Tematicheskoe Planirovanie Po Muzyke 2 Klass Fgos Krasilnikova 〈Simple – OVERVIEW〉

By winter, the classroom became a laboratory. Following the FGOS standards integrated into the plan, Elena introduced the concept of . They explored how a composer uses "words" made of sound. Using Krasilnikova’s suggested repertoire, they compared Tchaikovsky’s "The Nutcracker" to the falling snow outside.

September arrived with the scent of sharpened pencils. Elena opened her planning to the first module: “Russia – My Motherland.” Instead of a dry lecture, she followed Krasilnikova’s lead, weaving Mussorgsky’s "Dawn on the Moscow River" into a story about the sun waking up the world. The children didn't just listen; they "painted" the music in the air with their hands, feeling the rise and fall of the melody. The Second Movement: The Secret Language By winter, the classroom became a laboratory

"Is the music cold or warm?" Elena asked."It’s sparkly," whispered a boy named Ivan, "like the ice on the pond."In that moment, the "thematic planning" became a lived experience. The Third Movement: The Dialogue The children didn't just listen; they "painted" the

The planning hadn't just met the "Federal State Educational Standards" (FGOS); it had turned thirty-eight energetic eight-year-olds into a miniature orchestra of listeners. As they ran out for summer break, humming a theme by Glinka, Elena realized that Krasilnikova’s method wasn't a cage of rules—it was the sheet music that allowed her to lead her students in a beautiful, year-long symphony. humming a theme by Glinka