Summary of a logorhythmic lesson with children with stuttering in the older group
Bibliographic description:
Efremova, A. V. Abstract of a logorhythmic lesson with children with stuttering in the senior group / A. V. Efremova, A. E. Petrova. — Text: direct // Questions of preschool pedagogy. - 2022. - No. 8 (25). — P. 66-68. — URL: https://moluch.ru/th/1/archive/140/4462/ (access date: 01/03/2022).
Topic : Toys
Form: group.
Equipment: toys, a basket, a ball, a doll, rugs and chairs according to the number of children , equipment for playing music and musical material (“Sweet Dream”, “March of the Tin Soldiers” by P. Tchaikovsky, “Oh, the hoop broke”, Ukrainian folklore). chalk, sample T. Popatenko)
Goal : clarification of acquired knowledge.
Objectives : educational: clarify and consolidate vocabulary on a lexical topic; correctional: learning to relax and tense muscles, reducing muscle tension, practicing whispering speech; developing: development of general motor skills and spatial orientation, development of a sense of rhythm, the ability to convey musical rhythm, develop perception of music, development of physiological breathing; educational: to cultivate attention to the teacher’s speech, the ability to work in a team.
Content:
1. Relaxation “The dolls woke up.”
Speech therapist: We are going to the land of toys, but in order to find ourselves there you need to plunge into a magical dream. Children lie down on rugs, calm music sounds (“Sweet Dream” by P. Tchaikovsky)
Speech therapist: “In the morning the doll woke up, arms up and stretched, washed, got dressed, combed her hair neatly.” Children depict actions.
2. Exercise to regulate muscle tone. "Rag Doll - Tin Soldiers"
We have a doll Masha,
Our rag doll
The doll is soft like cotton wool
There is not enough hardness in it. — Children relax by pretending to be a doll.
But we have soldiers
Solid, straight pewter. - Children tense up, straighten their backs, press their arms to their body, keep their legs together.
The exercise is repeated several times.
(Smirnova L.N. Speech therapy for stuttering. Classes with children 5–7 years old in kindergarten. A manual for speech therapists, educators and parents. - M.: Mozaika-Sintez, 2006. - 64 p. - p. 7)
3. Exercise to develop a sense of rhythm and orientation in space. To the music of P. I. Tchaikovsky “March of the Tin Soldiers”.
| Here are the soldiers standing |
| the parade begins. |
| One two three four five |
| We begin to walk. |
Children learn the exercise as the teacher demonstrates:
1 bar.
| 2 bars
|
3 beat.
|
4. Breathing exercises
"Ball"
Parsley brought an inflatable ball. We'll inflate him.
Children stand in a close circle, holding hands; take a deep breath, step back and stop, and as you exhale, squeeze the circle.
"Caught the ball"
Feet shoulder-width apart, raise your arms up - inhale; As you exhale, press your hands to your chest and say “Ha!” Repeat 3-4 times
5. Counting book “We play with toys”
1) The speech therapist reads a quatrain. Children repeat it after the adult and clap their hands in time with the poem (four claps for each line).
We play with toys
We call toys:
Drum, spinning top, accordion,
Robot, doll, matryoshka.
(Smirnova L.N. Speech therapy for stuttering. Classes with children 5–7 years old in kindergarten. A manual for speech therapists, educators and parents. - M.: Mozaika-Sintez, 2006. - 64 p. - p. 7)
2) Children stand in a circle, pass the ball around and recite the poem.
6. Musical game “The doll is dancing”
Musical accompaniment
Part 1 “Sweet Dream” (fragment), music. P. Tchaikovsky
Part 2 “Oh, the hoop burst”, Ukrainian. adv. chalk, arr. T. Popatenko
Equipment: toy - doll
Description of the exercise.
Children sit on chairs in a semicircle in front of the teacher. To music playing at a slow tempo (part 1), the doll, led by adults, dances, and children slowly clap their hands to the music. When the music and dance ends, the children place their hands on their knees. The doll dances again, but to fast music (part 2), and the children accompany the dance by clapping at a fast pace. When the music and dance ends, the children place their hands on their knees.
“Listen to the music the doll will dance to. The music will be either slow or fast. When the doll dances, you clap your hands to the beat of the music. If the music is fast, then you clap your hands just as quickly, and if the music is slow, then you clap your hands less often. When the music and dance are over, place your hands on your knees.
The game is played several times, then played without a visual reference. (Yu. O. Filatova N. N. Goncharova E. V. Prokopenko Logorhythmics: Technology of development of motor and speech rhythms in children with speech disorders: Educational manual / edited by L. I. Belyakova. - M.: National Book Center , 2017–208 pp. (Speech therapy technologies.), p. 26).
7. Practicing whispered speech. "Putting away the toys"
Speech therapist: “The toys are tired and have fallen asleep, they need to be put in the basket, but you need to speak quietly so that they don’t wake up.” Children take turns coming up, taking a toy and putting it in the basket, commenting on their actions. I put Parsley in the basket, and a reel in the drawer.
I put a matryoshka doll in the basket.
I put the tumbler in the basket. I put the ball in the basket.
I put the car in the cart. Etc.
(Smirnova L.N. Speech therapy for stuttering. Classes with children 5–7 years old in kindergarten. A manual for speech therapists, educators and parents. - M.: Mozaika-Sintez, 2006. - 64 pp. - p. 6.)
8. Relaxation.
Children lie down on rugs, calm music sounds (“Sweet Dream” by P. Tchaikovsky). The game ends with the words: “They put the doll to bed. Well, it’s time for us to get up!”
Key terms
(automatically generated)
: child, hand, doll, Tchaikovsky, kindergarten, music, ending of music, Sweet dream, calm music, whispered speech.
Features of logorhythmic exercises
Currently, when working with children with speech impairments, various methods and techniques are used. Today, in addition to traditional speech therapy classes to correct sound pronunciation, correct violations in the lexico-grammatical design of speech utterances, and develop articulatory, fine and gross motor skills, it is proposed to use such an effective method of overcoming speech disorders as speech therapy rhythm. This is a form of active therapy, the goal of which is to overcome speech disorders by developing the child’s motor sphere in combination with words and music.Why logorhythmics? Everything around us lives according to the laws of rhythm. The change of seasons, day and night, heart rate and much more are subject to a certain rhythm. Any rhythmic movements activate the activity of the human brain, contribute to the activation of various analytical systems, and the formation of integrative human activity. Therefore, from early childhood it is recommended to develop a sense of rhythm in a form accessible to preschoolers - rhythmic exercises and games.
Speech therapy rhythm is one of the links in correctional pedagogy. It links together the word (sound), music and movement.
Logorhythmic classes are aimed at the comprehensive development of the child, improving his speech, mastering motor skills, the ability to navigate the world around him, understanding the meaning of the proposed tasks, the ability to overcome difficulties, and express himself creatively. Under the influence of regular logorhythmic exercises, a restructuring of various systems occurs in the body, for example, cardiovascular, respiratory, speech-motor, cognitive, etc.
It should be noted that speech therapy rhythms are useful for all children, and especially those who have problems developing speech function, including children with Dysarthria, alalia, delayed speech development, with disorders of sound pronunciation, stuttering, autistic disorders, etc. Speech therapy rhythms are very important for children with such called speech negativism, since classes create a positive emotional mood towards speech, motivation to perform speech therapy exercises, etc. Children really like songs, rhymes and counting rhymes, accompanied by rhythmic movements.
Logorhythmics classes help normalize a child’s speech, regardless of the type of speech disorder, form a positive emotional mood, teach communication with peers, help clarify articulation, develop phonemic processes, expand vocabulary, improve general and fine motor skills; An ear for music is formed, the emotional sphere and creative abilities develop, and self-confidence appears.
Game classes are built taking into account the basic pedagogical principles - consistency, gradual complication and repetition of the material, the rhythmic structure of the word is worked out, and clear pronunciation of sounds that are accessible by age, the children's vocabulary is enriched.
Speech therapy rhythmics includes:
walking in different directions;
exercises to develop breathing, voice and articulation;
exercises that regulate muscle tone and activate attention;
speech exercises without musical accompaniment;
exercises that develop a sense of musical tempo;
rhythmic exercises;
finger, communication games;
singing;
exercises to develop fine motor skills.
The basic principle of constructing all of the above types of work is a close connection with music. Music, with its enormous emotional influence, allows you to endlessly diversify movement techniques and the nature of exercises. Speech material must be introduced into logorhythmic classes. The introduction of a word allows you to create a whole series of exercises built not on a musical rhythm, but on a poetic one, which contributes to the rhythm of movements. Pronunciation of poetic lines is combined with movement. The appendix provides examples of logorhythmic exercises.
In a playful way, children master and consolidate the concepts of size, shape and color of objects, master the movements of gross and fine motor skills, learn to find rhythmic organization in music and speech, and become familiar with basic self-massage techniques.
The plot-thematic organization of work allows each child to feel comfortable and confident, since the game maximizes the children’s potential.
The main task of the teacher is to create an atmosphere of joy in the classroom.
Therefore, logorhythmics becomes a holiday of beautiful speech for children.
Alalia is the absence or underdevelopment of speech due to organic damage to the cerebral cortex in the prenatal or early periods of a child’s development. Many scientists have noted the leading role in the occurrence of alalia of birth craniocerebral injuries and asphyxia of the newborn.
Moreover, in most cases, both injuries and asphyxia are a consequence of intrauterine pathology, causing chronic oxygen starvation of the fetus (intrauterine hypoxia). Among the etiological factors, there are also intrauterine encephalitis, meningitis, fetal intoxication, intrauterine or early intravital brain injuries, early childhood diseases with complications on the brain.
Some Western researchers emphasize the role of heredity and family predisposition in the etiology of alalia.
Alalia cannot be considered simply a temporary functional delay in speech development. With this disorder, the entire process of speech development occurs under conditions of a pathological state of the central nervous system. A child’s speech, which occurs late, is formed on a pathological basis. Alalia is characterized by late development of speech, slow accumulation of vocabulary, disruption of the syllabic structure of words, delayed formation of phrasal speech with pronounced agrammatisms, insufficient or complete absence of the communicative function of speech. The development of the linguistic system in a child with alalia is of a specific nature, and this is reflected not so much in the quantity as in the quality of speech. With alalia, all components of speech are disrupted: the phonetic-phonemic side, the lexical-grammatical structure. Non-verbal disorders include motor, sensory and mental symptoms.
Children with motor alalia are characterized by limited and unstable attention and perception. Children seem to glance at objects, objects, pictures, without catching essential details, so subject and plot pictures for classes with children should be simple, without distracting details, clear, bright.
The question of the intelligence of children with motor alalia is resolved ambiguously. Many researchers agree that the intelligence of such children is secondarily altered due to the state of speech, and we can talk about secondary mental retardation. It should be noted that the thinking of children with motor alalia is concrete.
In speech therapy practice, work with children suffering from various forms of alalia is carried out in four stages. In accordance with them, logorhythmic and musical-rhythmic education is carried out.
At the first stage, conditions are created for establishing contact with children, since, despite the individuality of each child, something common stands out in the behavior of children in the first lessons: lack of directed interest in toys, refusal to communicate, weakening of orientation activities, fear of a new environment. In this regard, non-verbal contact with the child is first established. This is explained by the fact that any instruction, assessment, including praise, is a limitation of spontaneous activity, since in this case a certain mode of behavior is imposed. In addition, attempts to immediately establish verbal contact with a child or imposing certain types of activities without taking into account the level of communication available to the child himself can immediately create an atmosphere of misunderstanding between the teacher and children. In the first lessons, facial, rhythmic, effective forms of interaction, a gentle, encouraging smile, and an encouraging nod of the head are used. Waiting tactics are used and non-verbal contacts are formed with each child. Therefore, the music director, as well as the speech therapist, with great endurance and patience, tact and attention to the child, reveals his motor and musical capabilities in the first few lessons.
First of all, children’s movements are formed and corrected, namely: basic movements, general developmental and motor complexes in outdoor games.
At the second stage of speech therapy work, logorhythmic classes also include tasks that train basic movements: running, walking, climbing, jumping, throwing balls, etc.
Various objects differing in size, shape and color are introduced into exercises and games. By naming them while moving, children activate their vocabulary. Exercises and games are conducted to develop expressiveness, rhythm and tempo of movements.
At the third stage, logorhythmic exercises help develop children’s memory. To develop visual and auditory memory, you can use exercises and games like “Do as I do”, “What has changed?” (for example, in the formation of children), “Remember and repeat” (movement, series of movements or movement for coordination).
Tasks are given in remembering the order of words in a sentence; games are played with a complex set of movements and with complex verbal instructions; outdoor and speech games; children singing songs and songs.
Performing songs develops children's vocal and choral skills and helps correct speech. In order to solve these problems more successfully, the music director, together with the speech therapist, finds out the individual characteristics of each child and selects interesting material that is accessible to children. Particular attention is paid to the development of speech breathing, mobility of the articulatory apparatus and work on diction. At first, only vowel sounds should be sung in isolation, then chains of 2 to 4 vowels and syllables that include consonants that do not cause difficulties for children. Then they start learning songs. The songs should be interesting and emotional, so that the most withdrawn and silent children will want to sing. The children's phonetic and vocabulary gradually becomes enriched, and their song repertoire expands in complexity. Since not all children master the phonetic and lexical aspects of speech equally, the vocabulary of songs should be varied. Role-playing songs meet this requirement. In them, speech roles are given to children with a richer vocabulary, and onomatopoeic roles are performed by those who are slowly accumulating and consolidating their vocabulary. It makes more sense to work on songs individually, so that each child can hear their own pronunciation. If in the first months, when singing songs, attention is paid to developing correct speech breathing and articulation in children, then in subsequent months attention switches to the rhythm of the song. The rhythm of children's songs is usually very simple. It is uniform, bilobed in size.
To make it easier for children to learn the rhythm of a song, dramatization should be used. Thanks to her, children master not only the rhythm, but also the content of the song. Each movement is performed according to the emphasis in the music and the emphasis in the words. In addition, staging a song fosters a feeling of a partner, strengthens inter-individual connections, and increases the positive emotional mood of the session. As the speech therapist moves from working on the rhythm of speech to working on logical stress, smoothness and intonation expressiveness of phrases, work on the song becomes more complicated. At this stage, it is important to select songs that are different in emotional intensity and expressiveness. The modal coloring of songs will help the child choose the correct intonation. Children sing marching songs cheerfully and cheerfully.
At the third stage, the plan of treatment and educational work should include the preparation and holding of holidays and entertainment. Children with alalia participate in them either passively as spectators, or in mass formations and round dances. Festive excitement, joyful anticipation of an unusual and bright event brings joy to children, puts them in a good mood, and causes emotional experiences. Preparing and holding the holiday contributes to the education of a friendly, cohesive children's team and the formation of positive character traits. At the same time, the holiday has educational significance. What they see at the holiday broadens the children’s horizons and remains in their memory for a long time. Children share their impressions with their parents and friends; these stories contribute to the development of speech, the ability to express their thoughts and feelings in words. Gradually, children with alalia are attracted to active participation in performances.
The matinee program is based on material that is well known to children, which is varied or presented in a new way. When selecting songs, dances, poems, stories, it is necessary to take into account how accessible and close they are to children in content and correspond to their speech abilities and skills. Matinee programs should be full of speech, but this does not exclude games, dances and songs. Each matinee ends with a performance of a fairy tale, a dramatized story or a play. Learning the material and training are carried out in all classes: speech therapy, educational, musical and rhythmic. All children must perform at the festival. A performance is prepared with each child. If, due to limited verbal communication capabilities, a child cannot present a story or participate in a dramatization, an accessible poem or riddle is selected for him. If a child does not have sufficiently automated sounds, then he can perform in choral reading and take part in playing out a non-speech role. A child’s involvement in performing occurs gradually: first he performs in a group or department, then he performs at a matinee organized for two groups. Here he needs to show courage, determination, and resourcefulness. For children who take a passive part in this holiday, it has a psychotherapeutic and encouraging meaning, and stimulates speech activity. They have a desire to imitate their comrades. At the graduation party, children perform in front of a large audience: parents, teachers, peers. After the matinee, the children express their impressions and evaluate the performances.
At the fourth stage, the improvement of the diverse speech activities of children continues. Particular attention is paid to analyzing words in a sentence and remembering the order of words. For this purpose, during logorhythmic classes, outdoor games, role-playing games, dramatizations of songs, poems, prose with and without musical accompaniment, holiday and graduation matinees are held, such types of independent activities of children as artistic and speech are stimulated and improved in and outside of classes , combined musical and visual, theatrical and gaming, musical.
Exercises and games combine music, movement, and words. When mastering independent activity and various forms of communication, music and movement precede speech. As all types of activities improve, music, movement and speech appear in different dependencies, voluntarily controlled by children. If at the beginning of this stage children are offered exercises for coordinating movements with speech, which contribute to the development of unity and expressiveness of phrases, they learn various dramatizations and games with musical accompaniment, then subsequently speaking, dialogues, monologues of children, complex verbal instructions.
At the fourth stage, work continues to improve artistic and speech activity. Its purpose: to develop children’s ability to quickly navigate a new speech (or non-speech) task, independently find the answer, and switch from one type of artistic speech activity to another. Having acquired methods of independent action in class, children then transfer them to activities outside of class.
or fables. Children independently organize to show a small concert to the dolls; to practice episodes of dramatization games under the guidance of the most active peers who took on the role of director and director. Such playful, spectacular entertainment helps to unite children into stable groups, their self-organization for collective activities.
Methods for guiding independent artistic and speech activity are as follows:
teaching artistic and speech skills that ensure both the child’s individual speech manifestations and collective ones (his participation in a conversation with an adult, conversation with children); learning the ability to listen to the speech of others, listen closely, concentrate;
extensive use of an adult speech sample (reading by a speech therapist, teacher, singing by a music director, storytelling, expressive performance of poetry, speech in conversation);
questions from an adult as supporting points in the child’s independent speech manifestations;
the use of visual aids and technical teaching aids (tape recorder, gramophone records, etc.);
creating specific situations that stimulate speech during the lesson, for example, the use of musical and didactic games.
When choosing methodological techniques, the following must be taken into account: children with alalia do not have a system of speech skills; their skills in different areas of speech development are at different levels. Some have a greater command of the phonetic side of speech, while at the same time their grammatical correctness is in its infancy (the child does not yet have developed forms of communication; the active participation of an adult plays a significant role in his speech act), others with a sufficiently developed lexico-grammatical side of speech have a significant lag in phonetic-phonemic processes, etc. Hence the need to combine techniques for activating speech as a whole, its different aspects (dictionary, grammatical structure, dialogue, monologue, improving the sound side of speech).
Independent theatrical and play activities serve the same purposes. Theatrical games of children include not only the action of children with puppet characters or their own actions in roles, but also artistic and speech activities (choosing a topic, conveying familiar content, writing, etc.), visual (design of characters and locations ), musical (performing songs on behalf of the characters, staging them, dancing, humming, etc.).
The complexity of the structure of theatrical and play activities determines the interaction of children with a speech therapist, teacher, and music director, since elements of the theatrical and play composition are practiced in various classes. Theatrical and play activities are carried out during musical and rhythmic classes and outside classes, in children’s independent activities. At the preparatory stage, they need the help and guidance of an adult. The teacher follows certain criteria that the independent theatrical activities of different age groups of children meet normally. There are three levels: the first level corresponding to the middle group, the second to the senior group, and the third to the preparatory group.
First level. Be able to pronounce small sentences and phrases on behalf of a character, then organizing his actions in space on a plane, calm movement (walking), somewhat accelerated movement (running, jumping, turning); be able to coordinate your actions with the actions of your partner (listen without interrupting; speak when addressing your partner); perform movements and actions in accordance with the logic of the characters’ actions and taking into account the location of the action.
Second level. Be able to perform short monologues and more detailed dialogues between characters, act out actions with characters using a variety of movements (turns of the body, head, hand movements); be able to coordinate your actions with the actions of your partners, not overshadow them, choose appropriate movements and actions, always feel your partners next to you, find expressive means of playing the role of your character; strive to decorate the scene of the characters' action with some decorative elements.
Third level. Be able to perform complete scenes and small plays based on roles, using the intonation expressiveness of the characters, voice changes according to the image of the character, his characteristic actions and movements; find appropriate actions of the characters in the playing space, their location on the stage; see and hear your partner, do not prolong actions and do not speed up to the point of fussiness, enter into the general course of action in a timely manner; strive to think about the design of the scene in advance and prepare everything necessary for this; organize into a group, distribute among themselves roles and other responsibilities related to the preparation and presentation of a theatrical performance (performance).
Naturally, the indicated levels of development of independent theatrical and play activities by children with alalia are achieved gradually, over a longer period of time, and not always successfully. The degree of adult participation in this activity throughout the entire correctional educational process is high and decreases somewhat only by the fourth period of work.
At the fourth stage of correctional speech therapy re-education of personality and speech development of children, their musical activity, or music-making, is actively stimulated. Playing music for children enriches their visual and auditory perceptions and improves their memory.
USE OF LOGORHYTHMS IN THE DEVELOPMENT OF ORAL SPEECH OF PRESCHOOL CHILDREN WITH STUTTERING
USE OF LOGORHYTHMS IN THE DEVELOPMENT OF ORAL SPEECH OF PRESCHOOL CHILDREN WITH STUTTERING
One of the important health-forming technologies used in the educational process aimed at correcting speech deficiencies in children is logorhythmic education. The use of speech therapy rhythms ensures the comprehensive development of the child, promotes the formation and correction of impaired body functions, especially with regard to speech deficiencies.
The very concept of logorhythmics presupposes the use of a system of rhythmic, verbal-rhythmic and musical-rhythmic education in working with children who need corrective influence and help in overcoming speech disorders.
Scientific research by A.V. Yastrebova convincingly testify to the importance of a sense of rhythm for mastering speech, since speech has
rhythmic structure, which is determined by the number of syllables in words, their emphasis, place and accent [5].
Rhythmic ability is one of the universal basic properties of a person. Modern research by T.B. Filicheva and N.A. Cheveleva showed that “high correlation rates of speech, musical and artistic abilities may be due to the fact that they are based on a sense of rhythm” [4, p. 29].
A logorhythmics lesson for a group of children with stuttering includes: elements of a musical lesson; fragments of a logorhythmic lesson for people who stutter; elements of a physical education lesson and elements of a rhythm lesson.
Planning of logorhythmic classes is carried out on the basis of the principles developed by G.A. Volkova. These include the principle:
– etiopathogenetic. It requires a differentiated structure of classes depending on the cause and pathogenesis of the speech disorder;
– consciousness and activity. It lies in the child’s active and conscious attitude to his activities;
– systematicity. It lies in the regularity, systematicity and continuity of the correction process;
– visibility. It consists of directly demonstrating movements and using a visual image or figurative word of the teacher;
– accessibility and individual approach. It takes into account the age characteristics and capabilities of children;
- taking into account symptoms. It allows you to correlate the physical capabilities of children with speech pathology. Taking into account the children’s capabilities, the load is dosed;
– stages. It determines the logical sequence of acquiring consolidation and improvement of the entire complex of knowledge and skills. It is based on an approach from simple to complex [3]. The lesson is conducted by a speech therapist and a music worker or only a speech therapist.
The task of a music worker is to teach children to move freely in accordance with the nature of the music, tempo, register, teach them to speed up and slow down movement, change movements in accordance with the content of a musical phrase, develop attention, musical memory, and form features of general and speech behavior [3].
The task of a speech therapist is to normalize motor functions and speech, to carry out not only correction of motor skills and speech, but also behavior, character, and the entire personality as a whole [1].
Classes are held with the whole group 2 times a week for 35-40 minutes. The selection of musical, rhythmic and speech material takes into account the structure of speech and motor disorders.
A logorhythmic lesson is closely related to a speech therapy lesson; its content changes as the speech material gradually becomes more complex and is carried out using game techniques.
The acquired skills are reinforced in speech therapy classes and at home under the supervision of instructed parents.
When stuttering, the correctional tasks of conducting a logorhythmic lesson will be as follows: to cultivate the speed of motor reaction, clarity, accuracy of movement; learn to switch attention to the quality of actions; carry out work to normalize muscle tone; develop the emotional-volitional sphere, using play and expressive movements for this; create a positive attitude, a desire to move and communicate with friends; create a sense of collectivism based on joint actions; develop confidence in one’s capabilities and the ability to overcome difficulties when performing tasks [2].
Classes with children who stutter involve solving the following problems:
– more attention is paid to the development of coordination and switching from one movement to another, while the tasks become more difficult gradually, the transition to new exercises is permissible only if the previously learned ones are accurately performed;
– movements for static and dynamic coordination alternate, the material is presented in dismembered form;
– demonstration of exercises is always combined with verbal explanation;
– work is being done to develop fine motor skills and facial muscles;
– work is carried out on the general development of speech, on the development of auditory attention and perception;
– an individual approach to children is constantly used [1]. Work on developing a sense of rhythm consists of several sections:
– exercises to regulate muscle tone (the ability to tense or relax muscles);
– breathing development exercises contribute to the development of diaphragmatic breathing, a fairly strong, long and gradual exhalation;
– exercises for the development of fine motor skills develop finger movements, coordination, their interaction, and contribute to the development of articulatory motor skills;
– exercises to develop a sense of tempo (speed of musical performance);
– exercises for the development of phonation breathing contribute to the development of correct phonation breathing, strong, prolonged and gradual exhalation;
– exercises to develop coordination of movements and speech;
– exercises for coordinating speech with movement and developing imagination [3].
Thus, logorhythmics is a means of developing and improving the motor skills and speech of children with speech disorders. The combination of movements, music and speech in logarithmic classes increases
the effectiveness of speech therapy work in general. Logorhythmic classes serve the chains of correction of speech, movement and personality of children as a whole, and their program must be coordinated with the stages of speech therapy work. If a logorhythmic lesson is conducted before a speech therapy session, then its task is to prepare for a speech lesson. If it follows a speech therapy session, then its goal will be to consolidate the skills learned from the speech therapist. It is more advisable to conduct a logorhythmic lesson after speech therapy on familiar speech material.
Used sources:
1. Harutyunyan, L.Z. How to treat stuttering: Methodology for sustainable speech normalization / L.Z. Harutyunyan (Andronova). – M.: Erebus, 2013. – 160 p.
2. Volkova, G.A. Stuttering and dysontogenesis / Edited by G.A. Volkova. // Methods of studying and overcoming speech disorders: interuniversity. Sat. scientific tr. – St. Petersburg, 2014. – pp. 7–12.
3. Efremova, A.V. Methods and techniques of correctional speech therapy work with stuttering preschoolers / A.V. Efremova, A.E. Petrova, N.I. Belova. // Education and upbringing. – 2022. – No. 5 (25). – P. 9-13.
4. Filicheva, T.B. Program for training and education of children with phonetic-phonemic underdevelopment (senior group of kindergarten) / T.V. Filicheva, G.V. Chirkina. – M.: Nauka, 2015. – 72 p.
5. Yastrebova, A.V. Correction of stuttering in primary school students of general education institutions / A.V. Yastrebova. – M.: Astrel, 2022. – 96 p.
