RU2809692C1 - Method of speech development in children over 4 years of age after cochlear implantation surgery - Google Patents

Abstract

FIELD: medicine; audiology; deaf pedagogy.

SUBSTANCE: method includes a 20-week course of singing lessons. Before and after the course a questionnaire containing 6 sections is used to assess the child’s skills in points. The course includes a class with a teacher once a week for 30 minutes and daily 15-minute independent lessons for the child at home with video and audio material. Moreover, classes with a teacher include listening and singing of 20 songs. The teacher sings along with the child, accompanying the singing with gestures, facial expressions and accentuated articulation. Additionally, the class includes drawing. The teacher combines singing songs with the use of guitar accompaniment. The obtained data on assessing the child’s skills after classes are compared with the corresponding indicators before the start of classes. If at least 1 indicator in each of the 6 sections of the questionnaire has changed by 1 point or more, speech formation is considered effective. If 5 or fewer indicators have changed by 1 point, speech formation is considered insufficiently effective.

EFFECT: method ensures increased efficiency of hearing and speech development in children over 4 years of age after cochlear implantation (CI) surgery due to the ability of CI systems to transmit not only rhythmic, but also melodic, pitch, timbre, and dynamic characteristics of music through the use of voice singing.

3 cl, 21 dwg, 1 ex

Description

The invention relates to medicine, namely to audiology and deaf pedagogy, and can be used in the development of hearing and speech in early-deafened children after cochlear implantation surgery.

Cochlear implant surgery is the most effective method of auditory rehabilitation for people with profound hearing loss and deafness. During this operation, a chain of electrodes is inserted into the inner ear of a deaf patient, stimulating the auditory nerve and thus ensuring the transmission of acoustic information to the auditory centers of the brain and the formation of auditory images there.

Postoperative rehabilitation is the longest stage of the high-tech method of restoring hearing in deaf children, taking more than 5 years. Rehabilitation of children with cochlear implants (hereinafter referred to as CI) includes setting up the CI processor, developing auditory perception of sounds and speech, the native language system, one’s own oral speech as a means of communication and other mental processes.

There is a known method for the development of oral speech in deaf children, including the formation of the child’s pronunciation side of speech (see Pelymskaya T.V., Shmatko N.D. “Formation of oral speech in preschoolers with impaired hearing”, Moscow, publishing center “VLADOS”, 2003, pp. 44-47; 70-160; 72-76, 178-182).

When implementing this method, the child is sequentially forming speech breathing, controlling the volume and duration of the voice, causing the pronunciation of individual speech sounds, starting with the sounds of 1st concentration (a, o, y, e, p, b, m, f, v, t, d, n, l).

With young children, speech rhythms are used, with the help of which the child is taught to imitate large movements of the body, arms, and legs of the teacher, pronouncing sounds, syllables, words and phrases along with the movements, and the child is stimulated to imitate the sounds pronounced by the teacher (see p. 70- 160 analog).

The next stages of work on the pronunciation side of speech are aimed at developing in the child the pronunciation of speech sounds as part of short words and phrases, the pronunciation of speech sounds as part of longer words and sentences, and the automation of the pronunciation of various speech sounds.

The sensory basis for the formation of pronunciation skills in children with hearing impairment is auditory-visual and visual (lip reading, reading, fingerprinting) speech perception.

In this case, hearing aids and sound amplification equipment for collective use are used in kindergartens and schools for the deaf, while classes by teachers of the deaf are conducted using non-speech sounds and a variety of speech material that is accessible to the perception of a particular child.

Music is also used for this purpose (see pages 44-47 of the analogue).

In classes on the development of auditory perception, children are introduced to musical rhythms, taught to distinguish by ear the sounds of a march, waltz, polka, to identify the sounds of 4-6 musical instruments, to distinguish between spoken language and singing.

Group musical and rhythmic classes, which also include speech rhythmics, are aimed at developing the ability to perceive and reproduce rhythm using rhythmic stimulation and choral recitation, improving pronunciation (see pp. 72-76, 178-182 analogues).

Music education programs for hearing-impaired and deaf children, designed to accommodate their hearing abilities, vary. At the same time, voice singing is not included in the program for deaf children and children with severe hearing loss due to the special difficulties in mastering this activity, but is replaced by recitation of song texts to music.

The disadvantages of this method are:

1. When forming pronunciation in deaf children, the method mainly relies on visual perception (lip reading, reading, fingerprinting) and auditory perception of the rhythmic characteristics of speech, and very limitedly includes the development of melodic characteristics of speech, which causes the formation of speech with pronounced prosodic disturbances characteristics - speech is monotonous, tense, chanted, with a nasal tint.

2. The method does not take into account the wide hearing capabilities of deaf children with cochlear implants and the possibility of their speech development through auditory perception, including spontaneously, during communication with loved ones.

3. The formation of pronunciation skills occurs during targeted exercises in classes with a teacher of the deaf, which makes it difficult to transfer the skills a child develops in class to everyday communication situations and makes it difficult for parents to be involved in the child’s rehabilitation.

The closest in technical essence to the claimed solution is the verbotonal method of speech formation in children with hearing loss, which includes the formation of speech in children with hearing loss, containing musical stimulation that develops the ability to perceive and reproduce rhythm, arbitrarily change the volume, duration, pitch and timbre of the voice (see. Rulenkova L.I. “How to teach a deaf child to listen and speak based on the verbotonal method”, Moscow, Paradigma, 2010, pp. 108-118).

The importance of musical stimulation for the development of hearing and speech in hearing-impaired and deaf children in this method is justified by the fact that, firstly, music includes a wider low-frequency and dynamic sound range than speech. Secondly, most hard-of-hearing children have remnants of hearing in the low-frequency range, which allows them to perceive the rhythm of music, the timbre of musical instruments with a predominance of low frequencies in the sound, and deaf children perceive the rhythm of music through vibration sensations.

When implementing this method, rhythmic speech material of increasing complexity is used: vowels of different durations, series of syllables, irrational, semi-irrational and rational rhymes.

During classes, the teacher of the deaf repeatedly pronounces speech material rhythmically, accompanying it with hand and body movements consistent with the rhythm of speech, ensuring that the child is gradually able to repeat the speech material.

In this case, stationary sound amplification equipment with headphones is used, specially designed for this purpose, which allows not only to amplify sounds, but also partially transfers the middle and high frequencies of speech, often not perceived by deaf children, to a lower frequency region accessible to their perception.

Training includes 3 phases: 1) the teacher speaks - the children listen. Children begin to distinguish sounds based on perceived rhythm; 2) the same counting rhyme with movements is repeated many times, the children listen, watch and repeat the movements and, if possible, sounds/words, the teacher corrects them; 3) the children themselves say the counting rhyme, focusing on the movements of the teacher. At the end, children distinguish words by ear and recite the counting rhyme without moving.

At the initial stage of training, vibration stimulation using a vibrating table and/or a vibrator is used to induce vocalizations of varying duration and volume in the child. These devices convert the sound vibrations of the voice of an adult or the child himself into vibration signals transmitted to a vibrating table (on which the child sits or holds his hands, perceiving the vibration of the table) or a vibrator mounted on the child’s hand.

Vibration signals allow the child to establish a connection between his voice and vibration sensations that cause positive emotions in him, and stimulate the child’s voluntary vocal reactions. During the training, special sound amplification equipment is also used with headphones, which are worn by a child who is hard of hearing in order to perceive the speech of an adult and his own voice.

The disadvantages of this method are:

1. The method relies mainly on the rhythmic characteristics of speech and limitedly involves the development of its melodic characteristics in deaf children.

2. The method does not take into account the possibility of perceiving sounds and speech in a wide frequency and dynamic range, distinguishing subtle differences in acoustic signals by deaf children with cochlear implants and the possibility of them developing speech only by ear, including spontaneously during communication with loved ones.

3. Musical and vibration stimulation in the verbotonal method primarily involves the use of additional special equipment and special pedagogical techniques for the deaf child to develop the ability to control his voice and speak. This equipment, developed more than 50 years ago, is not readily available, and given the hearing abilities of children with CIs, it is not necessary for the development of these skills.

4. Special exercises performed together with a teacher of the deaf are difficult for parents to reproduce, which makes it difficult to transfer the skills developed by the child in classes to everyday communication situations, and makes it difficult for parents to include in the child’s rehabilitation

The technical result of the proposed solution is to increase the efficiency of hearing and speech development in early-deafened children after cochlear implantation surgery due to the ability of CI systems to transmit not only rhythmic, but also melodic, pitch, timbre, and dynamic characteristics of music through the use of voice singing.

To achieve the specified technical result in the method of speech development in children after cochlear implantation surgery, including the formation of speech in children with hearing loss, containing musical stimulation that develops the ability to perceive and reproduce rhythm, arbitrarily change the volume, duration, pitch and timbre of the voice, according to the invention, includes A 20-week course of singing lessons, and before and after the specified course, a questionnaire from 6 sections is used, assessing the following skills of the child in points: the ability to control the voice in a lesson is 0-13 points according to 4 indicators; the ability to control the voice in daily communication situations is 0-15 points according to 5 indicators; auditory-verbal memory is 0-13 points according to 3 indicators; verbal communication skills are 0-26 points according to 5 indicators; the child’s motivation for listening to music and singing is 0-8 points according to 2 indicators; as well as the involvement of parents in the rehabilitation of the child, including with the help of music and singing, is 0-9 points for 3 indicators, and a course of 20 lessons includes, firstly, a lesson between a teacher and a child once a week lasting 30 minutes, secondly, daily 15-minute independent lessons for the child at home with video and audio material, and lessons with a teacher include listening and singing 20 songs, according to the texts, as shown in Fig. 2-21, while every week they learn a new song, the teacher sings with the child, accompanying the singing with gestures that convey changes in the pitch of the voice, as well as those associated with the characters of the song and their actions, in addition the teacher uses expressive facial expressions and accentuated articulation, in addition the lesson includes drawing , allowing the child to materialize what is happening in the song, the teacher occasionally combines singing songs with the use of guitar accompaniment to form a noise-resistant auditory-verbal perception in the child, while during the lesson the teacher sings the song 4 times, and 3 times he sings without music, and the video material includes a recording of the teacher’s song accompanied by gestures and guitar accompaniment, and the audio material includes, firstly, a recording of the song by the teacher to the accompaniment of the guitar, secondly, only the melody of the song performed on the guitar, and every day at home the child: during the first week watches and listens to the video recording 3 times a day for 3 minutes and 2 times audio recording for 3 minutes; from the second to the fifth weeks - video recording 2 times for 5 minutes and audio recording 1 time for 5 minutes; fifteen subsequent weeks - video recording 1 time for 11 minutes and audio recording 1 time for 4 minutes, while the child sings along to new songs and any of the old songs, then the data obtained on assessing the child’s skills after classes are compared with the corresponding indicators before the start of classes, and if not less than 1 indicator in each of the 6 sections of the questionnaire has changed by 1 point or more, then speech formation is considered effective, and if 5 or less indicators have changed by 1 point, then speech formation is considered insufficiently effective.

Also, according to the invention, a video recording of a singing teacher is made against a light background, at a distance of 1.0 m from the teacher, so that the teacher’s facial expressions and articulation are clearly visible, and other images do not distract the child from the teacher’s face.

Also, according to the invention, when recording a video, the song is performed with guitar accompaniment, while the accompaniment is recorded separately and superimposed on the voice of the teacher singing without a guitar, so the teacher’s hands are free to use gestures that convey the movements of the melody and the actions of the characters in the song.

The expanded capabilities of modern CI systems to transmit not only rhythmic, but also melodic, pitch, timbre, and dynamic characteristics of music create the possibility of using voice singing for the development of speech and hearing in early-deafened children with CIs.

The high effectiveness of singing lessons has been experimentally established for the development in early-deaf children with CIs of the ability to change and voluntarily control the characteristics of the voice, the development of speech breathing, auditory control of one’s voice and sound pronunciation, auditory attention, auditory memory, intonation of speech during communication, and speech communication skills.

The listed abilities are necessary for the formation of normal-sounding oral speech in deaf children after cochlear implantation. The development of these abilities presents significant difficulties, especially in children implanted over 3 years of age and children with problems with auditory memory and additional neurological pathology.

The inventive method allows children with CIs over 4 years of age, whose level of speech development is not lower than the level of pronunciation of individual short words, including unintelligible ones, to form the above abilities through a 20-week course of classes.

Listening and singing specially designed songs with imaginative lyrics, repeated short words that can be easily imitated by the child, and a simple melody makes it easier for the child to remember the melody and words of the song.

A training scheme was established experimentally: a lesson between a teacher and a child once a week for 30 minutes and daily 15-minute independent lessons for the child with video and audio material.

The optimal duration of independent home exercises is 15 minutes. This is enough time to sing five songs. The child watches, listens and sings a new song 2-3 times (this is 5-6 minutes) and repeats old songs.

Increasing the time of independent study will lead to a loss of interest in singing, the child will get tired, since in this case there is no change of activity, as in a lesson with a teacher.

Reducing the duration of classes will lead to the fact that there will not be enough time to repeat old songs and the child will begin to forget them.

Joint singing between the teacher and the child requires the child to have a high degree of auditory concentration throughout the entire lesson - he needs to listen, sing, adjusting his voice to the sound standard in pitch, volume, timbre, tempo, while simultaneously remembering the sequence of words of the song.

Independent daily viewing and listening to a video recording of a teacher singing, learning songs in class, with expressive facial expressions and accentuated articulation, stimulates the child to repeat them.

A child singing different songs and knowing their lyrics by heart, with a new song being added to the child’s repertoire every week, leads to the fact that the amount of information that the child must retain in memory is constantly growing, and, at the same time, his auditory-verbal memory is developing.

The method ensures the development of the child's speech communication skills through the use of special song material with the participation of characters with different characters expressing different emotions.

The child gets acquainted with different emotions, learns to understand their meaning and empathize with the characters of the song, recognize emotions by ear, express his emotions using intonation, timbre and facial expressions, and use these skills when communicating with other people.

Thanks to the child’s improvement in voice control and pronunciation, the formation of a new skill - singing (especially valued in children with impaired hearing), which he can demonstrate to others, including on stage, the child’s confidence when communicating with others and his self-esteem increases.

From the above it follows that the introduced distinctive features influence the specified technical result and are in a cause-and-effect relationship with it.

The method is illustrated in the drawings, where:

- in fig. 1 the questionnaire is presented;

- in fig. 2 presents song 1 “Hedgehog”;

- in fig. 3 presents song 2 “Bunny and Wolf”;

- in fig. 4 presents song 3 “The birch tree was swinging”;

- in fig. 5 presents song 4 “Spikelets”;

- in fig. 6 presents song 5 “Who Knocks”;

- in fig. 7 presents song 6 “Spoons”;

- in fig. 8 presents song 7 “Frog and Dwarf”;

- in fig. 9 presents song 8 “Norushka Mouse”;

- in fig. 10 presents song 9 “Dog”;

- in fig. 11 presents song 10 “The birds danced”;

- in fig. 12 presents song 11 “Snail and Spider”;

- in fig. 13 presents song 12 “Laughter”;

- in fig. 14 presents song 13 “Worm”;

- in fig. 15 presents song 14 “Turtle”;

- in fig. 16 presents song 15 “Turkeys”;

- in fig. 17 presents song 16 “Two Penguins”;

- in fig. 18 presents song 17 “Birds are sleeping”;

- in fig. 19 presents song 18 “Parrot”;

- in fig. 20 presents song 19 “Kite”;

- in fig. 21 the song 20 “Owl” is presented.

The method is carried out as follows.

Before the start of the course, the child’s skills are assessed, identifying the following indicators:

- the ability to change the volume, duration, pitch and timbre of the voice when singing and during verbal communication;

- the ability to recognize and reproduce the melody and lyrics of songs by ear;

- the ability to convey various types of intonation in speech;

- auditory-verbal working memory;

- desire to listen to music and sing.

To solve this problem of assessing the child’s skills, a special questionnaire was developed (Fig. 1).

The questionnaire is filled out by a teacher of the deaf or speech therapist who works with the child.

The questionnaire includes 6 sections:

1. The child’s ability to control his voice in class (0-13 points according to 4 indicators).

1. 1 The child is able to change the volume of his voice upon request/pattern.

Rating: 0 - does not know how; 1 - very limited range, unstable;

2 - medium range, stable; 3 - in a wide range, stable.

1.2 The child is able to change the pitch of his voice upon request/model.

Rating: 0 - does not know how; 1 - very limited range, unstable; 2 - medium range, stable; 3 - in a wide range.

1.3 The child is able to pronounce sounds of different durations upon request/pattern.

Rating: 0 - does not know how; 1 - very limited range, unstable; 2 - medium range, stable; 3 - in a wide range.

1.4 The child develops singing skills.

Rating: 0 - does not sing along or listen; 1 - listens, but does not sing along; 2 - listens and sings along; 4 - hums independently.

2. The child’s ability to control his voice in daily communication situations (0-15 points on 5 indicators).

2.1 The child changes the volume of his voice depending on the situation when communicating with people.

Rating: 0 - does not change; 1 - very limited range, rare; 2 - medium range, regularly; 3 - in a wide range, regularly.

2.2 The child changes the pitch of his voice depending on the situation when communicating with people. Rating: 0 - does not change; 1 - very limited range, rare; 2 - medium range, regularly; 3 - in a wide range, regularly.

2.3 The child speaks at different rates in different situations, and can consciously slow down and speed up the pace to improve the intelligibility and expressiveness of his speech.

Rating: 0 - does not change the tempo; 1 - very limited range, rare; 2 - medium range, regularly; 3 - in a wide range, regularly.

2.4 The child uses different intonation of sentences in speech.

Rating: 0 - no; 1 - rarely, only when excited; 2 - interrogative, exclamation, regularly; 3 - several different types of intonation, regularly.

2.5 The child uses different semantic stress in speech.

Rating: 0 - no; 1 - rare; 2 - sometimes; 3 - regularly.

3. Auditory-verbal memory (0-13 points for 3 indicators).

3.1 Number of words a child can repeat.

Rating: 0-0 words; 1- 1 word, 2-2 words; 3-3 words; 4-4 words; 5-5 words.

3.2 Memorizing verses.

Rating: 0 - does not remember anything; 1 - remembers movements; 2 - remembers the last words; 3 - remembers several lines; 4 - remembers all words.

3.3 Memorizing songs.

Rating: 0 - does not remember anything; 1 - remembers movements; 2 - remembers the melody; 3 - remembers key words; 4 - remembers the melody and words.

4. Speech communication skills (0-26 points for 5 indicators).

4.1 Average number of words per sentence in a child’s speech.

Rating: 0 - no words, pronounces individual sounds and syllables; 1-1 word; 2-2 words; 3-3 words; 4-4 words; 5-5 or more words.

4.2 A child’s understanding of the speech of a familiar adult in silence only through auditory perception.

Rating: 0 - does not understand; 1 - understands individual familiar words; 2 - understands short simple requests and questions; 3 - understands 50% of an adult’s speech in a dialogue at a slow pace of speech, repetition is required; 4 - understands 80% of adult speech in dialogue at a normal pace, repetition of individual elements is required; 5 - understands more than 80% of adult speech in dialogue at a normal pace.

4.3 A child’s understanding of the speech of a familiar adult in noise only through auditory perception.

Rating: 0 - does not understand; 1 - understands individual familiar words; 2 - understands short simple requests and questions; 3 - understands 50% of an adult’s speech in a dialogue at a slow pace of speech, repetition is required; 4 - understands 50% of adult speech in dialogue at a normal pace, repetition of individual elements is required; 5 - understands more than 80% of adult speech in dialogue at a normal pace.

4.4 Intelligibility and intelligibility of the child’s speech.

Rating: 0 - close people understand only individual words in the child’s speech depending on the situation and if they see his articulation; 1 - close people understand what the child is saying if they listen carefully; 2 - close people understand most of what the child says; 3 - close people understand everything the child says without difficulty; 4 - the child’s speech is understandable to strangers, but has significant disturbances in sound pronunciation, prosody, and agrammatism; 5 - the child’s speech is understandable to everyone, there are a small number of violations of sound pronunciation, prosody, and agrammatisms; 6 - the child’s speech sounds natural and intelligible, appropriate for his age.

4.5 The child’s ability to participate in general conversation.

Rating: 0 - cannot; 1 - cannot follow the thread of a general conversation, but if an adult attracts his attention and repeats the key point of the conversation, he begins to listen carefully; 2 - during a general conversation, follows the thread of the conversation, can answer a question on the topic of the conversation; 3 - during a general conversation, follows the thread of the conversation and can add his own remark; 4 - actively participates in the general conversation; 5 - can start a conversation with another person.

5. Motivating the child to listen to music and sing (0-8 points for 2 indicators).

5.1 The child’s desire to listen to music.

Rating: 0 - refuses; 1 - listens for less than 1 minute when motivated by an adult; 2 - listens and dances with pleasure to the rhythm along with an adult; 3 - listens himself; 4 - he turns on the music and listens.

5.2 The child’s desire to listen and sing songs.

Rating: 0 - refuses; 1 - listens for less than 1 minute when motivated by an adult; 2 - listens and sings along with pleasure along with an adult; 3 - listens and sings along himself; 4 - hums himself while playing and doing other things.

6. Involving parents in the child’s rehabilitation, including through music and singing (0-9 points for 3 indicators).

6.1 Parents independently work with the child.

Rating: 0 - not involved; 1 - do it sometimes; 2 - engage in the development of hearing and speech regularly according to the instructions of the teacher; 3 - are engaged in the development of hearing and speech according to the instructions of the teacher and are able to use everyday situations to develop the child’s speech.

6.2 Parents motivate their child to listen to music.

Rating: 0 - no; 1 - listen to music with the child and by themselves; 2 - motivate the child to listen to music and move to it; 3 - know how to help a child develop music listening skills.

6.3 Parents use singing to develop their child’s speech.

Rating: 0 - no; 1 - sing songs to the child and for themselves; 2 - motivate the child to sing along; 3 - know how to help a child develop singing and voice control skills.

When answering each question, choose one of the answer options, worth a certain number of points.

Then, after receiving an initial assessment of the auditory-verbal skills of a child with a CI and the involvement of parents in the child’s rehabilitation, a course of 20 sessions is used with listening and singing specially designed 20 songs with memorable lyrics and a simple melody (Fig. 2-21).

These songs are designed for targeted training to expand the frequency and dynamic range of the voice of a child with CIs, develop his ability to distinguish and convey in his voice the tempo, rhythm, timbre and mood of a melody, develop the mobility and switchability of the articulatory apparatus, and auditory memory.

The developed song material to fulfill these goals meets the following requirements:

1. A text that is easy for a child to understand with repeated short words, while it is possible to use words that are difficult to pronounce, for example, “hello,” an important word in life that, through singing, will enter the child’s active vocabulary.

2. Simple rhythmic pattern.

3. Singing acapella or accompanied by an acoustic musical instrument.

With undeveloped auditory perception, complex musical accompaniment is perceived as noise, an obstacle to singing. The presence of simple acoustic accompaniment is training in speech perception in noise.

4. Using a lot of verbs in the song because actions are easy to illustrate and are easier to remember than adjectives and nouns.

5. Contrasting contrasting images: fast-slow, high-low, quiet-loud, etc.

Thus, the melodies of the songs include contrasting passages according to acoustic characteristics (fast-slow, quiet-loud, sad-cheerful, etc.), the lyrics use onomatopoeia, various chains of syllables, repeated words and phrases, bright images understandable to the child ( a hedgehog that runs and carries an apple, singing and dancing birds, a snail that crawls and gnaws leaves, etc.).

The lyrics of the songs contain a lot of verbs that describe the actions of the characters, as well as dialogues, which makes the songs very dynamic and attractive for children's perception. At the same time, the images in the text of the song support the movement of the melody: the melody goes up - the song is sung about the sky, the sun, the birds, the melody goes down - the song is sung about what is on the ground or underground.

Singing songs involves the occasional use of guitar accompaniment, which moderately masks the words of the song and, thereby, contributes to the formation of noise-resistant auditory-verbal perception in the child.

The performance of songs with or without music depends on correctional tasks:

- work on speech intelligibility in noise - performing a song one line at a time along with accompaniment and asking questions to understand what happened in this line;

- work on the purity of intonation - analyze the song a cappella, this allows the child to better hear the direction of movement of the voice, trying to ensure that the voices with the teacher merge in unison;

- work on increasing the tempo of speech - performing several lines of the song a cappella, and immediately with accompaniment, which will regulate the tempo;

- work on the emotional sphere - also first a cappella, and immediately with accompaniment, which helps to create the desired emotional state.

The course of 20 lessons includes, firstly, a lesson between a teacher and a child once a week for 30 minutes, and secondly, daily 15-minute independent lessons for the child with video and audio material at home.

After the lesson, parents receive video and audio material with a recording of a new song that meets certain requirements.

Distinctive features of the video recording are:

- the song is performed with guitar accompaniment, while the accompaniment is recorded separately and superimposed on the voice of the teacher singing without a guitar, so the teacher’s hands are free to use gestures that convey the movements of the melody and the actions of the characters in the song;

- the teacher sings with very expressive facial expressions and accentuated articulation;

- a video recording of a singing teacher is carried out against a light background, at a distance of 1.0 m from the teacher, so that the teacher’s facial expressions and articulation are clearly visible, and other images do not distract the child from the teacher’s face.

Audio recordings include: 1) the teacher singing a song to the accompaniment of a guitar; 2) only the melody of the song performed on the guitar.

During a lesson with a teacher, a new song is learned every time, even if the child has not completed the previous songs. Thus, an accumulation of material occurs, which subsequently causes a significant improvement in all parameters of hearing and speech.

The teacher accompanies the learning of songs with gestures.

The teacher sings along with the child, accompanying the singing with hand movements that convey changes in the pitch of the voice, as well as those associated with the characters of the song and their actions.

They use 2 types of gestures:

- gestures that help to better understand and remember the events occurring in the song;

- gestures showing the direction of voice movement.

Gestures shift the child’s attention to movement instead of singing; by focusing on gestures, the child ceases to be afraid of making mistakes in singing and begins to vocalize more easily.

The simultaneous use of different gestures for each hand when singing promotes the development of interhemispheric connections.

Accompanying singing with hand movements that convey changes in the pitch of the voice and the movement of the melody allow the child to clarify the intervals between sounds (smooth movement between sounds or jumps), remember the direction of movement of the melody, and helps to maintain the tempo and rhythm of the song.

The teacher accompanies song learning with drawing.

Drawing while practicing singing allows the child to materialize what is happening in the song.

While drawing together while singing, the child, without noticing it, begins to sing along with the teacher.

After finishing the lesson, the child can take the picture drawn during the lesson while singing.

During the song, the teacher uses expressive facial expressions and accentuated articulation. This attracts the child’s attention to his face, stimulates him to imitate the teacher’s facial expressions and articulation, and expands the child’s ability to change the characteristics of his voice and control the organs of articulation.

Throughout the entire lesson, the child listens, sings, adjusting his voice to the sound standard in pitch, volume, timbre, tempo, while simultaneously remembering the sequence of words of the song.

By observing the movements of the hands of a singing teacher, the child develops associations with the characters of the song and their actions, they help the child understand the meaning of individual words and the entire text of the song.

When performing songs in which the characters sing in different voices, the child learns to change the timbre of his voice, imitate voices and convey the character of the characters in the song through the timbre coloring of his voice, relying on facial expressions, learns to reproduce high and low, quiet and loud sounds, expands the dynamic and frequency range of his vote.

The use of various musical moves in a melody helps the child learn to recognize by ear the direction of movement of the melody and reproduce various intonations (ascending/descending), allows him to realize the wide possibilities of his voice - the possibility of changing it in volume and height, stimulates the use of new intonations in speech when communicating.

Each song solves a different problem, that is, different songs have different tasks, so they can be performed in any order. They are not from easy to difficult, and each song has its own goals.

1. Song “Hedgehog”.

They work on the strength and duration of exhalation: you need to pull “E” long and evenly, and at the moment when the teacher finishes singing “zhik”, the child should have time to do this together with the teacher. This form of work trains auditory attention. They work on the purity of the pronunciation of hissing words, the child corrects his pronunciation by ear, trying to bring it closer to the sound of the teacher, they ask him to gather his lips (do not stretch them in a smile) and stretch them a little forward. During the lesson, the sound of the hissing words changes - the child listens to the sound of the teacher and understands that he himself, with the help of his lips, cheeks, eyebrows, can change his pronunciation, adapting to the standard, hears (realizes) the difference. So in class, the child learns to listen attentively, compare his sound with the teacher’s sound, analyze, and adjust his sound.

2. Song “Bunny and Wolf”.

They are working on changing timbres by changing facial expressions. A child may be able to immediately change timbres during a lesson. An interest in the new sound of his voice may appear - he tries to address his mother with a new timbre, plays around with his voice - the goal is achieved, the child is motivated to explore the capabilities of his voice. They repeat the song “Hedgehog”, the child sings the long vowels with pleasure.

3. Song “The birch tree was swinging.”

They work on the duration of exhalation; to do this, they sing long phrases quickly and quietly in one breath, the child understands that he can do this - sing a long phrase in one breath. Slow down the pace, increase the dynamics (volume) - this is how they work to increase the duration and force of exhalation. Working on pitch switching. They climb onto a chair to draw a parallel with the pitch of their voice. In isolation, a child may be able to raise his voice, but in a song his voice may still be monotonous. They work on the rhythm, learn to listen (withstand) pauses.

4. Song "Spikelets".

They work on auditory memory, learn to memorize huge chunks of text, turning words into images with the help of drawings and gestures. They work on rising intonation in their voice. They switch from the middle register to the high register, not abruptly, but with the help of a glissando (sliding), it can work. They repeat the song “The Birch Tree Was Swinging” - it may already be possible to raise the voice upward at the right moment (the height is undefined).

5. Song “Who’s Knocking?”

They work on a sense of rhythm and alternating rising and falling intonations of the voice. They repeat all the songs they have covered, note improvements in pronunciation and the ability to control their voice.

6. Song “Spoons”.

They continue to work on developing a sense of rhythm. They practice rising and falling intonations. They repeat old songs. Develop auditory attention: the teacher pronounces, alternating, “twirl” or “knock.” The child must perform an action with spoons. Change roles with the child. They are working to create the prerequisites for producing the sound “L”. “Li-li-li-li, lu-lu-lu” - they sing in front of the mirror, the child should see the tip of his tongue. The teacher sings “Li-li...” the child determines by ear whether the teacher’s tongue is sticking out or not. Change roles. This is how the child learns to better feel his organs of articulation and realizes how much his sound depends on the position of the tongue, lips, and cheeks. He understands that a little effort is enough to make his sound different, beautiful.

7. Song “Frog and Dwarf”.

They are working on speeding up the rate of speech. To achieve this, the song uses a dotted rhythm. Reducing the time between syllables is the first step towards speeding up your speech rate. They work on the falling intonation of the voice. They are working on the pronunciation of sibilants, playing with the words “thicket” and “edge”.

8. Song “Norushka Mouse”.

They are working on improving speech perception in noise - by listening to a song with accompaniment, you need to understand and tell what is happening in the song. They are working on auditory memory - you need to remember a large amount of text. They remember the sequence of events with the help of drawings created together with the child and gestures. They work on intonation - the same phrase of five notes is repeated at different pitches (modulation), the child tries to repeat it until it doesn’t work out.

9. Song "Dog".

They work on rising and falling intonations of the voice. Work on auditory memory and attention - you need to listen and tell what is happening in the song, answer questions. They train auditory memory - the song is very long, you need to remember the sequence of events. Gestures help to remember a huge text, but it is still difficult for a child to remember such a large amount of text. By the end of the lesson, the child, as a rule, manages to sing the scale, it is built into the song - “The fingers went out for a walk” - this is “Do-Re-Mi-Fa-Sol-La-La”. The teacher does not introduce the child to notes; they sing the song, developing an ear for music and performing scales hidden in the melodies of the songs.

10. Song “The birds danced.”

They are working on switching voice registers - part of the song is written in the middle register, and part in the high register. They work on the fluency of pronunciation - they sing gently, together. They are working on changing articulatory postures, on the clarity of articulation - the song prescribes the performance of different syllables in a certain sequence (bird song). Repeat the song "Dog". The child, as a rule, does not make mistakes in the text, he remembers it.

11. Song “Snail and Spider”.

First, they work on auditory attention and hearing intelligibility in noise - the teacher sings a song to the accompaniment of a guitar, the child listens carefully and answers the teacher’s questions. Working on intonation. While we were working on auditory attention, the child listened to parts of the song many times, now the melody is familiar to him, he can work on the purity of intonation. They learn the song in small pieces, the child tries to accurately repeat the movement of the melody. Gestures showing the direction of movement of the melody help with this.

12. Song “Laughter”.

They work on the smoothness of rising intonations, on changing the tempo of speech - this is written in the melody of the song, so you don’t need to do anything special, they just sing acapella with the child.

13. Song “Worm”.

Learn to recognize rising and falling intonations by ear. They learn to reproduce these intonations. They are working on the purity of pronunciation.

14. Song "Turtle".

They are working on the purity of pronunciation. They are working on switching from a slow tempo to a fast one. They work on the sense of rhythm - you don’t just need to sing as quickly as possible, you need to organize it rhythmically. Often, it takes half a lesson to master a new song, so all the old songs are repeated, an improvement in the quality of performance is noted: the child controls his voice better, although his singing cannot be called pure, in terms of hitting the notes, he feels the movement of the melody and follows it with his voice . Usually, the child performs the rhythmic patterns of song melodies more accurately, although he still does not “listen” to pauses and is a little in a hurry. Smoothness and melody appear in the performance. He works well with his lips when singing - he uses facial expressions to change timbres.

15. "Turkeys."

They work on the purity of descending intonations. Switch the voice register from low to high and back. The child learns to “chatter” like a turkey: with his tongue up/down, right/left.

16. Song “Two Penguins”.

They learn to play long notes without losing the pitch and strength of the sound. To do this, the child draws out the word “dliiiiinnoy” and, comparing it with the sound standard (the teacher’s performance), tries to repeat it in the same way. They work on the sense of rhythm in this song using a complex rhythmic pattern - long notes alternate with a dotted rhythm. As a rule, the child is able to sing a song rhythmically (with the exception of the dotted rhythm, which is still smoothed out).

17. Song “Birds are sleeping.”

They are working on switching the voice from quiet to loud, finding the child’s maximum volume. A child learns to scream melodiously - this is a very important exercise; to perform it you need a strong, uniform stream of air. They are working on switching the nature of the performance: from quiet, gentle, affectionate, sad (minor) to cheerful (major), cheerful, bright, loud. The child really likes this form of work; usually, everything works out. They are working on the rhythm - in the second part of the song there is a dotted rhythm. Execution of a dotted rhythm also helps to speed up the rate of speech. They work on smoothness of performance - in the first, gentle part of the song.

18. Song "Parrot".

They are working on switching registers, on the accuracy of performing the rhythmic pattern. They learn, by changing the timbre of their voice, to convey the sound of different animals: they say “Give me the spoon” like a parrot, like a mouse, like a bear, like a bird. They repeat old songs.

19. Song "Kite".

They work on the purity of intonation and the ability to control their voice in different registers. To do this, learn a song in a middle (comfortable) register, and then sing it at different pitches. Usually, only half of the lesson is spent learning a new song. They repeat a lot of old songs.

20. Song "Owl".

They work on the timbre of the voice - with the help of facial expressions, the child changes the timbres of his voice (sings: like an owl, like a chicken, etc.). The child learns to identify by ear (the teacher behind a screen) a light timbre of a voice (on a smile) and a gloomy one (lips curled, eyebrows lowered). They change roles with the child - he must speak behind the screen in different voices, the teacher and mother guess. By the end of the lesson, the child enjoys using different timbres of his voice in speech (he says goodbye like an Owl - in a gloomy, rough voice). They are working on changing the tempo of the performance - the first part of the song is at a slow tempo, the second is performed faster. They repeat old songs, sing them with the child to the accompaniment of a guitar. As a rule, the child intonates better, his sound is smooth, and the timbre of his voice changes depending on the content of the song.

Thus, during the first lesson in the first week of training, the teacher sings a song, for example, “Hedgehog” (Fig. 2) 4 times, and 3 times he sings without music, combining singing with hand movements and drawing. The child listens, watching the teacher, and gradually begins to sing along with him.

Once the teacher sings a song accompanied by a light guitar accompaniment, encouraging the child to sing along and repeat his hand movements.

Then, for a week, the child studies at home independently for 15 minutes every day, without a teacher. The child listens and sings a new song and repeats old songs.

For three days of the week, parents watch the video recording with the child, singing along with the teacher, and the rest of the days the child listened and watched the video recording of the singing himself.

In this case, 15 minutes of independent training are distributed over several approaches throughout the day.

The first week of training includes 5 approaches per day:

- 3 times a day, the child watches and listens to a video recording of the teacher singing for 3 minutes;

- 2 times a day for 3 minutes, turn on an audio recording of the teacher singing a song when the child is playing with toys or when driving with him in the car.

The next four weeks of classes, that is, from the second week to the fifth week, include 3 approaches:

- 2 times a day, the child watches and listens to a video recording of the teacher singing for 5 minutes;

- once a day for 5 minutes, turn on audio recordings of the teacher singing songs or melodies of songs when the child is playing with toys or when riding in the car with him.

The fifteen subsequent weeks of classes, that is, from the sixth week to the twentieth week, include 2 approaches:

- once a day, the child watches and listens to a video recording of the teacher singing for 11 minutes;

- Once a day, for 4 minutes, they turn on audio recordings of the teacher singing songs or melodies of songs, when the child is playing with toys or when driving with him in the car.

To practice singing skills at home, the teacher provides parents with:

- video recording of a teacher singing a song with guitar accompaniment;

- two audio files: a recording of a teacher singing with guitar accompaniment and a recording of the melody of a song performed on a guitar;

- a leaflet with the lyrics of the song.

To listen to a song at home, use a computer with a monitor, a sound card and speakers, a mobile phone, video and audio recordings of a teacher singing songs, and audio recordings of a song melody played on a guitar without singing.

In the videos that the child listens and watches every day, songs with accompaniment (not acapella). Singing such songs is a constant training of auditory perception of speech in noise.

If the child refuses to work with video material, and also additionally, parents turn on video material and/or audio material in the background several times during the day while the child is playing quietly or while traveling by car.

Thus, in the first week of independent study at home, the child watches and listens to a video, sings along only one song “Hedgehog” (Fig. 2) and during the day he needs to listen and sing the song 3 times for 3 minutes. An audio recording is played twice a day for 3 minutes.

In the second lesson, the teacher learns the second song with the child, for example, “Bunny and Wolf” (Fig. 3), even if the child did not remember the previous song “Hedgehog”.

In the second week of home lessons, the child watches and listens to the video 2 times a day for 5 minutes, sings along to two songs “Hedgehog” and “Bunny and Wolf” (from the first and second lessons). Audio recordings are played once a day for 5 minutes.

In the third lesson, the teacher learns the third song with the child, for example, “The birch tree was swinging” (Fig. 4).

In the third week, the child watches and listens to the video, sings along to three songs “Hedgehog”, “Bunny and Wolf” and “Birch Tree Swung” 2 times a day for 5 minutes. Audio recordings are played once a day for 5 minutes.

These actions with learning new songs “Spikelets” (Fig. 5) and “Who’s Knocking?” (Fig. 6) continue throughout the fourth and fifth weeks.

For the next fifteen weeks, that is, from the sixth week to the twentieth week, the above actions continue with the teacher to learn new songs (Fig. 7-21).

On their own, the child watches and listens to video recordings of the teacher singing once a day for 11 minutes and audio recordings of the teacher singing songs or melodies of songs are turned on once a day for 4 minutes when the child is playing with toys or when driving with him in the car.

Parents join the child in the activity, encouraging him to sing along, showing him a model of behavior.

Children, having listened to the song many times, singing along or not singing along with the teacher during class, enjoy watching and listening to a video recording of the teacher singing at home, and gradually begin to sing along with him, repeating more and more words.

Using a video recording of a teacher singing a song learned in class for a child’s independent practice at home allows him to listen to the song repeatedly, memorize the melody and words, implement daily activities to achieve results, and encourage parents to join in singing together.

All these actions contribute to a more rapid development in a child with a CI of the ability to control his voice, the development of auditory-voice coordination, the ability to remember melodies and new words, the desire to listen to singing and sing along outside of class.

After completing the course of classes, the child’s abilities are re-evaluated using the specified questionnaire.

The data obtained are compared with the corresponding indicators before the start of classes, and if at least 1 indicator in each of the 6 sections of the questionnaire has changed by 1 point or more, then speech formation is considered effective, and if 5 or less indicators have changed by 1 point, then speech formation is considered insufficiently effective.

The method is illustrated by the following example.

Patient P., 5.5 years old, diagnosis: bilateral congenital deafness, condition after cochlear implantation in the right ear at the age of 3 years.

Duration of CI use (hearing age) - 30 months.

A preliminary general assessment of the child’s auditory and speech development was carried out in order to determine the possibility of using the proposed method.

To assess the level of development of the child’s auditory-speech perception, a modified international test “Category Auditory Perception Scale” (CAP) was used (see I.V. Koroleva, “Introduction to Cochlear Implantation,” St. Petersburg, KARO, 2023 , page 152).

According to this test, the level of development of auditory perception in children with impaired hearing can vary from level zero: “Level 0 - No reaction to surrounding sounds” to level twelve “Level 12 - Talks on the phone with strangers.”

The patient's level of development of auditory perception on this Scale corresponded to “Level 7 - The child correctly answers simple questions.”

To assess the level of development of the child’s speech, a modified international test “Levels of development of pronunciation skills and intelligibility of oral speech of a child with impaired hearing” was used (see Koroleva I.V. “Introduction to Cochlear Implantation”, St. Petersburg, KARO, 2023, p. 153 ).

In accordance with this test, the level of development of pronunciation skills and intelligibility of oral speech in children with impaired hearing can vary in levels: “Level 00 - The child does not use his voice when communicating or uses shouting and rare vowel-like sounds” to the seventh level “Level 7 - The child uses coherent speech without pronunciation disorders and agrammatisms" (see I.V. Koroleva, "Introduction to Cochlear Implantation", St. Petersburg, KARO, 2023, p. 153).

The level of development of the child’s pronunciation skills on this Scale corresponded to “Level 2 - the child uses phrasal speech, but it is unintelligible. Speech is intelligible in individual words if the child’s articulation is visible and the topic of the conversation is known.”

Before starting a course of classes using the proposed method, the child’s abilities are assessed, identifying the following abilities: to change the volume, pitch and duration of the voice when singing and during verbal communication; the ability to recognize and reproduce the melody and lyrics of songs by ear; the ability to understand adult speech in quiet and in noise; speech intelligibility; ability to participate in general conversation; convey different types of intonation in speech; auditory-verbal working memory; desire to listen to music and sing.

To solve this problem of assessing the child’s abilities, a specially developed questionnaire was used (Fig. 1).

For the first section of the questionnaire, “The child’s ability to control his voice in class,” the following data was obtained:

Indicator 1.1 “The child is able to change the volume of his voice upon request/model”, a score of 2 points was received - “average range, stable.” Indicator 1.2 “The child is able to change the pitch of his voice upon request/model” received a score of 0 points - “cannot”.

Indicator 1.3 “The child is able to pronounce sounds of different durations upon request/pattern”, a score of 2 points was received - “average range, stable.” Indicator 1.4 “The child develops singing skills” received a score of 1 point - listens, but does not sing along.

Total for the first section of the questionnaire: 5 points.

For the second section of the questionnaire, “The child’s ability to control his voice in daily communication situations,” the following data were obtained:

Indicator 2.1 “The child changes the volume of his voice depending on the situation when communicating with people” received a score of 2 points - “average range, regularly.”

Indicator 2.2 “The child changes the pitch of his voice depending on the situation when communicating with people” received a score of 0 points - “does not change.”

Indicator 2.3 “The child speaks at different rates in different situations, can consciously slow down and speed up the pace to improve the intelligibility and expressiveness of his speech”, a score of 2 points was received - “average range, regularly.”

Indicator 2.4 “The child uses different intonation of sentences in speech” received a score of 1 point - “rarely, only when excited.”

Indicator 2.5 “The child uses different semantic stress in speech” received a score of 1 point - “rarely”.

Result for the second section of the questionnaire: 6 points.

For the third section of the questionnaire “Auditory-verbal memory” the following data were obtained:

Indicator 3.1 “The number of words that a child can repeat” received a score of 2 points - “remembers 2 words.”

Indicator 3.2 “Memorizing poetry.” The score was 2 points - “remembers the last words.”

Indicator 3.3 “Memorizing songs” received a score of 1 point - “remembers movements.”

Result for the third section of the questionnaire: 5 points.

The following data were obtained for the fourth section of the questionnaire “Verbal communication skills”:

Indicator 4.1 “Average number of words per sentence in a child’s speech” received a score of 2 points - “2 words”.

Indicator 4.2 “The child’s understanding of the speech of a familiar adult in silence only with auditory perception” received a score of 2 points - “understands short simple requests and questions.”

Indicator 4.3 “The child’s understanding of the speech of a familiar adult in noise only with auditory perception” received a score of 1 point - “understands individual familiar words.”

Indicator 4.4 “Intelligibility and intelligibility of the child’s speech” received a score of 0 points - “close people understand only individual words in the child’s speech depending on the situation and if they see his articulation.”

Indicator 4.5 “The child’s ability to participate in a general conversation” received a score of 1 point - “cannot follow the thread of a general conversation, but if an adult attracts his attention and repeats the key point of the conversation, he begins to listen carefully.” Result for the fourth section of the questionnaire: 6 points.

The following data were obtained for the fifth section of the questionnaire “Motivation of a child to listen to music and sing”:

Indicator 5.1 “Child’s desire to listen to music and songs” scored

1 point - “Listens for less than 1 minute when motivated by an adult.”

Indicator 5.2 “The child’s desire to listen and sing songs.” Score received

1 point - “listens for less than 1 minute when an adult motivates.”

Result for the fifth section of the questionnaire: 2 points.

For the sixth section of the questionnaire “Involving parents in the rehabilitation of the child, including through music and singing,” the following data were obtained:

Indicator 6.1 “Parents independently work with the child” received a score of 3 points - “they are engaged in the development of hearing and speech according to the instructions of the teacher and are able to use everyday situations to develop the child’s speech.”

Indicator 6.2 “Parents motivate their children to listen to music.” The score was 1 point - “they listen to music with the child and by themselves.”

Indicator 6.3 “Parents use singing to develop their child’s speech” received a score of 0 points - do not use. Result for the sixth section of the questionnaire: 4 points.

Thus, according to a questionnaire assessing a child’s ability to control his voice and use music and singing to develop speech skills:

- in the first section of the questionnaire, “The child’s ability to control his voice in class,” the child scored 5 points out of 13 possible;

- in the second section of the questionnaire, “The child’s ability to control his voice in daily communication situations,” the child scored 6 points out of 15 possible;

- in the third section of the questionnaire “Auditory-verbal memory” the child scored 5 points out of 13;

- in the fourth section of the questionnaire “Speech communication skills” the child scored 6 points out of 26;

- in the fifth section of the questionnaire “Motivating a child to listen to music and sing”, the child scored 2 points out of 8;

- for the sixth section of the questionnaire “Involving parents in the rehabilitation of the child, including through music and singing” - 4 points out of 9 possible.

The overall score is 28 points.

During the first week of classes, the teacher and the child sang the song “Hedgehog” (Fig. 2). The duration of the lesson was 30 minutes.

Task: changing articulatory poses “O - I”; work on long, even exhalation; endings of feminine, masculine and neuter adjectives; correction of the pronunciation of hissing words.

We worked on the strength and duration of exhalation: the child needs to pull “E” for a long time and evenly at the moment when the teacher finishes singing “zhik”, and he must have time to do this together with the teacher.

We worked on the purity of the pronunciation of hissing words, the child corrects his pronunciation by ear, trying to bring it closer to the sound of the teacher, the teacher encourages the child to stretch his lips a little forward with a tube.

During the lesson, the sound of the hissing words changed - the child listens to the sound of the words by the teacher and understands that he himself, with the help of his lips, cheeks, eyebrows, can change his pronunciation, adapting to the standard, hears (realizes) the difference in sound, correlating it with the position of his organs of articulation .

During the lesson, the child learned to choose the correct endings for adjectives, depending on gender.

At home, parents played a video recording of the song “Hedgehog” three times a day, and the child watched and listened to the video for 3 minutes, gradually repeating more and more words after the teacher, imitating his facial expressions, articulation, and gestures. For three days, the parents watched the video recording with the child, singing along with the teacher, and the rest of the days the child listened and watched the video recording of the singing himself.

During the day, parents played an audio recording of the song twice for 3 minutes while the child was playing with toys.

In the second week of classes, the teacher and the child sang the song “Bunny and Wolf” (Fig. 3). The duration of the lesson was 30 minutes.

Task: changing the timbre of the voice; motivation to manipulate voice timbre; interhemispheric interaction; animal body parts; herbivores and carnivores, who eats what.

With the heroes of the song, they sang in different (high and low) voices and acted out this story, taught the child to distinguish the voices of the heroes, and encouraged them to sing along with the last words in the line of the song.

During the lesson, the child immediately managed to change timbres, an interest in the new sound of his voice appeared - he began to try to address his mother with a new timbre, he played around with his voice - the goal was achieved, the child was motivated to explore the capabilities of his voice.

At the end of the lesson, the child distinguished the main characters (hare - high voice, wolf - low voice) by their voices, and began to raise the pitch of his voice when singing along with the last word in accordance with the melody of the teacher's voice.

They repeated the song “Hedgehog,” and the child sang the drawn out vowels with pleasure.

At home, parents played a video recording of the song “Bunny and the Wolf” twice a day, and the child watched and listened to the video for 3 minutes, gradually repeating more and more words after the teacher, imitating his facial expressions, articulation, and gestures. After listening to the song “Bunny and the Wolf,” they turned on the song “Hedgehog” and the child listened and repeated the song “Hedgehog” for 2 minutes. For three days, the parents watched video recordings of songs with the child, singing along with the teacher, and the rest of the days the child listened and watched the video recording of singing himself.

Once a day, audio recordings of the song “Bunny and Wolf” were played for 5 minutes, and then the song “Hedgehog” while the child was playing with toys.

In the third week of classes, the teacher and the child sang the song “The Birch Tree Was Rocking” (Fig. 4). The duration of the lesson was 30 minutes.

Task: switching voice pitch (medium-high); learned to reason and explain (what is dew? and other natural phenomena); repeated/taught trees (deciduous/coniferous, forest/garden).

During the lesson, the child repeated the names of trees, parts of trees, and found similarities and differences between different trees. By singing this song dozens of times, the child reinforces this theme.

We worked on the duration of exhalation, for this we sang long phrases quickly and quietly in one breath, the child realized that he could do this - sing a long phrase in one breath.

Slow down the pace and increase the volume of the voice to increase the duration and force of exhalation.

We worked on switching the pitch of the sound: we climbed onto a chair to draw a parallel with the pitch of the voice.

In isolation, the child was able to raise his voice, but in the song his voice was still monotonous.

We worked on rhythm, taught how to listen and pause. They repeated the song “Bunny and the Wolf” (Fig. 3), the child sang with pleasure in a low and high voice, portraying heroes.

At home, parents turned on a video recording of the song “The Birch Was Rocking” twice a day, and the child watched and listened to the video for 3 minutes, gradually repeating more and more words after the teacher, imitating his facial expressions, articulation, gestures, and for 2 minutes they repeated the song “Hedgehog” " and "Bunny and Wolf". Parents watched video recordings of songs with their child three times, singing along with the teacher, and the rest of the time the child listened, watched and sang along himself.

Once a day, for 5 minutes, they played an audio recording of the song “The Birch Was Swaying” and an audio recording of the melody of the song without singing, when the child was playing with toys.

In the fourth week of classes, the teacher and the child sang the song “Spikelets” (Fig. 5). The duration of the lesson was 30 minutes.

Task: retelling; smooth movement of the voice along the scale steps; switching the voice to a high register.

They trained auditory-verbal memory, taught them to memorize large chunks of text, turning words into images with the help of drawings and gestures.

We worked on the rising intonation in our voice. We switched from the middle register to the high register, not in a jump, but with the help of a glissando (sliding). The child did it.

They repeated the song “The Birch Tree Was Rocking” (Fig. 4), the child was able to raise his voice upward at the right moment (the height is undetermined).

At home, parents turned on a video recording of the song “Spikelets” twice a day, and the child watched and listened to the video for 3 minutes, gradually repeating more and more words after the teacher, imitating his facial expressions, articulation, gestures, and for 2 minutes they repeated the song “The birch swayed” " and "Bunny and Wolf". Parents watched video recordings of songs with their child 3 times a week, singing along with the teacher, and the rest of the time the child listened, watched and sang along himself.

Once a day, for 5 minutes, they played an audio recording of the song “Spikelets” and an audio recording of the song’s melody without singing, when the child was playing with toys.

In the fifth week of classes, the teacher and the child sang the song “Who’s Knocking?” (Fig. 6). The duration of the lesson was 30 minutes.

Task: falling intonations; switching voice from middle to high register; sense of rhythm.

They developed a sense of rhythm and the ability to alternate rising and falling intonations of the voice when singing.

We repeated all the completed songs once. The child showed improvement in sound pronunciation and ability to control his voice.

At home, parents turned on a video recording of the song “Who’s Knocking?” twice a day, and the child watched and listened to the video for 3 minutes, gradually repeating more and more words after the teacher, imitating his facial expressions, articulation, gestures, and for 2 minutes they repeated the songs “ Spikelets" and "Bunny and the Wolf". Parents watched video recordings of songs with their child 2 times a week, singing along with the teacher, and the rest of the time the child listened, watched and sang along himself.

Once a day, for 5 minutes, they played an audio recording of the song “Who’s Knocking?” and an audio recording of the song melody without singing while the child was playing with toys. Twice during the week, instead of a new song, they played an audio recording of the song “Spikelets” and an audio recording of the song’s melody without singing, and sang with him while driving with the child in the car.

In the sixth week of classes, the teacher and the child sang the song “Spoons” (Fig. 7). The duration of the lesson was 30 minutes.

Task: sense of rhythm; body parts and prepositions; switching articulatory poses.

We continued to work on developing a sense of rhythm. We practiced rising and falling intonations. They repeated old songs.

We trained auditory attention: the teacher uttered the words “twirling” or “knocking” in turn.

The child performed the corresponding action with spoons. Changed roles with the child.

We were preparing for the production of the sound “L”. “Li-li-li-li, lu-lu-lu” - they sang in front of the mirror so that the child could see the tip of his tongue.

Then the teacher sang “Li-li...”, and the child determined by ear whether the teacher’s tongue was sticking out or not. When performing the exercise, roles were switched.

The exercise helped the child to better feel the movements of his organs of articulation, to realize that the sound of his speech is very dependent on the position of the tongue, lips, cheeks, and to understand that a little effort is enough to make his sound different, beautiful.

At home, parents played a video of the song “Spoons” once a day, and the child watched and listened to the video for 5 minutes, gradually repeating more and more words after the teacher, imitating his facial expressions, articulation, gestures, and repeated the songs “Who’s Knocking?” for 6 minutes. "Spikelets", "Hedgehog". Parents watched video recordings of songs with their child 2 times, singing along with the teacher, and the rest of the time the child listened, watched and sang along himself.

Once a day, for 4 minutes, they played an audio recording of the song “Spoons” and an audio recording of the song’s melody without singing while the child was playing with toys. Twice during the week, instead of a new song, they played an audio recording of the song “Who’s Knocking?” while driving in the car with the child.

In the seventh week of classes, the teacher and the child sang the song “Frog and Dwarf” (Fig. 8). The duration of the lesson was 30 minutes.

Task: sense of rhythm; interhemispheric interaction; phonemic hearing; pronunciation of hissing sounds; new concepts of “edge” and “thicket”.

We started working on speeding up our speech rate. To achieve this, the song used a dotted rhythm. Reducing the time between syllables is the first step towards speeding up your speech rate.

They trained the ability to sing with a descending voice intonation. We automated the pronunciation of hissing words, pronouncing the words “thicket” and “edge” in different contexts. They repeated old songs.

At home, parents once a day played a video recording of the song “Frog and Gnome,” and the child watched and listened to the video for 5 minutes, gradually repeating more and more words after the teacher, imitating his facial expressions, articulation, gestures, and repeated the songs “Spoons” for 6 minutes. “The birch tree was swaying”, “Spikelets”. Parents watched video recordings of songs with their child once, singing along with the teacher, and the rest of the time the child listened, watched and sang along himself.

Once a day, for 4 minutes, they played an audio recording of the song “The Frog and the Dwarf” and an audio recording of the song’s melody without singing while the child was playing with toys. Twice during the week, instead of a new song, they played an audio recording of the song “Spoons” and an audio recording of the song’s melody without singing, and sang with him while driving with the child in the car.

In the eighth week of classes, the teacher and the child sang the song “Mouse-Norushka” (Fig. 9). The duration of the lesson was 30 minutes.

Task: retelling; animal body parts, development of the ability to perceive the meaning of a text, recognize words in noise.

The ability to perceive speech in noise was trained: the child had to understand and tell what was happening in the song while listening to the song with accompaniment.

They trained auditory-verbal memory - the child had to remember a long text, remembering the sequence of events with the help of drawings created together with the child and gestures.

We continued to work on distinguishing and reproducing intonation - the same phrase of five notes was repeated at different pitches (modulation), the child tried to repeat. The exercise was partially successful.

At home, parents once a day played a video recording of the song “Little Mouse,” and the child watched and listened to the video for 5 minutes, gradually repeating more and more words after the teacher, imitating his facial expressions, articulation, and gestures. For 6 minutes they repeated the songs “Frog and Dwarf”, “Who’s Knocking?”, “Spoons”. Parents watched video recordings of songs with their child once, singing along with the teacher, and the rest of the time the child listened, watched and sang along himself.

Once a day, for 4 minutes, they played an audio recording of the song “Norushka Mouse” and an audio recording of the song’s melody without singing, when the child was playing with toys. Twice during the week, instead of a new song, they played an audio recording of the song “The Frog and the Gnome” and an audio recording of the melody of the song without singing, and sang with him while driving with the child in the car.

In the ninth week of classes, the teacher and the child sang the song “Dog” (Fig. 10). The duration of the lesson was 30 minutes.

Task: movement of the voice along the scale steps; development of imagination; development of fine motor skills; retelling; interhemispheric interaction.

The lesson developed the child's imagination. The child tries to guess what happened next.

We continued training in singing with rising and falling voice intonations. Further training of auditory-verbal memory and attention - the child listened and told what was happening in the song, answered questions, and also remembered the sequence of events in the song.

Gestures helped the child remember a long text, but it was still difficult for him to remember it.

By the end of the lesson, the child was able to sing the scale embedded in the lines “The fingers went out for a walk” (“Do-Re-Mi-Fa-Sol-La-La”). The child develops an ear for music by performing scales hidden in the melody of songs.

At home, parents played a video recording of the song “Dog” once a day, and the child watched and listened to the video for 6 minutes, gradually repeating more and more words after the teacher, imitating his facial expressions, articulation, and gestures. For five minutes they repeated the songs “Little Mouse”, “Frog and Dwarf”, “Spoons”. Parents watched video recordings of songs with their child once, singing along with the teacher, and the rest of the time the child listened, watched and sang along himself.

Once a day, for 4 minutes, they played an audio recording of the song “Dog” and an audio recording of the song’s melody without singing while the child was playing with toys. Twice during the week, instead of a new song, they played an audio recording of the song “Norushka Mouse” and an audio recording of the song’s melody without singing, and sang with him while driving with the child in the car.

In the tenth week of classes, the teacher and the child sang the song “The Birds Danced” (Fig. 11). The duration of the lesson was 30 minutes.

Task: descending and rising intonations in the voice; keeping the voice in a high register; switching articulatory poses.

We worked on developing the child’s ability to switch voice registers - part of the song was written in the middle register, and part in the high register.

They trained the fluency of pronunciation - they sang together softly and smoothly.

We worked on the ability to change articulatory postures, clarity of articulation, using singing different syllables in a song in a certain sequence (bird song). They repeated the song “Dog” (Fig. 10). The child remembered the entire text.

At home, once a day, parents turned on a video recording of the song “The Birds Danced”, and the child watched and listened to the video for 6 minutes, gradually repeating more and more words after the teacher, imitating his facial expressions, articulation, gestures, and for 5 minutes they repeated the song “Dog” ", "The Frog and the Dwarf", "The Little Mouse". Parents watched video recordings of songs with their child once, singing along with the teacher, and the rest of the time the child listened, watched and sang along himself.

Once a day, for 4 minutes, they played an audio recording of the song “The Birds Danced” and an audio recording of the melody of the song without singing, when the child was playing with toys. Twice during the week, instead of a new song, they played audio recordings of the songs “Dog”, “Who’s Knocking?” and audio recordings of the melody of the song without singing, and sang with him while driving with the child in the car.

In the eleventh week of classes, the teacher and the child sang the song “Snail and Spider” (Fig. 12). The duration of the lesson was 30 minutes.

Task: register switching (medium-high); development of phonemic hearing and auditory memory; onomatopoeia, the image of non-speech sounds using the articulatory organs; development of imagination; basic mathematical concepts, learn to answer the questions “How much?”, “Who has more?”, “Who has less?”.

They trained auditory attention and the ability to perceive speech in noise - the teacher sang a song to the accompaniment of a guitar, the child listened carefully and answered questions. We worked on the ability to convey subtle changes in intonation.

After listening to excerpts of the song 3 times and memorizing the melody, we learned the song in small excerpts, stimulating the child to accurately repeat the movement of the melody. The child was helped in this by gestures showing the direction of movement of the melody.

At home, once a day, parents turned on a video recording of the song “Snail and Spider,” and the child watched and listened to the video for 6 minutes, gradually repeating more and more words after the teacher, imitating his facial expressions, articulation, gestures, and for 5 minutes they repeated the songs “ The birds danced,” “Dog,” “Little Mouse.” Parents watched a video of the songs once with their child, singing along with the teacher, and the rest of the time the child listened, watched and sang along himself.

Once a day, for 4 minutes, they played an audio recording of the song “Snail and Spider” and an audio recording of the song’s melody without singing while the child was playing with toys. Twice during the week, instead of a new song, they played audio recordings of the songs “Dog”, “The Birds Danced” and audio recordings of the song’s melody without singing, and sang with him while driving with the child in the car.

In the twelfth week of classes, the teacher and the child sang the song “Laughter” (Fig. 13). The duration of the lesson was 30 minutes.

Task: rising and falling intonations of the voice; changing the rate of pronunciation; development of coordination of body movements and singing words denoting these movements.

We worked on the smoothness of rising intonations and changing the tempo of speech. This is embedded in the melody of the song, so we sang the song a cappella with the child 5 times. At first, the child was confused when switching tempo, but by the fourth time he remembered the moments of switching tempo and managed to readjust.

At home, parents turned on a video recording of the song “Laughter” once a day, and the child watched and listened to the video for 6 minutes, gradually repeating more and more words after the teacher, imitating his facial expressions, articulation, gestures, and repeated old songs for 5 minutes. Parents watched a video of the songs once with their child, singing along with the teacher, and the rest of the time the child listened, watched and sang along himself.

Once a day, for 4 minutes, they played an audio recording of the song “Laughter” and an audio recording of the song’s melody without singing, when the child was playing with toys. Twice during the week, instead of a new song, they played audio recordings of the songs “Snail and Spider”, “Dog” and audio recordings of the song’s melody without singing, and sang with him while driving with the child in the car.

In the thirteenth week of classes, the teacher and the child sang the song “Worm” (Fig. 14). The duration of the lesson was 30 minutes.

Objective: training the ability to recognize rising and falling intonations by ear and reproduce them in the voice, including without relying on a gesture; increasing the speed of switching of articulatory organs when pronouncing words with a combination of consonants, while maintaining the melody of the sound of the voice.

During the lesson we worked on the following topics: “Vegetables”, “Fruits”, “Berry”, “Colors”, “Size”, “Shape”.

Improved the ability to recognize rising and falling intonations by ear and reproduce these intonations with the voice. We continued training the switchability of articulatory organs and developing the clarity of sound pronunciation.

At home, parents turned on a video recording of the song “Worm” once a day, and the child watched and listened to the video for 6 minutes, gradually repeating more and more words after the teacher, imitating his facial expressions, articulation, gestures, and repeated the songs “Laughter” for 5 minutes. , “The birds were dancing”, “Dog”. The parents watched the video recording of the songs with the child twice, singing along with the teacher, and the rest of the time the child listened, watched and sang along himself.

Once a day, for 4 minutes, they played an audio recording of the song “Worm” and an audio recording of the song’s melody without singing while the child was playing with toys. Twice during the week, instead of a new song, they played audio recordings of the songs “The Snail and the Spider”, “The Birds Danced” and audio recordings of the song’s melody without singing, and sang with him while driving with the child in the car.

In the fourteenth week of classes, we sang the song “Turtle” with the child (Fig. 15). The duration of the lesson was 30 minutes.

Objective: improving the perception and reproduction by ear of rising and falling intonations of the voice; development of rhythm perception; quickly switching from one articulatory posture to another when pronouncing a sequence of syllables while maintaining the melodic sound of the voice; increasing the rate of pronunciation and the ability to change it; development of the ability to recognize and convey interrogative intonation in speech.

They sang the song at different tempos, switching from a slow tempo to a fast one. At the same time, they monitored the purity of pronunciation and the transmission of the rhythmic organization of the song.

Mastering the new song took half the lesson, that is, 15 minutes, so we repeated all the old songs.

The improvement in performance is clearly visible: the child controls his voice better, although his singing cannot be called pure, in terms of hitting the notes, he feels the movement of the melody and follows it with his voice.

The child performs the rhythmic patterns of song melodies more accurately, although he still does not “listen” to the pauses and is a little in a hurry. Smoothness and melody appeared in the performance. He works well with his lips when singing - he uses facial expressions to change timbres.

At home, parents turned on a video recording of the song “Turtle” once a day, and the child watched and listened to the video for 6 minutes, gradually repeating more and more words after the teacher, imitating his facial expressions, articulation, gestures, and repeated the song “Worm” for 5 minutes. , “The birds danced”, “Laughter”. The parents watched the video recording of the songs with the child twice, singing along with the teacher, and the rest of the time the child listened, watched and sang along himself.

Once a day, for 4 minutes, they played an audio recording of the song “Turtle” and an audio recording of the song’s melody without singing while the child was playing with toys. Twice during the week, instead of a new song, they played audio recordings of the songs “Dog”, “The Birds Danced” and audio recordings of the song’s melody without singing, and sang with him while driving with the child in the car.

In the fifteenth week of classes, we sang the song “Turkeys” with the child (Fig. 16). The duration of the lesson was 30 minutes.

Task: training the ability to switch voice from one register to another; development of mobility and switchability of movements of the tongue and its tip with simultaneous pronunciation of sound; development of accuracy of reproduction of descending intonation.

We worked on the purity of descending intonations. Switched voice register from low to high and back. The child actively learns to imitate tongue movements in different directions (up/down, right/left) with a sound like “turkey”.

At home, parents once a day turned on a video recording of the song “Turkeys”, and the child watched and listened to the video for 6 minutes, gradually repeating more and more words after the teacher, imitating his facial expressions, articulation, gestures, and repeated the song “Turtle” for 5 minutes. , “Worm”, “Bunny and the Wolf”. The parents watched the video recording of the songs three times with the child, singing along with the teacher, and the rest of the time the child listened, watched and sang along himself.

Once a day, an audio recording of the song “Turkeys” and an audio recording of the song’s melody without singing were played for 4 minutes while the child was playing with toys. Three times during the week, instead of a new song, they played audio recordings of the songs “Worm”, “Turtle” and audio recordings of the song’s melody without singing, and sang with him while driving with the child in the car.

In the sixteenth week of classes, we sang the song “Two Penguins” with the child (Fig. 17). The duration of the lesson was 30 minutes.

Objective: development of phonation breathing; increasing the duration of phonation when pronouncing long vowels and their combinations, while maintaining the natural sound of the voice; development of perception and reproduction of rhythm.

They taught the child to play long notes without losing the pitch and strength of the sound. To do this, the child drew out the word “dliiiiinnoy”, and, comparing it with the teacher’s sound standard, tried to repeat it in the same way.

We trained our sense of rhythm: this song has a complex rhythmic pattern - long notes alternate with a dotted rhythm. Overall, the child was able to sing the song rhythmically, with the exception of the dotted rhythm, which has been smoothed out for now.

At home, parents once a day turned on a video recording of the teacher singing the song “Two Penguins”, and the child watched and listened to the video for 6 minutes, gradually repeating more and more words after the teacher, imitating his facial expressions, articulation, gestures, and repeated the songs for 5 minutes “Turkeys” “Turtle”, “Worm”. The parents watched the video recording of the songs three times with the child, singing along with the teacher, and the rest of the time the child listened, watched and sang along himself.

Once a day, an audio recording of the song “Two Penguins” and an audio recording of the song’s melody without singing were played for 4 minutes while the child was playing with toys. Three times during the week, instead of a new song, they played audio recordings of the songs “Turkeys”, “Worm”, “The Birds Danced” and audio recordings of the song’s melody without singing, and sang with him while driving with the child in the car.

In the seventeenth week of classes, we sang the song “The Birds Are Sleeping” with the child (Fig. 18). The duration of the lesson was 30 minutes.

Objective: expanding the dynamic range of the voice, developing the ability to switch from a loud to a quiet voice and vice versa, maintaining the melody and smoothness of its sound; developing the ability to convey mood in the sound of the voice; development of perception and reproduction of rhythm.

We taught the child to switch his voice from quiet to loud, ensuring that he shouted the words as loudly as possible, while maintaining the melodic sound of his voice.

We taught the child to scream melodiously - this is a very important exercise, which requires a strong, uniform stream of air.

We worked on switching the nature of the performance: from quiet, gentle, affectionate, sad (minor) to cheerful (major), cheerful, bright, loud. The child really likes this form of work, everything works out.

We worked on the rhythm - in the second part of the song there is a dotted rhythm. Execution of a dotted rhythm also helps to speed up the rate of speech.

We worked on the smoothness of the performance - in the first, gentle part of the song.

At home, parents once a day played a video recording of the song “The Birds Are Sleeping,” and the child watched and listened to the video for 6 minutes, gradually repeating more and more words after the teacher, imitating his facial expressions, articulation, gestures, and for 5 minutes they repeated the song “Two Penguin", "Turkeys" "Turtle", "Who's Knocking?" The parents watched the video recording of the songs three times with the child, singing along with the teacher, and the rest of the time the child listened, watched and sang along himself.

Once a day, for 4 minutes, an audio recording of the song “Birds are Sleeping” and an audio recording of the song’s melody without singing were played while the child was playing with toys. Three times during the week, instead of a new song, they played audio recordings of the songs “Turkeys”, “Worm”, “Turtle” and audio recordings of the melody of the song without singing, and sang with him while driving with the child in the car.

In the eighteenth week of classes, we sang the song “Parrot” with the child (Fig. 19). The duration of the lesson was 30 minutes.

Task: developing the ability to switch the register of the voice, convey the sounds of different animals using the voice, changing the timbre; development of perception and transmission of emotions using voice intonations and facial expressions; development of switchability of movements of the organs of articulation, maintaining the melody of the sound.

They trained the child’s ability to switch voice registers and the accuracy of performing rhythmic patterns.

They taught, by changing the timbre of their voice, to convey the sound of different animals (a bear, a large dog - in a low voice, a chicken, a small dog - in a high voice, a tiger - in a growling voice).

They sang the words “give me the spoon” from the song “Parrot” in different voices - like a parrot, like a mouse, like a bear, like a bird. They repeated old songs.

At home, parents turned on a video recording of the song “Parrot” once a day, and the child watched and listened to the video for 6 minutes, gradually repeating more and more words after the teacher, imitating his facial expressions, articulation, gestures, and for 5 minutes they repeated the song “Birds are Sleeping.” ", "Turkeys" "Turtle". The parents watched the video recording of the songs with the child twice, singing along with the teacher, and the rest of the time the child listened, watched and sang along himself.

Once a day, an audio recording of the song “Parrot” and an audio recording of the song’s melody without singing were played for 4 minutes while the child was playing with toys. Three times during the week, instead of a new song, they played audio recordings of the songs “The Birds Are Sleeping”, “Turkeys”, “Two Penguins” and audio recordings of the melody of the song without singing, and sang with him while driving with the child in the car.

In the nineteenth week of classes, we sang the song “Kite” with the child (Fig. 20). The duration of the lesson was 30 minutes.

Task: developing the ability to control the voice in different registers, switch from one register to another; training the ability to perceive the pitch of a teacher’s voice by ear and imitate it.

They trained the purity of intonation and the child’s ability to control his voice in different registers. To do this, we learned the song in the middle (comfortable) register, and then sang it at different heights.

It took only half of the lesson, that is, 15 minutes, to learn a new song. Eight old songs were repeated.

At home, parents turned on a video recording of the song “Kite” once a day, and the child watched and listened to the video for 6 minutes, gradually repeating more and more words after the teacher, imitating his facial expressions, articulation, gestures, and repeated the song “Parrot” for 5 minutes. , “The Birds Are Sleeping”, “Turkeys”. The parents watched the video recording of the songs with the child twice, singing along with the teacher, and the rest of the time the child listened, watched and sang along himself.

Once a day, for 4 minutes, they played an audio recording of the song “Kite” and an audio recording of the song’s melody without singing while the child was playing with toys. Three times during the week, instead of a new song, they played audio recordings of the songs “Parrot”, “Turkeys”, “Two Penguins” and audio recordings of the melody of the song without singing, and sang with him while driving with the child in the car.

In the twentieth week of classes, we sang the song “Owl” with the child (Fig. 21). The duration of the lesson was 30 minutes.

Task: developing the ability to change the timbre of the voice using facial movements; development of awareness of the connection between facial expressions, mood and the sound of the voice in different moods, the possibility of conveying the character of the characters using the voice; work on the tempo of speech when singing.

They developed the ability to change the timbre of the voice with the help of facial expressions (the child sang like an owl, like a chicken, etc.).

The child learned to identify by ear (the teacher behind a screen) a light timbre of voice (singing with a smile) and a dark one (singing with pursed lips, a pipe, eyebrows lowered). Changed roles with the child - he must speak behind the screen in different voices, the teacher and mother guess.

By the end of the lesson, the child enjoyed using different timbres of his voice in speech, saying goodbye like an Owl - in a gloomy, rough voice.

We worked on changing the tempo of the performance - the first part of the song is at a slow tempo, the second is performed faster.

They repeated old songs and sang them with the child to the accompaniment of a guitar. The child intonates better, his sound is smooth, and the timbre of his voice changes depending on the content of the song.

At home, parents turned on a video recording of the song “Owl” once a day, and the child watched and listened to the video for 6 minutes, gradually repeating more and more words after the teacher, imitating his facial expressions, articulation, gestures, and repeated the song “Kite” for 5 minutes. , “The Birds Are Sleeping”, “Turkeys”. The parents watched the video recording of the songs with the child twice, singing along with the teacher, and the rest of the time the child listened, watched and sang along himself.

Once a day, for 4 minutes, they played an audio recording of the song “Kite” and an audio recording of the song’s melody without singing while the child was playing with toys. Three times during the week, instead of a new song, they played audio recordings of the songs “Parrot”, “Turkeys”, “Turtle” and audio recordings of the melody of the song without singing, and sang with him while driving with the child in the car.

After a 20-week training course, the child's skills were assessed again using a questionnaire (Fig. 1).

For the first section of the questionnaire, “The child’s ability to control his voice in class,” the following data was obtained:

Indicator 1.1 “The child is able to change the volume of his voice upon request/model”, a score of 3 points was received - “in a wide range, consistently.” Indicator 1.2 “The child is able to change the pitch of his voice upon request/model” received a score of 3 points - “in a wide range.”

Indicator 1.3 “The child is able to pronounce sounds of different durations upon request/pattern” received a score of 3 points - “in a wide range.”

Indicator 1.4 “The child develops singing skills” received a score of 2 points - “listens and sings along.”

The total for the first section of the questionnaire is 11 points.

For the second section of the questionnaire, “The child’s ability to control his voice in daily communication situations,” the following data was obtained: Indicator 2.1 “The child changes the volume of his voice according to the situation when communicating with people,” a score of 2 points was received - “average range, regularly.” Indicator 2.2 “The child changes the pitch of his voice depending on the situation when communicating with people” received a score of 2 points - “average range, regularly.” Indicator 2.3 “The child speaks at different rates in different situations, can consciously slow down and speed up the pace to improve the intelligibility and expressiveness of his speech”, a score of 2 points was received - “average range, regularly.”

Indicator 2.4 “The child uses different intonation of sentences in speech” received a score of 2 points - “interrogative, exclamatory, regularly.” Indicator 2.5 “The child uses different semantic stress in speech” received a score of 2 points - “sometimes”. The result for the second section of the questionnaire is 10 points.

For the third section of the questionnaire “Auditory-verbal memory” the following data were obtained:

Indicator 3.1 “The number of words that a child can repeat” received a score of 4 points - “remembers 4 words.”

Indicator 3.2 “Memorizing poetry.” The score was 3 points - “remembers several lines.”

Indicator 3.3 “Memorizing songs” received a score of 4 points - “remembers the melody and words.”

The total for the third section of the questionnaire is 11 points.

The following data were obtained for the fourth section of the questionnaire “Verbal communication skills”:

Indicator 4.1 “Average number of words per sentence in a child’s speech” received a score of 4 points - “4 words”.

Indicator 4.2 “A child’s understanding of the speech of a familiar adult in silence only with auditory perception” received a score of 4 points - “understands 50% of an adult’s speech in a dialogue at a normal pace, repetition of individual elements is required.”

Indicator 4.3 “The child’s understanding of the speech of a familiar adult in noise only with auditory perception” received a score of 2 points - “understands short simple requests and questions.”

Indicator 4.4 “Intelligibility and intelligibility of the child’s speech” received a score of 2 points - “close people understand most of what the child says.” Indicator 4.5 “The child’s ability to participate in a general conversation” received a score of 2 points - “during a general conversation, he follows the thread of the conversation, can answer a question on the topic of the conversation.” The total for the fourth section of the questionnaire is 14 points.

The following data were obtained for the fifth section of the questionnaire “Motivation of a child to listen to music and sing”:

Indicator 5.1 “The child’s desire to listen to music and songs” received a score of 2 points - “listens and enjoys dancing to the rhythm with an adult.” Indicator 5.2 “The child’s desire to listen and sing songs.” The score was 3 points - “listens and sings along himself.” The result for the fifth section of the questionnaire is 5 points.

For the sixth section of the questionnaire “Involving parents in the rehabilitation of the child, including through music and singing,” the following data were obtained:

Indicator 6.1 “Parents independently work with the child” received a score of 3 points - “they are engaged in the development of hearing and speech according to the instructions of the teacher and are able to use everyday situations to develop the child’s speech.”

Indicator 6.2 “Parents motivate their children to listen to music.” A score of 3 points was received - “they know how to help a child develop music listening skills.”

Indicator 6.3 “Parents use singing to develop the child’s speech” received a score of 3 points - “they know how to help the child develop singing and voice control skills.” The result for the sixth section of the questionnaire is 9 points. Thus, according to the questionnaire:

- in the first section of the questionnaire, “The child’s ability to control his voice in class,” the child scored 11 points out of 13 possible;

- in the second section of the questionnaire, “The child’s ability to control his voice in daily communication situations,” the child scored 10 points out of 15 possible;

- in the third section of the questionnaire “Auditory-verbal memory” the child scored 11 points out of 13;

- in the fourth section of the questionnaire “speech communication skills” the child scored 13 points out of 26;

- in the fifth section of the questionnaire “Motivating a child to listen to music and sing”, the child scored 5 points out of 8;

- for the sixth section of the questionnaire “Involving parents in the rehabilitation of the child, including through music and singing” - 9 points out of 9 possible.

The overall score after the course is 59 points (increase by 30 points).

Therefore, the formation of the child’s speech was assessed as effective.

This method of developing the speech of early-deafened children with CIs was developed at the Federal State Budgetary Institution “St. Petersburg Research Institute of ENT” of the Ministry of Health of the Russian Federation (St. Petersburg) together with the institution “City Resource Center for Providing Comprehensive Assistance to Children and Youth with Hearing Impairment” (Minsk).

The method was tested in 30 patients; speech formation was rated as effective in all patients.

The inventive method has the following advantages:

1. Allows you to expand the range of the child’s voice.

Despite the fact that the range of a child’s voice may be very narrow (4-5 notes), song material written in such a narrow range is perceived by a child with a CI as something monotonous.

Therefore, a child with a CI is taught to recognize the pitch of sounds, to understand the movement of a melody, for this they first teach him to hear the difference between very high sounds and very low ones. For this purpose, songs of a wide range are used. The child cannot sing a high note cleanly, but will hear the voice moving upward and follow the melody upward as much as his performing abilities allow.

2. Allows you to improve the child’s sound pronunciation, develop mobility, switchability and voluntary control of the articulation organs, speech motor memory. The songs use onomatopoeia and a series of syllables with bright and varied articulation - “I-u-i-u...”, “Tu-pi-tu-pi-tu-pi...”, “Bl-bl-bl,” “Tuti- ta, tut-tut-t."

3. Allows you to teach your child to use different timbres of his voice. For this purpose, techniques were used to switch timbres by changing facial expressions. Imitating the voice of a parrot. Using articulatory organs to depict non-speech sounds (for example, how a snail crunches a leaf), trying to repeat such imitative sounds, the child is motivated to explore the capabilities of his articulatory apparatus - he experiments with lips, cheeks, tongue.

4. Allows you to teach your child to control his voice. The words of the songs reflect the movement of the voice: in a high voice about the sun, the top of a tree, the sky. These associations help the child raise his voice to the desired height. Songs with bright dynamics teach the child to sing loudly, quietly, and at medium volume.

5. Helps the child remember the lyrics and melody of the song. Movements together with singing form interhemispheric connections. Movements help remember the sequence of events in a song and depict key words. Movements help visualize the melody: hands above - high voice, below - low. Movements develop gross and fine motor skills of the hands.

6. Allows you to practice speech material on various topics.

7. Allows you to develop your imagination. Drawing songs with pencils on paper with your child helps develop imagination.

8. Promotes the development of emotional intelligence. The songs contrast sadness and joy. The child learns how people demonstrate their feelings and emotions through intonation and facial expressions. Learns to reproduce/show feelings using intonation, timbre, volume, tempo of utterance, and facial expressions.

9. Allows you to form elementary mathematical representations - one, two, many, five. The ability to answer the questions “How much?”, “Where are two/one/many?” The ability to ask these questions.

Claims (3)

1. A method of speech development in children over 4 years of age after cochlear implantation surgery, including the formation of speech in children with hearing loss with musical stimulation, characterized in that it includes a 20-week course of singing lessons, and before and after this course a questionnaire of 6 sections is used , assessing the following skills of the child in points in accordance with Figure 1: the ability to control the voice in class; ability to control the voice in everyday communication situations; auditory-verbal memory; verbal communication skills; motivating the child to listen to music and sing; as well as the involvement of parents in the rehabilitation of the child, and the course of 20 lessons includes a teacher’s lesson with the child once a week lasting 30 minutes, daily 15-minute independent studies of the child at home with video and audio material, and lessons with the teacher include listening and singing 20 songs, according to the lyrics in Fig. 2-21, while every week they learn a new song, the teacher sings with the child, accompanying the singing with gestures that convey changes in the pitch of the voice and are associated with the characters of the song and their actions, the teacher also uses facial expressions and accentuated articulation when singing the song, additionally the lesson includes drawing , allowing the child to materialize what is happening in the song, the teacher also combines singing songs with the use of guitar accompaniment to form noise-resistant auditory-verbal perception in the child, while during the lesson the teacher sings the song 4 times: 3 times without music, 1 time using guitar accompaniment; video material includes a recording of a teacher’s song accompanied by gestures and guitar accompaniment; audio material includes a recording of a song by a teacher accompanied by a guitar and only the melody of the song performed on a guitar, and every day at home the child watches and listens to the video recording 3 times for 3 minutes during the first week and the audio recording 2 times for 3 minutes; from the second to the fifth weeks - video recording 2 times for 5 minutes and audio recording 1 time for 5 minutes; fifteen subsequent weeks - video recording 1 time for 11 minutes and audio recording 1 time for 4 minutes, while the child sings a new song learned with the teacher in class and any of the old songs; then the data obtained on assessing the child’s skills after the course of classes are compared with the corresponding indicators before the start of the course of classes, and if at least 1 indicator in each of the 6 sections of the questionnaire has changed by 1 point or more, then speech formation is considered effective, and if 5 or less indicators have changed by 1 point, then speech formation is considered insufficiently effective. 2. The method according to claim 1, characterized in that the video recording of the singing teacher is carried out against a light background, at a distance of 1.0 m from the teacher, so that the teacher’s facial expressions and articulation are clearly visible, and other images do not distract the child from the teacher’s face. 3. The method according to claim 1, characterized in that when recording a video, the song is performed with guitar accompaniment, while the accompaniment is recorded separately and is superimposed on the voice of the teacher singing without a guitar, so the teacher’s hands are free to use gestures that convey the movements of the melody and actions heroes of the song.

Images