reason is the child's tendency to perceive words according to a common, familiar rhythmic meter. This phenomenon should be analyzed in more detail.

There are no statements in the literature on the question of the rhythmic structure of initial speech expressions. However, some data available in the parents' diaries allowed N. Kh. Shvachkin to come to the conclusion that the first rhythmic expressions take on the structure of a chorea (23, pp. 102 -111). This assumption is supported at least by the fact that the chorea prevails in the speech and musical expressions of adults addressed to children. The lullaby is choreic in its rhythmic structure. The first words with which an adult addresses a child are predominantly two-syllable, with the stress on the first syllable. It is also worth remembering that, for example, most Russian diminutive proper names in their rhythmic structure correspond to the structure of the chorea: "Vanya", "Tanya", "Sasha", "Shura", etc. On the other hand, the analysis of the child's first words confirms that they correspond in their rhythmic structure to the chorea. We can say: the child during the first year lives surrounded by a chorea - a size that corresponds to his rhythmic inclination.

However, in the process of further speech development, the child encounters the words of adults that have a different rhythmic structure. As you know, the words of the Russian language in rhythmic terms can be monosyllabic, two-syllable (trochee, iambic), three-syllable (dactyl, amphibrach, anapaest) and, finally, polysyllabic.

The child, faced with the richness of accents in the language of adults, strives, in accordance with his rhythmic mood, to turn the meters noted above into the size familiar to him: into a trochee. The word “rooster” is re-accentuated by the child into the word “Petya”, the word “dog” is pronounced “baka”, “paper” - “mage”, “milk” - “praying”, etc.

Thus, the facts we have indicated lead to the conclusion that syllabic elision occurs not only as a result of the emphasis of the stressed syllable and the omission of unstressed syllables, and not only due to the imperfection of the articulation of the sounds of the word, but also due to the child’s tendency to perceive adult speech in a certain rhythmic structure - in chorea structure.

However, with the development of verbal speech, rhythm and intonation begin to play an auxiliary role, they obey the word. In this regard, the proportion of chorea in the speech of the child is reduced.

The rhythmic-intonation activity of the child is directed towards poetic creativity. This is typical for the entire period of preschool childhood, and in younger preschooler the predominance of rhythm and intonation over the word is revealed. There are cases when in kindergarten children comprehend the rhythm of a song without capturing all its words.

The poetic creativity of the child at the initial stage is usually accompanied by his body movements. However, not all of the child's poems are directly related to gesticulation. There are songs and jokes that are not accompanied by any movements and amuse the child with their content, rhythm, melody.

All activity of the child is connected with the song. There are fairy tale, choral, and playing songs. However, the child's games and other activities are not accompanied by song for long. Children give up singing during their games, they move on to games without songs.

By the same period, there is a change in rhythm in the poems of children. The chorea disappears. The verses themselves become arrhythmic.

This is undoubtedly a progressive factor. However, at the same time, the restructuring of the rhythm and intonation of speech is fraught with danger: the word can push the rhythm so far that in fact the child's speech loses its expressive brilliance and rhythm.

The education of rhythm and intonation is not only a problem of improving the expressiveness of speech itself. As the classics of pedagogy and psychology have repeatedly noted, rich rhythmic speech contributes to the overall mental development of the child and facilitates learning. KD Ushinsky noted the importance of rhythm for teaching writing.

Thus, the question of the education of expressive speech is connected with the general process of learning. The richer and more expressive the child's speech, the deeper, wider and more diverse his attitude to the content of speech; expressive speech complements and enriches the content of a preschooler's speech.

§ 3. Characteristics of the state of expressiveness of speech in stuttering children of preschool age.

The speech of stuttering preschoolers is characterized by features of the formation of its expressive side.

N.A. Rychkova’s studies of the motor and speech functions of stuttering preschoolers make it possible to distinguish 4 subgroups of children:

Children of the first subgroup have stuttering, which appears against the background of a normal speech rate.

Children of the second subgroup have an accelerated rate of speech.

Children of the third subgroup experience difficulties in maintaining the tempo-rhythm.

Children of the fourth subgroup are characterized by a weak development of a sense of rhythm (14).

In many works devoted to the description of the speech of stutterers, the acceleration of the tempo of their speech is indicated (R.E. Levina, O.V. Pravdina, V.I. Seliverstov, M.E. Khvattsev, etc.). However, measurements of the rate of speech carried out by a number of other authors reveal the opposite picture.

According to the works of M.Yu. Kuzmin, the rate of speech of adults who stutter is slower than the rate of speech of healthy subjects, which is associated with an increase in the duration of both phrases and pauses (9, 14).

When stuttering, there is a violation of coarticulation, which ensures a smooth transition from a consonant to a subsequent vowel. (Yu.I. Kuzmin, I.I. Pruzhan).

In the work of I.I. Pruzhan, the temporal characteristics of the speech of adult stutterers are studied both in the process of reading the text and when repeating phrases after the speaker. In this case, not only the durations of phrases are measured, but also the durations of words and parts of a word. Two main effects have been identified: a significant slowdown in the rate of speech of stutterers compared to the rate of speech of non-stutterers, and uneven rate in stutterers, which is associated with a disproportionate increase in the duration of individual words (17).

Information about the rate of speech of stuttering schoolchildren is reflected in the works of T.I. Gultyaeva, T.S. Kognovitskaya (8).

In the article by T.I. Gultyaeva, the rate of speech of stuttering schoolchildren is considered depending on the localization of seizures (voice, respiratory, articulatory apparatus). It was found that the average speed of pronouncing the text in children with a vocal spasm was 0.75 syllables/sec., with a respiratory one - 1.44 syllables/sec., with an articulatory one - 1.77 syllables/sec. (8).

According to the research of T.S. Kognovitskaya, a significant slowdown in the pace of stuttering schoolchildren and a significant variability in the speed of their speech are due to differences in the rate and the number of seizures.

Voice disturbances are not uncommon in the overall picture of stuttering. Voice disorders are not only of varying severity, but also of a different nature, depending on their structure. They range from mild voice timbre disorders to complex disorders such as dysphonia, rhinophonia (open and closed), etc.

Voice disorders in stuttering have multiple and complex causes. First of all, the features of the voice function of stutterers are greatly negatively affected by the constant convulsions that occur within the speech apparatus and, in particular, with voice types of stuttering - specifically in the vocal apparatus. This pathological condition of the vocal apparatus affects the timbre of the voice, its modulation, melody of speech, loudness and strength, as well as other characteristics.

Let's take a closer look at some of these indicators.

When working with stutterers, voice timbre disturbances are most easily and often noticeable. They manifest themselves in hoarseness, deafness, etc. As a rule, stutterers do not use resonators (the chest resonator participates especially little in speech), due to which the voice loses its expressiveness and “juiciness”.

The melody of the speech of stutterers is less studied than the pace of their speech.

A number of works contain indications of the monotony of the speech of stutterers. There is information about the dynamics of this feature of the melodic speech of stutterers in the process of speech therapy classes (6).

The most detailed study of the melody of speech in stuttering should be recognized as the work of A.Yu. Panasyuk (15), who studied the change in the fundamental tone frequency in adult stutterers, both under normal conditions and with an acoustic delay. He obtained data on frequency differences during phrases uttered by stutterers and non-stutterers. It has been shown that the value of the pitch drop in stutterers is about 30% less than without stuttering, and approaches the norm when pronouncing phrases under acoustic feedback.

Studies of the speech melody of adult stutterers show that their fundamental pitch drop, as well as the rate of speech, differs from these indications in non-stutterers and may change under the influence of training.

If we assume that stuttering preschoolers are also characterized by the dynamics of melodic characteristics in the process of classes, then this feature of their speech could be used in speech therapy work in the formation of smooth speech.

Thus, from the foregoing, we can conclude that among researchers of the expressive side of the speech of stutterers there is no single point of view on the problem of the state of the tempo of their speech. Some consider it accelerated compared to normal speaking people, others consider it slow.

The melody of the speech of stutterers is less studied than the pace of their speech. Least of all information was obtained about the melody of speech of stuttering preschoolers.

§4. Formation of the intonational side of speech in stuttering preschool children.

Work on the melody and tempo of speech is often called work on the expressiveness of speech. There are various ways to carry out this work. Some consider it necessary from the very first lessons to develop emotional, expressive speech in stutterers. This approach is followed by most researchers (5, 8).

Expressive speech requires stutterers to be able to master different speech rates and voice modulations. It is difficult for stutterers to immediately master this skill in all speech situations. Therefore, a gradual way of mastering a different pace of speech is necessary.

Some experts suggest paying attention to work on intonation at the end of the course of speech therapy classes (1, 8). In this case, it becomes incomprehensible how it is possible, while developing the speech of stutterers, from the very beginning to ignore intonation, which performs the main function of speech - communicative.

There is another approach to overcoming stuttering (10). These authors recommend that stutterers use monotonous speech, which helps to overcome convulsions, to make them fluent speech.

However, if we consider monotony as a means of reducing convulsions, then it is worth using it at the first stage of speech therapy classes. I.A. Sikorsky also pointed out the positive properties of monotony: “Monotonous speech is speech devoid of natural rises and falls in the tone of the voice. Such speech belongs to the number of means that reduce stuttering very significantly. The transformation of natural speech into monotonous should greatly simplify speech and facilitate the task of articulation for stutterers ”(8).

N.P. Tyapugin writes about this: “The treatment of stuttering at any age and in any period begins with the re-education of the speech of a patient with stuttering on the basis of teaching him a slightly slow and smooth speech, which has a comprehensive and regulatory significance” (20).

But there is another opinion regarding the formation of the rate of speech in stutterers (8, 13). For example, L.N. Meshcherskaya writes: “All known methods for eliminating stuttering are based on slowing down the pace of speech. The unnaturalness of the rate of speech, the fear of ridicule from others are the reasons for the violation by patients of the rate of speech prescribed by them. This leads to the resumption of stuttering” (13, p. 10). The author proposes to carry out work to overcome stuttering, causing a normal or close to normal rate of speech.

Of interest is the opinion of individual authors regarding the tactics of educating the rate of speech in stutterers (21). Their recommendations boil down to the fact that after practicing speech skills, when using a slow pace of speech, work should be done to speed up the pace and bring it closer to normal conversational speech.

M.I. Lokhov, analyzing the work of domestic researchers, noted that speech therapy pays considerable attention to rhythm and syllable, since the child’s speech is formed on the basis of the syllable, it is formed with the help of rhythm.

It is the syllable, as the original “brick” of speech, that remains intact even when the rest of the speech system is completely collapsed as a result of a violation of brain circuits, that is, according to M.I. Lokhov, rhythm and syllable form the basis for restoring the disturbed speech complex, since there is a rhythm in the syllable, and it is he who has a healing effect (12).

Thus, from the foregoing, we can conclude that the normalization of the speech of stutterers is closely related to the choice of the optimal speech rate for them. But among the researchers of the intonational side of the speech of stuttering children there is no consensus on the ways to normalize its tempo. Some propose to carry out speech therapy work using a slow pace of speech, others - accelerated, others - a pace close to the pace of speech of normally speaking children.

Recommendations on the melody of speech in the methods of overcoming stuttering are absent or are replaced by recommendations on working on the voice, which, according to many authors, loses its sonority in stutterers, becoming quiet, stifled (2, 4, 7, 18).

To work on the voice, exercises are proposed that were described at the end of the last century by I.A. Sikorsky and V.F. Khmelevsky (8). For example, the pronunciation of vowel chains is either drawn out or interrupted; pronouncing vowels first in a whisper or in a low voice, and then loudly, etc. Many authors of speech therapy techniques intended for stutterers suggest using the technique of soft voice delivery when working on the voice.

Thus, the analysis of the literature showed that information about the melody and speech tempo of stuttering preschoolers is very limited.

In addition, in the literature, we did not find information about the dynamics of the temporal and melodic characteristics of the speech of stuttering children in the process of speech therapy classes, and therefore about the conditions that contribute to the normalization of their speech.

Methods and techniques aimed at normalizing intonation in overcoming stuttering in preschoolers have not been sufficiently developed.

Chapter 2. Experimental study of the expressiveness of speech of stuttering children of preschool age.

§ 1. Scientific and methodological equipment of the study.

Our study of the expressiveness of the speech of stuttering preschoolers was based on the methods proposed by I.F. Pavalaki (14) and somewhat supplemented by us.

Examination of the tempo-rhythmic characteristics of speech.

The experiment uses a tape recorder and a stopwatch. Prose and poetic texts are selected, the content of which corresponds to the level of knowledge and interests of preschool children. The texts are small in volume with a clearly traceable main idea.

1) The rate of speech inherent in the child is determined when performing speech tasks of varying complexity:

a) when retelling the text read by the experimenter: “Once my dad and I went to the forest. We went far into the forest and suddenly saw an elk. The elk was big, but not scary. He had beautiful horns on his head."

b) when reading a poem chosen by the child himself.

c) when reading a well-known poem in accordance with the instruction: “Read a poem that you know well:

bear clumsy

Walking through the forest

collects cones,

Singing songs."

d) when pronouncing a phrase that is complex in terms of articulation, which the child previously learned: “Mom Milu soap soap”;

e) when pronouncing a well-known phrase: “A bear with a clubfoot is walking through the forest”;

All speech tasks are recorded on magnetic tape. The number of syllables per second is counted. It is noted at what pace the child spoke: in slow, in normal, in fast.

It is noted:

The child freely reads the poem in a given tempo-rhythm;

The impossibility of reading a poem in a given tempo-rhythm.

2) The possibility of simultaneous implementation of movements and speech is determined in accordance with the instruction “Say the phrase “The wind is blowing, strong wind” and clap your hands at the same time.” The experimenter first demonstrates the sample, the children are offered a tempo-rhythm corresponding to the metronome 1.7 - 2 beats / sec., since according to the studies of B.M. Teplov (1985), the most favorable speed for subjective rhythmization is the rhythm corresponding to 1.7 - 2 beats / sec..

It is noted:

Talking and clapping at the same time;

Movement and speech are not always simultaneous;

Impossibility of simultaneous realization of movements and speech.

3) The possibility of reproducing rhythmic patterns of phrases of different poetic meter (trochee, dactyl) is determined when: a) reproducing a rhythmic pattern with simultaneous speech accompaniment and under the beats of a metronome.

b) reproduction of a rhythmic pattern with simultaneous speech accompaniment;

c) reproduction of a rhythmic pattern with the help of “tataka”;

d) reproduction of a rhythmic pattern without speech accompaniment;

It is noted:

Correct and independent reproduction of a rhythmic pattern;

Difficulties in self-reproduction;

The inability to reproduce rhythmic patterns.

Evaluation of the child's own pace of speech.

1) The possibility of assessing the child's own pace of speech when retelling the text after the speech therapist is determined.

2) The possibility of assessing the child's own pace of speech when reading the poem "Clumsy Bear" is determined.

It is noted:

Correct and independent assessment of one's own pace of speech;

Correct, but with the help of an experimenter;

Wrong;

Rejection of evaluation.

Examination of the melodic and intonation characteristics of speech.

1) The child's ability to lower and raise his own voice when pronouncing various speech material is determined.

2) The child's ability to correctly place logical stress when pronouncing various speech material is determined:

a) The experimenter reads the phrase to the child without observing logical stresses. The child must repeat it, correctly placing all the logical stresses;

b) When the child repeats the poetic text after the experimenter;

c) When a child pronounces a poem familiar to him.

It is noted:

The child correctly places the logical stress in the speech material of any complexity;

The child has difficulty placing logical stress;

The impossibility of independent placement of logical stress.

Work on the formation of intonation characteristics in stuttering preschoolers should permeate the entire life of children in kindergarten, should be carried out in all classes: a speech therapist, educators, music director, in physical education classes, be included in all regime moments, starting from the moment the child arrives at school. Kindergarten. This work should not end even when the child goes home. There, her parents "take" her into their own hands, following the recommendations given by the speech therapist.

This chapter presents some areas of this work.

1. Work on speech breathing.

The most important conditions for correct speech are a smooth long exhalation, a clear and relaxed articulation.

Proper speech breathing, clear, relaxed articulation are the basis for a sonorous voice.

Since breathing, voice formation and articulation are single interdependent processes, speech breathing training, voice improvement and articulation refinement are carried out simultaneously. The tasks become more difficult gradually: first, the training of a long speech exhalation is carried out on individual sounds, then on words, then on short phrase, when reading poetry, etc.

In each exercise, the attention of children is directed to a calm, relaxed exhalation, to the duration and volume of the sounds being uttered.

Normalization of speech breathing and improvement of articulation in the initial period are helped by “scenes without words”. At this time, the speech therapist shows the children an example of calm expressive speech, therefore, at first, during classes, he speaks more himself. The “scenes without words” contain elements of pantomime, and speech material is deliberately reduced to a minimum in order to give the basics of speech technique and exclude incorrect speech. During these “performances”, only interjections are used (A! Ah! Oh! Etc.), onomatopoeia, individual words (names of people, names of animals), and later - short sentences. Gradually, the speech material becomes more complex: short or long (but rhythmic) phrases appear when speech begins to improve. The attention of novice artists is constantly drawn to what intonation should be used to pronounce the corresponding words, interjections, what gestures and facial expressions to use. In the course of the work, the children's own fantasies are encouraged, their ability to pick up new gestures, intonation, etc.

2. Bibabo dolls.

The active speech of the child largely depends on the development of fine finger movements. The orderliness and consistency of the speech motility of a stutterer is facilitated by diverse small movements of the fingers.

Working with the doll, speaking for her, the child treats his own speech in a different way. The toy is completely subordinate to the will of the child and at the same time makes him speak and act in a certain way.

Dolls allow the speech therapist to discreetly correct the stammering of stutterers, since the remark is made not to the child, but to his doll. For example, “Pinocchio, you spoke very quickly, we did not understand anything. Vasya, teach him to speak calmly and clearly. And the child involuntarily slows down the pace. This indirect appeal encourages children to speak correctly.

3. Dramatizations.

It is known that a stuttering child, entering a certain image, can speak freely. This ability to transform, inherent in all people, and children in particular, is widely used in speech therapy work with stuttering preschoolers.

The opportunity for reincarnation is provided in various dramatization games. In these games, the skill of correct expressive speech and confident communication in a team is worked out. Then the dramatizations are included in the program of the festive or final concert, where children get the opportunity to perform in more difficult conditions.

Working with children on dramatizations, the speech therapist does not aim to teach them acting skills. It is important to create a relaxed, joyful atmosphere in the classroom that will encourage children to play creatively and speak freely. Participation in dramatizations makes it possible to transform into various images and encourages to speak freely and expressively, to act uninhibitedly.

Any dramatizations must unfold in the presence of spectators. This causes a certain responsibility in children, a desire to play their role better, to speak clearly.

In the conditions of a speech therapy group for stuttering children, staging can be carried out according to the following plan: preparation for the performance, selection of attributes, distribution of roles, the course of the dramatization game.

Preparatory work is necessary in order to familiarize children with the content of the text chosen for the performance. The speech therapist conveys the text (if it is not large) in faces. If it is large, then only a certain part. Children, following the speech therapist, repeat only the words of the characters. Then, in a question-answer conversation, it is revealed what character traits are inherent in each character, what his manner of speech, facial expressions, gestures, and gait should be. Such preparation sets the children in a creative way.

For staging, it is necessary to select and make certain attributes. These can be character masks, costumes that children make with adults, or some details for a costume. All this is not just manual labor, but also an occasion for conversation. During work, the speech therapist asks each child to talk about how he makes this or that craft.

When distributing roles in a dramatization game, a speech therapist must take into account what kind of speech load is possible for children in a certain period of speech therapy work. It is important to give the child the opportunity to act on an equal footing with others, even with the smallest role, so that he can, reincarnating, be distracted from a speech defect, gain faith in himself. It does not matter what role the child plays - a timid hare or a resourceful Masha. It is important that he creates an image with features unusual for himself, learns to overcome speech difficulties and freely enter into speech, coping with excitement.

4. Role-playing games.

While playing, children clarify their ideas about reality, re-experience the events that they heard about or in which they participated or witnessed them, reincarnate. So, for example, dolls become their children, who need to be educated, treated, taken to school. With childlike observation and spontaneity, depicting the world of adults, the child copies their words, intonation, gestures.

5. Logopedic rhythm.

Musical-motor exercises help to correct general motor skills, and motor exercises in combination with the child's speech are aimed at coordinating the movements of certain muscle groups (arms, legs, head, body). These exercises have a beneficial effect on the child's speech. Musical accompaniment always has a positive effect on his emotional state and is of great importance for training and correcting his general and speech motor skills.

Forms of musical-rhythmic exercises can be varied: tapping a certain measure, changing the tempo, character or just the direction of movement depending on the tempo or character of the music, singing, melodic recitation, reciting a poem accompanied by appropriate movements, dancing and dancing, speech games, etc. . These classes mainly use playing tricks which are of great interest to children and activate them.

6. Pronunciation of tongue twisters with different intonation.

7. Pronunciation of greetings, appeals, names with different emotions (joy, sadness, indifference) and intonations (affectionately, demandingly, cheerfully, etc.).

So, we have proposed several areas of work with stuttering preschoolers on the formation of their expressiveness of speech. It is important that all of them are carried out in the form of a game, and the game, as you know, is the leading activity of preschool children.

Conclusion.

The role of expressiveness of speech is extremely important. First of all, it provides the design of phrases as integral semantic units, and, at the same time, provides the transfer of information about the communicative type of utterance, about the emotional state of the speaker.

The expressiveness of speech is interconnected with other components of speech: semantic, syntactic, lexical and morphological.

The speech of stuttering preschoolers is characterized by features of the development of the expressiveness of their speech, which is expressed in a change in all intonational characteristics.

It is the preschool age that is most favorable for solving correctional problems, for mastering the intonational characteristics of speech. This happens best in the play activities of children.

Bibliography.

1. Abeleva I.Yu., Golubeva L.P., Evgenova A.Ya. "To help adults who stutter." - M., 1969

2.Abeleva I.Yu. "If the child stutters." - M., 1969

3.Andronova L.Z. "Correction of the intonation side of speech of stutterers". // Defectology -1988, No. 6, pp. 63-67.

4. Bogomolova A.I. "Elimination of stuttering in children and adolescents". - M., 1977

5.Bosker R.I. “From the experience of overcoming stuttering in adolescents” // Defectology -1973, No. 2, pp. 46-49.

6. Griner V.A. "Speech therapy rhythm for preschoolers". - M., 1951

7. Zeeman M. "Speech disorder in childhood". - M., 1962

8. Kognovitskaya T.S. "Overcoming stuttering in schoolchildren, taking into account the melody and tempo of their speech." Abstract diss. for the applicant step. cand. ped. Sciences. - L., 1990

9. Kuzmin Yu. I., Ilyina L.N. "Speech rate of patients with stuttering".//Speech disorders, clinical manifestations and methods of correction: Sat. scientific tr. - M., 1994

10. Kurshev V.A. "Stuttering". - M., 1973

11. Levina R.E. "Foundations of the theory and practice of speech therapy". - M., 1968

12. Lokhov M.I. "Psychophysiological mechanisms of speech correction in stuttering". - M., 1994

13. Meshcherskaya L.N. "Rehabilitation of speech in patients with logoneurosis using delayed acoustic feedback in combination with white noise: Guidelines". - M., 1982

14. Pavalaki I.F. "Tempo-rhythmic organization of movements and speech of stuttering preschoolers". Abstract diss. for the competition uch. step. cand. ped. Sciences. - M., 1996

15. Panasyuk A.Yu. "Influence of acoustic signal delays on melodic characteristics and speech rate of patients with stuttering"//Modern problems of physiology and pathology of voice and speech. –M., 1979

16. Pravdina O.V. "Logopedia". - M., 1973

17. Pruzhan I.I. "On the rate of speech in stuttering".// Questions of physiology and pathology of the upper respiratory tract. - M., 1976

18. Rakhmilevich A.G., Oganesyan E.V. "Features of the intonational side of speech and the functional state of the internal muscles of the larynx during phonation in stutterers." // Defectology. - 1987, No. 6.

19. Seliverstov V.I. "Stuttering in children". - M., 1979

20. Tyapugin N.P. "Stuttering". - M., 1966

21. Khvattsev M.E. "Logopedia". - M., 1959

22. Khvattsev M.E. How to prevent and eliminate voice and speech deficiencies in children. - M., 1962

23. Shvachkin N.Kh. "The development of speech forms in a younger preschooler".//Issues of the psychology of a child of preschool age. - Sat. Art./Under. ed. A.N. Leontiev, A.V. Zaporozhets. - M., 1995

MINISTRY OF EDUCATION AND SCIENCE OF THE RUSSIAN FEDERATION

work on the expressiveness of speech

classes, leaders of amateur performances,

kindergarten teachers, teachers of children's theater

schools to work with children of preschool, junior and

middle school age

Developed by an additional teacher

formation of a municipal

educational institution

secondary school №4

V.P. Smirnova

town Luchegorsk - 2009

A lot has been written about the expressive possibilities of the living word in the methodological literature and teaching aids intended for students of theatrical universities. But it is difficult for teachers of general education schools and kindergarten teachers who do not have special training in stage speech to understand the specifics of theatrical art. In these recommendations, I will try to outline the stages of work on the expressiveness of speech in an accessible form for all those interested.

In the stage heritage of K.S. Stanislavsky - the creator of a harmonious doctrine of the creative process of the actor - the stage speech section occupies one of the important places. His answers to the questions, how to “correctly reproduce what you feel beautifully inside yourself”, where to start working on the text, are in my recommendations.

In this methodical work I also rely on the experience of working with the living word of famous teachers of theatrical art M.O. Knebel and B.E. Zahava. Guided methodological developments classes on the creative development of children E.I. Yudina, I achieved good results in working with readers.

Considering and analyzing personal experience creative work, I came to the conclusion that the main shortcomings of readers and actors of any age - the monotony of speech, nonsense, psychophysical stress, tune - appear because the initial stage, the first step to creativity, was missed in the work on the word.

Why does it happen so often: as soon as you learn a text, how does an interesting literary work become boring? How to avoid this unwanted transformation?

Stanislavsky convinced that an actor can come to a living word only as a result of a great preparatory work, which will lead him to the fact that the author's words will become necessary for him to express thoughts actor. Any mechanical memorization of the text leads to the fact that the word is stamped, becomes dead.

I recommend that you begin your work on a poem (or other piece of literature, for that matter) by definingfirst emotional impression . Feelings, mood, emotions that arise immediately after reading, and there is a lively immediate impression. In further work, readers will have to take into account these feelings and try to convey them to the listener.This is the picture Katya Didenko imagined when she first read L. Kuzmin's poem "The Nail":

"Two friends side by side

They sat on the porch

They were looking at the moon."

It seems that here - here a lyrical melody will sound and we will hear a leisurely conversation of friends.

Let us hasten to record the effect that a poem or prose has had on us, so that we do not have to restore it to memory later. Of course, emotions are very difficult to express in words, however, one must try to describe them. Help here"piggy bank of feelings ". Let the teacher's imagination tell you how to make this magic piggy bank. In the end, it can be a box or a notebook in which the sensations, thoughts and feelings that a work of art awakened will be recorded. For example, one poem evokes a feeling of unreality, danger. Maybe it's about travel and adventure. And joy and carelessness accompany funny stories about childhood. Our "piggy bank of feelings ” will save these impressions for later work.

Joke and humor permeate S. Silin's story "Light Green Mouse".

The illustration of a 2nd grade student Gena Dorofeev reminds us of funny comics.

If children cannot find the exact words in defining their feelings, then adults will help them. Do not criticize, accept the answers as they are! Not only feelings can be stored in a piggy bank, but also smells, color, sounds. It is not surprising that at the word "war" our imagination draws pictures where black and red colors predominate. And summer smells of berries and flowers. The sound of rain is heard in the word "bad weather".

Following creative task"My Picture" will help performers to preserve and enhance emotional impressions. Drawing illustrations for stories and poems, children learn to convey feelings more deeply and accurately. Usually the children enjoy doing this task.

Illustration by Vlada Perevoshchikova (Grade 2) for a poem

E. Nimenko "Banana story".

"A banana on the road has grown from a ten-story house."

Vlada reflected the joy of children and indignation, the protest of adults.

But there are children who do not use the brush well, who do not know how to beautifully draw the figures of people and animals. If they refuse to draw, are shy, then I suggest depicting their impressions in color: in highlights, spots, strokes. Once a second grader drew a kitten from M. Yasnov's poem "My Kitten" in the form of a rainbow with red, white and black stripes. A few months later, while performing this poem in a school concert, with special tenderness and love, the girl read those lines that described the appearance of the kitten.

Well-known directors in their work on the performance are very responsible in determining the function of first impressions from a read play. I think readers should start with this as well. To infect the viewer, the reader needs to master all the expressive means of speech.

Intonation - the melody of speech is the most important means of expression. In finding the right intonation, the definition helps meverbal actions . In life, we know that our words can please, offend, reassure, offend ... The same thing should happen with the author's text. Words must work! The intonation-expressive means of speech also includebrain teaser (semantic)pauses Andbrain teaser accents .

In order for the speech to be clear and understandable, it is necessary to divide each sentence into parts according to the meaning, correctly combine the words into groups, that is, into speech links. The emotionality of speech, excitement and experience of the author and the characters of the work enhancespsychological pause . K.S. Stanislavsky taught: "If speech is illiterate without a logical pause, then without a psychological one it is lifeless." Pauses are indicated by vertical lines.Boolean (semantic)donation - this is the selection of the main words in the sentence, the most important, carrying the semantic load. When parsing the text, the main words are underlined.

As an example of work on a work of art, I give an analysis of V. Tatarinov’s poem “Lend Me Wings”:

lend mewings , | (requests)

Cutebutterfly . |

On a green leaf| (advises)

Yousleep lay down | |

In the skystars surfaced, | (dreams, admires)

Their light is so far away...| |

lend me wings| (hurries, pleads)

Cutebutterfly . |

I'm on themfly off | (explains)

To the blue country |

And whenwake up , | (soothes, reassures)

them to youI will return . | | |

The components of intonation are timbre (color of the voice), tone (pitch), and tempo (speed of pronunciation).

It is worth recalling that the expressiveness of the word helps and gooddiction . Due to tongue twisters, when words seem to “jump” on top of each other, speech is often illegible. You need to speak smoothly, learn to open your mouth well.

Let's not forget that the audience also pays attention to the clothes of the reader, how he stands, what kind of facial expression, gestures he has. This is alladditional means of expressiveness of speech, and also affect the effectiveness of the speech.

The use of the whole variety of expressive means of the living word will turn the reading of a literary work into a solo performance, and the reader into an actor.

Used Books:

Vvedenskaya L.A., Pavlova L.G. Culture and art of speech. -

Rostov-on-Don: Phoenix, 1995.

2. Zakhava B.E. The skill of the actor and director. - Moscow: Education, 1978.

Knebel M.O. About the effective analysis of the play and the role. - M.: Art, 1961.

Nikolskaya S.T. Speech technique. – M.: Knowledge, 1978.

Stanislavsky K.S. Collected works, volume 3, M.: Art, 1955

6. Yudina E.I. My first textbook on music and creativity. - Rostov-on-Don: Phoenix, 1995.

Human speech without special means that give it special expressiveness is devoid of the finest nuances of emotional brightness and beauty. The means of speech expressiveness demonstrate the richness of the inner world of a person, increase the communicative interaction between people. A person with a large vocabulary has an undoubted advantage in communication: he can express his thoughts and feelings as accurately as possible, convey information to the listener and at the same time be correctly understood. The performance of a person with expressive speech is incredibly high.

The expressiveness of speech is a concept that does not have a clear definition, while it is multifaceted, includes many definitions and distinguishing features. Here is a list of means that form the expressiveness of speech:

• Rich vocabulary.
• No templates, speech clarity and quality.
• The use of artistic speech turns, a specific technique.
• The use of allegorical means (paths and figures), figurativeness.
• Use catchphrases, quotes, proverbs, sayings.

A phenomenon or object surrounding a person is indicated by a word. Words convey information, figuratively create something or someone.

Speech styles achieve expressiveness by using a special stylistic device to evoke the desired feelings. Examples: the artistic style is characterized by brightness, emotionality, novelty of expressions, originality of descriptions. scientific style abounds in scientific terms, concepts of cause-and-effect relationships, the description is logical, there is analysis, comparison.

When the foundations and purity of expressive speech are laid

The basis for the subsequent development of expressive speech is laid even in preschoolers. This will be explained by the fact that at this age many mental functions are formed. If a child missed the stage of speech formation at preschool age, or for some reason he did not have verbal communication, this gap cannot be restored. In the future, the preschooler will have difficulties with learning: it is almost impossible to teach him to read and write.

The task of the teacher, while working with preschoolers, is to develop higher departments children's psyche and intellect with the help of speech, as it is a tool for such development. Educators in the process of working with children explain what purity of speech is, develop figurative thinking, pay attention to mimic activity during a conversation.

If the speech of a preschooler is not given due attention, then they lag behind in development logical thinking, attention, memory, perception. Mental retardation in children implies a delay in the development of speech forms, verbal contacts occur with difficulties, babies cannot ask or answer a question. For this reason, it is important to encourage communicative behavior in children with mental retardation.

Methodology for the development of speech in preschoolers

The formation of the sound expressiveness of the speech of preschoolers is a cumulative work involving the development creativity in different directions, using an individual approach and the education of an aesthetic understanding of the word. It sets the stage for the future expressive reading, development, emotionally enriches for life, teaches to enjoy the perception of the beauty of verbal images, the speech of such a person is distinguished by correctness.

The methodology for the development of speech of preschoolers involves the movement from simple to complex. To date, distribution in preschool institutions has received:

• The manual used by educators is the book “Methods for the Development of Speech of Preschool Children”. The authors are O.S. Ushakov and E.M. Strunin.
• For a teacher and a parent, the “Method of developing the speech of preschool children” is suitable, the authors of which are L.P. Fedorenko, V.K. Lotareva and G.A. Fomichev. Here the development of children from two months to seven years of age is considered, recommendations are given.

The main task of the teacher in the education of preschoolers is to work with articular skills, the development of speech hearing, the ability to listen to spoken speech, and the training of lexical-semantic susceptibility.

The basis of communication skills is the ability to modulate the voice during communication, own intonation, own voice. The skill of modulating the voice will subsequently make the speech emotional, expressive, rich.

Classes are held in the form of a game. Verbal and non-verbal processes of mental ontogenesis are closely related to each other.

Development of non-verbal means of communication

Non-verbal means are facial expressions, emotions, gestures that help to understand a person’s mood, basic desires, to see him inner world. Non-verbal communication methods are used by children who have not yet learned to speak and contribute to their mental development. Non-verbal forms of communication are mostly innate and allow contact not only with people, but also with animals.

The mission of the teacher in the classroom is to explain to the kids that with the help of pantomimic expressiveness of movements, mimic muscles of the face and expressive gestures, information is transmitted, the strength of the emotional reaction, the manifestation of human experiences are shown. The intonational expressiveness of speech is achieved thanks to the acquired skill of expressing feelings.

In the course of the teacher's work, the technique of pantomime, a mimic demonstration of feelings, is used. After the game, the difficulties that the children had during the performance of the tasks, what they felt and what they wanted, are necessarily clarified. This helps to detect problems that accompany non-verbal forms of communication in children.

Development of verbal means of communication

The definition of "verbal means of communication" implies ordinary speech. In the course of the teacher's work, children develop the skills of contacts with adults and peers, the experience of dialogic and role-playing speech appears, the concept of speech culture is formed, the quality and expressiveness of speech develops. During classes, speech purity and imagery of thoughts, communicative behavior, attention and auditory perception are improved.

The concept of basic verbal forms of communication implies the ability to write, speak, hear and perceive information. Examples of the manifestation of feelings in which verbal means of communication are involved are found everywhere: this is both an oral declaration of love and a written message in in social networks marked "I like it".

Verbal forms of communication in the form of written messages have an advantage over oral communication. When a person writes a letter, he has time to think over his words, which makes it possible to make the quality of communication higher, word-formation characteristics, stylistic device are more perfect in comparison with oral speech. Using the word-formation methods available in the Russian language, which have an effect that reinforces the concept of emotional experiences, it is possible to achieve a greater impact on the emotional sphere than with oral speech.

Reading

Reading skill in modern world- need. It helps to navigate in a huge flow of information, draw analogies and comparisons, and serves as a guarantee of school performance.

The technique characterizes the reading skill by correctness, fluency, consciousness and expressiveness:

• Measured reading without errors that affect the meaning of what is being read is called correct reading.
• Consciousness is the concept of the intention of the author of the text, as well as one's own attitude to the read work.
• The number of printed characters read per unit of time (more often this is the number of words per minute), the reading speed, which determines reading comprehension, is called fluency.
• Expressiveness implies an oral retelling of the main idea of ​​the text, one's own attitude to the work.

In the process of the teacher's work on the correctness and fluency of reading, special techniques are used to develop these characteristics:

• The first technique is to use special exercises that develop visual perception and regulate breathing.
• The second technique is to use the principle of multi-reading when important passages of the work are re-read.

What promotes and hinders the correct development of speech

In order to develop the expressiveness of speech in children in the process of the teacher's work, auxiliary materials are used: pictures, games, film composition.

Facilities mass media also contribute to the development of children's speech. In a Russian animated film based on a fairy tale, common, colloquial vocabulary and vocabulary limited by the scope of use (head - turnip, mouth - slurp) are used. Often in the film you can hear a colloquial word - simplified, rude, used for negative assessments of what is happening (drink, swindler). It is undesirable to use this technique even in everyday speech, since the purity of speech is violated.

Modern works directors are not always distinguished by the high quality of the work, imagery, purity of language, strength of feelings. Sometimes in the film, the presence of profanity is detected. Therefore, television, the Internet do not always form the quality of speech in Russian in children, do not allow them to develop and think figuratively.

• The means of expressiveness of speech are acquired at preschool age. If there was no verbal communication at this stage, speech is not developed; at a later age, this will not be possible, no matter what technique is used to form the skill.
• The teacher's work methodology is designed to make children's verbal forms of communication enjoyable and attractive. It is aimed at developing the basis of intelligence in childhood, its duty is to make vocabulary rich, while the purity of speech should be at high level, imagery of thinking - developed.