Formation of coherent monologue speech in children with speech disorders

The success of children's education at school largely depends on their level of mastery of coherent speech. Adequate perception and reproduction of textual educational materials, the ability to give detailed answers to questions, independently express your opinions - all these and other educational activities require a sufficient level of development of coherent (dialogue and monologue) speech.

The leading place in the preschool education system is given to the implementation of speech tasks. Modern research in this area indicates that most children do not have coherent speech skills by the end of preschool age. Their vocabulary is not rich. There are no figurative expressions in children's speech, few adjectives, the words used are unambiguous, and the language is inexpressive. When composing a story based on a plot picture, children limit themselves to simply listing the objects depicted or naming the actions, without determining the relationship between the characters, the location of the action, or the time; they cannot determine the sequence of events or identify cause-and-effect relationships.

Significant difficulties in mastering the skills of coherent contextual speech in children with general speech underdevelopment are due to the underdevelopment of the main components of the language system - phonetic-phonemic, lexical, grammatical, and insufficient development of both the pronunciation (sound) and semantic (semantic) aspects of speech. The presence in children of secondary deviations in the development of leading mental processes (perception, attention, memory, imagination, etc.) creates additional difficulties in mastering coherent monologue speech.

Characteristics of coherent speech and its features are contained in a number of works of modern linguistic, psycholinguistic and special methodological literature. In relation to various types of extended utterances, coherent speech is defined as a set of thematically united fragments of speech that are closely interconnected and represent a single semantic and structural whole.

The issues of the formation of coherent monologue speech of preschool children with normal development are discussed in detail in the works of L.A. Penevskaya, L.P. Fedorenko, T.A. Ladyzhenskaya, M.S. Lavrik et al. Researchers note that elements of monologue speech appear in the utterances of normally developing children at the age of 2–3 years. From the age of 5–6 years, the child begins to intensively master monologue speech, since by this time the process of phonemic development of speech is completed and children mainly acquire the morphological, grammatical and syntactic structure of their native language (A.N. Gvozdev, G.A. Fomicheva, V. K. Lotarev, O.S. Ushakova, etc.). In older preschool age, the situational speech characteristic of younger preschoolers noticeably decreases. Already from the age of 4, children become available to such types of monologue speech as description (a simple description of an object) and narration, and in the seventh year of life - short reasoning. However, children’s full mastery of monologue speech skills is possible only under conditions of targeted training. Necessary conditions for the successful mastery of monologue speech include the formation of special motives, the need for the use of monologue statements; the formation of various types of control and self-control, the assimilation of the corresponding syntactic means of a detailed message (N.A. Golovan, M.S. Lavrik, L.P. Fedorenko, I.A. Zimnyaya, etc.). Mastering monologue speech and constructing detailed, coherent statements becomes possible with the emergence ofregulating, planning functions of speech (L.S. Vygotsky, A.R. Luria, A.K. Markova, etc.). Research by a number of authors has shown that children of senior preschool age are able to master the skills of planning monologue statements (L.R. Golubeva, N.A. Orlanova, I.B. Slita, etc.). Forming the skills of constructing coherent, detailed statements requires the use of all speech and cognitive capabilities of children, while simultaneously contributing to their improvement. It should be noted that mastering coherent monologue speech is possible only if there is a certain level of development of vocabulary and grammatical structure of speech. Therefore, speech work on the development of lexical and grammatical language skills should also be aimed at solving the problems of forming coherent speech.

Based on the research of leading experts in the field of development of coherent monologue speech, our teaching staff summarized their experience in this area. The system of work on the formation of coherent speech is developed on the basis of an integrated approach, including diagnostic and correctional-developmental stages. The diagnostic stage is aimed at examining expressive and impressive speech. To assess and further analyze the level of development of children’s coherent speech, we use the following criteria:

maintaining the general structure of the story (the presence of a beginning, middle, end);

grammatical correctness (correct construction of sentences, agreement of words in gender, number, case);

use of expressive means;

retention of the required sequence of presentation in memory;

sound aspect of speech (tempo, smoothness, intonation);

desire to actively use coherent monologue speech.

As a result of the examination, a conclusion is drawn about the level of development of coherent speech in the child. A description of the diagnostic techniques we use to identify the level of coherent speech is offered inAppendix 1.

The utterances of children with speech disorders are characterized by: listing the characteristics of an object in any sequence, violations of coherence, incompleteness of micro-topics, and a return to what was previously said. In some cases, the description comes down to a random listing of individual details of the item. Lexical difficulties and deficiencies in the grammatical design of sentences are clearly expressed. Taking into account the above-mentioned characteristics of children with speech disorders, stage-by-stage work on the formation of coherent speech is very important.

First stage of work aimed at developing the skill of describing objects and phenomena. The communicative task of uttering a description is to create a verbal image of an object: in this case, the characteristics of the object are revealed in a certain sequence. The description is characterized by the main characteristics of a coherent, detailed statement: thematic and structural unity, adequacy of the content to the communicative task, arbitrariness, planning and contextuality of presentation, logical completeness, grammatical coherence.

The importance of mastering the skills of describing objects in terms of preparation for schooling, the difficulties in mastering this type of detailed statements determine the need to find the most adequate ways and means of developing descriptive speech skills in children with speech disorders. An effective technique, in our opinion, when teaching children with ODD is a parallel description by the speech therapist and the child of two similar game objects, when the speech therapist, and after him the child, compiles a description of the object in parts, naming the same features. For example:

Speech therapist

It's a cat.

My cat is gray and black

stripes. Her paws are white.

The cat's fur is soft and fluffy.

The cat's ears are small and pointed

Her eyes are round and green.

The cat has long whiskers.

Etc.

During training, we use a number of auxiliary techniques: gestural indications of the shape of an object, its details; description based on individual drawings depicting close-up parts of an object or its characteristic structure.

As a separate type of work, we use in our classes the collective compilation of a description of one object by several children (in a “chain”), each giving a description of 1-3 characteristics (micro-topics).

We are gradually moving on to developing in children the skills of planning a short description. First, a collective plan is drawn up: children are asked questions about the content of the description (“What will we say first?”, “What will we say about this subject, what is it?”, “How will we end our story?”). Subsequently, before drawing up a description, the child is asked to say what he will talk about, using a previously learned scheme (“I will say what the object is called, what shape, color, size it is, what it is made of, what it is needed for”), etc. d. Next, new types of work are given: describing an object from memory, from one’s own drawing, including descriptions in various game situations. In the subsequent case, the children’s statements are based only on the model given by the speech therapist.

The technique of describing an object based on a completed drawing is effective for children with SLD to acquire independent description skills. Drawings are made with colored pencils or felt-tip pens in order to consolidate color visual ideas. Then they are displayed on a typesetting canvas, and the children take turns talking about the depicted objects. The teacher gives a brief analysis of the children’s statements (completeness of information about a given subject, consistency, errors in the use of language means). The inclusion of subject-specific practical actions in the process of teaching coherent descriptive speech, in our opinion, helps to consolidate ideas about the basic properties of objects, as well as increase children’s interest in the lesson. Children's drawings can be done under the guidance of a teacher. We describe objects from memory in separate lessons on the topics: “My favorite toy”, “Our faithful friends”. Descriptions from memory are also carried out in educational classes, especially on the basis of children’s fresh impressions, for example, after visiting a zoo, a living corner, collective work on caring for plants, and classes to get to know nature.

An effective technique for developing the skill of composing a descriptive story is game-based work techniques that involve consolidating and developing speech skills and speech-thinking actions formed in the process of learning to describe.

We used the technique of describing objects without naming them during the game “Masha Got Lost,” during which several dolls (4–5) of the same size are used, but differing in hair color, eye color, hairstyle, and clothing. The lesson begins with an examination of the dolls, followed by a description of one of them - the Masha doll. Then an explanation of the game action is made. “The girls go into the forest to pick mushrooms (the dolls are moved by the teacher behind a screen) and after a while they return back, except for one. The girl Masha got lost in the forest. One of the game characters (for example, Buratino) goes in search of Masha, but he doesn’t know what Masha looks like, what she’s wearing, what she went into the forest with (with a basket, with a box).” Children give a description of the Masha doll from memory. First, a collective description is given, and then one of the children repeats it. For example: “Masha has black hair, braided. She has a beautiful scarf on her head. Masha has blue eyes and rosy cheeks. She is wearing a white jacket and a blue sundress. She has brown boots on her feet. Masha has a basket in her hand.” Forest inhabitants (hedgehog, hare) are introduced into the game actions. Pinocchio asks if they have met a girl and repeats her description. The teacher directs questions from the child playing the role of Pinocchio (“Ask the hedgehog where he met Masha?”, “What did she do?”, “Which tree was she sitting by?”, etc.).

Thus, during the game, dialogue skills are simultaneously improved and elements of the children’s own creativity and statements are included.

In the future, we teach children to compose descriptive stories based on the plot picture using supporting diagrams. So, for example, based on the painting “Bunnies at Lunch,” children are offered supporting subject pictures: little bunnies, a table covered with a tablecloth, a tureen, and the Hare’s mother.

We use the same type of work when describing a landscape painting. For example, based on the painting “Spring. Big Water" in their stories, children consistently, with a logical conclusion, describe their feelings and mood evoked by the picture, learn to select colorful expressions for the description.

At the end of the first year of study (3rd period), special preparatory work is carried out for a comparative description of two subjects. This work includes various speech exercises based on the comparison of natural objects, dummies and objects presented in a graphic image. In our opinion, the following types of exercises are effective: supplementing sentences started by the teacher with a word that is necessary in meaning, denoting a feature of the subject (“A goose has a long neck, and a duck has...”); making proposals on questions like: “What do lemon and orange taste like”; exercises in identifying and designating contrasting features of two objects associated with their spatial characteristics (an orange is large and a tangerine is small; a tree is tall and a bush is short; a river is wide and a stream is narrow). The technique of parallel description (in parts) of two objects is used - by the teacher and the child (description of a dog and a cat, a cow and a goat, etc.). The main work on children’s mastering the skills of a comparative story - description, as a more complex type of descriptive text in structure, is carried out in the second year of study, in the preparatory group for school.

Work on developing grammatically correct speech in children is carried out in connection with teaching descriptive speech. In classes, children practice the correct use of word forms (case endings of nouns, adjectives, some verb forms; acquiring practical skills in inflection, word formation; practice the correct construction of phrases, simple and complex sentences, with the conjunction “a”). Their active and passive vocabulary is enriched. The classes also include work on children’s mastering certain forms of agreement between nouns and cardinal numerals. An important place is given to the lexical side of speech.

Second phase Our proposed system of work on the formation of coherent speech is aimed at developing retelling skills. It ensures that children have the skill of mastering phrasal, detailed speech, perceiving and understanding the content of the text. Modern works on preschool pedagogy emphasize the special role of retelling in the formation of coherent monologue speech. When retelling, the structure of speech, its expressive qualities, pronunciation are improved, and the construction of individual sentences and the text as a whole is mastered. Learning to retell enriches vocabulary and promotes the development of perception, memory, and attention. At the same time, through imitation, children learn the normative foundations of oral speech and practice the correct use of linguistic means by analogy with those contained in works for retelling. The use of highly artistic works of children's literature when teaching allows us to purposefully carry out work to develop in children a “sense of language” - attention to the lexical, grammatical, and syntactic aspects of speech. This is of particular importance in correctional work with children with speech disorders.

Corrective speech therapy work in retelling classes is closely related to teaching children other types of monologue statements. This work begins in the senior group at the end of the first quarter, after a series of preparatory classes, including training in composing phrases and statements based on individual (situational) pictures depicting actions; demonstration of actions by children, as well as a basic description of objects according to their main characteristics.

Preparatory classes are aimed at children mastering a number of linguistic means of constructing coherent messages, developing a directed perception of the teacher’s speech, and skills to control their own statements. These skills are then used by children as they learn to retell.

In the process of our work, we attach great importance to the selection of works for retelling. Preference is given to texts with similar episodes, repeating plot points, and a clear logical sequence of events (for example, “Know How to Wait” by K.D. Ushinsky, the fairy tale “How a Goat Built a Hut”). When selecting text, it is important to take into account the individual speech, age and intellectual capabilities of children. Texts should be simple and accessible in content and structure, because the child will have to convey the sequence and logic in the description of events, compare individual facts, analyze the actions of the characters, while drawing appropriate conclusions. In addition, it is recommended to observe the principle of thematic relationship with other types of work. For example, a retelling of the story “A Boring Fur Coat” by L.E. Ulitskaya precedes the compilation of a story based on the film “Winter Entertainment”, and the retelling of a series of stories by Yu.D. Dmitrieva about animals is combined with classes on describing domestic animals (using dummies and pictures).

We teach retelling based on the material of each work in two or three lessons (depending on the volume of the text and the speech capabilities of the children). The structure of the classes includes: an organizational part including introductory and preparatory exercises; reading and parsing text by children; exercises for mastering and consolidating language material; analysis of children's stories.

A whole lesson is devoted to reading and analyzing the text. The second lesson begins with re-reading the work with the goal of retelling and compiling it for the children. In the third lesson, we recommend repeating the retelling with children who did not complete the task; and also analyze children's stories.

The purpose of the preparatory exercises is to organize children’s attention, prepare them for the perception of the text (for example, guessing riddles about the characters of the future story; activating lexical material on the topic of the work - clarifying the meaning of individual words and phrases, etc.).

In order to organize perception, direct attention to important semantic points, as well as to some linguistic features during repeated reading, we recommend using the technique of children completing individual sentences with the desired word or phrase.

It is advisable to analyze the content of the text in a question-and-answer form, and the questions should be composed in such a way as to reflect the main points of the plot action in their sequence, to identify the characters and the most significant details of the narrative. In addition, words are isolated from the text and reproduced by children - definitions, comparative constructions that serve to characterize objects and characters. Children's reproduction of words and phrases denoting actions greatly facilitates their subsequent compilation of a retelling.

All classes on teaching children retelling, in our opinion, can be effectively carried out in a small group method - 5-6 people, which allows for an effective individual approach to children, taking into account speech and psychological characteristics and the most pronounced difficulties in composing a retelling. Work with children, carried out in the form of live speech communication, contributes to their interest in classes and the activation of their speech manifestations.

In classes on teaching retelling, we use both basic pedagogical techniques and auxiliary means that serve as factors that facilitate and guide the process of developing coherent speech. The most significant of these factors are:

visibility in which a speech act occurs (S.L. Rubinshtein, L.V. Elkonin, A.M. Leushina spoke about its use);

modeling of the utterance plan (the importance of which was pointed out by L.S. Vygotsky).

Let's take a closer look at the methodological techniques we use in classes to teach children retelling.

At the initial stage of work, children learn to adequately reproduce the text of a story based on illustrative material and verbal help from the teacher. Maximum use is made of techniques that highlight the main elements of the plot of the work (retelling based on supporting issues, based on illustrations). Later, by the end of the first year of study, you can move on to compiling a retelling according to a preliminary verbal plan-scheme.

At the same time, a gradual transition is provided from a collective retelling of the text, when each child takes turns retelling one sequential fragment of the story, to the retelling of several fragments or the work as a whole.

In the second year of education, children are taught to compose a retelling without relying on visual material, paying special attention to developing skills in planning the retelling they are composing.

Along with the basic techniques, we recommend using a number of special auxiliary and activating techniques. These include:

1. Compiling a retelling using filmstrips. Children really like this technique. They feel like participants in the overall process of demonstrating the filmstrip, voicing its frames. Such emotionally positive motivation activates children’s speech abilities, encouraging them to produce a clear, consistent retelling.

2. Drawing on the plot of the work being retold. The technique of using children's drawings is considered very effective. After the retelling, in a separate lesson, children are invited to make a drawing of their own choice based on the plot of the work. Remember how the subject and place of action that they want to depict was described in the story. Then the children independently compose a fragment of the retelling based on their drawing, which contributes to a better understanding of the text and the formation of independent storytelling skills. Relying on the drawing makes the child’s statements more expressive, emotional and informed.

3. An effective teaching tool is to use an illustrative panel with a colorful image in the classroom. Illustration is carried out using flat figures of characters and objects moved onto the panel. Against the background of individual objects (house, barn, forest), close-up images of objects are shown, arranged linearly, in accordance with the sequence of fragments and episodes of the story. The demonstration panel is used in many ways: for the teacher to illustrate the text, for the child to illustrate his or a friend’s retelling. This helps to activate visual and auditory perception, children’s attention, and develop control and self-control skills; helps to more accurately reproduce the sequence of events. It is effective to use panel paintings when teaching children how to plan a retelling. For example, when retelling N. Sladkov’s story “The Bear and the Sun,” we use an illustrative panel on which all the characters in the story appear sequentially. Gradually, the initial drawing of the forest is filled with characters, acquiring a finished form towards the end, which is the support for further retelling.

4. In order to teach children planning actions when retelling in the second year of study, it is recommended to use the technique of modeling the plot of a work using a conventional visual diagram. To perform this, it is advisable to place square blocks on a tripod, depicting individual fragments of the story. Modeling the plot content of M. Gorky's story "Sparrow", we consistently fill the square blocks with conventional silhouette black and white images of characters and significant objects. After reading and parsing the text, the children themselves choose the desired silhouette images and place them in square blocks. In the second lesson, the entire scheme is repeated by one or two children independently. According to the diagram, children retell the text in parts or in full. It is also possible to retell the text again, without relying on a visual diagram. The use of a conventional visual scheme allows you to vary tasks in the process of preparing and conducting a retelling: planning the story as a whole or selectively; distribution of tasks between two children for plot modeling and retelling according to a ready-made scheme; the child’s reproduction of the text according to an independently compiled scheme. Working according to a visual scheme in combination with traditional methods of teaching verbal planning of retelling promotes better mastery of the method of programming the content of a detailed statement by establishing the main semantic links of the story, their sequence and interconnection.

5. Starting from the second year of study, retelling classes are combined with the development of children's storytelling skills with elements of creativity. To enhance the emotional perception of a literary text, you can use the technique of “mentally entering into the described situation,” when the child imagines himself in the place of one of the characters in the story, and not only living objects, but also inanimate objects. By retelling the story from the perspective of any character, for example, from the perspective of Bear, Snow or Pants (a retelling of N. Sladkov’s story “The Bear and the Sun”), the child becomes a real participant in the events described, transfers the experiences of the characters in the story, learns to empathize with them and find a way out. problematic situation. The empathy method activates children's imagination. Together with the hero, they observe, reflect, wonder, and rejoice. Gradually, children master accessible methods of creative transformation of the plot - a story by analogy, a retelling with the replacement of characters or some significant details of the setting, with the inclusion of new characters, etc.

6. Great importance is attached to the analysis and discussion of children's retellings. During a collective discussion of the retelling, children (as instructed by the teacher) make additions, clarifications, and point out mistakes made in the use of words and phrases. Thus, additional opportunities are created for children to exercise in the selection of lexemes, the correct use of word forms and the construction of sentences.

We offer criteria for assessing children's retellings and types of retelling work with complications, as well as recommendations for educators on organizing classes.Appendices 2, 3, 4.

Third stage The system under consideration is aimed at teaching children to compose a coherent story based on a picture. The priority task at this stage is the formation of the ability to construct statements. Children must analyze the structure of the statement: does it have a beginning, how does the action develop, and is there a conclusion? The development of coherence of statements is ensured by a training system, including:

1. Preparing children to perceive the content of the picture (preliminary conversation. Reading literary works on the subject of the picture, etc.).

2. Developing the ability to see the picture. To activate attention and visual perception, game exercises such as “Who will see more?” are carried out. or “Who is the most attentive?”, during which you need to find all the parts of the picture. All details are important, nothing is secondary. Children list all the details of the picture. All this is schematically depicted on the board and circled.

3. Constructing a coherent statement. Children are given the task “Find a Pair!”, during which they need to find two parts of the picture that can be connected and explained what the connection is between them (tree - crow; crow sitting on a tree; birds - grain: birds peck grain; children - house : the children made a house). By connecting two objects with an action, children form complete sentences.

4. Using the technique of “self-projection”, or “entering the picture”. Children are invited to hear, see, feel every fragment of the picture. This technique includes all channels of perception. Children learn to explore everything: snow, birds, puppy, etc. Each child expresses his feelings. Children's speech is enriched with expressive means (comparisons, epithets, colorful definitions), as well as learning the ability to construct sentences of various types and work on the structure of statements. At this stage, the technique of children acting out the actions of the characters in the picture through pantomime can be used, followed by their verbalization.

5. Developing the ability to create a creative story. To do this, ask children questions: “Imagine how this situation began?”, “How did events develop further?”, “What will happen next?” These questions require children to imagine the sequence of events in time. To make it easier to imagine all this, you can use a time track that has a beginning (green), a middle (red), an end (blue), and a gnome that moves along the track. I took a step back and found myself in the morning when the kids had just woken up. Next, the events preceding the picture are built. They organize what they have already told about the picture. Step forward - what will happen there? Now the story has a beginning and an end.

We propose to divide all this work into parts. In one lesson, work on the details of the picture and creating pairs. On the other - “enter the picture”; on the third - schedule according to the time track. This type of work is the longest in time, during which the goal is achieved - to teach a general way of storytelling.

After some time, children themselves will find all the details, connect them, and convey sensations. The way of working will become internal, and the time spent will be justified by the results.

In parallel with this work, vocabulary tasks and tasks for the formation of intonation expressiveness are being implemented.

Examining children with various speech defects (phonetic-phonemic underdevelopment, with an erased form of dysarthria, acoustic-phonemic dyslalia, stuttering, speech impairment due to hearing loss), we drew attention to a number of intonation disorders:

unclear perception and reproduction of melodic patterns of phrases;

speech therapy stress;

rhythmic and logorhythmic structures;

erroneous use of word stress;

change in the tempo-rhythmic organization of speech in the direction of speeding up or slowing down.

Taking into account the above, speech therapy work on all components of intonation is carried out in the following sequence:

1. From a general idea of ​​intonation to differentiated acquisition of various intonation structures;

2. From various types of intonation in impressive speech to mastering intonation expressiveness in expressive speech;

3. From mastering the means of intonation formation on the material of vowels to their development on more complex speech material;

4. From distinguishing and mastering narrative to interrogative and exclamatory intonation.

To prepare children to perceive intonation expressiveness, it is necessary to create the prerequisites for mastering lexical (verbal), logical stress, and correct division of phrases. For this purpose, we used rhythmic exercises, as well as exercises to develop the strength and height of the voice, to gradually expand the range of the voice, develop its flexibility, and modulation.

Working on the rhythm we carry out in two directions: perception and reproduction of various rhythmic structures. This work is carried out in the following sequence:

Listen to isolated beats. Determine the number of beats by showing a card with the corresponding rhythmic structures written on it (icons).

Listen to the series of simple strikes and show the card.

Listen to a series of accented beats and also show the card.

Work on the development of rhythm reproduction includes the following exercises:

tap out isolated blows by imitation (without relying on vision);

tap out in imitation of a series of blows;

write down the strikes and their series proposed for perception using conventional symbols;

independently reproduce the strikes and their series based on the card presented.

prolonged pronunciation of sounds

U__________U

AU_________

AUI________;

Mom went HOME;

exercises to develop voice pitch: “motion sickness”, “steps”, reciting poetry.

After the preparatory exercises, we move on to mastering intonation structures inimpressive speech. We suggest starting with the simplest intonation -narrative, after which we move to interrogative and exclamation. In practical form, it will be like this: the teacher reads the text without intonation the first time, and the second time - expressively, with intonation. Find out which reading you liked best. In order to consolidate in children's memory the auditory image of the melody of a narrative sentence, we note that the completion of the utterance is achieved by strongly lowering the voice on the stressed syllable of the last word of the syntagm. We say this: “When we want to tell someone something, we speak calmly, slightly lowering our voice at the end of the phrase.” For analysis, a sentence was offered, uttered with a narrative intonation, and the children determined what it expressed (a question, an exclamation, or a message). A way to indicate narrative intonation is a card with a dot. And the affirmative gesture of the hand, going from top to bottom, served as a visual means for its recognition.

To teach children to identify the melodic pattern of a narrative sentence by ear, we offer sentences withthe same set of words , but intonationally different from each other.

Rain on the street.

Rain on the street?

Rain on the street!

There are two options for tasks for children:

Highlight declarative sentences by showing a cue card.

Based on the number of narrative sentences, place the corresponding number of chips (sticks).

Practicing the intonation of a narrative sentence inexpressive speech is carried out in this way: initially, simple uncommon sentences with the demonstrative pronoun “this” served as the material for mastering the intonation structure of a narrative sentence. First, a speech therapist gives a speech sample, then the names are repeated by the children in chorus and individually. When answering the question “What is this?” The name of the picture is reproduced with the addition of a demonstrative pronoun. During the analysis, attention must be paid to the lowering of the voice at the end of the sentence.

The next stage is aimed at developing a simple common sentence with an intonation center at the end. Here, to strengthen the skill of pronouncing a narrative sentence, various exercises are offered:

Finish the statement started by the teacher, choose a word that has a suitable meaning, coordinating it with other words in the sentence. Name it, emphasizing the end of the syntagma intonationally.

Complete the sentence by choosing words that are opposite in meaning, for example:

Yesterday there was a thaw, and today... (frost).

We repeat the complete sentence, emphasizing the end of the syntagma intonationally.

Select sentences from the text. Determine their number.

Compose a collective narrative (the speech therapist starts, and the children come up with one sentence at a time).

To become familiar with question intonation The speech therapist, together with the children, remembers that changing the voice can convey various emotional states. For example, by changing your voice, you can ask something. The speech therapist asks a question. Then he invites the children to do this. It further shows that at the end of an interrogative sentence the voice rises. This increase in voice is accompanied by a corresponding movement of the hand and is indicated graphically (up arrow). As an identification mark of interrogative intonation, a card is presented - a symbol with the image of an old man - a question mark. Then we explain that in writing, sentences containing a question are indicated by a question mark. Acquaintance with the melody of an interrogative sentence containing a question word is carried out in a playful way.

In a small country there live unusual people - Pochemuchki (gnomes). They got their nickname because they love to ask different questions. Names them unusual: What? Where? When? Where? Why? To master the language of these little people, you need to learn how to correctly ask all kinds of questions and be able to hear when others ask them.

When pronouncing sentences with question words, attention is paid to the sound of the voice at the moment of their utterance. The gesture marks its rise on the question word:

Who's wandering through the forest?

Where does the cat go?

A speech sample is given to adults. Then we invite the children to independently come up with a sentence with the given question word.

Next, we propose to consolidate the ideas children have acquired about the melody of an interrogative sentence in the game “Listen - don’t yawn!” To play, children stand in a row, and the speech therapist reads the sentences. If children hear a question, they must sit down. If not, they stand still.

After practicing interrogative intonation on the material of simple sentences, we move on to more complex ones - small poetic texts and stories. At this stage, children are offered similar tasks to those used in working on narrative intonation, but now the children are identifying interrogative sentences from the text. To develop in children the abilitydiffer interrogative sentence without a question word from other intonation types, we focus on the obligatory raising of the voice on the word that carries phrasal or logical stress with interrogative intonation. We explain to the children that in every sentence, as in every word, stress “lives”. If in a word the stress, jumping to another syllable, can change its meaning, then in a sentence, the stress, moving from one word to another, can change the main idea of ​​the statement.

The main word in a sentence can be recognized by the way the voice rises at the moment it is pronounced. For example:

To you did the postman come by?

To youcame in postman?

I came to see youpostman ?

Games based on pure proverbs are interesting. Work with this material is carried out on the basis of the game technique “Catch the Question”.From the stomp is hoof dust flying across the field? After this, children learn to isolate interrogative sentences from poetic and prose texts.

We practice the intonation of interrogative sentences in expressive speech in two directions:

Practicing an interrogative sentence with a question word;

Practicing an interrogative sentence without a question word.

In the first direction, the system of work includes exercises for teaching children to raise their voices on a stressed vowel when pronouncing question words:

Whose this jacket?

Why are you awake?

During classes on practicing interrogative sentenceswithout interrogative words, children develop the ability to use the intonation of a question to distinguish words that differ in their location: at the beginning, in the middle, at the end of a sentence.

The peculiarity of speech therapy work on the melody of an exclamatory sentence is its focus on developing the ability to correctly perceive and evaluate emotionally expressive and additional semantic shades that reflect different emotional states of a person. Therefore, before starting to work on the intonation of an exclamatory sentence, we conduct a preliminary conversation with the children, the subject of which is a conversation about feelings and mood. First, exclamatory intonation is practiced using the material of interjections. For example:

Those who are overcome by fear say the word: “Ah!” (a picture is displayed).

Anyone who encounters trouble says the word: “Oh!”

Whoever lags behind his friends says the word: “Hey!”

Whoever takes your breath away pronounces the word: “Wow!”

Then children get an idea of ​​other types of sentences containing exclamatory melody: appeal, exclamation, demand, threat. “My dear, how beautiful!” At the same time, it is clarified what happens to the voice: it either rises sharply, or first rises, then decreases slightly: “Anya, come here!” The change in voice is accompanied by a corresponding movement of the hand. Then a card symbol with an exclamation mark is entered. Further work on highlighting exclamatory sentences proceeds similarly to that described earlier with narrative and interrogative intonation.

To teach children how to correctly formulate exclamatory sentences in expressive speech, children are asked to complete the following tasks:

1. Address someone in the group: “Misha! Sveta!".

2. Call a friend, addressing him: “Misha, come here!”

Convey the intonation of the request: “Tanya, please give me a toy!”

Say an exclamation with an intonation of joy: “The plane is flying!”

Say with an imperative intonation: “Go away! Don't interfere!

Warn of danger: “Caution, the water is hot!”

Then the intonation structure of exclamatory sentences is reinforced in poetry and role-playing games. Intonation suffers not only in children with severe speech pathology. Intonation also requires detailed study in children with milder speech pathologies. This work should begin already in kindergarten, which will allow for the purposeful development of auditory attention, speech hearing, and vocal capabilities of children. All this will contribute to more effective correction of speech disorders.

The proposed work system was tested from 1998 to 2005 and has positive results indicating its effectiveness.

According to the results of diagnostics at the end of correctional work and monitoring of further education in educational institutions of the city, our pupils of correctional groups have clear, literate speech, use grammatical and lexical structures in their speech; logical completeness, planned and contextual presentation, grammatical coherence.

Introduction

Relevance. One of the main tasks of raising and teaching preschool children is the development of speech and verbal communication. Knowledge of your native language is not only the ability to construct a sentence correctly. The child must learn to tell: not just name an object, but also describe it, talk about some event, phenomenon, sequence of events. Such a story must consist of a number of sentences and characterize the essential aspects and properties of the object being described; the events must be consistent and logically related to each other, that is, the child’s speech must be coherent.

Connected speech is the most complex form of speech activity. It has the character of a consistent, systematic, detailed presentation.

In the formation of coherent speech, the close connection between the speech and mental development of children, the development of their thinking, perception, and observation is clearly evident. In order to talk coherently about something, you need to clearly imagine the object of the story (object, event), be able to analyze, select the main (for a given communication situation) properties and qualities, establish cause-and-effect, temporal and other relationships between objects and phenomena. To achieve coherence in speech, it is also necessary to skillfully use intonation, logical (phrase) stress, select words suitable for expressing a given thought, be able to construct complex sentences, and use linguistic means to connect sentences.

In children with normal speech development in older preschool age, coherent speech reaches a fairly high level. This is very important for further successful schooling and for the comprehensive development of the child’s personality.

Psychological and pedagogical research in correctional pedagogy shows that currently there is a steady trend towards an increase in the number of children with speech development disorders. Among them there is a large category of children with OSD - general speech underdevelopment.

With general underdevelopment of speech, various complex speech disorders are observed when the formation of all components of the speech system related to the sound and semantic aspects is impaired in children. At the same time, one of the important indicators of children’s readiness for schooling is the level of formation of coherent speech, and, as its component, monologue speech. This determines the relevance of the problem of correcting deficiencies in the development of coherent monologue speech skills in children with ODD.

Object of study: coherent monologue speech of children of the seventh year of life with general speech underdevelopmentIIIlevel

Subject of study : the process of formation of coherent monologue speech in children with general speech underdevelopmentIIIlevel.

Hypothesis: we assume that special classes for the development of skills and abilities of coherent monologue speech in children of senior preschool age with ODDIII

Target research:theoretically substantiate, select and test a methodology for developing skills of coherent monologue speech for children of senior preschool age withgeneral speech underdevelopment.

Research objectives:

Directions of correctional work on the formation of skills and abilities of coherent speech in children with general speech underdevelopment.

Conduct a literature analysis on the research problem.

To study the state of coherent monologue speech in children of senior preschool age with OHPIIIlevel.

To identify the main directions of the formation of coherent monologue speech in children of senior preschool age with ODD.

To experimentally test the effectiveness of the main directions of the formation of coherent monologue speech in children of senior preschool age with ODDIIIlevel.

Methodological basis:

Concepts about age stages, patterns and conditions of speech development in ontogenesis and its significance for the development of coherent monologue speech (A.N. Gvozdev, N.I. Zhinkin, A.A. Leontyev, D.B. Elkonin);

Modern scientific approaches in the development of normal and abnormal children (L.S. Vygodsky, R.E. Levina, V.I. Lubovsky, E.A. Strebeleva);

A system-integrated approach to studying and teaching children with different

forms of dysontogenesis (P.K. Anokhin, A.G. Asmanov, L.S. Vygodsky, A.R. Luria, etc.);

The doctrine of the zone of proximal development (L.S. Vygodsky).

Research methods:

Bibliographic(studying literature on the problem);

Diagnostic methods (experiment, observations and conversations).

Theoretical significance The point is that the data obtained on the characteristics of coherent monologue speech of older preschoolers with ODD made it possible to select the optimal method for the formation of coherent speech in children of this category. The results of the study clarify and concretize existing methods for the development of coherent speech in preschoolers with ODD (V.P. Glukhova, V.K. Vorobyova, T.A. Tkachenko).

Practical significance. The results of the study can be used in practical work by speech therapists and teachers of speech groups in kindergartens.

Chapter 1. Theoretical foundations for the development of coherent monologue speech in preschool children with general speech underdevelopment

1.1 Psychological and linguistic characteristics of coherent speech

All researchers studying the problem of the development of coherent speech turn to the characteristics given to it by S.L. Rubinstein. It is he who owns the definition of situational and contextual speech. Rubinstein noted that for a speaker, any speech that conveys his thought or desire is coherent speech (as opposed to a separate dependent word extracted from the context of speech), but the forms of coherence change during development. The coherence of speech itself means the adequacy of the verbal design of the speaker’s or writer’s thoughts from the point of view of its intelligibility for the listener or reader. Speech, in his opinion, can be incoherent for two reasons: either because these connections are not conscious and are not represented in the speaker’s thoughts, or because, being represented in the speaker's thoughts, these connections are not properly revealed in his speech.

Coherent speech is speech that can be fully understood on the basis of its own subject content. In order to understand this speech, there is no need to specifically take into account the situation in which it is pronounced; everything in it is clear to others from the context itself: this is contextual speech. It should be noted that coherent speech reflects the logic of the child’s thinking, his ability to comprehend what he perceives and express it in correct, clear, logical speech. The speech of a small child, at first, has the opposite property: it does not form such a coherent semantic whole. It does not form a “context” on the basis of which it could be understood, and therefore it is necessary to take into account the specific situation in which the child is speaking. The semantic content of speech becomes clear in connection with this situation: this is situational speech. Situational and contextual moments are always in internal interconnection and interpenetration; we can only talk about which of them is dominant in each given case.

When a child develops coherent contextual speech, it does not displace situational speech, and the child, like an adult, uses one or the other depending on the content that needs to be communicated and on the nature of the message itself.

Thus, one switches to contextual speech when a coherent presentation of a subject that goes beyond the boundaries of the situation is required, and this presentation is intended for a wide range of listeners or readers. The child’s speech is at first situational in nature, but as the content and functions of speech change during development, the child, in the process of learning, masters the form of coherent contextual speech. In general, the child’s speech, at first, is connected with the immediate reality; it is born from the situation in which he finds himself and is entirely connected with it.

At the same time, this is colloquial speech, it is directed at the interlocutor and expresses a request, desire, question, i.e. situational form, corresponds to the main content and purpose. The result of learning coherent speech depends on many reasons. First of all, from the social environment that provides the child with verbal communication. Missed opportunities for speech development in preschool age are almost never made up for during school years. Therefore, it is very important to organize the development potential of the environment in a timely manner. L.P. Fedorenko, exploring the principles of teaching the Russian language, points out: “For the normal development of a child’s speech, and, consequently, for the development of his intellect and emotional-volitional sphere, it is necessary that the speech environment surrounding him has sufficient developmental capabilities - sufficient potential.” Developmental potential is determined by how rich the speech that others use is, how active the child is in the learning process. The overall development of the child and his ability to learn at school depend on this.

So, psychologists note the relationship between speech skills of varying degrees of complexity in the following sequence: In early childhood speech - situational connectedness of statements. The content of the speech is understandable to the interlocutor only if he is familiar with the situation that the child is talking about. Then the child’s speech becomes contextual, i.e. it can be understood in a certain context of communication. From the moment when a child’s speech can potentially be non-situational and non-contextual, it is considered that he has mastered a minimum of speech skills. Further complication of children's speech occurs in several ways. There is a consistent awareness by the child of his speech, or, as A.A. emphasizes. Leontiev, the arbitrariness of speech, and then the isolation of its components. By volition we mean the child’s ability to exercise his or her speech as a volitional act. Later, when the child is faced with the task of learning to read and write, he develops the skills of arbitrary sound analysis of speech. When teaching the grammar of the native language, the foundations are laid for the ability to freely operate with syntactic units, which provides the opportunity for a conscious choice of linguistic means.

Another way to complicate speech skills is the transition from dialogic speech to various forms of monologue speech. Dialogical speech is more situational and contextual, therefore it is condensed and elliptical (much is implied in it due to the knowledge of the situation by both interlocutors). Dialogical speech is not arbitrary, reactive, and poorly organized. Patterns, familiar lines and familiar combinations of words play a huge role here. Thus, dialogical speech is simpler than other types of speech. Monologue speech is an expanded type of speech. This speech is largely arbitrary: the speaker has the intention to express content and must choose an adequate linguistic form for this content and build an utterance on its basis. Monologue speech is an organized type of speech. The speaker programs not only each individual utterance, but also his entire speech, the entire monologue as a whole.

Monologue speech is rarely used, since speech is situational, and one remark causes another, there is an alternation of statements. From a psychological point of view, a monologue is unnatural: after all, according to the theory of communication and speech acts, speech must have an addressee, must be addressed to the interlocutor. With this approach, a monologue is not the speech of one, as it is usually defined, but a remark in a dialogue, extended in time and in volume.

L.S. Vygotsky did not recognize the independence of the monologue; he argued that one speaker always addresses someone, some addressee, perhaps an imaginary one. Not only in a spoken and, even more so, recorded monologue, but even in a mental one, a person is addressed to the intended interlocutor, as if estimating his reaction to his thought: the speaker ponders the speech and predicts its perception, the writer writes a letter and anticipates the reaction of his addressee. A monologue presents a certain compositional complexity, especially when it comes to written monologue speech.

MM. Bakhtin, considering the utterance as a unit of speech communication and emphasizing its difference from the units of language (words and sentences), emphasized the versatility of the process of speech communication. In fact, the listener, perceiving and understanding the meaning of the speech, simultaneously takes an active response position in relation to it: agrees or disagrees with it (in whole or in part), complements it, prepares for performance, etc.; and this response position of the listener is formed throughout the process of listening and understanding. Any understanding of living speech, of living utterance, is of an actively responsive nature (although the degree of this activity varies greatly); every understanding is fraught with an answer.

L.V. Shcherba believed that monologue lies at the basis of literary language, since every monologue is a literary work in its infancy. In his opinion, dialogue “consists of mutual reactions of two individuals communicating with each other, reactions that are normally spontaneous, determined either by the situation or by the interlocutor’s statement.” He viewed a monologue as an organized system of thoughts expressed in verbal form, which is a deliberate influence on others. This is why monologue must be taught. Shcherba noted that in an uncultured environment, only a few people with literary talent are capable of a monologue, while the majority are not able to coherently tell anything. The structure of dialogue and the structure of monologue are completely different. Replies are not characterized by complex sentences; they contain phonetic abbreviations, unexpected formations and unusual word formations, strange usages and violations of syntactic norms. All these violations occur due to insufficient control of consciousness during spontaneous dialogue. Monologue speech is usually not characterized by these disturbances: it proceeds within the framework of traditional forms, and this is its main organizing principle. In coherent speech, the child’s awareness of speech action clearly appears. Arranging his utterance freely, he must realize the logic of the expression of thought, the coherence of the speech presentation.

1.2 Development of coherent speech in ontogenesis

Modern research in the field of linguistics, psychology, and pedagogy identifies a different number of stages in the development of children’s speech. So, A.A. Leontiev identified: preparatory (up to 1 year), pre-preschool - the stage of primary language acquisition (from 1 year to 3 years), preschool (from 3 to 7 years) and school (from the time of entry into school until graduation).

The development of a child’s speech begins at three months, with the period of humming - this is the stage of active preparation of the speech apparatus for the pronunciation of sounds. At the same time, the process of developing speech understanding is carried out, i.e. and depressive speech. The child begins to distinguish intonation, then words, designations of objects and actions. Babbling is characterized by the production of combinations of indefinitely articulated sounds. By the age of six months, a child tries to pronounce sounds similar to words., [Ш - Ш - Ш], [Р - Р"], [Л - Л"], [Т" - Ц - С - С"], etc. Also These children are characterized by peculiar violations of the syllabic structure; understanding the meaning of the word, the child does not retain its phonemic image in memory, which is why various variants of distortion of sound content appear:

1. Perseveration (repetition of a syllable) (“librarian” - librarian); 2. Rearrangement of syllables and sounds; 3. Elysia (when confluenced, vowels are shortened); 4. Paraphasia (replacement of one syllable with another); 5. Omission of syllables (in rare cases); 6. Adding sounds and syllables. Children are lagging behind in using words with complex structures in free communication. The combination of all these gaps serves as a serious, difficult to overcome obstacle to his mastery of the kindergarten program, and then the school curriculum. , added 10/13/2017

Working with ceramics as a means of developing coherent monologue speech in children of senior preschool age with general speech underdevelopment. Correctional pedagogical work on the development of coherent monologue speech in children of senior preschool age.

thesis, added 10/27/2017

Characteristics of the concept, features and functions of coherent speech. Formation of monologue speech in children with normal lexical development. Experimental methodology for teaching storytelling to children of senior preschool age with general speech underdevelopment.

thesis, added 09/05/2010

Analysis of the features of the development of coherent speech in older preschool children with general speech underdevelopment in comparison with normally developing children. Development of methodological recommendations for teachers on the development of coherent speech in the process of work.

thesis, added 11/03/2017

Psychological and linguistic characteristics of coherent speech, its development in ontogenesis. Characteristics of general speech underdevelopment, its periodization. Specifics of correctional work on the formation of coherent speech skills in children with general underdevelopment.

course work, added 05/10/2011

The concept of monologue speech and the problems of its development. Features of impaired coherent monologue speech in children of senior preschool age with general speech underdevelopment. Directions of correctional work on the development of speech activity of preschool children.

course work, added 11/24/2014

The concept of coherent speech and its importance for child development. Characteristics of general speech underdevelopment (GSD) as a systemic speech disorder. Methodology and results of examination of preschool children with ODD in order to identify the characteristics of coherent monologue speech.

thesis, added 06/22/2011

Features of the development of coherent speech in children under conditions of normal speech development. Concepts of coherent speech in linguistics. Recommendations aimed at the formation and development of a coherent descriptive story for preschoolers with general speech underdevelopment.

thesis, added 10/30/2017

Theoretical substantiation in linguistic literature of the problem of the formation of coherent speech in preschool children. Assessing the effectiveness of correctional and speech therapy work on the formation of coherent speech in children of senior preschool age with speech underdevelopment.

thesis, added 10/15/2013

Characteristics of general speech underdevelopment (GSD). Levels of speech development of ONR, its etiology. Development of coherent speech in ontogenesis. Study of the level of development of coherent speech in preschool children. Speech correction for preschool children with ODD.