Speech therapy rhythms in theory and practice are the focus of each of the publications in this thematic section. Here you can find useful tips and advice for teachers; ready-made notes for logorhythmic classes, theatrical performances, gymnastics and games.
You may find that special methodological developments on the use of logorhythmic exercises in integration with classes of a completely different focus will be useful in your work. Check out the positive experiences of your colleagues in children’s speech development and feel free to take note of them.
Logorhythmic games for children 4-5 years old
By the age of 4-5 years, the final development of speech occurs. It is important to pay great attention to the pronunciation of sounds and strengthening the articulation of sounds. Therefore, speech therapy exercises at this age occupy a special place.
The horse runs tsk-tsk-tsk, (clicking movements of the tongue from the palate)
A bird chirps in a field. (same clicking noise but from teeth)
A friend is sitting on the bank (smile, teeth unclenched)
And catches a fish in the sea (they close and straighten their lips)
Breathing continues to develop. Speech breathing should be distinguished from the general one. You can perform exercises for alternating short and deep breathing:
Doll Masha wants to sleep. (inhale through your nose, exhale with a drawn-out sound “ahhhh”)
Let's sing her a song. (inhale through the nose, on one exhale repeat the syllable “la-la-la” three times)
Doll Masha fell asleep. (sniffle)
The right time for such exercises would be gymnastics after an hour of sleep. Together with general motor skills, fine motor skills are actively developing. It is worth adding acting skills to logorhythmic games and exercises, teaching children to get used to the role and operate with various phrases:
- I am a cheerful cockerel (inhale, exhale “ko-ko-ko”)
I have a comb. (shake head)
— I am a frowning turkey (inhale, exhale “pa-pa-pa”)
I'm looking for grains bale-bale (tilt my head as if pecking at the grains)
- I’m a mischievous horse (clicking tongue from the roof of your mouth)
Golden tail and mane (shake your head)
The expressiveness of movements should correspond to the emotional state of the hero. Children learn to manage their emotions and express them correctly. You can change the exercise words as you play. Let the children do it themselves, do not interfere with their imagination. When the children learn the words, let each of them do the exercises one by one.
Game 1
A good game would be to guess your classmates. It develops tactile sensations, general motor skills and rhythm: children stand in a circle, and one child in the center. He is blindfolded. The children begin to walk in circles. The teacher says “stop” and the children stop. The child in the center of the circle approaches one of the children in the outer circle and guesses who it is.
Game 2
A popular game for this age is “Sea Figure, Freeze!” Children take on the role, play actively, learn to listen to music and quickly respond to brake lights. Freezing in certain positions reinforces knowledge about the capabilities of your body.
Logorhythmic games and exercises for children 5-6 years old
At this age, children, as a rule, already speak well and know how to control their body. The child's body is full of strength and energy. Active games and exercises that require physical effort are suitable. To prepare for beautiful handwriting, logarithmic exercises for fine motor skills and self-massage (rubbing palms, fingers, acupressure exercises) are used.
It’s not for nothing that winter is angry, (shaking index finger)
Its time has passed. (rubbing palms)
Spring is knocking on the window (knock on the palm with a finger)
And drives them out of the yard (waving their arms, driving away winter) (F. I. Tyutchev)
Logorhythmics at this age should be aimed at developing a sense of rhythm and emotion in speech, and correct intonation. At 5-6 years old, you need to teach your child smooth speech and voice, and continue to develop breathing. During the year there is active preparation for school. With the help of logorhythmic exercises, attention and concentration are developed.
Transitions of music tempos from slow to fast and back are relevant at this age. To gain a sense of rhythm and tempo, you can let children play musical instruments themselves and beat out a simple rhythm together, for example, on spoons and tambourines. In the older group, exercises are of a regulatory nature. Teach children independence. Exercises where the child himself must guess what movement needs to be made at the moment are well suited for these purposes. For example, when you hear the words “snowflakes are spinning,” you need to spin around with your arms out to the sides:
All the snowflakes are whirling in the wind, (whirling)
Without doubts and worries. (jump, breathe through their nose)
So we guys are together (holding hands)
Together we will stand in a round dance (they walk a circle in a round dance) (M. A. Mordvin)
The help of a teacher is required when performing the exercises for the first time.
Logorhythmics by Ekaterina Zheleznova for children 2-3 years old
Music will become an essential part of training if you use a specially designed complex. The system of correctional pedagogy was developed by many domestic scientists, but Zheleznova’s logorhythmics for children 2-3 years old is especially popular among parents.
It includes musical accompaniment; it is necessary to use backing tracks; an additional result of using the technique will be the development of phonetic hearing. Simple songs about a bus, a bear, or a spider are constructed in such a way as to maximize the training of the muscles responsible for articulation.
The complex will be most useful for the age group up to four years old; at this stage of life, hearing and a penchant for music are well formed. Zheleznova’s speech therapy logorhythmics for children 2-3 years old will be a universal way to harmonize a child’s personality and help him grow spiritually, but it should not become the only method.
Additional training and games, such as “Postman” or “Wind and Trees,” will introduce the little person to the people and phenomena of the world around him. They also combine a complex of poems and movements.
Systematic use of logorhythmics, combination of activities with teachers and parents, monitoring and correction of results will quickly affect the development of the baby and the quality of his speech. The successes he achieves will bring joy to his parents, stimulating them to continue their studies.
Logorhythmic games for children who stutter
Logorhythmic exercises for children with stuttering include complexes that strengthen muscle tone, articulation, and diaphragmatic breathing. All exercises must be agreed upon with a speech therapist. Children with speech impairments require a special approach, cannot master musical exercises in full, and require repeated repetition of rhymes and songs. Be sure to pronounce each sound:
The children have a doll in their hands. They clearly pronounce the sounds with the correlation of the action in verse to the doll:
Masha washed Mila with soap.
Exercise:
We put a lock: (smile, teeth closed)
The tongue couldn't get through. (tongue rests on teeth)
The main goal of such games for children with stuttering is to develop the tempo of speech, the rhythm of movements, the smoothness of the voice and coordination in a static and dynamic position. In addition to the speech therapy part, the classes are socially adaptive in nature. They teach behavior in a team, develop the emotional-volitional sphere. This includes activities that transition from a slow walk to running:
Early in the morning they go to visit -
Only best friends. (hugs with a classmate standing next to him)
Turtle with a thick cane
It was not in vain that I set off on my journey. (slowly raise their legs, imitate a step)
The little squirrel called all the animals,
I distributed invitations. (bows in different directions)
Mouse, bear and little rabbit (mouse - walk on tiptoes, bear - clumsily, little rabbit - jump)
They dressed up like they were going to a ball. (make a bell with your hands)
The fox is running as fast as he can - (imitate running)
After all, you can't be late. (they shake their index fingers alternately)
To dance around
Sliding smoothly across the floor. (spinning)
(M. A. Mordvin)
From smooth hand movements to fast ones:
They barely tilt
They ate the tops of their heads straight to the ground. (slowly swing your arms up and down while leaning forward)
A bird flutters in the sky,
Like an eyelash above an eye (stand on tiptoes, quickly wave your arms)
(M. A. Mordvin)
It is advisable to perform the exercises with a music teacher accompanied by live music that is not distorted by the recording. Acting games are performed together with the teacher. First, collective performances or performances without the children’s words are performed, then each child is invited to learn his own words and act out a short story. Words must be selected strictly according to the characteristics of each child and have a focus on those parts of pronunciation that require increased attention. Thus, a collective lesson turns into an individual one.
Relaxation exercises are performed in conjunction with exercises that require increased load. Such games and activities should alternate. The relaxation exercise should be proportionally equal to the load received by the children in the previous game.
Article:
Speech therapy rhythm is one of the means of improving speech. First of all, this is a comprehensive methodology that includes means of speech therapy, musical-rhythmic and physical education. Logorhythmics is based on speech, music and movement. Logorhythmics is one of the high-quality methods of speech therapy work on the development of a child’s speech . In pedagogical practice, logorhythmics is necessary for correctional work to be most effective. Along with the treatment of stuttering, logorhythmics is used in the correction of general speech underdevelopment, phonetic-phonemic disorders and alalia. A logorhythmics lesson includes the following types of exercises: 1. Walking and marching in different directions. As a rule, these exercises are introductory and final. They form clear coordination of movements of the arms and legs, improve posture, teach one to navigate in space, reinforce the concept of left-handed and right-handed movement, teach one to perceive verbal instructions, i.e. develop auditory attention. Walking : a) on the inner, outer sides of the foot: Ice and ice, Ice and ice, And the Penguin walks on the ice.
Slippery ice, Slippery ice, But the penguin won't fall. b) For balance: An important, big-nosed heron. Stands like a statue all day. c) On toes: Mom needs to rest, Mom wants to sleep. I walk on tiptoes. I won't wake her. d) On the heels: Knock, knock, knock, knock. Knock, knock, knock, knock. I can hear the sound of my heels. “Aty-baty, the soldiers were marching” (model by I. Bodrachenko based on a folk nursery rhyme) Aty-baty, Children are marching. The soldiers were walking. They put their right hand to their head - they “salute.” Aty-baty, Marching. To the market. They point with their left hand towards the bazaar - “there’s a bazaar over there.” Aty-baty, Marching. What did you buy? They spread their arms to the sides - interrogative intonation - “ask with your hands.” Aty-baty, Marching. Samovar. They spread their legs, squat slightly, put their hands on their hips, elbows to the sides - “I am a samovar.” Aty-baty, Marching. What is the price? The right hand is placed on the belt, the left hand is put forward - questioning intonation. Aty-baty, Marching. One hundred rubles! They raise their hands, spread their fingers - “a lot of money.” Aty-baty, Marching. Come in, turning slightly back, putting your hands in front of you - an inviting gesture, affectionate intonation. Let's drink tea. The open palm of the left hand is held in front of you - a “saucer”. Hurry up! Connect 2. Exercises to develop breathing, voice and articulation . These exercises help develop diaphragmatic breathing, as well as the duration, strength and correct distribution of exhalation. Working on the voice allows you to make it more expressive, cultivate the basic qualities of the voice - strength and height, and also has a preventive effect. Working on articulation allows you to clarify the correct sound pronunciation, develops the mobility of the tongue, jaws, lips, and promotes good switchability of articulatory movements. Game "Blow out the candle." Children sit on chairs. The exercise is performed without musical accompaniment. Children should place their open palms in front of them, blow on each finger and form their palms into fists. The speech therapist makes sure that children bend their finger only after blowing on it. Game "Breeze". Children sit on chairs, each one is given plumes or pinwheels. The exercise is performed several times, without musical accompaniment. Children should blow on objects to the poems that the speech therapist reads. You need to try to blow hard to make the figures move. Wind, wind, you are powerful. You are chasing flocks of clouds. You are disturbing the blue sea. You proudly breathe in the open air. A.S. Pushkin Voice Children sit on chairs. The speech therapist tells them that they can speak loudly and quietly. Then he offers to become actors in the proposed situations. Children should say sounds loudly or quietly. You can use objects and pictures for clarity. Speech therapist. We are rocking the doll. Children. Ahhh... Speech therapist. We got lost in the forest. Children. Aw-ow-ow! Speech therapist. The steamer is humming. Children. Woohoo! Speech therapist. The mouse squeaks. Children. Pee-pee-pee... Exercise “Ladder”. Children sit on chairs. The exercise is performed with simultaneous conducting: for each line, children raise their hand and lower it. The speech therapist sings the song, and the children sing the highlighted vowels with a gradual rise and fall of their voice. 1. Sound like an antenna 2. We reached the roof. 3. Let’s all rise higher, 4. Sing a song together. 5. We walk up the stairs, 6. And run back! 3. Exercises to regulate muscle tone are aimed at developing the ability to relax and tense certain muscle groups. This is necessary for good coordination and dexterity of movements. Thanks to specially selected exercises, the ability to regulate muscle tone gradually appears, which means consciously controlling the movements of your body. 1) Children sit cross-legged in a circle on the floor. When listening to loud music, they hit the floor with the palms of their hands; when listening to quiet music, they lightly clap in front of them. 2) Children stand in a circle with tambourines in their left hand, for loud music they hit the tambourine with their right hand, for quiet music they take the tambourine in their right hand and shake it lightly. 3) To loud music, children walk in a circle, to quiet music, they move around on their toes, to loud music, they walk in a circle, waving flags, to quiet music, they stop and get down on one knee, etc. 4) When listening to loud music, children walk in pairs in a circle; when listening to quiet music, the pairs separate and walk one after the other. When loud music resumes, they come together in pairs again. 5) Children are divided into groups of 3-4 people. They go to their homes (corners of the hall). Everyone has a stick representing a horse. To loud music, children ride horses one after another in a circle; to quiet music, they go to their homes. With the resumption of loud music, they again jump in circles. 4. Exercises to activate attention and memory . These exercises develop stability and switching of attention - the ability to move from one action to another. Children learn to distribute their attention between several activities. At the same time, all types of memory develop: motor, visual, auditory. For children with speech disorders, it is especially important to develop auditory attention and auditory memory.
Development of auditory attention 1. Guess what it sounds like. You need to show your baby what sounds various objects make (how paper rustles, how a tambourine rings, what sound a drum makes, what a rattle sounds like). Then you need to reproduce the sounds so that the child does not see the object itself. And the child must try to guess what object makes such a sound. 2. Sun or rain. The adult tells the child that they will now go for a walk. The weather is good and the sun is shining (while the adult is ringing a tambourine). Then the adult says that it is raining (at the same time he hits the tambourine and asks the child to run up to him - to hide from the rain). The adult explains to the child that he must listen carefully to the tambourine and, in accordance with its sounds, “walk” or “hide.” 3. Conversation in a whisper. The point is that the child, being at a distance of 2 - 3 meters from you, hears and understands what you say in a whisper (for example, you can ask the baby to bring a toy). It is important to ensure that the words are pronounced clearly. 4. Let's see who's talking. Prepare images of animals for the lesson and show your child which of them “speaks the same way.” Then portray the “voice” of one of the animals without pointing to the picture. Let the child guess which animal “talks” like that. 5. We hear the ringing and know where it is. Ask your child to close his eyes and ring the bell. The child should turn to face the place from which the sound is heard and, without opening his eyes, show the direction with his hand. 6. The speech therapist names a number of sounds. Children should clap their hands if they hear that sound C: A, U, I, L', I, T, K, S. Playing with a ball. The speech therapist invites each child to be the sound C and “receive a gift” - the vowel sound {A, O, U, Y, I). Next, throwing the ball to the child, he names only the vowel, and the child, returning the ball, names the syllable with the sound C (SA, SO, SU, SY). 7. The speech therapist reads a poem. When the children hear words with the sound L', they ring the bells: Leaves are falling, falling. It's leaf fall in our garden. Yellow, red leaves. They curl and fly in the wind. 5. Speech exercises without musical accompaniment. Their essence is the rhythmic pronunciation of a poetic text while simultaneously performing actions. The poetic text in these exercises is the rhythmic basis for performing the movements. This allows you to improve gross and fine motor skills and develop good coordination of actions. Children sit on chairs. Exercise “Rain” is performed without musical accompaniment. The speech therapist asks the children to complete the rhyme and at the same time perform the movements. Speech therapist. Rain, rain... Children. Drip, drip. (The arms are bent, the hands are at chest level, the fingers, except the index ones, are clenched into fists. The index fingers are alternately lowered down.) Speech therapist. And in the beds... Children. Thump, thump. (Half-bent hands are alternately lowered down.) Speech therapist. Along the path... Children. Top, top. (They tap their knees with their palms.) Speech therapist. And through the puddles... Children. Slap, slap. (Clap their hands.)
Children jump with their feet apart and together to the text pronounced by the teacher: Legs together, legs apart, Legs straight, legs at an angle. Legs here and legs there. What a noise and what a commotion! Children hold their hands up, fingers crossed, feet shoulder-width apart. The downward blow of the “axe” coincides with the last syllable: Mom needs to heat the stove, so that we can cook dinner for all of us. I'll chop some wood for her. I love my mother. Children squat down, lowering their heads and clasping their knees with their hands, then gradually straighten up, stand on their toes and stretch up as far as possible, raising their arms. The text says the teacher: First I will be small, I will snuggle up to my knees. Then I will grow big. I can reach the lamp.
6. Exercises that develop a sense of musical size (meter). These exercises are aimed at distinguishing the downbeat in music. This perfectly forms and develops auditory attention. Exercises for perceiving unexpected accents. Circles are drawn on the floor according to the number of participants. During the march, everyone walks around their own circle. To the accent in the music, they jump into their circle on two legs and wait for the next signal, at which time they will need to jump out of the circle and walk around their circle again. 1) Participants walk in a circle, holding a tambourine in their hand. At the unexpected accent they stop and hit the tambourine. 2) Each pair is given a hoop, which the outer one of the pair holds with the left hand, and the inner one with the right, and the participants walk in pairs in a circle. At an unexpected sound signal, the outsider, without removing his hand from the hoop, turns forward and climbs through the hoop, stepping first with his left foot. After this, the movement in a circle continues again. At the next signal, the inner one of the pair does the same, but you start stepping with your right foot. 3) Students stand in two lines at opposite walls of the hall. One line has hoops, which children (adults) quietly swing, holding in their right hands. In response to an unexpected accent in the music or a clap of the hand, children roll the hoops to another line. The second line, having caught the hoops, quietly swings them until the next accent. Exercises for the perception of metrical accent. When performing tasks on metric accent, an exact coincidence of movement with an accent alternating at certain intervals is required. Children (preschoolers and primary schoolchildren) perceive an evenly repeated accent and convey it with movements of the arms, legs and the entire body, without yet determining it by counting. Only at the end of classes is the transfer of accent indicated by a word. Practical work on accent comes down to the fact that students learn the accent (in any position), marking it with movements of the arms or legs. First, exercises are given only for the arms, then - only for the legs, and then - combined movements, for example, for the accent - a step forward (leg movements), for the subsequent weak parts of the sound - clapping (hand movements). The initial exercises are carried out with the whole group, but essentially everyone performs the task individually, without disrupting the overall completion of the task with their mistakes. This is followed by exercises in which everyone participates, but the mistake of one person disrupts the correct completion of the task. 7. Developing a sense of tempo . These exercises are necessary in order to work on the tempo of speech based on the musical tempo, which is very important for children suffering from stuttering or speech tempo disorders. The ability to sense the tempo of a piece of music helps in the future to restore and control the normal tempo of speech. Exercises to develop musical rhythm and tempo 1. Pass the ball on each downbeat. Music “Italian Polka” by S. Rachmaninov. 2. Walking to music; if the pace accelerates, children walk faster or run, and vice versa. 3. The teacher claps the rhythm, and the children must repeat it. 4. In order for the house to stand for a long time, for it to be strong, you must carefully hammer the nails into the boards. (children sit cross-legged on the floor). Right there! (They hit to the right of themselves) There's a knock on the left! (Hit to your left) Forward knock, knock, knock! (They knock with both fists in front of them.) 5. The child himself taps out any rhythm, and other children repeat it. 8. Rhythmic exercises. Children with speech pathology often have deficiencies in the perception of rhythm, manifested in difficulties in reproducing words consisting of 3 or more syllables. When pronouncing a polysyllabic word, the child does not focus on its rhythmic basis, since he does not feel it. These exercises are aimed at developing a sense of rhythm. Since our speech is organized rhythmically, the child must be taught to focus on the rhythmic basis of syllables, words and phrases. This is especially important for children who stutter. But even a healthy child needs to develop a sense of rhythm, and then combine speech with rhythmic movements. The main goal of these exercises is to develop in the child a sense of musical rhythm in movement. Exercise “House” (children sit cross-legged on the floor). In order for the house to stand for a long time, for it to be strong, you must carefully hammer the nails into the boards. Right there! (They hit to the right of themselves) There's a knock on the left! (Hit to your left) Forward knock, knock, knock! (They knock with both fists in front of them.) 9. Singing. Singing perfectly develops breathing, voice, forms a sense of rhythm and tempo, improves diction and coordinates hearing and voice. When starting classes, the teacher finds out the singing range of the students. The singing range is the volume of sounds, which is determined by the distance from the highest to the lowest sound within which the voice sounds well. Research by N.A. Vetlugina showed that children's voices sound effortlessly within the “D-B” of the first octave, although many children can reproduce higher sounds. When selecting singing material, the teacher must take into account the age capabilities of the singing range. So, for children 2-3 years old - “mi-la”; 3-4 years - “re-la”; 4-5 years - “re-si”; 5-6 years old - “re-si”, sometimes up to the second octave; 6-7 years old - “re-do”, “do” of the second octave. Students develop a singing attitude, i.e. correct posture in singing. The teacher reminds that while singing you can sit or stand straight, without raising your shoulders, with your hands on your knees or down along your body. When cultivating vocal skills (the interaction of sound production, breathing and diction), the teacher makes sure that students sing loudly, easily, melodiously, without shouting, and do not take a breath in the middle of a word or musical phrase. The inhalation should be fast, deep and silent, and the exhalation should be slow. Diction is clear and precise. All this is formed gradually, depending on the success of speech therapy. 10 . Playing musical instruments . Playing children's musical instruments develops fine motor skills, forms a sense of musical rhythm, meter, tempo, improves attention, memory, as well as other mental processes that accompany the performance of a musical work. Children sit on chairs. The speech therapist gives each person a musical instrument (tambourine, drum, spoons, metallophone, etc.). He talks about how each instrument requires unique movements - you can play the instruments with one or two hands. For example, maracas and rattles require one hand, and spoons require two. When playing a drum or tambourine, one hand holds them, the other performs the movements. When distributing tools, it is necessary to take into account the motor abilities of children. Children must play instruments according to a given rhythm. eleven . Musical independent activity . Musical independent activity contributes to the development of coordination of hearing, voice and movement, tonal and rhythmic senses; nurturing a love of music and singing; enriching the emotional life of children and adults. All types of musical work with people with speech disorders can be considered as collective activating and corrective psychotherapy (social stimulation, pen hoorthopedics, psychopedagogical work). Musical independent activity is closely related to musical play. Those who studied on their own initiative sing, lead round dances, perform dances, select melodies on children's or real musical instruments. Musical independent activity of preschoolers and. schoolchildren has various sources: these are music classes in which children learn songs, games, and dances. Children transfer the knowledge acquired in classes to independent activities; these are holidays, entertainment. The exercise is performed in several stages. 1. Children learn rhythm together with a speech therapist. 2. Musical accompaniment is listened to. 3. Children play musical instruments to musical accompaniment. If a child cannot independently master playing an instrument at a given rhythm and tempo, then pedagogical assistance is provided. Music is selected at the discretion of the speech therapist. 12. Game activity. Games in movement therapy can be used independently or in combination with various rhythmic, logorhythmic, musical-rhythmic complexes. Games bring variety and emotionality to treatment procedures (for dysarthria, rhinolalia, aphasia). The gaming method in the form of a therapeutic procedure is increasingly used in practice. According to their psychophysical development, children are easily influenced through games. But the child’s attention is unstable, he has difficulty staying on one object for a long time, forgets to breathe correctly or stops breathing for a while when performing motor tasks. Therefore, games with complex techniques, movements that require a lot of effort, speed and complex coordination are not suitable for children's practice. When working with children, the teacher must remember that the physical and emotional stress of the game depends on its nature, the competitive element embedded in it, its duration, conditions, the degree of reaction of the player, the type of disease and its stage, the age and gender of the players , their motor culture and previous motor activities, on the number of players, the equivalence of players or groups taking part in the game, on compliance with the rules of each game, the starting position and development of the game. In order to achieve a measured influence of games on the functions of children’s bodies, it is possible to change the rules for their implementation by eliminating some and replacing others. The classification of games in therapeutic therapy depends on the numerous tasks and conditions that the game must meet during the treatment process. Its goals and objectives are different. Thus, games of a funny, distracting nature distract attention and entertain; specially targeted games improve work during the procedure (organizing games), solve some therapeutic problems (games of a preparatory nature or games of a targeted, therapeutic nature, for example, correcting posture in cerebral palsy in children with dysarthria); calming games are useful for children and adults with stuttering and various neuropsychiatric diseases; games with the predominant participation of the upper or lower extremities for their development. Depending on the number of participants, games are divided into individual and group. Group games can be played without division into teams and with division into teams. According to the fulfillment of the conditions of the game and how the position of the player changes in relation to the objects surrounding him, group games can be divided into: 1) games in place (static games), in which the patient does not change his position in relation to the objects surrounding him, but only moves individual parts of your body. In these games (from a standing, sitting, and sometimes lying position), movements are limited in number and the main active element is the emotional factor. Compared to other games, there is the least amount of physical activity; 2) sedentary and semi-active games, in which there are both elements of movement and static elements in varying proportions. They are usually performed from a starting position standing or sitting. The physical and nervous stress in these games is moderate; they contain more emotionality. These are transitional games between games on the spot and outdoor ones; 3) outdoor games, in which throughout the game the participant changes the position of his body in relation to surrounding objects. They are characterized by great emotionality, they include various forms of movement - running, jumping, skipping, walking, etc.; require speed, strength, dexterity, coordination of movements, endurance and have a strong and comprehensive effect on the body, causing significant changes in the functions of the muscular, respiratory and cardiovascular systems. Since these games involve more physical activity, they require higher functional and physical capabilities on the part of patients. However, outdoor games have a huge corrective effect on people with speech and movement disorders. L.V. Strakovskaya recommends dividing all outdoor games into four groups, taking into account the approximate psychophysical load: group 1 - with a slight load; Group II - moderate; Group III - with tonic; Group IV - with a trainer. For example: 1 group. “Ear-nose” (7-14 years old). Children are sitting or standing. You need to clap your hands in front of you, take your left ear with your right hand, and your nose with your left. Then clap your hands again and take your nose with your right hand, and your right ear with your left, and so on several times. Whoever made the least mistakes wins and is appointed as the leader in the next game. 2nd group. “Throwing bags” (7-14 years old). Children sit on chairs, each in turn stands on a line drawn at a distance of 3-4 m from the chair, and throws three bags onto it one after another so that each of them remains lying on the chair. Then he passes the bags to the next one, who also throws them, etc. The one with the most accurate hits wins. 3rd group. “Obedient ball” (6-11 years old). Children lie on the carpet, stretched out on their backs, with a ball sandwiched between their legs. You need to roll over onto your stomach without dropping the ball. Repeat 4 - 6 times: Turn around and look back! Ball, don’t roll to the floor. What an obedient ball! Hide it between your legs. Exercise “Skok-skok-skok” (3-8 years). Children jump alternately on one leg and the other, then stand up with one leg tucked in like a stork, then get on all fours and jump like frogs for 5-6 m. At the end of the game you need to jump on both legs, keeping your hands on your belt. One part of the children says the text, the other performs the movements, then the children change roles. We jump along the path, often changing legs. They galloped and galloped, and then, like a stork, they stood up. Come and take a look! It is no longer a stork bird. That's a frog. “Kwa-kwa-kwa!” - shouts to his girlfriends. Skok, skok, skok, skok. I galloped as far as I could. Finger games . Science has long known that the development of finger mobility is directly related to speech development. Therefore, by developing fine motor skills of the fingers, we contribute to rapid speech development. Finger games are played with singing, reciting text, and also with small objects - pencils, sticks, balls. 13. Exercises for developing creative initiative. These exercises include conducting, free motor improvisations to music, motor stagings of songs, motor-musical exercises in which creativity comes to the fore. It is important to conduct them in lighter versions from the beginning of the correctional course, stimulating the imagination and imagination of children and adults, paying attention to the different nature of the music, which should be shaped differently in movement; on the characteristics of certain characters in songs, dramatization games, round dances, etc., which require special, individual movements for their expression. Exercises for children Dance with balloons. (Music by M. Rauchwerger.) Children independently distinguish between two-part music, change movements with the change in the nature of the music, swing and toss balloons. "Say goodbye - say hello." (Czech folk song.) Children begin and end movements to the music. They expressively convey dance and play movements, correctly orienting themselves in space. Improvisation can be performed in pairs, holding both hands, or individually, reflecting the meaning of the etude in the movements. Children stand in a circle, in the middle of the circle there are two children dressed as Dunno and Pinocchio. To the music of each character, children perform a dance of one or another. One of the children, standing in a circle, repeats the movements and adds his own, with which he begins or continues the improvisation of Dunno and Pinocchio. Exercises for teenagers and adults Express rhythm with free movements. It could be like this: 1) eights are marked with two claps (right and left hand) on the hips, quarters - with two jumps on both legs; 2) on the first quarter, on the count of “one,” take a step with your right foot to the right, on the second quarter, on the count of “two,” put your left foot next to your right. Eights are marked by four jumps around themselves. Come up with four movements, doing them at the beginning of the music-march beat: line up in two ranks, facing each other. In each line, be the first to move one step forward. There is no movement for two bars of the entry. For the first four beats, the driver from one line performs his four movements, and for the next four beats, the driver from the other. Then both ranks turn to the back of each other’s heads and follow the leader into the inside of the circle (this movement takes ten beats). The first numbers go to the end of the line, and the second numbers take their places, and all movements start over. 14. Final exercises. The purpose of these exercises is to calm the students down and redirect their attention to other activities. These exercises can be carried out in various forms: ordinary marching to music, changing formations, listening to music and then determining the nature of the work, for example, “The Game of Horses” by P. Tchaikovsky or “The Little Waltz” by A. Lyadov; or listening to music and then talking about the images and ideas that it evoked. The combination of music, movement and words in logorhythmics is different. But whatever the proportion of music and words, music and movement, etc., in the exercises in the complex they form and streamline the motor sphere of the involved, his activity, positively affect the personality. Coordinated, purposeful economical movements cause a person to satisfy in a person. The rhythm is perceived by many organs of perception - kinesthetic sensations, tactile, audience, auditory. These strong incentives create additional motivation for speech correction. It is important that the child normalizes the motor sphere and the correction of speech disorders is carried out unconsciously, naturally. This contributes to relaxation and prevents the emergence of mental, emotional and muscle tension. The general motor preparedness of all and individual muscle groups positively affects the normalization of respiratory and articulatory muscles. The performance of rhythmic exercises against the background of positive emotional excitement helps to educate proper speech, activates the activities of children in communication, in the game, in motor improvisations. Literature:
- N.V. Miklyaeva, O.A. Polozova, Yu.N. Rodionov “Phonemic and speech therapy rhythms in preschool educational institutions” (a manual for educators and speech therapists); M., Iris Press, 2006.
- M.Yu. Kartushina “Logorhythmics for kids” (scenarios for classes with children 3-4 years old); M. Creative, 2005
- M.Yu. Kartushina “Notes of logorhythmic classes with children 3-4 years old”; M., Creative, 2006
- M.Yu. Kartushina “Notes of logorhythmic classes with children 6-7 years old”; M., Creative, 2007
- A.E. Voronova “Logorhythmics in speech groups of preschool educational institutions for children 5-7 years old” (methodological manual); M., Creative, 2006
- G.V. Dedyukhin “Work on rhythm in speech therapy practice” (methodological manual); M., Iris Press, 2006.
- “Musical education of children with developmental problems and corrective rhythm,” edited by E.A. Medvedeva; M., "Academy", 2002
