Fundamentals of expressive reading. Methods of working on expressive reading

The phrase “expressive reading” began to be actively used in mid-19th century centuries and implied the skill of artistic expression and the discipline of teaching this skill to children. Expressive reading is the skill of displaying in words the sensations and reflections that fill highly artistic work, showing the performer’s individual assessment of the author’s work.

Expressive reading involves reciting from memory or reading from a book while adhering to the principles of literary pronunciation. At the same time, the figurative and ideological essence of the work is most fully expressed. Expressive reading is used as a technique for teaching language.

Reading is characterized by four criteria:

• Fluency is the speed of reading. Determines the perception (understanding) of the text read. Fluency is typically measured by the number of words or characters read per minute.
• Correctness implies leisurely reproduction without altering the essence of a literary work.
• Consciousness is an understanding of the author’s idea, comprehension of the artistic methods with which the idea is embodied, and an understanding of one’s own attitude to the work.
• The expressiveness of reading is formed during the analysis of a literary work.

To read a text expressively means to find a way through oral speech to truthfully and accurately convey the intentions and feelings contained in the composition. This means of transmission is intonation.

Intonation represents the interaction of the components of oral speech (tempo, sound, stress, rhythm, pauses). The components support each other. The interaction between them is generated by the content and emotions of the text, the goal that the author sets for the reader.

Characteristics of the principles of teaching expressive reading

The principle of expressive reading is comprehension of the artistic essence and intent of the composition. It is important to identify the extent to which the text is clear to listeners. Understanding the task, the goal that is pursued when reading, will help make reading effective. The success of transmitting a work largely depends on the beauty, literacy, and brightness of the reader’s speech. The content allows you to accurately identify which means to use when transmitting the text.

Expressive reading involves persistent, labor-intensive work on the means of conveying the intention, feelings and content of the work. Proper breathing, distinct pronunciation of sounds, and skills in accurately conveying emotions through speech are important.

Expressive reading involves the use of brightness means, such as:

• Intonation.
• Logical stress.
• Pause.
• Pace.
• Height and strength of voice.

Intonation

The importance of intonation and its elements when reading is very great, therefore, when forming speech expressiveness, special attention should be paid to the development of intonation brightness.

Intonation components:

• The force that manifests itself in stress and determines the dynamics of oral speech.
• A direction that predetermines the melody of speech and is demonstrated by the voice following sounds of different pitches.
• A hue or timbre that determines emotional coloring.
• Speed, which is expressed in prolonged speech and pauses. Predetermines the rhythm and tempo of speech.

The recitation of a literary work by a teacher, a schoolchild and an actor differs, since the conditions of expressiveness are different for them. The actor has perfect command of his voice and other means, and also has the opportunity to thoroughly prepare for reading. There are other requirements for the student. By watching videos of performances by professional readers, you can learn to read a work with the correct intonation.

Principles of Expressive Reading

The rules of expressive reading are a set of recommendations that help quickly and effectively develop skills literary reading among schoolchildren. The reading instruction is aimed at developing a culture of handling the book and contains recommendations on preparation and correct reading.

A lesson in expressive reading should arouse interest in literary creativity and cultivate a love of figurative words.

Tips for parents on developing a child’s reading interest

• You should buy books for your child that are colorfully designed and have exciting content.
• It is not the duration of reading that is important, but the frequency. That is, it is better to read many times for 15 minutes than once for an hour and a half. A gentle reading mode for a child is preferable - read three lines, rest.
• To form a habit of communicating with a book, you need to read to your child every day.
• The read work should be discussed with the family and the child should be told about the author.
• When remembering a work, you need to slightly alter the text, this will help you understand whether the child remembers the content well.
• Advise your child about the works of your childhood, share your impressions of them.
• Buy books from authors your child likes and create his own library.

Many years later, already in adulthood, the child will associate books with near and dear people, with the warmth of his home.

Memo to parents

• Reading is an entrance into the world of knowledge; it is a guarantee of a child’s success in school.
• A child will love books only thanks to the combined efforts of the school and family.
• Familiarize yourself with the main requirements of expressive, fluent, conscious reading.
• The recommended list will help you choose books for your child.
• Your own children's library will allow you to exchange books with friends, which will help increase interest in reading.

Knowledge of works of children's literature and the works of children's writers and poets makes it easier for parents to choose books for their child. Such knowledge is also an indispensable component of the professionalism and competence of a teacher or educator, a specialist working with children.

Introduce parents and teachers to the works literary creativity Children's poets and writers are encouraged to take the discipline “Children's Literature with Workshop on Expressive Reading.” The purpose of the subject is to improve the skills of analyzing children literary works, the importance of literary reading in the development of a child’s personality is considered.

The structure of the discipline “Children's Literature with Workshop on Expressive Reading” is a historical, chronological way of presenting material on literature for children. It also includes a logic-based workshop on expressive reading.

Student Reading Guide

Memo No. 1: Reading rules

• You need to spend at least a quarter of an hour a day reading, sitting comfortably, preferably not lying down.
• If you read with the TV or music on, it will be difficult to understand what the text is about. Therefore, you should turn off the TV, music, and remove all objects that distract your attention.
• There is no need to rush when reading and concentrate on time, otherwise the meaning of the text or poem will remain unclear and slip away.
• It is necessary to take breaks, pauses, and exercise minutes.
• You need to analyze the actions and actions of the characters in the work and draw conclusions for yourself. Discuss what you read with friends.
• Mark the place where reading was interrupted by placing a bookmark between the pages.
• Entertaining and interesting information You can write it down in a notepad. It will be useful in the future.

Cheat Sheet #2: Expressive Reading

Expressive reading is impossible without understanding the meaning of the content of the work.

• Maintain the correct pace and rhythm when reading. There is no need for haste here.
• Diction - pronunciation should be intelligible, loud, and distinct.
• Be sure to pause when there are punctuation marks.
• Using logical stress, highlight the key words of a literary work.
• Poems or text, when read, should have an emotional connotation.
• Understanding of the content is required readable poem or prose.

Memo No. 3: Correct work with the book

The ability to work correctly with a book and process information from printed sources is of exceptional importance for high school students. The inability to work with a book will affect your performance at school, since homework and class work will take up a lot of time. This state of affairs will lead to the student getting tired, and the ability to absorb knowledge will decrease.

• It is necessary to develop the skills of correct, fluent, meaningful reading.
• Expressive reading. Read the text or poems, determine the main idea of ​​the creation, find individual elements in the content and their semantic significance, read again.
• Define chronological order actions of a literary work.
• Extracurricular activities involve keeping a diary of works read, using a list of books recommended by the teacher, and the skill of recording data about a work from the title page.

Expressive recitation of a poem

Poetry best gives a child an understanding of the essence of expressive reading. When a good reader recites poems or texts that have long been familiar to them, listeners begin to understand them in a new way. They get into the mood of the person uttering the words.

Actors, thanks to their talent, knowledge and professional skills, read poetry, captivating the audience. By carefully watching videos of performances by famous artists, you can borrow interesting techniques for reading poetry and prose.

The literature lesson at school is designed to arouse interest in artistic, figurative words, and cultivate a love for books. Expressive reading is an important skill that allows you to convey to your listeners the intent of a work and its ideological content. Reveal the subtlest nuances of feelings, experiences, and sensations of the characters in a literary text or poetry. Videos of performances by professional readers will help you find a way to penetrate into the heart of your listeners while reading the text.

Introduction………………….……………...…………...............3

1. Objectives of reading lessons to develop the expressiveness of children’s speech………………..…………….4

2. Stages of working on expressive reading...........6

3. Means of expressive speech…………...…8

4. Work on expressive reading……………...11

5. Intonation, raising and lowering the voice……………………………………………………….....13

6. Working with poetic texts in literary reading lessons………………………………20

Conclusion……………………………………………………………...27

List of references………………………………………………………………...29

Introduction

Teaching children to read correctly, fluently, consciously, expressively is one of the tasks primary education. And this task is extremely relevant, since reading plays huge role in education, upbringing and human development. Reading is a window through which children see and learn about the world and themselves. Reading is what is taught junior schoolchildren, through which they are educated and developed. Reading abilities and skills are formed not only as the most important type of speech and mental activity, but also as a complex set of abilities and skills that have a teaching character, used by students when studying all educational subjects, in all cases of extracurricular and extracurricular life.

Therefore, it is necessary to systematically purposeful work on developing and improving fluent, conscious reading skills from class to class.

One of the most important tasks of primary school is to develop reading skills in children, which is the foundation of all subsequent education. Formed reading skill includes at least two main components:

a) reading technique (correct and quick perception and pronunciation of words, based on the connection between their visual images, on the one hand, and acoustic and speech motor images, on the other);

b) understanding the text (extracting its meaning).

It is well known that both of these components are closely interrelated and rely on each other: thus, improving reading techniques makes it easier to understand what is being read, and easy-to-understand text is better and more accurately perceived. At the same time, in the first stages of developing reading skills, greater importance is attached to reading technique, and in subsequent stages - to understanding the text.

Working on the expressiveness of speech in reading lessons in primary school, is an important stage in the development of children's speech.

1. Tasks of expressive reading.

The educational value of literature in school is also enormous. But the ability to read does not come by itself. It must be developed skillfully and consistently.

The first, most accessible form of perception of a work of art for children is listening to the teacher’s expressive reading and storytelling. “Expressive reading” is based on the knowledge, skills and abilities acquired by students when studying native language and literature. The study of these subjects is the basis for the formation of speech qualities.

M.A. Rybnikova believed that “expressive reading is the first and main form of concrete visual teaching of literature.”

Expressive reading is the embodiment of a literary and artistic work of spoken speech.

Expressive reading accurately preserves the text of the work, which is emphasized by the word “reading.” To speak expressively means to choose figurative words, that is, words that evoke the activity of the imagination, inner vision and emotional assessment of the depicted picture, event, or character. Correctly expressing your thoughts and feelings means strictly adhering to the norms of literary speech.

Clear and correct transmission of the author’s thoughts is the first task of expressive reading. Logical expressiveness ensures a clear transmission of the facts conveyed by the words of the text and their relationship. But facts do not exhaust the content of the work. It always includes the author’s relationship to the life phenomena he depicts, his assessment of the phenomena, and their ideological and emotional understanding. Recreation in the sounding word artistic images in the unity of their individually specific form and ideological and emotional content is called emotional-figurative expressiveness of speech. Emotional-figurative expressiveness cannot be considered as some, albeit necessary, addition to logical expressiveness. Both of these sides of the art of reading are inextricably linked, which is due to the very nature of speech. Psychology views reading aloud as monologue speech Therefore, reading should be characterized by everything that is characteristic of oral speech. The words of the text recreate images in the reader’s imagination that evoke an emotional attitude in him, which naturally and involuntarily manifests itself in reading along with the transmission of the author’s thoughts. These same emotions are transmitted to the listeners. In his everyday life a person talks about what he knows, has seen and what he wants to talk about for a specific purpose.

The spoken words are an expression of the speaker’s own thoughts; behind these words there are always factors of reality that evoke a certain attitude, a certain volitional aspiration.

The tasks of expressive reading are an important component in the development of speech. Knowing the tasks, the teacher expediently works with students, setting them certain goals for their implementation.

Tasks:

Improving reading skills: expedient work on the accuracy, fluency, consciousness and expressiveness of reading.

formation of reading skills by working with text. The teacher develops in students the ability to think about a work before reading, during reading and after finishing reading, which contributes to the rapid development of the text.

formation of initial literary knowledge.

reading provides moral and aesthetic education for children,

development of speech, thinking, imagination of children.

The listed tasks should be implemented in reading lessons. And then working with text will intensify mental activity children, to form worldviews and attitudes. The tasks and stages of expressive reading are closely related.

Mastering full reading skills for students is the most important condition successful schooling in all subjects; At the same time, reading is one of the main ways of acquiring information during extracurricular time, one of the channels of comprehensive influence on schoolchildren.

2. Stages of working on expressive reading

For an expressive reading of a literary text, it is necessary that the reader himself becomes captivated by the work, loves and deeply understands it. Work on expressive reading of a work goes through several stages:

The first stage is preparing listeners to perceive the work, called an introductory lesson. The content and scope of this lesson depends on the nature of the work. The closer the work is to the listeners, the more understandable, the smaller this introductory part will be, and the more difficult it is for them to understand, the longer the preparation for listening is; when the teacher himself prepares for reading, the introductory stage does not disappear. In preparing for expressive reading, the teacher strives to deeply and clearly imagine the life depicted. He reads the introductory article that precedes the text of the work, comments that are given in footnotes or at the end of the book. If there are still unanswered questions, look for answers to them in the reference book. Before you start reading, you need to understand every word, every expression in the text. It is at this stage that the reader becomes interested in the text.

The second stage is the first acquaintance with the work, which at school is usually carried out through an expressive reading of the work by the teacher. “The first impression is pristinely fresh,” says K.S. Stanislavsky. “They are the best stimulators of artistic passion and delight, which are of great importance in the creative process.” Stanislavsky calls first impressions “seeds.”

The indelibility of first impressions imposes great responsibility on the reader; it requires careful preparation for the first reading, thoughtfulness of the text, so that listeners do not get wrong impressions, which “harm creativity with the same force as correct impressions help it. You can't fix a bad impression.

The third stage is analysis, analysis of the work. Analysis has its purpose. We think deeply about a work in order to perform it better, since expressive reading is, first of all, conscious reading. The course of creative analysis should be natural, like a series of answers to questions that arise as we think about the work. The analysis of the work itself can be carried out in different sequences: by deduction or by induction. The first path, when one goes from defining a theme, an idea to a composition and a system of images, resembles the path of the author. The inductive path corresponds to the sequence in which the reader gets acquainted with the work. He traces the development of the plot and composition and at the same time gets acquainted with the images and only at the end decides on the theme and idea of ​​​​the work.

In expressive reading, the task of remembering the text takes on special significance. After we have parsed the text, when we understand every word, the images of the characters, their psychology, super-task and private performance tasks are clear, we can begin to memorize the text. It is difficult to memorize a text, and remembering it is fragile. It is better remembered gradually, in the process of preparing the performance. When working on a text in this way, involuntary memorization occurs. M.N. Shardakov experimentally established that the best method of memorization is combined. At this stage, it is important to correctly summarize the work read so that students leave the lesson with a complete understanding of the text.

The sequence of stages is very important in lessons extracurricular reading. It allows you to master the work easily, quickly and correctly. Children are given the opportunity to penetrate into the depths of the work and feel it. Each word spoken by the teacher has its own specificity. And therefore it is very important to be guided by the means of expressive reading.

3. Means of expressiveness of oral speech

The teacher must have a good command of the technical side of speech, i.e. breathing, voice, diction, observance spelling standards. Correct, expressive reading depends on this.

Speech technique: M.A. Rybnikova wrote that in the system of working on expressive reading, it is necessary to allocate time for special classes in pronunciation techniques. Speech technique includes breathing, voice, diction, orthoepy:

Breathing: should be free, deep, frequent, imperceptible, automatically subordinate to the will of the reader. Of course, the ability to use breathing correctly largely determines the ability to control the voice.

Voice: a ringing, pleasant timbre, flexible, fairly loud, obedient voice is of great importance for expressive reading. A voice of medium strength and height is optimal, since it can easily be lowered and raised, made quiet and loud. One of the main tasks in voice production is the ability to use the so-called attack of sound in order to achieve a free, relaxed sound based on correct breathing. Sound attack is a way of closing vocal cords at the moment of transition from the breathing position to the speech position. The voice has special properties: strength, height, duration, flight, quality. These properties of the voice, in fact, are the condition for the expressiveness of speech.

Properly organized breathing plays a primary role in speech. The lack of the necessary supply of exhaled air leads to voice breakdowns, unjustified pauses, distorting the phrase.

It should be remembered that unevenly consumed air often makes it impossible to finish a sentence and forces you to “squeeze” the words out of yourself.

Correct, clear, expressive and beautiful pronunciation of sounds, words and phrases depends on the work speech apparatus and proper breathing.

When starting classes on breathing development, it is necessary to familiarize yourself with the anatomy, physiology and hygiene of the respiratory-vocal apparatus, with the existing types of breathing.

It should be remembered that the mixed diaphragmatic type of breathing is the most appropriate and practically useful.

In individual lessons with a teacher, it is advisable for students to perform a set of breathing exercises.

There is an inextricable connection between breath and voice. A correctly set voice is a very important quality of oral speech, especially for a teacher.

To educate and develop a voice means to develop and strengthen all the vocal data given to man by nature - the volume, strength and sonority of the voice.

Before training your voice using text exercises, you need to learn how to feel the work of resonators.

Resonators are sound amplifiers. Resonators include: palate, nasal cavity, teeth, facial bones, frontal sinus. When the voice sounds low, you can feel its vibration in the chest cavity.

If the voice is used incorrectly, it will sound artificial. For example: a “throaty” tone of voice is the result of an incorrect message of sound. The reason for this phenomenon is constriction of the throat.

It may be that a person speaks “lower” than is consistent with the nature of his vocal data. Then the voice turns out to be compressed, lacking sonority.

The habit of speaking in a voice that is not “your own” leads to rapid fatigue. To eliminate such phenomena, it is necessary to establish the normal position of the vocal apparatus.

In order to learn how to check the operation of resonators, you need to do various exercises.

For example:

Exhale the air, inhale (not too much) and, as you exhale, say slowly on one note:

MMMI - MMME - MMM A - MMMO - MMMU - MMMY.

Pronounce this combination of sounds on different notes, gradually moving from low to high (within the limits of possibilities) and, conversely, from high to low notes.

Choose a poem with a medium-length line, for example, “A lonely sail is white” or “I love a thunderstorm in early May.” Say the first line on one exhalation, take in air and on one exhale say the next two lines, take in air again and say three lines at once, etc.

You need to get air invisibly through your nose and mouth. Thus, when performing breathing exercises, we involve breathing in voice formation. When practicing your voice, you need to

In normal speech, do not shout.

Do not clear your throat if your throat is sore.

Do not drink very hot or very cold drinks.

If you feel unwell, consult a doctor.

Diction: one of the most important qualities of a teacher’s speech. Therefore, it is recommended to start working on diction with articulatory gymnastics, allowing you to consciously control the desired muscle groups. Diction is a clear pronunciation of speech sounds that corresponds to the phonetic norm of a given language.

Orthoepy: incorrect stress in words, phonetic deviations from generally accepted norms of pronunciation are gross violations of the correctness of speech, without which expressive speech is impossible. Orthoepy establishes the norms of literary pronunciation.

4. Work on expressive reading

In order to correctly present the text, the teacher should know the conditions for working on expressive reading:

An example of expressive reading of the work must be demonstrated. This can be either an exemplary reading by a teacher, or a reading by a master of the literary word in a recording. If a sample is demonstrated during the initial acquaintance with the work, it is better to resort to reading by a teacher. If exemplary reading is used at the stage of exercises in expressive reading, then technical means to reproduce the reading by the master. Demonstration of a sample of expressive reading has a purpose: firstly, such reading becomes a kind of standard to which a beginning reader should strive; secondly, exemplary reading reveals to the listener an understanding of the meaning of the work and, thus, helps its conscious reading; thirdly, it serves as the basis for “imitative expressiveness” and can play a positive role even if the depth of the work is not clear to the reader: by imitating intonation that expresses certain feelings, the child begins to experience these feelings and through emotional experiences comes to understand the work .

Work on expressive reading should be preceded by a thorough analysis of a work of art. Therefore, exercises in expressive reading should be carried out at the final stages of the lesson, when work on the form and content of the work has been completed. Teaching expressive reading is a complex process that permeates all stages of the lesson, as it is organically determined by preparation for the perception of the work, and initial acquaintance with the work, and work on the idea of ​​the work.

Working on the language of a work is also one of the conditions for practicing expressive reading. It is impossible to get students to read expressively if they do not understand the form of the work, so observations of visual and expressive means become an organic part of the work to understand the ideological orientation of the work.

Work on the expressiveness of reading should be based on the reconstructive imagination of schoolchildren, that is, on their ability to imagine a picture of life according to the author’s verbal description, to see with their inner gaze what the author depicted. The recreating imagination of an inexperienced reader needs to be trained, taught to create an episode, a landscape, a portrait in front of the mind’s eye using the “author’s sign”. Techniques that develop and recreate the imagination are graphic and verbal illustrations, compiling filmstrips, writing film scripts, as well as role-playing and dramatization. Thus, we can name another factor influencing the expressiveness of reading - the combination of such work with various types activities in a reading lesson.

Required condition Work on expressive reading also includes discussion in class of options for reading the analyzed work.

The main goal Teaching children to read expressively is to develop the ability to determine the task of reading aloud: to convey to the listener their understanding of the work using correctly chosen means of oral speech.

5. Intonation, raising and lowering voices

Intonation is one of the aspects of speech culture and plays an important role in the formation of narrative, interrogative and exclamatory sentences. Expressive reading of a sentence, observing the punctuation mark at the end, is impossible without observing logical stress, pauses, raising and lowering the voice. Students' awareness of the role of these proposals and practicalmastery different intonations is of great importance for the development of expressive skillsreading. Intonation is of particular importance when reading poems and fables. For speech warm-ups, you can take sentences from already studied works or come up with your own. Examples: Exercises for raising and lowering the pitch of your voice

a) Exercise “Jump”

This exercise helps develop vocal flexibility. The teacher asks the children to imagine that they are watching a high jump competition on TV. The athlete's jump is always repeated in slow motion, so the jumper's movements are smoother. You need to try to draw a jump line with your voice. The voice should rise and fall freely and easily.

b) Exercise “Hike”

This exercise is aimed at the ability to distribute the pitch of the voice. The teacher tells the schoolchildren that when reading they should not raise their voice quickly: it is necessary to have enough voice for all the lines. Readingevery line, you need to imagine that you are “walking with your voice” straight towards the sun, convey the upward movement with your voice.

Along a narrow mountain path

Together with a perky song, you and I are going on a hike,

Behind the mountain the sun is waiting for us,

Our rise is higher and steeper,

Here we are walking through the clouds,

Beyond the last pass

The sun rose towards us.

c) Exercise “Cave”

This exercise helps develop vocal flexibility and the ability to raise and lower your voice. Studentscomfortable sit down, close their eyes and imagine themselves in a cave. Any sound (word) reverberates undervaults caves You need to try to reproduce “sounds”, “words” in the cave, going further and further

Therefore, the functions of intonation are very diverse:

The speech stream is divided;

Forms the statement into a single whole;

Distinguishes between communicative types of utterance;

Highlights the important;

Expresses emotional state;

Distinguishes between speech styles;

Characterizes the personality of the speaker.

Intonation is described using acoustic parameters: intensity, duration, pitch frequency and spectrum. The intonation should be lively and bright.

Intonation is a complex phenomenon. To imagine it more clearly, let's look at the individual components that make up intonation:

2. Logical stress is the selection by voice of the words that are most important in terms of semantic load. “Emphasis,” wrote K.S. Stanislavsky, - the index finger, marking the most important word in a phrase or in a bar! The highlighted word contains the soul, the inner essence, the main points of the subtext!”

In order for a sentence to acquire a definite and precise meaning, it is necessary to use the power of voice to highlight a word that is important in meaning among other words. The meaning of a sentence changes depending on where the logical stress is placed. It is this idea that is important to convey to students by performing simple exercises.

Examples: Sentences are written on the board or on individual cards.

The children will go to the cinema tomorrow.

The children will go to the cinema tomorrow.

The children will go to the cinema tomorrow.

The children will go to the cinema tomorrow.

The teacher asks with what intonation the sentences should be read. Students take turns reading the sentences, trying to emphasize the highlighted word. After reading the sentences and the students given four possible answers, the teacher asks the students to guess why the meaning of the sentence changes, despite the same words and punctuation mark at the end. Then the teacher asks you to read these sentences again and watch how the given word is highlighted in your voice. It is established that the selection of an important word in a sentence occurs through amplification, prolongation and a slight increase in the sound of the voice.

Pauses

In addition to logical stress, pauses play a huge role in live speech and reading. A speech pause is a stop that divides the sound stream into separate parts, within which the sounds follow one after another continuously. The role of a pause in a sentence is especially clear when a combination of the same words in the same order, being separated by pauses in different ways, acquires different meaning. Pauses can be artistic and psychological. Artistic pauses are pauses before words and phrases to which the speaker wants to give special meaning and special power. How more value words, the longer the pause observed before it. Speech warm-ups when working on artistic pauses are best done with proverbs.

A psychological pause most often coincides in the text with an ellipsis, which signals some great emotional disturbance. Familiarity with this kind of pauses occurs when reading various works of fiction. The teacher expressively reads a passage of the work, then goes through a joint analysis with the students of what they have read: where are the pauses made; Why; what will happen if we don’t pause here, etc. After which, under the guidance of the teacher, the schoolchildren conclude that in some cases, where different understandings of the text are possible, pauses help to correctly convey its meaning in oral speech; pauses are made before words to which the speaker wants to give special meaning, strength, and expressiveness. Examples:

The teacher writes sentences on the board or distributes sentences on cards to students in which pauses are graphically indicated. Students are asked to read them expressively and explain the semantic difference between the variants of these sentences with different placement of pauses.

How surprised | his words | brother!

How they surprised him | brother's words!

Tempo and rhythm are essential components involved in creating a certain intonation. These expressive means are interconnected. Stanislavsky united them into a single concept, tempo-rhythm.

The reading pace can be slow, slow, medium, accelerated, fast. Changing the pace of reading is a technique that helps convey character in the spoken word. readable text and the reader's intentions. The choice of tempo depends on what feelings and experiences the reader reproduces, as well as on the character emotional state, the behavior of the characters being told or read about.

The teacher also has to deal with issues of speech tempo. In lessons, quick, easy speech is sometimes required, the clarity of which must be extremely clear.

Therefore, working on your tongue twister is a means to achieve clarity of speech at any pace. Mechanical, monotonous memorization of tongue twisters will never give practical benefit.

Based on the meaning of the phrase, varying it on the go, changing the intonation accordingly, the speaker will easily use different speech rates.

There is no need to strive to quickly pronounce tongue twisters right away. At first, say it slowly, pronouncing each individual sound, stopping after each word. When pronouncing a tongue twister, make sure that all spoken sounds are complete, avoiding vagueness and blurriness.

When pronouncing tongue twisters, try to set different performance tasks (internal speech settings). For example:

When performing this text verbally, I want to joke, I want to complain, I want to gossip, I want to brag, etc.

Examples:

1. Mow, mow, while there is dew, away with the dew - and we’ll go home.”

“The protocol about the protocol was recorded as a protocol.”

“Tell me about your shopping!

What about purchases?

About shopping, about shopping,

about my purchases."

Rhythm is associated with the uniformity of respiratory cycles. This is an alternation of sounding segments of speech and pauses, strengthening and weakening of the voice.

5. Speech melody - movement of the voice along sounds of different pitches. It is with work on the melody of reading that the formation of expressive speech in the primary grades begins. To determine the melody, it is not enough to proceed only from punctuation marks. The melody may not match the punctuation marks. It is born from deep penetration into the text and from the reader’s clear understanding of the task of reading.

7. Timbre is the natural coloring of the voice, which to one degree or another remains constant, whether the speaker expresses joy or sadness, calmness or anxiety... Timbre can be changed to a certain extent.

8. Non-verbal means (facial expressions, body-movements, gestures, postures) help improve the accuracy and expressiveness of speech. They are additional means of influencing listeners. Non-linguistic means of expressiveness are organically connected with intonation, and their nature depends on the situation and the content of the utterance, so they never need to be invented. Reader's choice non-verbal means must

flow involuntarily from psychological state arising in connection with the perception and comprehension of the text. The use of gestures and facial expressions must be reasonable; they cannot be overused, otherwise it will lead to grimacing, formalism and distract listeners from the meaning of the statement. It is advisable for the teacher to follow the rules for using non-linguistic means of expression. Here are some of them:

It's better to stand in class. This position helps to capture the attention of students, makes it possible to observe the audience, and keep all children in sight;

You should not walk around the classroom: walking distracts the attention of children and tires them;

The teacher needs to stay straight, collected and at the same time at ease;

Mechanical gestures that are not psychologically justified should be avoided;

A comfortable posture that does not interfere with breathing and the functioning of the entire speech apparatus gives the performer a feeling of confidence and helps to find the internal state necessary for performance.

An important component of performance is expressive facial expressions. It should be remembered that inaccurate, as well as excessive use of facial expressions makes it difficult to perceive and irritates the audience. Therefore, when preparing for performance, it is recommended to read the text in front of a mirror, analyzing and correcting facial expression.

All of the listed components that make up intonation help in mastering expressive reading.

Intonation is a response to a conversation situation. In the process of his own speech, a person does not think about it: it is a manifestation of his inner state, his thoughts, feelings.

6. Working with poetic texts in literary reading lessons.

Using an example, let’s look at children’s acquaintance with A.S.’s poem. Pushkin “The sky was already breathing in autumn...”

Read work of art expressively difficult. To do this, it is not enough to learn it by heart; you need to understand the picture of life drawn by the author, determine the rhythm of the poem, consider the rhyme and learn the law of the “end of the line.” The end-of-line law helps the reader understand where to pause; rhymes emphasize these pauses - they also need to be emphasized a little with the voice. But many other author’s “secrets” are known to professional readers and actors. Children also open them one by one. While working, children are invited to discover new “secrets” that will help them expressively read A.S.’s poem. Pushkin.

Stage I: Preparation for the initial perception of the poem. Children are invited to take a short trip into the distant past, to the time when A.S. lived. Pushkin (address to the portrait, which indicates the dates of A.S. Pushkin’s life). The poet's contemporary artist Tropinin portrayed him as thoughtful and concentrated. Everyone knows this portrait. How good it is that Tropinin captured for us the appearance of a person dear to everyone. This portrait is carefully kept in the Tretyakov Gallery. Today, on an autumn day, we will be able to find out how Alexander Sergeevich loved this time of year. He himself spoke about it this way: “Autumn... my favorite time... the time of my literary works.”

It is suggested to listen to the following poetic lines:

The days of late autumn are usually scolded,

But she is sweet to me, dear reader,

Quiet beauty, shining humbly.

Such an unloved child in the family.

It attracts me to itself. To tell you frankly,

Of the annual times, I am glad only for her,

There is a lot of good in it...

Or some more lines:

And every autumn I bloom again;

Russian cold is good for my health...

But there was in the life of A.S. Pushkin’s special autumn is the autumn he spent in the village of Boldino: all three months.

On September 1, Pushkin left for Boldino to sell the estate given to him by his father. During these days, a terrible disease, cholera, was raging. Quarantine was imposed on many cities, including Moscow, Moscow, Vladimir region, and Alexander Sergeevich could not leave Boldino for three months.

During this time, Pushkin worked with unprecedented creative energy, and I did so fruitfully. In Boldino he wrote many poems, and completed his greatest work, “Eugene Onegin.”

Children are invited to imagine a little, to imagine autumn, which so inspired the poet’s creativity.

(Illustrations with autumn landscapes open on the board. Pre-prepared students read poems one by one).

The forest drops its crimson robe,

Frost will silver the withered field,

The day will appear as if involuntarily

And disappears over the edge of the surrounding mountains...

Already autumn's cold hand

The heads of birch and linden trees are bare,

She rustles in the deserted oak groves;

A yellow leaf spins there day and night,

There is fog on the chilled waves,

And an instant whistling of the wind is heard...

October has already arrived - the grove is already shaking off the last leaves from its naked branches;

The autumn chill has blown in - the road is freezing,

The stream still runs babbling behind the mill,

But the pond has already frozen...

Late autumn evokes a feeling of solemnity and majesty in a person. Nature is eternally alive, and its fading is also part of constant life, a necessary strict rite of change that does not violate, but gives nature a special beauty.

Autumn in Boldino gave the world many beautiful works. Listen to another one of them. This is an excerpt from the novel by A.S. Pushkin Evgeniy Onegin" “The sky was already breathing in autumn..."

Stage 2: Primary perception of the poem Reading the poem by heart by the teacher.

Stage 3: Checking the quality of primary perception

Did you like it?

What pictures of autumn were presented while listening?

What feeling, mood arose when you listened to it?

Stage 4: Secondary perception of the poem Re-reading the poem again and thinking about how the poet was able to convey the picture of late autumn.

Stage 5: Analysis of the work

What period of autumn are we talking about in the poem? Find words that support your opinion.

What signs of autumn does the poet mention?

Imagine that you are in autumn forest. What sounds do you hear?

Previously, and even now, poets use various figurative words and expressions to create artistic images, which may be incomprehensible to us.

How do you understand the words “The mysterious canopy of the forests was revealed with a sad noise?”

What does the word "caravan" mean? (a moving line - one after another).

Have you ever watched birds migrating in autumn?

How do they fly? Why does Pushkin use the word “stretched”?

Why do you think the poet calls late autumn“boring sometimes”? Working with an illustration for a poem.

Look at the illustration in the textbook. Does it apply to the whole poem or to some part of it?

What colors did the artist use?

What mood does this picture evoke?

Stage 6: Preparation for expressive reading of the poem.

1) The mood of the poem.

What kind of mood is this poem in?

What words in this poem are the most important, defining its mood? We call such words key words. (Boring time)

Why is November a boring time? (Because “the sun shines less often,” “the day becomes shorter,” the birds fly away.)

Notice that this entire poem is one big sentence.

What sign is at the end of the sentence? How should this poem be read?

Why does the author speak so calmly about the approaching boring time? (It's inevitable. It always happens in November.)

2) When reading, it is very important to pause at the right place. Pauses vary in length. The longest pause is after the announcement of the title of the poem. After announcing the name, you need to count to yourself to five. In this case, the title will be the first line of the poem. If there is a red line in the text, then you need to silently count to four. There is no red line in this poem. Pauses are required for punctuation marks:

Where there is a comma, pause for the count of ONCE;

Dot, dash, colon - count ONE, TWO;

Question and exclamation marks require a pause for the count of ONE, TWO, THREE.

1. PAUSES

№ p/n Punctuation marks, counting, designation

1 , - times I

2 . - : - one, two II

3 ? ! - one, two, three III

4 Red line - one, two, three, four IIII

5 After reading the title - one, two, three, four, five III1I

2. LOGICAL Stress

Designation

Words on which logical stress falls

Connecting lines, intonation transfer

 Raising the tone

 Lowering the tone

3) Graphic work. Tracing paper is applied to the text of the poem in the textbook and symbols are added (see above).

4) Observation of alliteration

To better present the picture of autumn, the poet used another technique - alliteration (the word is printed on the board) or sound recording (lines from the poem are printed on the board).

Forests Mysterious Canopy

With a sad noise she got naked

Let's say these words so that you can hear the rustling of falling leaves.

What sounds create this feeling? (S-H-S-J.)

5) Listening to an audio recording of a poem

Listen to the poem by A.S. Pushkin’s “The sky was already breathing in autumn...” performed by a professional artist.

6) Expressive reading of a poem

Work on the text yourself. Prepare to read expressively.

(Listening to several students).

In your reading, were you able to convey to the listeners the feelings and mood of the narrator?

Children are also encouraged to memorize poems and recite them in front of a mirror, using facial expressions, movements, and various gestures, because all of these are means of expressive speech.

Conclusion.

The living word performs miracles. The word can make people rejoice and grieve, awaken love and hatred, cause suffering and inspire hope, can awaken in a person high aspirations and bright ideals, penetrate into the deepest recesses of the soul, bring to life hitherto dormant feelings and thoughts.

When you listen to a good reader, it’s as if you see everything he’s talking about, you understand seemingly familiar works in a new way, and you get imbued with the mood of the performer. The art of artistic reading lies in the deep impact of the reader on the audience. However, the ability to perceive good reading, as well as the ability to convey it to listeners readable work, does not arise by itself. Great value This is where the work that is done in reading lessons comes into play, in particular the work of analyzing the texts being read and preparing them for expressive reading.

Reading and speaking expressively means “acting with words,” i.e. influence the listener with your will, make you see the text the way the speaker sees it or relates to it. Taking into account the differences in the speech preparation of children, work on the expressiveness of speech must be carried out in literacy, reading and grammar lessons. Starting from the first lessons, with exercises in pronunciation by students of deaf and voiced consonants, hissing and vowel sounds. This work continues when looking at pictures, when children’s own thoughts are formed into a sentence or short statement.

During this period, it is necessary to help the children choose the correct intonation and tempo of speech, so that

so that they contribute to the truthful expression of thoughts,

It is important for the teacher to know the methodology for working on expressive reading. It is he who instills in children the initial knowledge of mastering reading. Awakening a love of reading is difficult, but using the rules described above, you can quickly and effectively get the desired result.

List of used literature

1. Arginskaya I.I. Training according to the Zankov JI.B system. - M.: Enlightenment. - 1994.

2. Artobolevsky V.G. Literary reading. - M.: Education. - 1978.

3. Vvedenskaya M.A. Culture and art of speech. - M.: Phoenix. - 1995.

4.Gorbushina L.A. Expressive reading and storytelling. - M.: Enlightenment.-1975.

5.Gorbushina JI.A. Expressive reading and storytelling for preschool children. - M.: Education. - 1983.

6.Gorbushina L.A. Teaching expressive reading to younger schoolchildren. - M.: Education. - 1981.

7. Kubasova O.V. Expressive reading. - M.: Academy. - 2001.

8. Lvov M.R., Goretsky V.G., Sosnovskaya O.V. Methods of teaching the Russian language in primary school. - M.: Academy. - 2000.

9. Naidenov B. S. Expressiveness of speech and reading. - M.: Enlightenment. - 1969.

10.Politova I.I. Student speech development primary classes. - M.: Enlightenment. - 1984.

11.Romanovskaya I.I. Reading and development of younger schoolchildren. - M.: Enlightenment. - 1984.

12.Filigshova O.V. Professional speech of the teacher. Intonation: Tutorial. - M.: Science. - 2001.

13. Educational and methodological complex for four-year elementary school. - A.: Smolensk. - 2003.

14.Promising primary school. - M.: Academy. - 2006.

15. Educational system“School 2100.”-M.: Ballas.-2004.

· Expressive reading - the ability to penetrate into the very essence of the text, learn to understand it “ inner world" The basic principle of expressive reading is penetration into the ideological and, if present, artistic meaning of what is being read.

• Expressive reading is one of the aspects of reading skill. Reading that correctly conveys the ideological content of the work and its images. Signs of expressive reading:

1) the ability to observe pauses and logical stresses that convey the author’s intent;

2) the ability to observe the intonation of a question, statement, and also give the voice the necessary emotional tones;

3) good diction, clear, precise pronunciation of sounds, sufficient volume, tempo.

• The main condition for expressive reading is the conscious perception of the text by the reader. Natural, correct expressiveness can only be achieved on the basis of thoughtful reading and a sufficiently deep penetration into the meaning of the text

Means of speech expression

• When working on the expressiveness of speech, great attention must be paid to the means of speech expressiveness: intonation, logical stress, pause, tempo, strength and pitch of the voice. All means of speech expression are closely interconnected and complement each other.

Intonation and its components

• The importance of intonation in expressive speech is very great. “No living speech is possible without intonation,” psychologists say. “Intonation is the highest and most acute form of speech influence,” say the masters of artistic expression. It phonetically organizes speech, dividing it into sentences and phrases (syntagms), expresses semantic relationships between parts of a sentence, gives the spoken sentence the meaning of a message, a question, an order, and so on, expresses the feelings, thoughts, states of the speaker - this is how philologists evaluate the role of intonation.
• Therefore, in this section we will consider the components of intonation and recommendations for developing intonation expressiveness in students.
• The set of jointly acting sound elements of oral speech, determined by the content and purpose of the utterance, is called intonation.
• The main elements of intonation (or rather components) are as follows:

1) force that determines the dynamics of speech and is expressed in stress;

2) direction, which determines the melody of speech and is expressed in the movement of the voice along sounds of different heights;

3) speed, which determines the tempo and rhythm of speech and is expressed in long sounds and stops (pauses);

4) timbre (shade), which determines the nature of the sound (the emotional coloring of speech).

Accent

· An integral syntactic intonation-semantic rhythmic unit is called a syntagma or phrase. A syntagma can be one word or a group of words. From pause to pause, the words are spoken together. This unity is dictated by the meaning and content of the sentence. A group of words representing a syntagma has an emphasis on one of the words, mostly the last one. One of the words in the group stands out: the phrasal stress falls on it.

· In practice, this is achieved by a slight effort or raising the voice, slowing down the tempo of pronouncing the word, and pausing after it.

· Logical stress must be distinguished from phrasal stress (however, sometimes these types of stress coincide: the same word carries both phrasal and logical stress).

· The most important word in a sentence is highlighted by the tone of voice and the force of exhalation; it comes to the fore, subordinating other words. This “bringing the tone of voice and the force of expiration (exhalation) of a word to the foreground in a semantic sense is called logical stress. IN simple sentence, as a rule, one logical stress.

· Logical stress is very important in oral speech. Calling it the trump card of expressive speech, K.S. Stanislavsky said: “The accent is the index finger, marking the most important word in a bar or phrase! The highlighted word contains the soul, the inner essence, the main points of the subtext!” If the logical stress is highlighted incorrectly, then the meaning of the entire phrase may also be incorrect. the correct placement of logical stress is determined by the meaning of the entire work or part of it. In each sentence it is necessary to find the word on which the logical stress falls.

• The practice of reading and speech has developed a number of instructions on how to place logical stress. These rules are set out, for example, in the famous book by Vsevolod Aksenov “The Art of the Artistic Word”. With few exceptions, these rules help when reading the text being prepared. Some of them.

1. Logical stress cannot be placed on adjectives and pronouns.

2. Logical stress, as a rule, is placed on nouns, sometimes on verbs in cases where the verb is the main logical word and usually comes at the end of a phrase or when a noun is replaced by a pronoun.

3. When comparing, the placement of logical stress does not obey this rule.

4. When combining two nouns, the stress always falls on the noun, taken in the genitive case and answering the questions whose? whom? what?

5. Repetition of words, when each subsequent one strengthens the meaning and meaning of the previous one, requiring emphasis on each word with increasing effort.

6. Enumeration in all cases (just like counting) requires independent stress on each word.

· These rules for setting logical stress cannot be applied mechanically. You should always take into account the content of the entire work, its leading idea, the entire context, as well as the tasks that the teacher sets for himself when reading the work in a given audience.

• It is also not recommended to “abuse” logical stress.
• Speech overloaded with stress loses its meaning. Sometimes overload is the result of word separation during pronunciation. “Separation is the first step towards extending the emphasis to o, which does not require emphasis: this is the beginning of that unbearable speech where every word becomes “significant”, where there is no longer anything important, therefore nothing means anything. Such speech is unbearable, it is worse than unclear, because you don’t hear unclear speech or you don’t have to listen, but this speech forces you to listen, and at the same time it is impossible to understand, because when the emphasis does not help to clearly reveal the thought, it distorts and destroys it.” . (8)
• We must learn not only to place stress, but also to remove or weaken it, obscuring the rest of the phrase. Fussiness makes speech difficult. She is protected by calmness and restraint. Removing stress from other words already highlights the stressed word.

Pause, pace, rhythm of speech

· Meaningful pronunciation of a sentence requires correct division it into phrases, speech patterns. But in ordinary coherent speech there is no clear division into words, so the gaps, the white spaces separating words from each other in a written or printed text, are not always indicators of the division of speech in pronunciation. A sign or signal to stop is the semantic completeness of a syntagm or sentence.

· During expressive reading, grouping words into syntagms makes it easier for the reader to analyze the text, and for listeners to correctly perceive it by ear. combining words into groups gives the sentence sound integrity and completeness. The perception of a readable text, divided into syntagms, with the designation of syntagmatic (phrase) stress, is much easier because with such reading the meaning of all logical connections in the sentence and further in the text is established, and thereby an interpretation of the text is given, ensuring its convincing and correct transmission .

· The division of speech is indicated by pauses. A pause unites words into a continuous series of sounds, but at the same time it separates groups of words and limits them. This is a logical pause. Pauses can be of different durations, depending on the thought being expressed and the content of what is being read. The reader, observing logical pauses, pronounces the words contained between them together, as one word. A pause divides the phrase into links. Words within the text are pronounced together.

· If there is an incorrect pause, the meaning of the sentence is violated, its content becomes unclear, and the main idea is distorted. We must learn to hear pauses well and observe them when reading.

· Logical pauses formulate speech and give it completeness. Sometimes a logical pause turns into a psychological one. A logical pause “is allocated a more or less definable, very short duration. If this time drags on, then the inactive logical pause should sooner degenerate into an active psychological one.”

· Psychological pause - a stop that enhances and reveals the psychological meaning of a phrase or passage. It is rich in internal content, active, as it is determined by the reader’s attitude to the event, to acting person, to his actions. It reflects the work of the reader’s imagination, is immediately reflected in intonation, sometimes even changes the logical grouping of words, since it stems from the inner life, the life of the imagination. Its meaning is characterized by V. Aksenov as follows: “A psychological pause can occur at the beginning of a phrase - before words, inside a phrase - between words, at the end of a phrase - after words read. In the first case, she warns the meaning of the upcoming words; in the second it shows psychological dependence(uniting or separating) the expressed thought from the subsequent thought, emphasizing the meaning of these thoughts and relationships to them; in the third case, it draws attention to the spoken words and images, as if prolonging in silence the depth of their meaning. the impact of the psychological pause in the latter case is enormous.” (6)

· Psychological pause is an expressive means when reading a work. In Stanislavsky’s words, “eloquent silence is a psychological pause. It is an extremely important communication weapon. All pauses are able to prove what is inaccessible to words, and often act in silence much more intensely, subtly and irresistibly than speech itself. Their wordless conversation can be interesting, meaningful and convincing no less than verbal. “A pause is an important element of our speech and one of its main trump cards,” said Vasily Aksenov

· Pause division of speech (pause) is very important for understanding the read and spoken text. It is between two pauses, following one after another, that a segment of speech is distinguished, which is the main intonation unit.

· Tempo and rhythm are inextricably linked with pausing. Speech sounds are composed into syllables and words, that is, into rhythmic parts or groups. Some rhythmic parts or groups require abrupt pronunciation, others - smooth, extended, melodious; Some sounds attract stress, others lack it, and so on. Between the streams of these sounds there are pauses - also of long duration. Thus, in oral speech we notice a certain tempo and rhythm. “Tempo is the speed of alternation of identical durations conventionally taken as a unit in one size or another. Rhythm is the quantitative ratio of effective durations (movement of sound) to durations, conventionally accepted as a unit at a certain tempo and size.”

· This is how K.S. Stanislavsky defines the concept of tempo and rhythm, necessary for the study of oral expressive speech. These concepts are very close, and the phenomena themselves are almost inseparable in speech. K.S. Stanislavsky combines tempo and rhythm into one concept “tempo-rhythm”.

· “Letters, syllables and words,” he wrote, “are musical notes in speech, from which measures, arias and entire symphonies are created. It’s not for nothing that good speech is called musical.”

· Speech should be smooth and continuous in some cases, and fast, easy, clear, and articulate in others. Such flexibility of speech is acquired by a conscious desire to develop a sense of tempo and rhythm. Pace and rhythm, in turn, are determined by the semantic aspect of the text being read and the intentions of the reader or speaker.

· Throughout a sentence or an entire utterance, tempo-rhythm changes depending on the meaning. If you want to attract the attention of the listener, you will pronounce a phrase or part of it slowly, but you will pronounce the introductory words or sentences of thought, secondary ones, expressed incidentally, at an average or even fast pace.

1. Working on diction.

I use pure twisters, tongue twisters, riddles, and proverbs that are typical for kids. I’m working on a culture of live intonation. Every day we work on pronunciation, clarity of word pronunciation, volume, which is the first step towards working on expressive reading.

1. Work on highlighting logical stress. First under the guidance of a teacher, and then independently.
2. Compiling the score of a poem in which all the pauses are marked.
3. Expressive reading by a teacher or artist in a recording.
4. Analyzing other students' reading and self-reflection. Children get used to analyzing their own and others’ reading, which helps them read better than the previous one and gives them confidence in their abilities.
5. I connect the work I am studying with the subjects: music, Russian language, fine arts, etc.

All this work should be included in the lesson system in elementary school and precede the reading of poems or prose. Children should also receive certain theoretical information: -on reading technique (breathing, diction, spelling) -according to the logic of reading (logical pauses, combination of voice strength and pitch of tempo, rhythm, stress) - by emotional-figurative expressiveness with empathy and feelings.

Intonation is a complex complex of prosodic elements, including speech melody, intensity, tempo, timbre and logical stress, which serves at the sentence level to express syntactic categories and expressive-emotional connotations Intonation is the sound aspect of speech that serves as a means of expression in a sentence. syntactic meanings and emotionally expressive coloring. Intonation includes a whole complex of elements, including: 1) melody of speech: the main component of intonation, it is carried out by raising and lowering the voice in a phrase (for example, the pronunciation of interrogative and narrative sentences), it is the melody of speech that organizes the phrase, dividing it into syntagms and rhythmic groups, connecting its parts; 2) the rhythm of speech, or the alternation of stressed and unstressed, long and short syllables. The rhythm of speech serves as the basis for the aesthetic organization of a literary text - poetic and prosaic. The basic unit of speech rhythm is a rhythmic group, consisting of a stressed syllable and an adjacent unstressed syllable; 3) the intensity of speech, that is, the degree of its volume, the strength or weakness of the utterance; 4) tempo of speech, that is, the speed of pronunciation of its elements (sounds, syllables, words), the speed of its flow, the duration of the sound in time (for example, towards the end of the utterance the tempo of speech slows down, segments containing secondary information are pronounced faster than informationally significant ones segments that are spoken at a slow pace); 5) timbre of speech, that is, the sound coloring of speech, conveying its emotionally expressive shades (for example, intonation of mistrust, playful intonation, etc.), 6) phrasal or logical stress, which serves as a means of highlighting speech segments or individual words in a phrase to enhance their semantic load. The functions of intonation are very diverse:

1. The speech stream is divided;
2. Forms the statement into a single whole;
3. Distinguishes between communicative types of utterance;
4. Highlights the important;
5. Expresses emotional state;
6. Distinguishes between speech styles;
7. Characterizes the personality of the speaker.

Intonation is described using acoustic parameters: intensity. Duration, pitch frequency and spectrum. It should be lively and bright. Components that make up intonation: 1. The strength of the voice is the degree of its volume, its strengthening or weakening. It is expressed, firstly, in the overall volume of sound, but also in highlighting the most significant words. For example. We are working with the tongue twister “The crow missed the crow.” I show three emoticons: 2 3
Exercise: -Read it with the same mood as you see in the first emoticon. (Read in the same way, looking at the second and third smiley). This is how I work on the intonation of tongue twisters. 2. Logical stress is the emphasis in the voice of the words that are most important in terms of semantic load. “Emphasis,” wrote K.S. Stanislavsky, - the index finger, marking the most important word in a phrase or in a bar! The highlighted word contains the soul, the inner essence, the main points of the subtext!” The reason for errors in the placement of logical stresses is a misunderstanding of the meaning of what is being read or an insufficiently good vision of what is being said. Thus, the arrangement of logical ones requires preliminary analysis of the text. My way of working. For example, let’s return to the same tongue twister: “The crow missed the crow.” Assignment: - Use your voice to highlight a word in a tongue twister that would help us understand that it was the crow who missed the crow. - Using your voice, highlight a word in the tongue twister that would help us understand that the crow missed the little crow. - Use your voice to highlight a word in the tongue twister that would help us understand that it was the crow who missed her child. 3. Pause – stops, breaks in the sound. Pauses, with the help of which a sentence or text is divided into semantic segments, are called logical. Their presence and duration are determined by meaning. The more closely the speech units are connected, the shorter the pause. The smaller the connection, the longer the pause. Here I recommend connecting the work with punctuation marks and the meaning that the author put into the work. 4. Tempo and rhythm are mandatory components involved in creating a certain intonation. These expressive means are interconnected.
The reading pace can be slow, slow, medium, accelerated, fast. Changing the pace of reading is a technique that helps convey in the spoken word the nature of the text being read and the intentions of the reader. The choice of tempo depends on what feelings and experiences the reader reproduces, as well as on the character, emotional state, and behavior of the characters being told or read about. Rhythm is associated with the uniformity of respiratory cycles. This is an alternation of sounding segments of speech and pauses, strengthening and weakening of the voice. I suggest the following work in class: Choose one of the sentences in the text. For example, “Winter has swirled and swirled the city.” Assignment: -Taking air into your mouth and gradually releasing it from your mouth, repeat this sentence. - And now, doing the same thing, we spin around ourselves. 5. Speech melody - movement of the voice along sounds of different pitches. It is with work on the melody of reading that the formation of expressive speech in the primary grades begins. To determine the melody, it is not enough to proceed only from punctuation marks. The melody may not match the punctuation marks. It is born from deep penetration into the text and from the reader’s clear understanding of the task of reading. 6. Tone of voice is the emotional coloring of speech, which helps to better convey your own and the author’s feelings, thoughts, attitudes towards what you are talking about or reading. 7. Timbre is the natural color of the voice, which to one degree or another remains constant, whether the speaker expresses joy or sadness, calmness or anxiety... Timbre can be changed to a certain extent. 8. Nonverbal means (facial expressions, body movements, gestures, postures) help improve the accuracy and expressiveness of speech. They are additional means of influencing listeners. Non-linguistic means of expressiveness are organically connected with intonation, and their nature depends on the situation and the content of the utterance, so they never need to be invented. The reader’s choice of non-verbal means should involuntarily flow from the psychological state that arises in connection with the perception and comprehension of the text. The use of gestures and facial expressions must be reasonable; they cannot be overused, otherwise it will lead to grimacing, formalism and distract listeners from the meaning of the statement. It is advisable for the teacher to follow the rules for using non-linguistic means of expression. Here are some of them: - It’s better to stand in class. This position helps to capture the attention of students, makes it possible to observe the audience, and keep all children in sight; - you should not walk around the classroom: walking distracts the attention of children and tires them; - the teacher needs to stay straight, collected and at the same time at ease; - mechanical gestures that are not psychologically justified should be avoided; - a comfortable pose that does not interfere with breathing and the functioning of the entire speech apparatus, gives the performer a feeling of confidence, and helps to find the internal state necessary for performance. An important component of performance is expressive facial expressions. It should be remembered that inaccurate, as well as excessive use of facial expressions makes it difficult to perceive and irritates the audience. Therefore, when preparing for performance, it is recommended to read the text in front of a mirror, analyzing and correcting facial expression. All of the listed components that make up intonation help in mastering expressive reading. Intonation is a response to a conversation situation. In the process of his own speech, a person does not think about it: it is a manifestation of his inner state, his thoughts, feelingsva. A few more game exercises that I use in reading lessons:

1. Blow out the candle. Take a deep breath and exhale all the air at once. Blow out one large candle. Now imagine that there are three candles on your hand. Do take a deep breath and exhale in three portions, blowing out each candle. Imagine that you have a birthday cake in front of you. There are many small candles on it. Take a deep breath and try to blow out as many small candles as possible, making the maximum number of short exhalations. (You can give students strips of colored paper)

2. Teddy bears. Imagine that you are cubs and ask your mother bear to eat. Words must be pronounced drawlingly, in a bass voice, clearly pronouncing the sound “m”. MOM, HONEY FOR US. Installing close connection with Russian, working on sentences and signs at the end and in the middle of the text. I select paintings, landscapes, still lifes, portraits, analyzing colors and artistic images. Entering into the images of heroes of works, staging. And these are not all the techniques for working on expressions.interesting reading. I will provide them in my development
weaving lessons. I wish you good luck. Your children will gain more knowledge and skills.

Scientist-teacher M.A. Rybnikova believed that “reading expressively is... the first and main form of concrete, visual teaching of literature...”.

Expressive reading is an opportunity to penetrate into the very essence of a work, to learn to understand the inner world of the characters. It deepens children's understanding expressive means oral speech, its beauty and musicality, serves as a model for students.

The main principle of expressive reading is penetration into the ideological and artistic meaning of what is read.

Expressive reading is one of the aspects of reading skill. Reading that correctly conveys the ideological content of the work and its images. Signs of expressive reading:

the ability to observe pauses and logical stresses that convey the author’s intent;

the ability to observe the intonation of a question, statement, and also give the voice the necessary emotional tones;

good diction, clear, distinct pronunciation of sounds, sufficient volume, tempo.

Expressiveness is an important reading requirement for primary school students. We call expressive reading such a loud reading, during which the reader with sufficient clarity expresses the thoughts and feelings put into the work by the author. To read the text expressively means:

reveal the characteristic features of the images, paintings depicted in it

convey the basic emotional tone inherent in the work.

The primary school curriculum requires students to have basic means of expressiveness: observing pauses, logical stress, and correct intonation. To this we must add that the basis of children’s expressive reading is the desire to most clearly express their understanding of what they read.

The teacher's expressive reading has a great influence on students. The more expressively the teacher read, the deeper and more lasting the impression left in the minds of the young listeners, and the more conscious the further work on analyzing what they read. The teacher’s reading gives children aesthetic joy, revealing the nobility of the hero’s moral character, causing deep emotional experiences - “exercises in moral feeling,” as K.D. Ushinsky called them. Observing the teacher’s exemplary reading, students themselves, when reading, strive to reveal their attitude to what they read by all means available to them.

The main condition for ensuring expressive reading is students’ conscious perception of the text. Natural, correct expressiveness can be achieved only on the basis of thoughtful reading and a fairly in-depth analysis of the images of the work. This does not mean that before the general conversation we pay attention to this side of reading.

On the contrary, in the process of repeated loud reading, we use every opportunity to gradually prepare for expressive reading: we offer to correctly read passages or episodes that the children have already comprehended; we draw their attention to individual visual arts, looking for a logically and emotionally important word in them, we demand that intonation be observed, corresponding to punctuation marks - in a word, throughout the lesson we help students master the necessary means of expressiveness.

The same requirements cannot be made for the reading of a teacher and a schoolchild as for the artistic reading of an artist who, in addition to a specially reserved voice, also has other means of expressiveness, and who has the possibility of lengthy organized preparation for reading. For school expressive reading, it is necessary to fulfill the following requirements proposed by L.A. Gorbushina:

1. Compliance with punctuation marks. This basic skill is especially important for students in grades 1-2.

Children, while still reading the primer, are accustomed to naturally lowering their voices at full stops and to conveying interrogative or exclamatory intonation with the corresponding signs at the end of a sentence. At the same time, it is necessary to cultivate in them the skill of connecting a certain sign of intonation with the content of a sentence. It is not enough just to indicate that this or that sign is at the end of the sentence: the student must realize the need to express joy, surprise or fear, depending on the idea of ​​the sentence.

Materials on pedagogy:

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