On the unity of content and form in a work of art

1. Statement of the problem related to the study of the main theme of the year.
2. The embodiment of the depths of art is the most important criterion for true creativity.
3. What constitutes the "magical uniqueness" of the idea and its implementation.

Artistic material:

Poetry:

1. F. Tyutchev. "Not what you think, nature ...";
2. A. Vivaldi. Sonnet preceding the concert "Summer"

Painting:

1. I. Repin, I. Aivazovsky. "Pushkin by the Sea"

Music:

1. A. Vivaldi. "Summer". III part. From the cycle “Four Concertos for Violin and Orchestra “The Seasons” (listening).

Characteristics of activities:

1. Emotionally perceive images various kinds art.
2. Perceive and identify external and internal connections between music and other arts (taking into account the criteria presented in the textbook).
3. Discuss the brightness of images in music and other arts (taking into account the criteria presented in the textbook).

“Spirit alone, touching the clay, creates a Man out of it…”

A. de Saint-Exupery

Music! How beautiful and truly boundless is this area of ​​human culture! A whole ocean of living passions, lofty dreams and noble aspirations of mankind lies in the creations of musical classics.

The treasures of music, accumulated over the centuries by generations of people, are extremely diverse. Music surrounds us every day, everywhere and everywhere - at work and at home, on long trips or friendly meetings, on days of national grief or festive festivities. Musical sounds accompany us throughout our lives. It is difficult to find a person on earth who could live without music, who could do without any, even the simplest, musical impressions.

The world of music is truly boundless. It covers different eras of history, different strata of society, different, very different from each other national traditions. A superficially thinking listener sometimes easily discards music alien to him, born in the distant past or in foreign countries and continents. Meanwhile, the musical culture of the 20th century, thanks to the flourishing of modern mass media (radio, television, recordings), as well as increased contacts between nations, significantly expanded its chronological and geographical boundaries.

We know much more about the musical past, we are more familiar with the music of the peoples of Asia, Africa, and Latin America. An enlightened listener today experiences a special aesthetic joy, comprehending the charm of musical antiquity, the unfading charm of the plays of Mozart and Haydn, Couperin and Vivaldi. He never ceases to admire the eternally living creations of the great Bach, who have not lost their beauty and wisdom at all. The masterpieces of Bach's music not only do not age, but seem to capture the people of the 21st century even more strongly and more deeply. Likewise, Glinka's wonderful music does not age for us, each time striking with its eternally young emotional charm.

The deepest creations of classical art live for centuries without losing their freshness. They are selected by humanity from hundreds and thousands of samples and entered the golden fund of world culture. Such works do not age, time is powerless in front of them. Possessing high artistic perfection, embodying advanced ideas humanity, they retain to this day the value of a kind of standard, a model, sometimes unattainable.

More than two hundred and fifty years have passed since Johann Sebastian Bach completed his famous Mass in B minor, and people still eagerly listen to this music, imbued with wisdom and power of feelings. More than a hundred and fifty years ago, Beethoven's Ninth Symphony was written, but today each of its performances takes place in crowded halls. Victor Hugo once said that a masterpiece of art is born forever. This is the difference between the ever-living classical music and music that is shallow, fashionable, but rapidly aging.

Naturally, not every symphony or opera is necessarily better, more meaningful, deeper than any song. The best creations of folk art, in particular the most beautiful songs of various peoples of the world, are as immortal as the recognized works of classical composers.

Once A. I. Herzen wrote to his son: "There are classical artistic creations, without which a person is not a complete person." He meant that people who pass by these great riches inexcusably impoverish their spiritual world deprive themselves of incomparable intellectual joy. And life, devoid of beauty, not illuminated by the light of art, turns into something dull, colorless, mechanical.

Why do some works die as soon as they are born, while others live for centuries, introducing more and more generations to their depths?

Many centuries ago ancient Greek philosopher Aristotle emphasized the difference between lovely face and a beautifully drawn face. The great thinker was one of the first to guess that the meaning of art is not in the depiction of beautiful phenomena, but in the search and embodiment of the hidden essence of things.

The ability to see the hidden, deep is one of the necessary conditions for true creativity. This was written by the wonderful Russian poet F. Tyutchev, who taught us true understanding nature.

Not what you think, nature,
Not a cast, not a soulless face,
It has a soul, it has freedom,
It has love, it has language.

However, the most subtle hearing, the most acute vision, the most sensitive intuition are not enough for a work of art to be born. It is not enough to see and understand - you also need to embody. The most intense side of creativity is sometimes associated with the incarnation - the one that forces you to write mountains of paper, make incredible journeys, experience incredible journeys, experience moments of deep anxiety - and all for the sake of one single phrase, stroke, melody.

True art really requires complete dedication and self-forgetfulness from the artist. It's not just that creating a work of art consumes a lot of time. The main thing is to find that true phrase or melody, the only one that would correspond to the intention of its creator.

It is not uncommon for musicians to admit that sometimes, after fruitless long searches, the necessary intonations or harmonies suddenly came, as it were, from above, shocking with their persuasiveness and truth. So, Joseph Haydn, when a melody dawned on him (in the oratorio "Creation of the World" expressing the birth of light), he exclaimed, blinded by its brilliance: "This is not from me, this is from above!"

Therefore, among the explanations mysterious nature musical art one of the first is the recognition of his divine essence. And the one to whom fate has destined to be a creator, initially carries in his soul a certain ideal, with which he compares everything that he creates. Such an ideal is a kind of "magical uniqueness" of the idea and its implementation, or, if we use the scientific definition, the unity of content and form.

Music surrounded Antonio Vivaldi all his life. He took it in with the air hometown- salty, smelling of the sea, ringing from songs. He didn't have to invent anything - melodies swarmed in his head like bees in a hive. It was only necessary to cast them into a clear form, to subordinate them to the laws of composition. He perfectly mastered all the secrets of his craft, but considered the feeling to be the main thing. I never understood those sometimes very skillful masters who saw in their compositions only an excuse for ingenious contrapuntal puzzles. Music, devoid of joy, not warming the soul - why is it?

It was a great idea to write four concertos for violin and orchestra, corresponding to the change of seasons. What a variety of pictures, what an inexhaustible richness of colors! Spring, with its radiant sky, the languid bliss of a summer afternoon, the splendor of autumn hunting, and, finally, the joyful fun of winter - skates. He peopled the music with the chirping and whistling of birds, the murmur of streams, the loud cries of hunting horns. With rapture he painted the furious symphony of a thunderstorm: the sound of tight rain jets, the howling of the wind, the dazzling zigzags of lightning. Sometimes he saw all this so clearly that words came to him along with the music. He wrote them into the score, hoping that the verses would help to better understand the composition.

"Summer"

The herd wanders lazily in the fields.
From the heavy, suffocating heat
Suffering, everything in nature dries up,
All living things are thirsty.

Suddenly a passionate and powerful
Borey, blasting peace of silence.
Around it is dark, clouds of evil midges.
And the shepherd cries, overtaken by a thunderstorm.

From fear, poor, freezes:
Lightning strikes, thunder rumbles,
And pulls out ripe ears
The storm is mercilessly all around.

No, in the sounds of the picture of the seasons turned out much brighter.

Ivan Konstantinovich Aivazovsky united two of his muses - the sea and Pushkin, and dedicated the picture to the poet.
It is noteworthy that the landscape, that is, the image of the sea, was painted by Aivazovsky, and the figure of the poet was painted by Ilya Efimovich Repin. This is due to the fact that the possibilities portrait image Aivazovsky were very limited, but seascapes he was simply brilliant.
According to the assurances of the researchers, the picture has a direct connection with the poem "To the Sea". In it, the poet describes farewell to the proud "free element", compares it with his friend, whose "inviting noise" will remain in the heart forever.

Farewell, free element!
AT last time in front of me
You roll blue waves
And shine with proud beauty.

Take a closer look at the canvas - the landscape on it is romantic, marine, but harsh. Black blocks of stones are piled up in a shapeless heap, as if by the hands of a fairy-tale giant. The background of the canvas itself is gray, almost whitish, but the figure of Pushkin, all in black, has a sharp contrast with the whole tone. With his left hand laid aside, the poet seems to say goodbye to the sea, so close to his soul, and in his right he holds a hat. The wind tousled Pushkin's hair, tore off his hood, but he only enjoys the salt spray of the raging elements. His face is calm and inspired, and his eyes are fixed on the horizon ...
If we talk about the sea, then it is the most mysterious and romantic creation of nature. Man encountered him everywhere, saw joy and sorrow from him. Poets, writers and artists could not pass by marine motifs, which is why the number of works dedicated to the sea is so large. It should be said that Pushkin, as a creative person, could not but be attracted by the romance of the sea.
For him, it has become a close friend, parting with which will not let you forget about the time spent together. It seems that the free atmosphere of the sea was transferred to Pushkin himself, who felt unity with the elements and attraction to it. It is not surprising that the sea on Aivazovsky's canvas seems to be alive, and everyone who has ever seen the picture has the impression that it communicates with the poet.

Presentation

Included:
1. Presentation, ppsx;
2. Sounds of music:
Vivaldi. Summer. movement III (from the cycle "The Seasons" for violin and orchestra), mp3;
3. Accompanying article, docx.

“MUSIC Grade 7 Theme of the year: “Content and form in music” I quarter Lesson 1 Theme: “Magical uniqueness” of a piece of music. Goals..."

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MUSIC

Theme of the year: "Content and form in music"

I quarter

Topic: "Magic uniqueness" of a piece of music.

Lesson Objectives:

Learn to perceive music as an integral part of everyone's life

person.

Develop a caring and compassionate attitude towards

to the surrounding world.

Cultivate emotional responsiveness to musical phenomena,

need for musical experience.

Music material of the lesson:

Additional material:

During the classes:

I. Organizational moment.

II. The topic of the lesson.

Theme of the year: "Content and form in music".

Lesson topic: "Magical uniqueness" of a piece of music.

III. Work on the topic of the lesson.

Board writing:

A. de Saint-Exupery Any genuine work of art is convincing.

And it does not matter whether it embodies beautiful ideas and images or deliberately sharpens the dark, unsightly sides of life.

It is convincing both when it inspires us, awakens high aspirations, and when it makes us shudder from the horror experienced.

Why do some works die as soon as they are born, while others live for centuries, introducing more and more generations to their depths?

Centuries ago, the ancient Greek philosopher Aristotle emphasized the difference between a beautiful face and a beautifully painted face.

The great thinker was one of the first to guess that the meaning of art is not in the depiction of beautiful phenomena, but in the search and embodiment of the hidden essence of things.

The ability to see the hidden, deep is one of the necessary conditions for true creativity.

Not what you think, nature, Not a cast, not a soulless face, It has a soul, it has freedom, It has love, it has a language.

However, the most subtle hearing, the most acute vision, the most sensitive intuition are not enough for a work of art to be born. It is not enough to see and understand - you also need to embody. The most intense side of creativity is sometimes associated with the incarnation - the one that forces you to write mountains of paper, make incredible journeys, experience incredible journeys, experience moments of deep anxiety.

- and all for the sake of one single phrase, stroke, melody.

True art requires complete dedication and self-forgetfulness from the artist. It requires finding that true phrase or melody, the only one that would meet the intention of its creator.

The one to whom fate destined to be a creator carries an ideal in his soul, with which he compares everything that he creates.

Such an ideal is the "magical uniqueness" of the idea and its implementation.

- the unity of content and form.

Vocal and choral work.

Y. Shevchuk. What is autumn.

IV. Summary of the lesson.

We started talking about the unity of content and form in art, which depends on beauty, truth, and depth of life.

v. Homework.

Learn a song.

Lesson 2 Topic: Music is difficult to explain in words.

Lesson Objectives:

Develop interest in music through creative self-expression, manifested in reflections on music, one's own creativity.

Formation of listener culture on the basis of familiarization with the peak achievements of musical art.

Meaningful perception of musical works (knowledge of musical genres and forms, means of musical expression, awareness of the relationship between content and form in music).

Music material of the lesson:

Y. Shevchuk. What is autumn (singing).

Additional material:

During the classes:

I. Organizational moment.

II. The topic of the lesson.

Lesson topic: Music is difficult to explain in words.

III. Work on the topic of the lesson.

Board writing:

The Spirit alone, touching the clay, creates a Man out of it.

A. de Saint-Exupery It is much more difficult to talk about the musical content than about the content of other art forms.

In music, there is often no plot, unlike works of literature or painting, so music cannot be recounted in words. It rarely contains specific images that can be given a verbal description.

Only about a small part of music - program music - we have the opportunity to talk about the way people talk about a literary work, that is, touching on those verbal descriptions given by the composer. But as soon as proper musical sounding begins, program music becomes just as inaccessible to our definitions, like any other.

All this makes music a special art among other arts.

Probably because only music can express the inexpressible.

We have already spoken about the musicality of the world, that this musicality is present in the phenomena of nature, in other forms of art, in the diversity of human moods and states of mind.

Everyone knows that in life not everything and not always runs smoothly and cloudlessly.

Even everyday joys, worries, anxieties leave a deep imprint in the soul. Stronger emotional upheavals affect us even more deeply: discoveries, losses, disappointments, and new hopes.

All these impressions make up a huge layer of human life - invisible, but sometimes the most important and significant. This is something with which a person stays constantly, which can only be revealed to the outside world in a small part - after all, a person’s means of self-expression are so limited. How to escape from oneself, at least for a while to overcome this eternal loneliness of one's own desires, aspirations, dreams, joys and sufferings? One of the ways to overcome oneself is creativity.

Indeed, in it they find expressions of feelings and thoughts experienced by the author, his personal experience defeats and victories, all his rich inner life.

However, not everyone is able to express themselves in artistic activity. Among the many values ​​that art possesses, there is one that is addressed to the human soul, which attaches to the boundless world of fantasy, elevates it, helps to overcome the isolation of a solitary existence.

Perhaps this is what a person is primarily looking for in works of art: after all, he is interconnected with the world, he is looking for a response and consolation. “We are eternal captivity at the sources,” A. de Saint-Exupery wrote in his book “Planet of People”. Our freedom is so limited. It is believed that a person is free to go wherever he wants. It is believed that he is free ... And no one sees that we are tied at the wells, we are tied like an umbilical cord, to the womb of the earth. Take an extra step and you die.” This thought, which came to a pilot in distress in the desert, should hardly be understood only in the very literally. We really are in eternal captivity at the sources. Just as the body needs water, food and clothing, in the same way the human soul seeks its springs, from where it draws strength.

Among these life-giving springs, which have been supporting and strengthening a person since ancient times, there is also music - music with its incendiary rhythms and lulling intonations, music that understands and comforts us.

There are moments when we don't need words, when they even get in the way:

listen to yourself, understand your feelings more deeply. Not always a person can explain himself.

That is why we say that only music can express the inexpressible.

That is why it is so difficult to explain it in words.

And this is the main feature of its content.

M. Tariverdiev, lyrics by N. Dobronravov. The Little Prince (listening).

I. Brahms. Symphony No. 3. III movement. Fragment (hearing).

Johannes Brahms (1833 - 1897) - an outstanding German composer, creator of philosophically in-depth works for symphony orchestra in which he expressed a variety of feelings and moods. It gives us the opportunity to feel the unique atmosphere of time, creates musical generalized image era.

Vocal and choral work.

Y. Shevchuk. What is autumn.

IV. Summary of the lesson.

We talked about how only music can express the inexpressible.

V. Homework.

Learn a song. Answer in writing the question: why can a work of art be likened to a riddle?

*** Lesson 3 Topic: What is musical content.

Lesson Objectives:

Learn to perceive music as an integral part of the life of every person.

To cultivate emotional responsiveness to musical phenomena, the need for musical experiences.

Develop interest in music through creative self-expression, manifested in reflections on music, one's own creativity.

Formation of listener culture on the basis of familiarization with the peak achievements of musical art.

Meaningful perception of musical works (knowledge of musical genres and forms, means of musical expression, awareness of the relationship between content and form in music).

Music material of the lesson:

Additional material:

During the classes:

I. Organizational moment.

II. The topic of the lesson.

Board writing:

… Years of life have passed in vain, it is clear before me

The final conclusion of earthly wisdom:

Only he is worthy of life and freedom, Who goes to battle for them every day!

J. W. Goethe. Faust III. Work on the topic of the lesson.

Teacher's story about L. Beethoven, his music.

L. Beethoven's life credo:

1. “I don’t know any other signs of superiority, except for kindness.”

2. "Do good wherever you can, above all love freedom, and even at the monastic throne do not renounce the truth."

3. "Music should strike fire from the human soul."

Are you close to Beethoven's principles? Which of them could be decisive for you in life? Why?

The foundations of the creative and human "intonation" of Beethoven's music - "through thorns to the stars"; "Through suffering to joy." "Give me just one day of pure joy."

Romain Rolland said about Beethoven: “While drawing him, I draw his tribe, our century, our dream. Us and our companion with bloody legs - Joy!

Not fat joy, eaten at the stall of the soul. The joy of testing, the joy of labor and struggle, the overcoming of suffering, the victory over oneself ... "

When Beethoven settled in Vienna, he was 22 years old, by which time he was already an experienced composer and a brilliant performer. His passion is improvisation, direct, igniting creativity on the stage, the joy of creating music right there, in front of the audience. In improvisation, he knew no equal. Success accompanied him. His writings became famous. He was received in aristocratic homes and famous Beethoven seemed to be happy. But fate was knocking on the door. For several years, Beethoven had noticed signs of impending deafness - a terrible disaster for a musician. I had to hide my deafness from others. The fear of losing the ability to create led him to despair. Beethoven told his brothers about this in a letter known as the Heiligenstadt Testament: “... I was not far from laying hands on myself. Art! It was the only thing that kept me going. It seemed unthinkable to me to leave this world before I had done what I felt called to…”

But in the autumn of 1801, life still smiles on Beethoven. He fell in love with Countess Juliette Guicciardi. Despite the misfortunes that befell, Beethoven saw the best in people, forgiving weaknesses: music strengthened his kindness. Probably, in Juliet, for some time, he did not notice frivolity, considering her worthy of love, taking the beauty of her face for the beauty of her soul. “It became more comfortable for me to live,” he writes to a friend, “I meet people ... this change ... it was made by the charm of one sweet girl;

she loves me and I love her. The first happy moments in my life in the last two years. He paid dearly for them. Juliet unexpectedly betrayed him. She married Count Hellenberg, an incompetent composer, preferring him not only as a contender for her hand, but also as a musician! After Juliet's betrayal, Beethoven left for his friend's estate. He was looking for solitude. For three days he wandered through the forest without returning home. He was found in a remote thicket, exhausted from hunger and suffering. Nobody heard a single complaint. Beethoven had no need for words. Everything was said by the music of "Sonata like fantasy".

“Listen to it not only with your ears, but with all your heart! And, perhaps, you will hear in its first part such sorrow as you have never heard before, in the second part - such a bright and at the same time such a sad smile that you did not notice before; and, finally, in the finale - such a violent desire to escape from the shackles of suffering and sadness, which can only be said in the words of Beethoven himself: “I will grab my fate by the throat. She can't bend me! O! How wonderful it would be to live a thousand lives!” D. Kabalevsky.

(hearing).

Such eternal springs suffering, like loneliness or unrequited love, on the contrary: they are filled with a kind of grandeur, because it is they that reveal the true dignity of the soul. Beethoven, rejected by Giulietta Guicciardi, writes the "Moonlight" sonata, even with its dusk illuminating the peaks of world musical art.

–  –  –

What image does the music create? Does the name "Moonlight Sonata", given to it by the romantic poet Relshtab after the death of the composer, correspond to the figurative world of Beethoven's music?

What is the nature of the music - masculine, feminine, youthful or childish?

Listening to the 1st part of the sonata, pay attention to three elements of her musical speech: the concentrated mournful melody of the upper voice, the evenly flowing accompaniment of triplets in the middle voice, and the deep gloomy bass chords. Which of the elements in the perception of the poet became the main one and contributed to the emergence of memories of moonlight?

How many images are in this music? (One in which the development of feeling is clearly audible: at the beginning, a mournful melody with rhythmic intonations of a funeral march; in the middle section, these intonations give way to a non-stop undulating movement of triplets against the background of deep basses, which gradually grow, rising in the register and in the power of sonority, reach a climax , as if they want to break the painful mournful goal, the return of the mournful melody in the third section, and a short coda with a mournful rhythm in the bass confirm the feeling of hopelessness.) How do you understand the words of F. Dostoevsky "Many things change, the heart remains one." Do you agree with this?

Conclusion: “... If someone lives their whole life without knowing all the beauty and richness of the music of Bach and Mozart, Beethoven and Chopin, Tchaikovsky and Mussorgsky, neither Bach, nor Mozart, nor Beethoven, nor Chopin, nor Tchaikovsky or Mussorgsky. They will remain as great and powerful. But the one who passes by them and does not touch their art will lose a lot, a lot” D. Kabalevsky.

L. Beethoven. Sonata No. 14 for piano. II part. (hearing).

Why is Franz Liszt one of the best performers"Moonlight Sonata" - called its second part "a flower between two abysses"?

Has the music of the 2nd part changed compared to the first?

What do you think Beethoven was thinking when he wrote this part? (This is either a memory of something bright and sad at the same time, or a dream, or maybe it's Juliet's smile, almost dancing-playful, alternating with his gloomy thoughts.) How many images? (Two - masculine and feminine.) Perhaps Beethoven had himself in mind when he said: "A man must be strong and courageous in everything."

And finally the 3rd part.

Hearing.

What feelings are conveyed in the 3rd part? (A stormy boiling of passions, a powerful desire to overcome sorrow.) It is known that the essence of the sonata form is in the conflict (struggle) or contrast of images. Why did Beethoven break the established tradition and write the 1st movement of the sonata not in sonata form?

Where does the conflict emerge more clearly: within the parts of the sonata or between the parts?

What is Beethoven's optimism? (Achievement of the goal in the struggle, not frivolous optimism, but inner strength, joy through suffering.) Conclusion: “... Suffering souls, noble souls, take this person as your companion!” Edouard Herriot "Life of Beethoven".

Vocal and choral work.

Y. Dubravin, lyrics by M. Plyatskovsky. When a musician plays (singing).

IV. Summary of the lesson.

“The heart is the true lever of everything great,” said Beethoven. And friends noted the amazing combination of his kindness, extraordinary childish disposition and powerful, stubborn will. No emperor, no king possessed such a consciousness of his strength as a great composer cut off from people by a wall of deafness.

V. Homework.

Learn a song. Prepare a report on L. Beethoven.

*** Lesson 4 Topic: What is musical content.

Lesson Objectives:

Learn to perceive music as an integral part of the life of every person.

To cultivate emotional responsiveness to musical phenomena, the need for musical experiences.

Formation of listener culture on the basis of familiarization with the peak achievements of musical art.

Meaningful perception of musical works (knowledge of musical genres and forms, means of musical expression, awareness of the relationship between content and form in music).

Music material of the lesson:

Y. Dubravin, lyrics by M. Plyatskovsky. When a musician plays (singing).

Additional material:

Portrait of the composer L. Beethoven.

During the classes:

I. Organizational moment.

II. The topic of the lesson.

Lesson topic: "What is musical content."

III. Work on the topic of the lesson.

Board writing:

My crazy love, Beethoven!

Either I am crucified by you on a string, Then I am cast into hell, then I am raised to the level of heaven ... P. Mikhnya We will continue our conversation about Beethoven. Today you will hear his Egmont Overture.

The tragedy "Egmont" by the German poet I. W. Goethe was based on the historical events of the 16th century associated with the struggle of the Dutch people for liberation from Spanish rule. Egmont, Count of Lemoral, led an uprising against the Spanish king Philip II, but falls victim to the insidious plans of the enemies who supported the king. Before his death, Egmont appealed to the people to fight for the freedom and independence of their homeland.

The image of Egmont is close to the ideals and moods of L. Beethoven. He expressed all the power of his feelings in the overture.

The Egmont Overture is a one-movement piece. L. Beethoven was able to show in a concise form the main points in the development of the tragedy.

The overture begins with a slow introduction. This is where the conflict starts.

The image of Spanish rule. The chord presentation, the tempo is slow, the rhythm is syncopated, it sounds solemn, authoritative - it reminds of the Spanish dance procession of the sarabande. The low register, minor scale give it a gloomy ominous coloring. In the orchestra, it is performed by string instruments.

image of the Dutch people. The theme is "sung" by the oboe, which is joined by other woodwind instruments, and then by strings. The melody is based on a very expressive second intonation, which gives it a mournful character. Moaning intonations, intonations of "sighs", a request, a complaint. When you listen to music, pay attention to the most important thing - when the introduction goes into the main part: the main (first) theme of this part imperceptibly grows from the second (oppressed) image - the theme of the people.

L. Beethoven. Egmont Overture. Grade 8 (listening).

Why? What did L. Beethoven mean by this? (The composer makes it clear that the oppressed people are gathering strength and moving from groans to fighting.) Following the first theme, which is rapidly rushing forward, a second (side) one appears - the image of the conquerors. But, pay attention, there is no former greatness and authority in it.

In the exposition, two images collide, embraced by a single stream of intense struggle.

What is the outcome of the struggle? The hero dies, but the people triumph.

How many movements are in the overture? Three: in the 1st - contrasting images are presented and compared, in the 2nd - the development and development of images, in the 3rd - the result of the confrontation of themes.

The overture is written in sonata allegro form. The main party has a strong-willed, heroic character. It is written in F minor. Her strength and energy gradually increase. At first, it sounds in the lower register of cellos and other piano string instruments, and then it is picked up by the entire fortissimo orchestra.

A move for a second at the beginning of the melody reveals kinship main party with the second theme of the introduction - the theme of "suffering" of the people. Her heroic character no longer speaks of humility, but of the indignation of the Netherlands and their uprising against the enslavers.

The side part is also associated with the music of the introduction, chordal, heavy - you can easily recognize the theme of "enslavers". Stated in major (A-flat major), it now sounds not only solemnly, but triumphantly. This topic has been assigned string instruments. The quiet sound of woodwinds in the second phrase makes the side part related to the second theme of the introduction.

The courageous and decisive final party completes the exposition.

The development is very small. In it, as it were, the comparison of contrasting themes of the introduction continues, the “struggle” escalates. To timid "requests"

each time an inexorable and cruel "answer" follows. The repeated repetition of the melody of the beginning of the main part each time ends with two abrupt and sharp chords.

But the "fight" doesn't end there. At the end of the reprise, it flares up with even greater force. The theme of the "Spanish enslavers" sounds here especially adamant and furious, and even more plaintively and imploringly - the theme of the people.

An unequal duel abruptly ends. The reprise ends with a series of sustained, quiet and sad-sounding chords. Beethoven obviously wanted to convey here the last fierce battle with the enemy and the death of the hero, Egmont.

The overture ends with a large coda showing the outcome of the struggle.

Her solemn and jubilant character speaks of the victory of the people.

The beginning of the coda resembles the rumble of an approaching crowd, which quickly grows and turns into the gait of a grandiose mass procession. Trumpets and French horns chirp, and at the end of the overture there is a piccolo flute.

Beethoven ends the overture in the eponymous major.

Conclusion: "The dramaturgy of the work lies in the sharp clash of two images."

Vocal and choral work.

Y. Dubravin, lyrics by M. Plyatskovsky. When a musician plays (singing).

Y. Migul. To be human (singing).

IV. Summary of the lesson.

Beethoven's interest in the destinies of peoples, the desire in his music to show the "struggle" as an inevitable path to achieving the goal and the coming victory - the main content of the composer's heroic works.

V. Homework.

Learn songs. Reports on the work of Beethoven.

*** Lesson 5 Topic: What is the musical content. Music that needs to be explained in words.

Lesson Objectives:

To cultivate emotional responsiveness to musical phenomena, the need for musical experiences.

Develop interest in music through creative self-expression, manifested in reflections on music, one's own creativity.

Formation of listener culture on the basis of familiarization with the peak achievements of musical art.

Meaningful perception of musical works (knowledge of musical genres and forms, means of musical expression, awareness of the relationship between content and form in music).

Music material of the lesson:

Additional material:

Portraits of composers: A. Vivaldi and O. Messiaen.

During the classes:

I. Organizational moment.

Today we will get acquainted with software in music.

II. The topic of the lesson.

Lesson topic: “What is the musical content. Music that needs to be explained in words.

III. Work on the topic of the lesson.

Every art speaks its own language. Music - the language of sounds and intonations - is distinguished by a special intonation depth. It is this emotional side of the content of music that is felt by the listener in the first place. Music draws human characters remarkably accurately and has sound-image capabilities. It carries a holistic worldview. Music is closely connected with life, with other forms of art. The song appears before us as a unity of poetry and music. Ballet is a fusion of music and choreography. Opera, in its essence, is a synthesis of dramaturgy, visual arts and music.

Program music often reproduces in sounds a plot familiar to listeners from works of literature, painting and other arts.

The musical content manifests itself in different ways.

It can tell us about wonderful countries and the eternal poetry of nature, it plunges us into the distant historical past and gives us a dream of a beautiful future, it re-creates the characters of heroes - even those that are already known to us from works of literature or fine art.

Such content is embodied in numerous musical works, united by their common quality - programming. "Forest" and "Night in Madrid", "Bogatyr" symphony and "Winter Dreams", "Scheherazade" and "Dwarf" - all these works created by A. Glazunov and M. Glinka, A. Borodin and P. Tchaikovsky, N Rimsky-Korsakov and M. Mussorgsky, form a wonderful series of different incarnations of musical content.

Getting acquainted with a piece of music that has a program name, we are not only looking for a sound image of the images suggested to us, but we also catch something more in its sound. The sound of music forms a special mood, giving scope to the imagination of the listener.

Everyone presents his own, what is close and dear to him. And we love something in a work only when we discover in it something close and dear to us. That is why, both in life and in art, some things touch us strongly and deeply, while others leave us indifferent.

(Program music reproduces in sounds a plot familiar to listeners from works of literature, painting and other works of art.) Instrumental music, having really separated from other arts, retains internal ties with them.

To hear music means to penetrate into its meaning, into its artistic world. But this path runs through the sound form.

The musical landscape is a “landscape” of mood in which the expressiveness of intonation merges with pictorial details. musical language.

Because the musical content avoids concreteness, it always contains a generalizing meaning. History, people, characters, human relationships, pictures of nature - all this is presented in music, but presented in a special way. Correctly found intonation, bright rhythmic pattern will tell us much more about the work than the longest and most detailed description. After all, each art expresses itself by its own, only its own means: literature affects the word, painting - colors and lines, and music conquers with its melodies, rhythms and harmonies.

Let's see how the content manifests itself in works from program music. Nature is diverse, rich in miracles that these miracles will be enough for more than one generation of musicians, poets and artists.

A. Vivaldi. Winter. I part. From the cycle “Four Concertos for Violin and Orchestra “The Seasons” (listening).

The singing of birds has long attracted musicians. For many of them it has become a school of composing skills. Special timbres are inherent in each bird, the nature of chirping, tempo, strokes and, finally, the loudness that is characteristic of its singing - all this taught the accuracy, detail, expressiveness of musical characteristics.

O. Messiaen's orchestral work "Awakening of the Birds" is one of the results of such a "forest school", where various sounds are very accurately transmitted summer forest filled with the voices of birds.

O. Messiaen. The awakening of the birds. Fragment (hearing).

In this fragment, one could hear the singing of the little wryneck, the little owl, the forest lark, the bulrush, the blackbird and other birds, gradually awakening and meeting the dawn with their singing. Music opens up new possibilities of sound representation - not only rhythmic and timbre, but also dynamic.

Vocal and choral work.

E. Podgaits. Autumn vocalization (singing).

IV. Summary of the lesson.

Because the musical content avoids concreteness, it always contains a generalizing meaning. History, people, characters, human relationships, pictures of nature - all this is presented in music, but presented in a special way. Correctly found intonation, bright rhythmic pattern will tell us much more about the work than the longest and most detailed description. V. Homework.

Learn more about the life and work of A.

Vivaldi. Prepare reports.

Lesson 6 Topic: November image in P. Tchaikovsky's play.

Lesson Objectives:

Develop an attentive and benevolent attitude towards the environment.

To cultivate emotional responsiveness to musical phenomena, the need for musical experiences.

Formation of listener culture on the basis of familiarization with the peak achievements of musical art.

Meaningful perception of musical works (knowledge of musical genres and forms, means of musical expression, awareness of the relationship between content and form in music).

Music material of the lesson:

E. Podgaits. Autumn vocalization (singing).

Y. Vizbor. My dear (singing).

Additional material:

Portrait of the composer P. Tchaikovsky.

During the classes:

I. Organizational moment.

Do you remember what was discussed in the last lesson? (What is the musical content. Music that needs to be explained in words.) Define what program music is. (Program music

- reproduces in sounds a plot familiar to listeners from works of literature, painting and other works of art.) II. The topic of the lesson.

Lesson topic: November image in the play by P. Tchaikovsky.

III. Work on the topic of the lesson.

Today we will see how the content manifests itself in the works of program music.

Probably, for any person, a certain time of the year causes a whole layer of images, thoughts, experiences that are close and understandable only to him. And if all composers wrote their own "Seasons", then, of course, these would be completely different works that would reflect not only the poetry of nature, but the special artistic world of their creators.

However, just as we accept nature in its various manifestations - after all, rain, and a blizzard, and a cloudy autumn day have their own charm - in the same way we accept the artistic look full of love that the composer embodies in his works. Listening to the play “November” (“On the troika”), we do not think that the trio of horses ringing with bells have long gone from our lives, that November awakens completely different ideas in us, we again and again plunge into the atmosphere of this beautiful music, so expressively tells about the "soul of November", which the great Tchaikovsky breathed into it.

Do not look longingly at the road, And do not rush to follow the troika, And mourn the anxiety in your heart Hurry forever drown.

This epigraph from N. Nekrasov's poem "Troika" deepens the meaningful multidimensionality of the play, which is outlined before the music begins to sound. We do not just imagine a frozen autumn day, a rushing troika, but we guess in this troika a symbol of something that is leaving forever, someone's longing, expectation and anxiety.

These are the program premises of the play.

Music, on the other hand, gives us an image full of the charm of a truly Russian November:

the wide breathing of the melody, its smoothness and majesty evoke the image of a fertile autumn traditional for Russian art - bright, generous, inspiring.

–  –  –

This fragment from I. Bunin's poem "Falling Leaves" is consonant with the 1st section of the play "November" by P. Tchaikovsky, where admiration for a bright, pre-winter day sounds. This is facilitated by the sunny tonality of the melody (E major), cheerful character (unhurried melodious phrases). The breadth and peculiar beauty of Russian nature is shown.

Tchaikovsky, was gifted with the ability to see and understand in every natural phenomenon something inaccessibly beautiful, calming, giving a thirst for life.

Listen to the sound of the opening section of the play "November" and try to imagine what kind of autumn the composer draws in his music, what feelings and moods its sound evokes in us.

The second section brings us closer to the content of the play, “On the troika”.

The music of this section is enriched by the introduction of a bright visual moment - the ringing of bells. It hints at the merry running of a trio of horses, which was once an integral part of Russian national life.

This ringing of bells gives the play visibility, picturesqueness and at the same time introduces another cheerful moment - the moment of admiring the picture dear to every Russian heart.

The ringing of bells completes the play "November", the sound of which becomes quieter towards the end, as if the troika, which had just rushed past us, is gradually moving away, disappearing in the haze of a cold autumn day.

Composer software content:

November, the last month of autumn, the last days before the onset of winter. Here, ringing bells, the troika rushed - and now it is hiding farther and farther from us, and the ringing of bells is getting quieter ... free from the feeling of acute regret that is inevitable when parting with something familiar and dear in its own way.

P. Tchaikovsky. November. On a trio. From piano cycle"The Seasons" (listening).

Vocal and choral work.

E. Podgaits. Autumn vocalization (singing).

V. Rebikov, poems by I. Bunin. Autumn song (singing).

Y. Vizbor. My dear (singing).

IV. Summary of the lesson.

The software greatly expands musical image, introducing into it a semantic subtext that we would not have caught in music alone.

V. Homework.

Learn the lyrics. Briefly write down the basic information about Tchaikovsky in a notebook.

*** Lesson 7 Topic: "Eastern" score by N. Rimsky-Korsakov "Scheherazade"

Lesson Objectives:

Learn to perceive music as an integral part of the life of every person.

To cultivate emotional responsiveness to musical phenomena, the need for musical experiences.

Formation of listener culture on the basis of familiarization with the peak achievements of musical art.

Meaningful perception of musical works (knowledge of musical genres and forms, means of musical expression, awareness of the relationship between content and form in music).

Music material of the lesson:

(hearing).

E. Podgaits. Autumn vocalization (singing).

V. Rebikov, poems by I. Bunin. Autumn song (singing).

Y. Vizbor. My dear (singing).

Additional material:

Portrait of the composer N. A. Rimsky-Korsakov.

During the classes:

I. Organizational moment.

What was discussed in the last lesson? (Programming significantly expands the musical image, introducing semantic subtext into it, which we would not have caught in music alone.) II. The topic of the lesson.

Lesson topic: "Eastern" score by N. Rimsky-Korsakov "Scheherazade".

III. Work on the topic of the lesson.

Nikolai Andreevich Rimsky-Korsakov (1844 - 1908) Nikolai Andreevich Rimsky-Korsakov said: "My kind is a fairy tale, an epic and certainly Russians." The composer was inspired by the beauty of folk art: songs, legends, rituals. Pages of Russian history, exotic images of the East, pictures of nature seem to come alive in the music of Rimsky-Korsakov.

As a boy he fell in love with the sea. Rimsky-Korsakov goes to study at the Naval Corps, after which he commits circumnavigation, which became the source creative fantasy for many years.

Having become close to M. A. Balakirev, the young officer masters the basics of composing skills, enters the circle “The Mighty Handful”.

Nikolai Andreevich Rimsky-Korsakov is the creator of 15 operas, very diverse in content. The first opera, The Maid of Pskov (1872), tells about the dramatic events connected with the formation of a unified Russian state. The composer is especially attracted by fairy-tale images. In the operas based on the stories "May Night" and "The Night Before Christmas" by N.V. Gogol, soft, light humor is combined with the poetry of fiction. Opera "Snow Maiden" (based on " spring fairy tale» A. N. Ostrovsky,

1881) shows the life of the fabulous Berendeys inseparable from nature, its animate fantastic forces.

The composer is attracted by the epic about the Novgorod harpman Sadko (the symphonic picture "Sadko" and the opera of the same name written in 1896), ancient legends ("The Tale of the Invisible City of Kitezh and the Maiden Fevronia", 1904).

In the later fairy-tale operas Kashchei the Immortal (1902) and The Golden Cockerel (1907), the composer's attitude to the content is expressed in an allegorical form. And in operas royal bride"(Based on the drama by L.A.

May, 1898), "Mozart and Salieri" (based on the tragedy of the same name by A.S. Pushkin,

1897) focuses on the drama of individuals, their tragic fate.

Rimsky-Korsakov's talent also manifested itself in instrumental music.

In fragments from operas (for example, “Three Miracles” and “The Tale of Tsar Saltan”) and in program symphonic works (“Scheherazade”, “Spanish Capriccio”), pictures of sea expanses, battles, magical transformations are created with the enchanting colors of the orchestra ... From chamber compositions, romances are of the greatest artistic value (79 in total).

Not only creativity, but all the activities of Rimsky-Korsakov became an adornment of the Russian musical culture. He devoted a lot of time and effort to the completion of the works of A. P. Borodin, M. P. Mussorgsky, A. S.

Dargomyzhsky, processing of folk songs.

Big social activity, performances as a conductor were combined by the composer with pedagogical work at the St. Petersburg Conservatory. Among his students are A.K. Lyadov, A.K. Glazunov, S.S.

Prokofiev, I. F. Stravinsky and others.

In 1905, Rimsky-Korsakov took the side of the revolutionary-minded students, for which he was expelled from the professorship.

His return to the conservatory was a major victory for the democratic forces.

Having experienced the impact of the progressive ideas of his time, Rimsky Korsakov expressed in music his belief in the triumph of goodness and beauty.

There are works in music that have a more specific program content. One of them is Rimsky-Korsakov's symphonic suite Scheherazade, based on fairy tales from the Arabic fairy tale collection One Thousand and One Nights.

This is one of the brightest "oriental" scores, immersing us in the atmosphere of the sound of oriental music with its characteristic intonations and whimsical melodic twists, with instrumental timbres recreating a fabulous, almost fantastic musical flavor.

Program introduction:

Sultan Shahriar, convinced of the insidiousness and infidelity of women, gave a vow to execute each of his wives after the first night; but the sultana Scheherazade saved her life by being able to entertain him with tales, telling them to him for 1001 nights, so that, prompted by curiosity, Shahriar constantly postponed her execution and finally completely abandoned his intention. Scheherazade told him many miracles, citing poems by poets and lyrics, weaving a fairy tale into a fairy tale, a story into a story.

Some of the most striking episodes of the wonderful tales of Scheherazade became the basis of Rimsky-Korsakov's symphonic composition. Despite the fact that there are many independent episodes, heroes, and musical themes in the suite, the suite is united by a single concept, which is subordinated to the image of the main narrator - Scheherazade. After all, it was she, possessing great erudition and the richest imagination, who managed not only to save her life, but also to create a huge magical world full of incredible wonders and adventures.

Rimsky-Korsakov names the episodes that he used as a program for individual parts: the sea and the ship of Sinbad, the fantastic story of the Prince Kalender, the prince and the queen, the Baghdad holiday and the ship crashing against the rock.

The musical narrative is built as a series of fabulous paintings and main characters with their characteristic musical themes. On Shahriar's topic

- an imperative unison of woodwind instruments, depicting the image of a strong and powerful sultan, a powerful lord of his state, free to freely dispose of the life and death of his subjects.

But Scheherazade's theme is tender and languid, filled with a melodious solo violin. It contains the magic of the Arabian night, the charming voice of a young storyteller, and the mysterious coloring of marvelous oriental narrations.

In accordance with the program concept, there are other themes in the suite: we hear either the roar of the sea waves, or the noisy bustle of a crowded eastern city, or the unhurried intonations of the narrators - Scheherazade herself and Tsarevich Calender.

N. Rimsky-Korsakov. Symphonic suite "Scheherazade". I part.

(hearing).

Vocal and choral work.

E. Podgaits. Autumn vocalization (singing).

V. Rebikov, poems by I. Bunin. Autumn song (singing). Y. Vizbor. My dear (singing).

IV. Summary of the lesson.

Concretizing programming influences the nature of music to a much greater extent than the general idea expressed in the title or epigraph (as in the pieces from the cycle "The Seasons" by P. Tchaikovsky).

V. Homework.

Briefly outline the biographical data about the composer N.A.

Rimsky-Korsakov.

Learn lyrics.

*** Lesson 8 Topic: When music doesn't need words (1h)

Lesson Objectives:

Learn to perceive music as an integral part of the life of every person.

To cultivate emotional responsiveness to musical phenomena, the need for musical experiences.

Formation of listener culture on the basis of familiarization with the peak achievements of musical art.

Meaningful perception of musical works (knowledge of musical genres and forms, means of musical expression, awareness of the relationship between content and form in music).

Music material of the lesson:

A. Varlamov, lyrics by M.

Lermontov. Mountain peaks.

Additional material: a portrait of the composer A. Scriabin, a reproduction of a painting, a poem, a story, a test, a dictionary of emotional terms according to Razhnikov, tables (tempo and “We talk about music”, lyrics, colored pencils.

During the classes:

I. Organizational moment.

Read the epigraph to the lesson. How do you understand it?

Board writing:

Creativity Scriabin was his time, expressed in sounds.

Mr. Plekhanov II. The topic of the lesson.

Today we will get acquainted with the music of the remarkable Russian composer Alexander Nikolaevich Scriabin (1871 - 1915), whose music aroused the keen interest of his contemporaries. He very sensitively could convey the mood of the era, different life impressions.

III. Work on the topic of the lesson.

Guys, in the previous lessons, thinking about what kind of musical content is, we got acquainted with the concept of “program music”. For a better assimilation of this concept, I propose to perform test # 1 and # 2. Whoever completes test #1 will get a score of "4", and whoever completes test #2 will receive a score of "5"

(students choose their own test level). (Appendix 2.)

–  –  –

4. What is the name of the III part of the symphonic suite "Scheherazade"?

a) The sea and the ship of Sinbad;

b) the Baghdad festival and the ship crashing against the rock;

c) A fantastic story by Prince Kalender;

d) Tsarevich and princess.

–  –  –

The topic of our lesson is "When music does not need words."

The purpose of the lesson: we have to learn that the content of a piece of music can be understood without the help of a program.

There are a great many pieces of music that do not contain any program (symphonies, concertos, compositions for chamber ensembles, instrumental pieces, sonatas, preludes, etc.) But, despite the absence of a literary program, such compositions have no less rich musical content than works of program music.

Today we will get acquainted with the music of A. Scriabin (1871 - 1915). As a true son of the 19th century, Scriabin understood the disorder and untruthfulness of Russian society. He also understood the inevitability of social catastrophes, and was waiting for a storm. Therefore, in his music, he expressed the anxious, intense pulse of his time, when Russian society arrived in languid expectations of future changes. Immediately after the revolution in 1918, the name of Scriabin was included by the Council of People's Commissars signed by V.I.

Lenin to the list of "great figures" to whom monuments should be erected.

Today we will listen to the world-famous "Etude No. 12" in D sharp minor.

Can we determine the musical content by the title of the work?

What is an "etude"?

Etud - French. - study (we work in notebooks). Etude develops the technique of the musician. Etudes exist for all musical instruments. Etudes that can be performed on the stage, like real works of art, are called concert. They were written by Chopin, Liszt, Rachmaninov and, of course, Scriabin.

Sometimes "Etude No. 12" is called pathetic, but this is not a sign of programming: it only indicates the elevated tone of the sound inherent in the work. Scriabin performed it especially often both among friends and at concerts. The etude entered the repertoire of many pianists around the world. In his music, like an alarm, a call for freedom sounds.

We listen: Etude No. 12 by A. Scriabin (before listening, the teacher distributes questions to students).

Musical-theoretical analysis (Tables).

What image appears in your mind?

What can you say about the melody of the piece? (melodic ups)

What intonations make up the melody? Try to draw the melodic line of the etude (plastic intonation).

What does the excited accompaniment resemble?

What is the dynamics (quiet, loud, very loud)?

What mode (major or minor)?

How does the image develop (smoothly or with sharp contrasts, or growing)?

What is the rhythm (pulsating, triplet, jerky)?

What has the development led to?

What did Scriabin want to say with his music? (the embodiment of will, masculinity, impetuosity, passion).

Conclusion: It is the means of musical expressiveness that convey the content of the play, embodying the will, masculinity, impetuosity, passion.

What feelings did you experience while listening to the piece?

What events in your life does this music remind you of?

What memories and hopes does it evoke?

What would you like to do after listening to this etude?

Is it possible to commit a bad deed after listening to music?

Conclusion: It turns out that music does not always need words. A person is able to perceive music without additional explanations.

Contemporaries of A.N. Scriabin called his sketch "Petrel".

Who is a petrel?

Try to compare the mood of the music in Scriabin's etude with the rebellious mood of M. Gorky's Song of the Petrel.

I am reading Song of the Petrel.

“Over the gray plain of the sea, the wind gathers clouds. Between the clouds and the sea, the Petrel proudly flies, like a black lightning.

Now touching the waves with his wing, then soaring up to the clouds with an arrow, he screams, and the clouds hear joy in the bold cry of a bird.

In this cry - thirst for a storm! The power of anger, the flame of passion and confidence in victory are heard by the clouds in this cry.

Seagulls groan before the storm - they groan, rush over the sea and are ready to hide their horror before the storm at its bottom.

And the loons also groan - they, the loons, do not have access to the pleasure of the battle of life: the thunder of blows frightens them.

The stupid penguin timidly hides his fat body in the rocks... Only the proud Petrel flies boldly and freely over the sea, gray with foam!

Darker and lower, the clouds descend over the sea, and they sing, and the waves rush to the heights to meet the thunder.

Thunder rumbles. Waves groan in the foam of anger, arguing with the wind. Here the wind embraces a flock of waves with a strong embrace and throws them on a grand scale in wild anger on the rocks, breaking the emerald bulks into dust and spray.

The petrel flies with a cry, like a black lightning, like an arrow pierces the clouds, breaks the foam of the waves with its wing.

Here he rushes like a demon - a proud, black demon of the storm - and laughs and sobs ... He laughs at the clouds, he sobs with joy!

In the wrath of thunder, - a sensitive demon - he has long heard fatigue, he is sure that the clouds of the sun will not hide - no, they will not!

The wind howls... the thunder rumbles...

Flocks of clouds over the abyss of the sea are burning with a blue flame. The sea catches lightning bolts and extinguishes them in its abyss. Like fiery snakes, winding into the sea, disappearing, the reflections of these lightnings.

Storm! The storm is coming soon!

This bold Petrel proudly flies between lightning bolts over the roaring sea; then the prophet of victory cries:

Let the storm come on stronger! .. "

Are these works compatible?

Now I will ask you to perform Y. Shevchuk's song "Autumn" (in rows, each in a verse), to sing in character (preliminarily: breathing exercises, sound science, diction)

Pay attention to the reproduction of the painting by A.A. Rylov "In the blue space".

Does the picture match the mood of Scriabin's music and the song "Autumn"

Y. Shevchuk?

What feelings does this picture evoke in you?

Repeated listening to "Etude No. 12" by A. Scriabin (during the hearing we draw a color scheme).

Scriabin had a special gift for seeing tonalities in color. Let's see your work.

IV. Summary of the lesson.

What work of Scriabin did we get acquainted with?

Does this etude refer to program or non-program music?

Do you think Scriabin's etude is an exercise etude or a concert etude? Why?

What helped us understand the musical content of the work?

Did you like it?

We will end our conversation about the music of A. Scriabin with the words of the composer himself from his diary: “I am so happy that if I could communicate one grain of my happiness to the whole world, then life would seem beautiful to people. I want to live! I want something new, unknown.

I want to create. I want to be free to create. I want to consciously create.

Life is activity, striving, struggle.

And one more thing: "Strong and powerful is the one who has experienced despair and conquered it."

V. Student assessment.

Criteria for evaluation:

How vividly and steadily is students' interest in music, their passion for it, their love for it;

Are they able to think about music, evaluate its emotional nature and determine the figurative content;

Are they able to apply the knowledge gained in the process of music lessons;

What is the level of performing culture, how developed is the ability to creatively, vividly and emotionally convey in singing, playing musical instruments, in musical and rhythmic movements the content and nature of the performed works.

VI. D / z: prepare for a music quiz based on the works listened to for a quarter.

VII. Our lesson is coming to an end, but we will meet soon. This is how the words sound in the song by Y. Vizbor “My dear”.

The lesson will end with a collective performance of the song "My dear"

Y. Vizbora.

Russian composer, pianist, teacher. His father was a diplomat, his mother was a pianist. He studied at the Moscow Cadet Corps (1882-89).

Musical talent manifested itself early. Took lessons (piano) from G.E.

Konyus, N. S. Zvereva. In 1892 he graduated from the Moscow Conservatory in piano class with V. I. Safonov, he also studied with S. I. Taneyev (counterpoint) and A. S. Arensky (composition). He gave concerts in Russia and abroad, was an outstanding performer of his own compositions.

M. P. Belyaev provided him with significant support (he published the works of the young composer, subsidized his concert trips).

In 1904-10 (with a break) he lived and worked abroad (in European countries also toured the US). He was engaged in teaching activities: in 1898-1903 he was a professor (piano class) at the Moscow Conservatory, at the same time he taught in the music classes of the Catherine Institute in Moscow. Among the students: M. S. Nemenova Lunts, E. A. Beckman-Shcherbina.

Scriabin is one of the largest representatives of the artistic culture of the late 19th and early 20th centuries. The work includes piano and symphonic genres. In the 90s. preludes, mazurkas, etudes, impromptu, piano sonatas 1-3, concerto for piano and orchestra were created in the 1900s. - 3 symphonies, 4th-10th sonatas and poems for piano (including "Tragic", "Satanic", "To the Flame"), as well as such symphonic works as "The Poem of Ecstasy" (1907), " Prometheus ”(“ Poem of Fire ”, 1910) is a landmark work of the late period of creativity. Scriabin's music reflected the rebellious spirit of his time, a premonition of revolutionary change. It combines a strong-willed impulse, intense dynamic expression, heroic jubilation, a special "flight" and refined spiritualized lyrics.

In his work, Scriabin overcame the ideological inconsistency inherent in his theoretical philosophical concepts (around 1900, Scriabin became a member of the Moscow Philosophical Society, occupied a subjective-idealistic position). Scriabin's works, which embodied the idea of ​​ecstasy, a daring impulse, aspiring to unknown cosmic spheres, the idea of ​​the transforming power of art (the crown of such creations, according to Scriabin, was to be "Mystery", which combines all types of art - music, poetry, dance, architecture , as well as light), are distinguished by a high degree of artistic generalization, the power of emotional impact.

In the work of Scriabin, later romantic traditions are peculiarly combined (the embodiment of images perfect dream, ardent, excited nature of the statement, attraction to the synthesis of arts, preference for the genres of prelude and poem) with the phenomena of musical impressionism (subtle sound coloring), symbolism (images-symbols: the themes of "will", "self-affirmation", "struggle", "languor" , "dreams"), as well as expressionism. Scriabin is a bright innovator in the field of musical expressiveness and genres; in his later compositions, dominant harmony (the most characteristic type of chord, the so-called Promethean chord) becomes the basis of harmonic organization. For the first time in musical practice, he introduced a special part of light (“Prometheus”) into a symphonic score, which is associated with an appeal to color hearing.

Creativity Scriabin had a significant impact on the piano and symphonic music of the 20th century. The ideas of synthesis of music and light were further developed. In 1922, a museum was organized in the premises of Scriabin's last apartment in Moscow.

*** Lesson 9 Topic: Final lesson.

Lesson - generalization

Lesson Objectives:

Develop an attentive and benevolent attitude towards the environment.

To cultivate emotional responsiveness to musical phenomena, the need for musical experiences.

Develop interest in music through creative self-expression, manifested in reflections on music, one's own creativity.

Meaningful perception of musical works (knowledge of musical genres and forms, means of musical expression, awareness of the relationship between content and form in music).

Music material of the lesson:

L. Beethoven. Sonata No. 14 for piano. I part.

A. Scriabin. Etude in D sharp minor, Op. 8 No. 12.

Additional material:

During the classes:

I. Organizational moment.

II. The topic of the lesson.

Today you complete tasks: answer test questions; write an independent work on listening to music that sounded in the lessons in the first quarter.

III. Work on the topic of the lesson.

Execution of a test task.

1. About whom is the following statement by P. Mikhnya:

“My crazy love…!

How to get away from you, since you are in me?

Either I am crucified by you on a string, Then I am cast into hell, then I am raised with heaven on a par ... "?

a) about A. Vivaldi

b) about L. Beethoven

c) about A. Scriabin

2. Etude - develops ... a musician.

a) ability

b) technique

3. Who owns the following words: “My kind is a fairy tale, an epic and certainly Russian”?

a) P. Tchaikovsky

b) N. Rimsky-Korsakov

c) To A. Scriabin 4. “We are in eternal captivity at the sources,” wrote ... in his book “Planet of People. Our freedom is so limited. It is believed that a person is free to go wherever he wants. It is believed that he is free ... And no one sees that we are not tied like an umbilical cord, to the womb of the earth. Take another step and you die."

a) The Brothers Grimm

b) A. de Saint-Exupery

c) G. Andersen Opera - 5.

fusion of music and choreography a) synthesis of drama, visual arts and music b) language of sounds and intonations c)

6. Program music often reproduces in sounds ..., familiar to listeners from works of literature, painting and other forms of art.

c) character

7. educational institution intended for receiving musical education - ....

a) gallery

b) conservatory

c) Opera theatre

–  –  –

10. Who owns the words: "Only the Spirit, touching the clay, creates a Man out of it."

a) M. Tariverdiev

b) A.N. Tolstoy

c) A. de Saint-Exupery

11. Who wrote the piano cycle "The Seasons":

a) P.I. Chaikovsky

b) R. Schumann

c) M.I. Glinka

12. Who wrote the Egmont Overture?

a) L. Beethoven

c) M.P. Mussorgsky

a) baritone

c) bass Listening to music (writing in a notebook).

I. Brahms. Symphony No. 3. III movement. Fragment;

M. Tariverdiev, lyrics by N. Dobronravov. The little Prince;

L. Beethoven. Sonata No. 14 for piano. I part.

A. Vivaldi. Winter. I part. From the cycle “Four Concertos for Violin and Orchestra “The Seasons”;

O. Messiaen. The awakening of the birds. Fragment;

P. Tchaikovsky. November. On a trio. From the piano cycle "The Seasons";

N. Rimsky-Korsakov. Symphonic suite "Scheherazade". I part.;

A. Scriabin. Etude in D sharp minor, Op. 8 No. 12.

Vocal and choral work.

Y. Sheschuk "Autumn"

Y. Vizbor "My dear"

IV. Homework:

Get acquainted yourself with the biography of the composer S.V. Rachmaninoff II quarter Lesson 10 Topic: Musical image. Lyrical images in music.

Lesson Objectives:

Learn to perceive music as an integral part of the life of every person.

To cultivate emotional responsiveness to musical phenomena, the need for musical experiences.

Formation of listener culture on the basis of familiarization with the peak achievements of musical art.

Meaningful perception of musical works (knowledge of musical genres and forms, means of musical expression, awareness of the relationship between content and form in music).

Music material of the lesson:

Additional material:

During the classes:

I. Organizational moment.

II. The topic of the lesson.

Lesson topic: “Musical image. Lyrical images in music.

I. Work on the topic of the lesson.

We call the musical image those creative ideas, the vital content that the composer creates, using the richest possibilities of the musical language.

A musical image is life embodied in music, at least a small part of it: a feeling, experience, thought, deed, action of a person, several people; any manifestation of nature, any event in the life of a person, a people, all mankind.

In other words, a musical image (like any artistic image in general) is always a reflection of life through the consciousness of the artist.

The musical image is always a unity of life content and artistic form in which this content is embodied.

The circle of musical images that you got acquainted with in the first quarter is very diverse. But among them one can distinguish images that gravitate towards the lyrical, lyrical-epic beginning, and dramatic images.

The main properties of lyrics: Music, like any kind of art, reflects life in all its manifestations.

When we say "image" - it means that we imagine something, and this something consists of 2 components:

2. how we understand this content, what we imagine.

Thus, a musical image is a vital content embodied in musical sounds.

The power of art, including music, lies in its truth, in how strongly the image created by the artist (composer) affects us, what feelings it evokes in us and how these feelings correspond to what the composer wanted to express in his music.

We will study 3 main types of images in music:

1. lyrical

2. dramatic

3. epic Today's lesson is devoted to lyrical images in music.

The word lyric comes from the word "lyre" - this is an ancient instrument played by singers (rhapsodes), telling about various events and emotions experienced.

Lyrics are a direct, very personal perception of the world and various events.

These are the feelings and experiences of the hero, the lyrical hero, this is his monologue, in which he tells about what he had experienced.

In a lyrical work there are no events, unlike drama and epic - only the confession of a lyrical hero, his personal perception of various phenomena.

feeling mood lack of action We will get acquainted with a typical lyrical hero - the mythological character of Ancient Greece - Orpheus and the image of this hero, created by various composers of different eras.

Much has been written about Orpheus, the most famous musical works are Christoph Willibald Gluck's opera "Orpheus" Jacques Offenbach's operetta "Orpheus in Hell" Zong-opera of the modern composer Alexander Zhurbin "Orpheus and Eurydice" All these works are based on the love story of Orpheus for his deceased wife Eurydice and his journey to hell in order to bring her back to life.

This story is based on the myth of Orpheus.

Orpheus was one of the famous Greek heroes, considered the first professional musician. He played the lyre (from the name of which, as we remember, the name "lyrics" came from), he played so beautifully that his playing conquered everyone: people, animals, monsters.

Once Eurydice was bitten by a snake and she died. Orpheus' grief was inconsolable, he expresses it in the famous aria "I lost Eurydice" (Gluck, Zhurbin).

The gods of Olympus took pity on him, and Zeus allowed him to go down to the kingdom of the dead, Hades, and take his wife out of there, setting the condition never to look at her.

(show pictures) Orpheus descended into Hades, playing the lyre, and all the characters underworld the dead, fascinated by his game, gave way to him, even the terrible dog Cerberus, who was entrusted with guarding the entrance to Hades.

He found Eurydice, took her by the hand and led her up, away from the realm of the dead, without looking at her, as Zeus had told him.

But Eurydice, not understanding the reason for this, began to complain that Orpheus had probably fallen out of love with her and beg to look at her at least once. Orpheus could not resist, looked at his wife - and she died again.

The grief of Orpheus is expressed in a beautiful melody from the 2nd act of the opera, which we will now listen to.

(listen to Gluck's "Melody" for flute and orchestra)

Questions:

1. What instrument is the soloist in this melody? (flute)

2. Why Gluck chose him? (cold, otherworldly sound, impressions of the recently visited realm of the dead, where all human feelings seemed to freeze)

3. What feelings does this melody express? (deep sadness, humility, tenderness, hopelessness) In ancient myth, Orpheus lost Eurydice.

But in Gluck's opera everything ends happily: Cupid, seeing the despair of Orpheus, brought him good news - Zeus allowed Eurydice to return to earth, to living people, touched by Orpheus's talent and his inconsolable grief.

But Orpheus does not yet know this - Gluck's "Melody" expresses the fullness of his sadness.

Thus, in this work there are all signs of a lyrical image:

Feeling Mood Absence of action Dates of life K.V. Gluck - 1714-1787 This great opera reformer created a new type of opera: an opera in which the main thing was not external vocal virtuosity, but the truth of life, a close connection between vocal action and instrumental accompaniment, a vivid depiction of the characters' characters and their feelings.

*** "Through the pages of the works of S.V. Rachmaninov"

In order to understand any work of art by an artist or a school of artists, it is necessary to accurately imagine the general state of mental and moral development of the time to which it belongs. Here lies the primary cause that determined everything else.

Hippolyte I.

(The lesson used the story of Yu. Nagibin "Rakhmaninov", because

a poetic word can evoke a certain visual range in the imagination of children, allow children to discover the secret for themselves magical power creativity of Rachmaninoff as the basic principle of his creative thinking.

Class design: a portrait of S. Rachmaninov, books with literary heritage and letters, notes and a lilac branch.

Today we are waiting for an amazing meeting with the music of Sergei Vasilyevich Rachmaninoff, a Russian composer. People close to him who knew him well recalled that he said almost nothing about himself and his works, believing that he said everything with his works. And therefore, in order to understand the composer's work, one must listen to his music.

(Sounds like Peludia in G-sharp minor, op. 32, No. 12 performed by S. Richter).

The brightest page of Russian music was considered the work of Rachmaninov both in Russia and in the West. But the year 1917 turned out to be fatal in the fate of the composer.

From the book: “Early autumn of 1917. Rachmaninoff was driving to Ivanovka. On the sides of the road - unharvested bread, weed-dried potato fields, buckwheat, millet. Lonely poles stick out at the place of the pulled covered current. The car drove up to the estate. And here are noticeable traces of destruction. Some peasants were waving their arms near the house, and other peasants were carrying out vases, armchairs, rolled-up carpets, various utensils. But this was not what shocked Rachmaninov: the wide windows on the second floor flew open, something large, black, sparkling appeared there, moved over the window sill, bulged out and suddenly crashed down.

And only after hitting the ground and howling with torn strings, did it reveal its essence as a stenway cabinet grand piano.

Dragging his legs like a decrepit old man, Rachmaninoff wandered towards the house. The peasants noticed him when he was next to the corpse of the piano, and were numb. They did not have a personal hatred for Rachmaninov, and if in the absence he became a “master”, “landowner”, then his vivid image reminded that he was not just a master, not a master at all, but something else, far from being so hostile to them.

Never mind, go on,” Rachmaninov said absently and stopped over the black, shiny boards, whose mortal howl still continued to sound in his ears.

He looked at ... the strings still trembling, at the keys scattered all around ...

and knew that he would never forget this moment.

What is this passage talking about?

The fact that the restless and tense situation in Russia in 1917 led to the conflict between Rachmaninoff and the organs of the poor peasantry in the dear composer named after Ivanovka.

That's right, and in general everything that happens in Russia, and not just in Ivanovka, was perceived by Rachmaninov negatively, as a nationwide disaster.

Rachmaninov writes about his trip to Tambov as follows: “... for almost a hundred miles I had to overtake carts with some kind of brutal, wild snouts that met the passage of the car with whooping, whistling, throwing hats into the car.” Unable to understand what is happening, Rachmaninov decides to temporarily leave Russia. And he leaves with a heavy feeling, not yet knowing that he is leaving forever, and that he will regret many times that he took this step. Ahead of him was waiting and excited by homesickness. (An excerpt from the Prelude in G-sharp minor sounds).

After leaving Russia, Rachmaninoff seems to have lost his roots and did not compose anything for a long time, being engaged only in concert activities. The doors of the best were opened for him. concert halls New York, Philadelphia, Petersburg, Detroit, Cleveland, Chicago. And only one place was closed to Rachmaninov - his homeland, where the best musicians were asked to boycott his works. The Pravda newspaper wrote: “Sergei Rachmaninov, former singer Russian merchants and the bourgeoisie, given the written composer, imitator and reactionary, the former landowner - a sworn and active enemy of the government. “Down with Rachmaninoff! Down with the worship of Rachmaninov!” called on Izvestia.

(From book):

Only one reminded the Swiss villa of old Ivanovka:

lilac bush, once brought from Russia.

For God's sake, don't damage the roots! he begged the old gardener.

Don't worry, Herr Rachmaninoff.

I have no doubt that everything will be all right. But lilac is a tender and hardy plant. If you damage the roots - all is lost.

Rachmaninoff loved Russia, and Russia loved Rachmaninoff. And therefore, contrary to all prohibitions, Rachmaninov's music continued to sound, because.

it was impossible to ban it. In the meantime, an incurable disease was quietly creeping up on Rachmaninov - cancer of the lungs and liver.

(From the book:) As usual, strict, fit; in an impeccable tailcoat, he appeared on the stage, made a short bow, straightened his tails, sat down, tried the pedal with his foot - everything, as always, and only the closest people knew that every movement costs him, how difficult his tread is, and with what inhuman effort of will he hides he is from the public his torment.

(Prelude in C-sharp minor performed by S. Rachmaninov).

(From the book:) ... Rachmaninoff completes the prelude with brilliance. Ovation of the hall.

Rachmaninov tries to get up and cannot. He pushes his hands away from the seat of the stool - in vain. His spine twisted with unbearable pain does not allow him to straighten.

Curtain! Curtain! - distributed backstage.

Stretcher! the doctor demanded.

Wait! I have to thank the audience... And say goodbye.

Rachmaninov stepped up to the ramp and bowed... Flying through the orchestra pit, a luxurious bouquet of white lilacs fell at his feet. The curtain was lowered before he collapsed onto the platform.

At the end of March 1943, shortly after the completion Battle of Stalingrad, the outcome of which Sergei Vasilyevich managed to rejoice at, who perceived the hardships and sufferings of the war in Russia close to himself, 8 initial chords of the introduction of the Second Piano Concerto (performed on the piano) grew out of black loudspeakers without the usual announcer's announcement. After that, it was said that Sergei Vasilievich Rachmaninov had died in the USA. (A fragment of the second part of the concerto No. 2 for piano and orchestra sounds).

Rachmaninoff died, and his music continued to warm the souls of compatriots who suffered from the war:

And each note screams:

And the cross above the mound shouts:

He was so sad in a foreign land!

He only stayed in a foreign land ...

*** Sergei Vasilievich Rachmaninov (1873-1943) Russian composer, pianist, conductor. His grandfather Arkady Alexandrovich (1808-81) was an amateur pianist and author of salon romances.

From the age of 4-5, Rachmaninoff played the piano. From 1882 he studied at the St. Petersburg Conservatory, from 1885 at the Moscow Conservatory. Among his teachers: N. S. Zverev and A. I. Siloti (piano), A. S. Arensky and S. I.

Taneyev (theoretical subjects, composition). During the years of study, the 1st concerto for piano and orchestra (1891: 2nd edition 1917), a number of piano, chamber-instrumental works, romances were written.

The development of the composer was greatly influenced by P. I. Tchaikovsky, who already recognized an original talent in Rachmaninov's student works.

He graduated from the Moscow Conservatory as a pianist (1891) and a composer (1892; diploma work-opera "Aleko"). In the 1897/98 season, the conductor of the Moscow Private Russian Opera (here Rachmaninov's friendship with F. I. Chaliapin began), in 1904-06 - Bolshoi Theater. He also took part in symphony concerts. Constantly gave concerts as a pianist and conductor in Russia and abroad (for the first time in London in 1899). In 1909-12, he actively participated in the activities of the RMO (member of the directorate of the Moscow branch, music inspector at the Main Directorate). In the 1900s many of his most important works were written.

At the end of 1917, Rachmaninoff went on tour to Scandinavia, from 1918 he settled in the USA. In 1918-43 he was mainly engaged in concert activities (he performed in Europe and America). In the few works created during these years, the theme of the motherland is intertwined with the motive of the tragic loneliness of the composer, cut off from his native soil. Living abroad, Rachmaninoff remained a Russian artist, a patriot. In 1941-42 he gave concerts, the proceeds of which he transferred to help the Red Army.

Rachmaninoff is one of the major composers turn of the 19th-20th centuries. Rachmaninoff's aggravated lyrical feeling of grandiose social upheavals is associated with the embodiment of the image of the motherland. He was a soulful singer of Russian nature. Passionate, stormy impulses and intoxicated poetic contemplation, strong-willed determination and quivering alertness, gloomy tragedy and enthusiastic humanism closely coexist in his music.

The music has a unique melodic and sub-vocal polyphonic richness, coming from Russian folk song and features of Znamenny chant. One of the distinguishing features of Rachmaninov's musical style is the organic combination of breadth and freedom of melodic breathing with an elastic and energetic rhythm. The peculiar harmonic language of his music is characterized by a diverse implementation of bell sonorities. Rachmaninov's creative heritage includes various genres, but the piano works occupy a central place in it.

Rachmaninoff is one of the greatest pianists peace. Phenomenal technique, virtuosity were subordinated in Rachmaninov's game to high spirituality and vivid imagery of expression. These same qualities distinguished his conducting art. In the village of Ivanovka Tambov region The Rachmaninoff Memorial Museum was created.

*** Various musical images always embody some particle of life: this or that life phenomenon, a picture of nature, something that happens in a person, in society, on the scale of all mankind or in the soul small child(feelings, thoughts, actions, characters, in general - the whole spiritual world of a person).

What feelings are best conveyed by songwriting?

(Feelings sincere, lyrical, poetic).

What character traits does dancing help convey?

(Lightness, mobility, playfulness).

What character can be best conveyed by marching?

(Masculinity, determination, fortitude, heroism).

The musical content manifests itself in musical images, in their emergence, development and interaction.

No matter how unified in mood a piece of music is, it always reveals all sorts of changes, shifts, contrasts.

The emergence of a new melody.

Changing the rhythmic pattern.

Changing the texture pattern.

Changing a section means the emergence of a new image, sometimes close in content, sometimes directly opposite.

Development is based on figurative richness, interweaving of various motives, states and experiences.

Prelude (from lat. prae ... - before and lat. ludus - game) - a short piece of music that does not have a strict form. In its inception, preludes always preceded a longer, more complex, and more strictly designed work (hence the name), but later composers began to write preludes as independent works as well. Ostinato is often found in preludes; in general, preludes are similar in style to improvisation.

Prelude - an introduction to a musical composition or a small independent piece, mainly for harpsichord, piano, organ. Cycles of preludes and fugues are created, as well as some preludes.

S. Rachmaninov. Prelude in G sharp minor, Op. 32 no. 12 (hearing).

Her mood, at the same time quivering, dreary, is in tune with the Russian musical tradition of embodying images of sadness and farewell.

The music feels a poignant autumn state: the trembling of the last foliage, drizzling rain, low gray sky.

The musical image of the prelude is complemented by a moment of sonority: in the melodic-textural sound, one can discern something similar to the farewell chirping of cranes leaving us for the long winter.

Maybe because in our area the cold lasts so long, and spring comes slowly and reluctantly, every Russian person feels the end of a warm summer with particular acuteness and says goodbye to it with dreary sadness.

And so the images of farewell are closely intertwined with the theme of autumn, the autumn images of which are so numerous in Russian art: flying leaves, drizzle, crane wedge.

How many poems, paintings, musical plays are connected with this theme!

And how extraordinarily rich is the figurative world of autumn sadness and farewell.

–  –  –

Vocal and choral work.

Y. Milyutin, poems by E. Dolmatovsky. Lyric song (singing).

G. Struve, lyrics by L. Kondratenko. To the mothers of fallen heroes (singing).

Recording lyrics.

Song display.

Learning.

II. Summary of the lesson.

The image of the Russian soul and Russian nature, embodied in the high farewell flight of cranes, is outlined.

Cranes are a kind of image-symbol, as it were, hovering over the general figurative picture of the prelude, imparting to its sound a special height and purity.

This musical image is associated with the embodiment of subtle lyrical feelings.

III. Homework.

Learn the lyrics by heart.

Draw an autumn landscape, find a poem corresponding to the musical image of the “Prelude” by S.V. Rachmaninov.

Lesson 11 Topic: Dramatic imagery in music

Lesson Objectives:

Learn to perceive music as an integral part of the life of every person.

Develop an attentive and benevolent attitude towards the environment.

To cultivate emotional responsiveness to musical phenomena, the need for musical experiences.

Develop interest in music through creative self-expression, manifested in reflections on music, one's own creativity.

Formation of listener culture on the basis of familiarization with the peak achievements of musical art.

Meaningful perception of musical works (knowledge of musical genres and forms, means of musical expression, awareness of the relationship between content and form in music).

Music material of the lesson:

F. Schubert, poems by J. V. Goethe. Forest king (listening).

Y. Milyutin, poems by E. Dolmatovsky. Lyric song (singing).

G. Struve, lyrics by L. Kondratenko. To the mothers of fallen heroes (singing).

Additional material:

During the classes:

Organizing time.

Students enter the classroom, greet the teacher with a musical greeting

Updating of basic knowledge:

What is a musical image?

What assignment did you receive in the last lesson? (draw an autumn landscape, find a poem corresponding to the musical image of the "Prelude" by S.V. Rachmaninov), read fragments of poems (against the background of an autumn landscape and the sound of Rachmaninov's music) What is a prelude?

The topic of the lesson.

Lesson topic: "Dramatic images in music."

Work on the topic of the lesson.

Teacher: Dramatic images, like lyrical ones, are very widely represented in music. On the one hand, they arise in music based on dramatic literary works (such as opera, ballet and other stage genres), but much more often the concept of "dramatic" in music is associated with character traits, musical interpretation of heroes, images. Today we will continue talking about musical images. Sample dramatic work- Franz Schubert's ballad "The Forest King", written on a poem by the great German poet J. W. Goethe (on the screen is a portrait of Franz Schubert).

allada is a lyrical epic work, that is, a story told in poetic form, of a historical, mythical or heroic nature. The plot of the ballad is usually borrowed from folklore. Ballads are often set to music.

Brief information about the life and work of the composer Franz Schubert - the great Austrian composer of the 19th century for his short life wrote so many wonderful works that they could hardly fit in 37 thick volumes: symphonies, vocal works, piano pieces and much more. The main place in his work was occupied by the song genre (about 600), which he raised to a high artistic level. Schubert's song is always a living scene, a dramatic picture in which the subtlest shades of human feelings are revealed. He wrote most of his works for the Viennese societies of music lovers, for his friends, meetings with whom were called Schubertiads. (on-screen illustration) (on-screen portrait of Goethe) Franz Schubert was enchanted by Goethe's poetry. She excited, captivated the imagination, mind, soul of the young composer. Over 70 songs were written by Schubert to the words of the great German poet. Ballad "Forest King"

The musical language is understandable without translation. And, undoubtedly, after listening to the ballad, by the sound of the music itself, you can feel that this is a leisurely narration of the author or an excited conversation of several actors. After listening, you will have to answer questions (the ballad “The Forest King” sounds) F. Schubert, poems by J. V. Goethe. Forest king (listening).

Exercise:

In what performance did the work sound? (male voice accompanied by a piano) Character - excited, anxious Tempo - fast Mode - minor Register - low Dynamics - f, mp Teacher: How many characters are in this ballad?

Students: Four.

Teacher: What intonations did you hear? The narrator is excited;

The father is anxious; Son - frightened, suffocating; The king of the forest is sweetly enticing Teacher: What did you hear in the accompaniment? Can it be seen?

Pupils: A swift, tense movement (a rider jumps) Teacher: Is the music expressive or pictorial?

Teacher: Now listen to how this ballad sounds in Russian translated by Vasily Andreevich Zhukovsky - the great Russian poet, a contemporary of Pushkin, a peculiar, very subtle, deeply lyrical poet gave such an interpretation of Goethe's "terrible" vision (against the background of illustrations, read the ballad translated by V Zhukovsky) Today in the lesson the word “ballad” is often heard. In literature lessons, you have already talked about this genre. And in music, a special place in the song genre is occupied by a ballad. In ancient times, dance songs were called ballads. In the Middle Ages they became narrative songs. They are reflected folk tales, stories about mysterious events, the reserved world of spirits, fantastic, mystical images.

To summarize: The purpose of our lesson was to identify the means of expressiveness of different types of arts (literary, musical and visual) in creating a single image.

By what means did the composer, poet and artist come to create a single dramatic image?

Pupils: Composer - with the help of musical expressiveness. The artist - a gamut of colors. The poet creates a plot, various intonations.

Teacher: So we can conclude.

Conclusion: As we see in poetry, and in music, and in painting, a large dramatic picture is drawn, a scene with the participation of several characters. But even if we heard their individual intonations, the whole scene merges in our minds into a single dramatic image, united by a swift movement; not only by the movement of a horse flying through the forest, but also by the movement of the feelings of the main characters.

Teacher: The dramatic image is widely represented not only in classical music, but in the song genre.

Vocal and choral work.

Y. Milyutin, poems by E. Dolmatovsky. Lyric song (singing).

G. Struve, lyrics by L. Kondratenko. To the mothers of fallen heroes (singing).

Summary of the lesson.

This concludes our lesson. Thank you for your work (rating). Say goodbye to the teacher, leave the classroom.

IV. Homework.

Learn the lyrics of the song.

Music lesson in grade 7 II quarter, lesson 2 Topic: "Dramatic image in music"

This music lesson for 7th grade students was developed on the basis of the program “Music (authors T.I. Naumenko, V.V. Aleev) The lesson was designed taking into account those skills and methods of action that children are already familiar with: musical greetings, character. At the previous lesson, the children listened to the “Prelude” by S.V. Rachmaninoff and learned that there are various musical images in music - lyrical, dramatic, epic.

The purpose of the lesson:

Formation of emotionally conscious perception of the musical image on the example of the ballad "Forest King" by F. Schubert. revealing the means of expressiveness of different types of arts (literary, musical and visual) in creating a single image. Lesson type:

Learning new material

Lesson objectives:

1.Educational:

a) continue to teach students to compare and compare poetry, music and visual arts, b) come up with a new concept of "ballad".

2. Developing:

a) further development of the listening culture,

b) continue to develop an active, heartfelt, conscious perception by students of music, poetry, visual arts,

c) develop the skills of cantilena singing.

3.Educational:

a) arouse interest in the work of the composer Franz Schubert, the poetry of Goethe.

Methods and techniques:

Verbal (conversation, explanation) Visual (portraits, illustrations) Listening to music Singing

Visibility:

Portraits of Franz Schubert, Johann Goethe. Illustrations. Predicted result: concepts: ballad methods of action: work on cards, listening to music. Judgments: personal attitude to music

Lesson topic:

"Dramatic Image in Music"

Course of the lesson Organizational moment I. Students enter the class, greet the teacher with a musical greeting

II. Updating of basic knowledge:

What is a musical image?

With the help of what means of musical expression can the composer reflect the surrounding reality (melody, tempo, register, dynamics).

What assignment did you receive in the last lesson? (draw an autumn landscape, find a poem corresponding to the musical image of the "Prelude"

Main part

Teacher: Dramatic images, like lyrical ones, are very widely represented in music. On the one hand, they arise in music based on dramatic literary works (such as opera, ballet and other stage genres), but much more often the concept of "dramatic"

associated in music with character traits, musical interpretation of heroes, images. Today we will continue talking about musical images.

An example of a dramatic work is Franz Schubert's ballad "The Forest King", written to a poem by the great German poet J. W. Goethe. (the portrait of Franz Schubert is on the screen) A short message about the life and work of the composer Franz Schubert, the great Austrian composer of the 19th century, wrote so many wonderful works in his short life that they could hardly fit in 37 thick volumes: symphonies, vocal works, piano pieces and much more other. The main place in his work was occupied by the song genre (about 600), which he raised to a high artistic level. Schubert's song is always a living scene, a dramatic picture in which the subtlest shades of human feelings are revealed. He wrote most of his works for the Viennese societies of music lovers, for his friends, meetings with whom were called Schubertiads. (on-screen illustration) (on-screen portrait of Goethe) Franz Schubert was enchanted by Goethe's poetry. She excited, captivated the imagination, mind, soul of the young composer. Over 70 songs were written by Schubert to the words of the great German poet. Ballad "Forest King"

Schubert wrote when he was only 18 years old. Here is how one of his friends describes the birth of this song: “We found Schubert in a completely feverish state, loudly reading from the book“ The Forest Tsar ”. He walked up and down the room with the book several times, suddenly sat down, and in the shortest possible time the ballad appeared on paper ... That same evening, The Forest King was performed and received with enthusiasm. In the ballad "Forest King"

the composer saw the tragedy, felt the pain and cry of the human soul.

The piano plays a special role in Schubert's songs. It fills the song with new colors, helps to reveal its content deeper.

Teacher: Now we will listen to a ballad in the original language - German, and you will have to determine - how many characters are there in this work? Listen carefully to the intonation of the performer.

The musical language is understandable without translation. And, undoubtedly, after listening to the ballad, by the sound of the music itself, you can feel that this is a leisurely narration by the author or an excited conversation of several characters. After listening, you will have to answer the questions in the card. (the ballad “The Forest King” sounds) Task In what performance did the work sound? (male voice accompanied by phono) Character - excited, anxious Tempo - fast Mode - minor Register - low Dynamics - f, mp Teacher: How many characters are in this ballad? Students: Four. Teacher: What intonations did you hear?

The narrator is excited; The father is anxious; Son - frightened, suffocating; The forest king is sweetly enticing.

Teacher: What did you hear in the accompaniment? Can it be seen?

Pupils: Rapid, tense movement (horseman jumps) Teacher:

Is the music expressive or pictorial?

Pupils: Both expressive and pictorial.

Teacher: Now listen to how this ballad sounds in Russian translated by Vasily Andreevich Zhukovsky, the great Russian poet, a contemporary of Pushkin, a peculiar, very subtle, deeply lyrical poet gave such an interpretation of Goethe's "terrible" vision. (against the background of the illustrations, read the ballad translated by V. Zhukovsky) Today, the word “ballad” is often heard in the lesson. In literature lessons, you have already talked about this genre. And in music, a special place in the song genre is occupied by a ballad. In ancient times, dance songs were called ballads. In the Middle Ages they became narrative songs. They reflect folk legends, stories about mysterious events, the reserved world of spirits, fantastic, mystical images.

Franz Schubert is considered to be the creator of the vocal ballad.

To summarize: The purpose of our lesson was to identify the means of expressiveness of different types of arts (literary, musical and visual) in creating a single image. By what means did the composer, poet and artist come to create a single dramatic image?

Pupils: the composer - with the help of musical expressiveness. The artist - with a range of colors. The poet - by creating a plot, different intonations Teacher: So, we can conclude Conclusion: As we see in poetry, in music, and in painting, a large dramatic picture is drawn, a scene with the participation of several characters. But even if we heard their individual intonations, the whole scene merges in our minds into a single dramatic image, united by a swift movement; not only by the movement of a horse flying through the forest, but also by the movement of the feelings of the main characters. Teacher: The dramatic image is widely represented not only in classical music, but in the song genre - the song “Oh, roads” can serve as an example. The song is being played.

Teacher: This concludes our lesson. Thank you for your work (rating). Say goodbye to the teacher, leave the classroom.

Lesson 12 Topic: Epic imagery in music

Lesson Objectives:

Learn to perceive music as an integral part of the life of every person.

Develop an attentive and benevolent attitude towards the environment.

To cultivate emotional responsiveness to musical phenomena, the need for musical experiences.

Develop interest in music through creative self-expression, manifested in reflections on music, one's own creativity.

Formation of listener culture on the basis of familiarization with the peak achievements of musical art.

Meaningful perception of musical works (knowledge of musical genres and forms, means of musical expression, awareness of the relationship between content and form in music).

Music material of the lesson:

(hearing).

Y. Milyutin, poems by E. Dolmatovsky. Lyric song (singing).

G. Struve, lyrics by L. Kondratenko. To the mothers of fallen heroes (singing).

Additional material:

During the classes:

I. Organizational moment.

II. The topic of the lesson.

III. Work on the topic of the lesson.

EPOS, [Greek. epos - word]

1. Narrative kind of literature (as opposed to drama and lyrics).

2. The totality of works of this kind, united common theme, common nationality, chronology, etc.

An epic is usually a poem about heroic deeds.

origins epic poetry are rooted in prehistoric stories of gods and other supernatural beings.

The epic is the past, because tells about past events in the life of the people, about their history and exploits;

The lyrics are real, because its object is feelings and moods;

Drama is the future the main thing in it is the action, with the help of which the characters are trying to decide their fate, their future.

The first and simple scheme for the division of the arts associated with the word was proposed by Aristotle, according to which the epic is a story about an event, the drama presents it in faces, the lyrics respond with the song of the soul.

The place and time of the action of epic heroes resemble real history and geography (in what way the epic is radically different from fairy tales and myths, which are completely unrealistic). However, the epic is not entirely realistic, although it is based on real events. Much of it is idealized, mythologized.

This is the property of our memory: we always embellish our past a little, especially when it comes to our great past, our history, our heroes. And sometimes it’s the other way around: some historical events and characters seem worse to us than they actually were.

Epic properties:

Heroism The unity of the hero with his people, in the name of which he performs feats Historicity Fairy tale (sometimes an epic hero fights not only with real enemies, but also with mythical creatures) Appraisal (heroes of the epic are either good or bad, for example, heroes in epics - and their enemies, all sorts of monsters) Relative objectivity (the epic describes real historical events, and the hero may have his weaknesses) The hero, in whom everything is small, is only suitable for a novel, Let him be brave, noble,

But still, without weaknesses, he is not nice to anyone:

The quick-tempered, impetuous Achilles is dear to us;

He cries from resentment - not superfluous detail, So that we believe in his plausibility.

The epic images in music, which we will talk about today, are images not only of heroes, but also of events, history, they can also be images of nature, depicting the Motherland in a certain historical era.

This is the difference between the epic and the lyrics and drama: in the first place is not the hero with his personal problems, but history.

As an example, let's listen to 2 works of the epic genre:

1. 2nd symphony, " Heroic symphony" A. Borodina. She is recognized as the pinnacle of Russian and world epic symphonism

2. Aria of Prince Igor from A. Borodin's opera "Prince Igor" Borodin Alexander Porfiryevich (1833-1887), one of the composers of "The Mighty Handful".

All his work is permeated with the theme of the greatness of the Russian people, love for the motherland, love of freedom.

The "Bogatyr Symphony", which captures the image of a mighty heroic Motherland, and the opera "Prince Igor", created based on the Russian epic "The Tale of Igor's Campaign", are about this.

“The Tale of Igor’s Campaign” (“The Tale of Igor’s Campaign, Igor, Svyatoslav’s Son, Oleg’s Grandson” is the most famous (considered the greatest) monument of medieval Russian literature. The plot is based on the unsuccessful campaign of the Russian princes against the Polovtsians in 1185, led by Prince Igor Svyatoslavich.

In his aria, Prince Igor expresses sadness over his captivity and the death of his regiment, dreams of freedom and the opportunity to organize a new campaign, victorious.

N. Rimsky-Korsakov. Ocean-sea is blue. Introduction to the opera "Sadko"

(hearing).

"Sadko" is a vivid example of an epic opera, which is characterized by a slow, smooth flow of action, resurrecting the spirit of old epic tales. Musical portraits of the main characters are given in widely developed vocal numbers, paintings folk life and life - in the monumental choral scenes. The music of the opera is full of bright, convex contrasts.

The images of the fabulous underwater kingdom, embodied by means of flexible, whimsical melody and unusual harmonies, are opposed to pictures of real folk life and images of Russian people, in the depiction of which the main expressive means is Russian folk song.

The opera opens with the majestic orchestral introduction "Ocean-Sea is Blue". Page 46 according to the textbook.

Vocal and choral work.

Y. Milyutin, poems by E. Dolmatovsky. Lyric song (singing).

G. Struve, lyrics by L. Kondratenko. To the mothers of fallen heroes (singing).

IV. Summary of the lesson.

We got acquainted with the musical works of the epic plan.

Epic images require a long and unhurried development; they can be exhibited for a long time and slowly develop, introducing the listener into an atmosphere of a kind of epic coloring.

V. Homework.

Learn lyrics. Get ready to do them.

Lesson 13 Topic: What the music genre is about. "Memory of the Genre"

Lesson Objectives:

Learn to perceive music as an integral part of the life of every person.

To cultivate emotional responsiveness to musical phenomena, the need for musical experiences.

Formation of listener culture on the basis of familiarization with the peak achievements of musical art.

Meaningful perception of musical works (knowledge of musical genres and forms, means of musical expression, awareness of the relationship between content and form in music).

Music material of the lesson:

Additional material:

During the classes:

I. Organizational moment.

II. The topic of the lesson.

Lesson topic: What does the musical genre tell about. "Memory of the Genre"

III. Work on the topic of the lesson.

To the sounds of the past rises

And close it seems clear:

That dream sings for me, That blows with a beautiful mystery.

Alexander Blok

– How do you understand the expression “memory of the genre”?

The vast world of musical content is encrypted primarily in genres. There is even such a concept as “memory of a genre”, which indicates that genres have accumulated a huge associative experience that evokes certain images and ideas in listeners.

What do we imagine when we listen to a waltz or a polka, a march or a lullaby? In our imagination, couples circling in a noble dance (waltz), cheerful youth, lively and laughing (polka), solemn tread, elegant uniforms (march), an affectionate mother's voice, immediately appear in our imagination, native home(lullaby). Such or similar representations evoke these genres in all the people of the world.

Many poets wrote about this ability of music - the ability to evoke images and ideas in memory.

Appeal to certain genres and the composers themselves often evoked vivid and lively images. So there is a legend that Fryderyk Chopin, composing the Polonaise in A flat major, saw around him a solemn procession of gentlemen and ladies of bygone times.

Due to this feature of genres, which contain huge layers of memories, ideas and images, many of them are used by composers intentionally - to sharpen one or another life content.

F. Chopin. Polonaise in A flat major, Op. 53 No. 6 (hearing).

Often used in original music folk genres or skillfully executed stylizations. After all, they were most closely connected with the way of life of people, they sounded during work and fun, at weddings and funerals. The vital content of such genres is inextricably intertwined with their sound, so that by introducing them into his works, the composer achieves the effect of complete authenticity, immersing the listener in the color of time and space.

Everyone knows the Russian folk song "There was a birch in the field." Her melody seems simple and unassuming.

However, it was this song that P. Tchaikovsky chose as the main theme of the finale of his Fourth Symphony. And by the will of the great composer, it became the source of the musical development of the whole movement, changing its character and appearance depending on the flow of musical thought. She managed to give the sound of the music either a dance or a song character, a mood both dreamy and solemn - in a word, she became infinitely diverse in this symphony, which only genuine music can be.

And yet, in one - its main quality - it remained intact: in a deeply national Russian sound, as if capturing the nature and appearance of Russia, so dear to the heart of the composer himself.

There was a birch in the field. Russian folk song (listening).

P. Tchaikovsky. Symphony No. 4. IV movement. Fragment (hearing).

Vocal and choral work.

V. Muradeli, Lisyansky's verses. School path (singing).

V. Berkovsky, S. Nikitin, lyrics by A. Velichansky. To the music of Vivaldi. (singing).

Work on sound formation, diction, breathing, character of performance.

IV. Summary of the lesson.

V. Homework.

Learn lyrics.

Lesson 14 Topic: Such different songs, dances, marches

Lesson Objectives:

Learn to perceive music as an integral part of the life of every person.

Develop an attentive and benevolent attitude towards the environment.

To cultivate emotional responsiveness to musical phenomena, the need for musical experiences.

Formation of listener culture on the basis of familiarization with the peak achievements of musical art.

Meaningful perception of musical works (knowledge of musical genres and forms, means of musical expression, awareness of the relationship between content and form in music).

Music material of the lesson:

V. Muradeli, Lisyansky's verses. School path (singing).

V. Berkovsky, S. Nikitin, lyrics by A. Velichansky. To the music of Vivaldi. (singing).

Additional material: Portraits of composers: Tchaikovsky, Bizet.

During the classes:

I. Organizational moment.

II. The topic of the lesson.

Theme of the lesson: Such different songs, dances, marches III. Work on the topic of the lesson.

Why are genres of folk music used in musical works? Name these works.

Appeal to the national song or dance genre in a piece of music is always a means of vivid and reliable characterization of the image.

The Hungarian composer Bela Bartok accurately said: “Country music serves a specific purpose, has a specific program associated with certain customs, according to the unwritten laws of the village ... Christmas should have been celebrated with tales of antiquity, weddings could only be held with the observance of certain rites, during the harvest it was supposed to sing songs harvest."

The musical content, for many centuries, assigned to a certain genre, has become an eternal and inalienable companion, so that when listening to the music of a certain, long-established genre, we associate with it a specific, only inherent content.

Each musical genre is associated with certain life situations or special moods.

March - one of the main musical genres - can have both a humorous and serious character. Compare the sound of two marches: the march from P. Tchaikovsky's ballet "The Nutcracker" and the march of the Bullfighter from the opera "Carmen" by G. Bizet.

P. Tchaikovsky. March. From the ballet The Nutcracker (listening).

J. Bizet. March of the Toreador. From the opera "Carmen" (hearing).

Vocal and choral work.

V. Muradeli, Lisyansky's verses. School path (singing).

V. Berkovsky, S. Nikitin, lyrics by A. Velichansky. To the music of Vivaldi. (singing).

Work on sound formation, diction, breathing, character of performance.

IV. Summary of the lesson.

Today we looked at examples of marches. No matter how meaningful musical genres are, no matter how deep meanings they may conceal in themselves, in music the content manifests itself in the means of musical expression: melody and harmony, rhythm and texture, which together form a form of musical expression. Sounds, chants, musical phrases and sentences, intervals and chords, strokes and shades all carry their own content.

V. Homework.

Learn the songs and prepare them for the answer.

Lesson 15 - 16 Topic: Such different songs, dances, marches

Lesson Objectives:

Learn to perceive music as an integral part of the life of every person.

Develop an attentive and benevolent attitude towards the environment.

To cultivate emotional responsiveness to musical phenomena, the need for musical experiences.

Develop interest in music through creative self-expression, manifested in reflections on music, one's own creativity.

Formation of listener culture on the basis of familiarization with the peak achievements of musical art.

Meaningful perception of musical works (knowledge of musical genres and forms, means of musical expression, awareness of the relationship between content and form in music).

Music material of the lesson:

V. Muradeli, Lisyansky's verses. School path (singing).

V. Berkovsky, S. Nikitin, lyrics by A. Velichansky. To the music of Vivaldi. (singing).

Additional material:

Portraits of composers P.I. Tchaikovsky and F. Chopin.

During the classes:

I. Organizational moment.

II. The topic of the lesson.

Lesson topic: Such different songs, dances, marches.

III. Work on the topic of the lesson.

What a variety of waltzes!

The waltz from P. Tchaikovsky's opera "Eugene Onegin" sounds bright and full-blooded. In its sounds, we almost visibly guess the dazzling light of the ballroom, elegant guests, who are gathering for a noisy and cheerful evening.

Pyotr Ilyich Tchaikovsky (1840-1893) is a great Russian composer and conductor. Born May 7, 1840 in the city of Votkinsk in large family. Music was often played in Tchaikovsky's house. His parents were fond of playing the piano and organ.

At the age of five, Pyotr Tchaikovsky already knew how to play the piano, and three years later he played the notes perfectly. In 1849 the Tchaikovsky family moved to Alapaevsk and then to St. Petersburg.

In the biography of Pyotr Ilyich Tchaikovsky, he was initially educated at home. Then Peter studied at a boarding school for two years, after which he studied at the St. Petersburg School of Law. Tchaikovsky's creativity during this period was manifested in extracurricular music lessons. The death of the mother in 1862 greatly affected the vulnerable child. After graduating from college, Peter began to serve in the Department of Justice.

Having shown a penchant for composing music, Tchaikovsky entered the St. Petersburg Conservatory. Further studies in the life of Tchaikovsky with the excellent teachers Zaremba and Rubinstein helped in many ways to form a musical personality. After graduating from the conservatory, the composer Tchaikovsky was invited by Nikolai Rubinstein (teacher's brother) to the Moscow Conservatory as a professor.

Many of Tchaikovsky's concertos were written then. Opera "Ondine"

In 1877, in order to get rid of gossip about homosexual inclinations, Tchaikovsky married Antonina Milyukova. At the same time, he was in close contact with Nadezhda von Meck, a wealthy lover of Tchaikovsky's music. Not loving his wife, the composer tried to commit suicide. However, he could not, and left his wife forever. This piece of Tchaikovsky's biography is filled with the author's guilt towards himself.

During the two years of his residence in Italy, Switzerland, new magnificent works of Tchaikovsky appear - the opera "Eugene Onegin", the Fourth Symphony. After financial assistance from Nadezhda von Meck, the composer travels a lot. From 1881 to 1888 he wrote many works. In particular, Tchaikovsky's waltzes, symphonies, overtures, suites. Finally, a calm creative period was established in the biography of Pyotr Ilyich Tchaikovsky, at the same time the author himself was able to conduct at concerts. Tchaikovsky died in St. Petersburg on November 6, 1893 from cholera.

P. Tchaikovsky. Waltz. From the opera "Eugene Onegin". Fragment (hearing).

Frederic Chopin (1810 - 1849) - composer, performer.

Chopin was born on February 22, 1810 near Warsaw. Even as a child, Frederic Chopin's biography showed musical abilities, including improvisation. While studying at the school, Chopin devoted a lot of time to musical studies. He studied with Wojciech Zhivny, Elsner.

The composer began to perform with his works in 1829. The next year he left Warsaw, and in 1831 he settled in Paris. There he instantly became famous, gained many fans.

For the first time in Chopin's biography, lung disease was acutely manifested in 1837. Since then, he has suffered from asthmatic attacks. In 1848, the famous musician settled in London, becoming not only performing in public, but also teaching. Chopin's health deteriorated, and shortly after returning to Paris, he died. For his biography, Chopin created many works for piano, was one of the brightest representatives of romanticism in music.

F. Chopin's waltzes sound poetic and gentle, evoking an image so subtle and dreamy that sometimes it even erases the feeling of dance.

F. Chopin. Waltz in B minor, Op. 69 No. 2 (hearing).

Despite the richness and diversity, which differ in the interpretation of various genres in musical works, in the main genres remain recognizable. You can talk about the direct borrowing of a certain song or dance, or you can talk about song or dance, but these judgments are based on the perception of certain stable features.

The melodiousness, melodiousness, length testify in favor of the song, the three-part, combined with the continuity of the “circling” rhythm, reminds us of a waltz, etc. All this speaks of how meaningful musical genres are, no matter how deep meanings they conceal in themselves - in music, the content manifests itself in the means of musical expression: melody and harmony, rhythm and texture, which together form a form of musical expression. Sounds, chants, musical phrases and sentences, intervals and chords, strokes and shades all carry their own content.

And, listening to music, watching how these sounds, naevs and phrases gradually form into a harmonious sounding whole, we understand: music is self-sufficient, in live sound it expresses its content with all possible fullness. And no words can say for her what music can tell about the world and about all of us.

Vocal and choral work.

V. Muradeli, Lisyansky's verses. School path (singing).

V. Berkovsky, S. Nikitin, lyrics by A. Velichansky. To the music of Vivaldi. (singing).

IV. Summary of the lesson.

The vast world of musical content is encrypted in genres. They have accumulated a huge associative experience that evokes certain images and ideas in the listeners.

In our imagination, there are couples circling in a noble dance (waltz), cheerful youth, lively and laughing (polka), a solemn tread, elegant uniforms (march), an affectionate mother's voice, a home (lullaby). Such or similar representations evoke these genres in all the people of the world.

V. Homework.

Perform songs.

Third quarter Lesson 17 Topic: What is musical form. "Plots" and "heroes"

musical form.

Lesson Objectives:

Learn to perceive music as an integral part of the life of every person.

Develop an attentive and benevolent attitude towards the environment.

To cultivate emotional responsiveness to musical phenomena, the need for musical experiences.

Formation of listener culture on the basis of familiarization with the peak achievements of musical art.

Meaningful perception of musical works (knowledge of musical genres and forms, means of musical expression, awareness of the relationship between content and form in music).

Music material of the lesson:

R. Wagner. Intermission to Act III. From the opera "Lohengrin" (hearing).

E. Krylatov, lyrics by N. Dobronravov. I only believe in masts and dreams (singing).

Additional material:

During the classes:

I. Organizational moment.

II. The topic of the lesson.

Lesson topic: What is a musical form. "Plots" and "heroes"

musical form.

III. Work on the topic of the lesson.

The art form is the content that has become visible.

I. Hofmiller Musical form-

1. Holistic, organized system expressive means of music (melody, rhythm, harmony, etc.), with the help of which its ideological and figurative content is embodied in a musical work.

2. Construction, structure of a musical work, the ratio of its parts. The elements of musical form are: motive, phrase, sentence, period. Various ways development and comparison of elements lead to the formation of various musical forms.

The main musical forms: two-part, three-part, sonata form, variations, couplet form, a group of cyclic forms, free forms, etc. The unity of the content and form of a musical work is the main condition and at the same time a sign of its artistic value.

It is customary to call a musical form a composition, that is, the features of constructing a musical work: the ratio and methods of developing musical-thematic material, the ratio and alternation of keys. Of course, each piece of music has its own unique features. But still, over the course of several centuries of development of European music, certain patterns and principles have developed, according to which certain types of works are built.

With one of the musical forms, you are all, no doubt, very familiar. This is the couplet form in which songs are written. Similar to it is the ancient form of the rondo that originates from it. They are based on two (or - in a rondo - several) different thematic materials.

The form in such cases is based on a comparison, development, and sometimes even a collision of these often contrasting, and sometimes even conflicting themes.

Three-part and two-part forms are also common in musical practice. The three-part is built according to the scheme, which is usually depicted in letters like this: ABA. This means that the initial episode at the end, after the contrasting middle episode, is repeated. In this form, the middle parts of symphonies and sonatas, parts of suites, various instrumental pieces, for example, many nocturnes, preludes and mazurkas by Chopin, songs without words by Mendelssohn, romances by Russian and foreign composers are written. The two-part form is less common, as it has a shade of incompleteness, comparisons, as if “without conclusion”, without a result.

Its scheme: AB.

There are also musical forms based on a single theme.

These are, first of all, variations, which can be more accurately called a theme with variations. In addition, many forms are built on the same theme. polyphonic music such as fugue, canon, invention, chaconne and passacaglia. The stories "polyphony", "fugue", "variations" introduce you to them.

There is also a so-called free form in music, that is, a composition that is not associated with established standard musical forms. Most often, composers turn to free form when creating program works, as well as when composing all kinds of fantasies and medleys on borrowed themes. True, often in free forms there are features of tripartiteness - the most common of all musical constructions.

It is no coincidence that the most complex, the highest of all musical forms, the sonata is also basically three-part. Its main sections - exposition, development and reprise - form a complex three-part structure - a symmetrical and logically complete construction. You will read about this in the story dedicated to the sonata.

PROGRAM MUSIC

You are listening to a piano or violin concerto, a Mozart symphony or a Beethoven sonata. While enjoying beautiful music, you can follow its development, how different musical themes replace one another, how they change, develop. Or you can reproduce in your imagination some pictures, images that sounding music. At the same time, your fantasies will certainly be different from what another person who listens to music with you imagines. Of course, it does not happen that you feel the noise of battle in the sounds of music, and someone else - an affectionate lullaby. But stormy, formidable music can evoke associations with the rampant elements, and with a storm of feelings in a person’s soul, and with a formidable roar of battle...

There are many pieces of music in which the composer in one form or another explains their content to the listeners. So, Tchaikovsky called his first symphony "Winter Dreams". He prefaced the first part of it with the heading "Dreams on a winter road", and the second - "A gloomy land, a foggy land".

Program music is such instrumental music, which is based on a “program”, that is, some very specific plot or image.

Programs are of different types. Sometimes the composer retells in detail the content of each episode of his work.

So, for example, did Rimsky-Korsakov in his symphonic picture Sadko or Lyadov in Kikimor. It happens that, referring to well-known literary works, the composer considers it sufficient only to indicate this literary

slide 2

Music is a kind of art that reflects reality in sound artistic images that actively influence the human psyche. Music has played and still plays a huge role in human life. One of its main functions is to unite people, since the language of music is understandable without translation.

slide 3

Where did music come from?

First of all, folk music arose. Initially, the sounds of the first instruments (they were percussion instruments) accompanied the tedious and monotonous work. Then military and cult music appeared.

slide 4

Even in ancient Greece, musicians gave signals to the troops and played in temples.

Slide 5

Thus, two main components of music were gradually formed - professional and folk.

slide 6

Over time, the division of music into cult and secular was added to them.

Slide 7

A piece of music is a composition consisting of sounds with or without text, performed by voice or with the help of instruments. A musical work is a single whole, like any work of art.

Slide 8

The most important and striking means of musical expression are: melody harmony rhythm mode timbre Supporting and enriching each other, they perform a single creative task– create a musical image and influence our imagination. Means of musical expression

Slide 9

Melody

When you listen to music, you involuntarily pay attention to the leading voice, the main musical theme. It sounds like a melody. The Greek word melody comes from two roots, melos and ode, which means "singing a song." Melody is the content of the work, its core. She conveys the main artistic images.

slide 10

Harmony

Slide 11

Harmony

This word came to us from Greece and in translation means “harmonicity”, “consonance”, “coherence”. Harmony has 2 meanings: pleasing to the ear coherence of sounds, "harmony"; combining sounds into consonances and their regular sequence.

slide 12

Rhythm

Rhythm in music is the alternation and ratio of different musical durations. Rhythm is also a Greek word and translates as “measured flow”. Rhythm distinguishes a march from a waltz, a mazurka from a polka, and so on.

slide 13

Lad

The mood in music creates a mood. It can be joyful, bright or, on the contrary, thoughtful, sad. Lad is a Slavic word and is translated as “peace”, “order”, “consent”. In music, mode means the interconnection and consistency of sounds that differ in pitch. The most common modes are major and minor.

Slide 14

slide 15

Timbre

Timbre in French means "tone color". Timbre is the hallmark of every musical instrument or human voice.

slide 16

What pieces of music are more difficult to talk about? About musical works that do not contain any program. On the musical works of non-program music. Despite the absence of a literary program, such works have no less rich musical content.

Slide 17

What are the musical works of non-program music

Concerts; Symphonies; Sonatas; Sketches; Instrumental pieces…

Slide 18

What is a sonata? Sonata (Italian sonare - to sound) is a genre of instrumental music, as well as a musical form called sonata form. Composed for chamber composition of instruments and piano. Usually solo or duet. L. V. Beethoven

Abstract of the music lesson at 7
classroom
"Magic Uniqueness
musical work."

Theme: Magical uniqueness” of a piece of music.
Lesson Objectives:
 Learn to perceive music as an integral part of everyone's life
person.
 Develop an attentive and friendly attitude towards
to the surrounding world.
 Develop emotional responsiveness to musical phenomena,
need for musical experience.
 Develop interest in music through creative self-expression,
manifested in reflections on music, his own creativity.
 Formation of a listening culture based on familiarization with
the pinnacle of musical art.
 Meaningful perception of musical works (knowledge
musical genres and forms, means of musical expression,
awareness of the relationship between content and form in music).
Music material of the lesson:
 Y. Shevchuk. What is autumn (singing).
 A. Vivaldi. Summer. III part. From the cycle “Four Concertos for
violins and orchestra "The Seasons" (listening).
During the classes.
Every genuine work of art is convincing.
And it doesn't matter if it embodies great ideas and images or intentionally
sharpens the dark, unsightly aspects of life.
It is convincing even when it inspires us, awakens high
aspirations, and when it makes you shudder from the horror experienced.
Why do some works die as soon as they are born, while others
live for centuries, introducing more and more generations to their depths?

In grades 5 and 6, in music lessons, you met the most
significant musical genres (genres of song, romance, choral
music, opera, ballet; musical genres) and means
musical expressiveness (rhythm, melody, harmony, polyphony,
texture, timbre, dynamics).
This year we will meet musical content and
form.

Every genuine work of art is convincing. It is convincing
whether embodying great ideas and images or intentionally
sharpens the dark, unsightly sides of life.
It is equally convincing when it inspires us or, conversely,
makes you shudder in horror. (Ex. the art of cinema)
So the authenticity of a work of art depends not only on the choice
themes, but also from something that is not present in every essay. What is this
like this? What makes a work immortal? Why other works
die as soon as they are born, while others live for centuries?
Our task is to find this hidden essence of the work.

Centuries ago, the ancient Greek scholar Aristotle emphasized
the difference between a beautiful face and a beautifully drawn face. He
guessed and emphasized that the meaning of art is in the search and embodiment of the hidden
the essence of things.

The ability to see the hidden, deep is one of the necessary conditions
genuine creativity. Dozens of books have been written about the pains of creativity.
The French writer G. Flaubert wrote: “Oh art, art! What is this
for the monstrous chimera that eats our hearts out?” It's hard to find the real one
phrase or melody, the only one that would meet the intention of the creator.
Beauty, harmony, mystery of the nature of musical art
lies in the unity of the content and form of a musical work.
Summary of the lesson.
The one to whom fate destined to be a creator carries an ideal in his soul, with
with which he compares everything he creates.
Such an ideal is the "magical uniqueness" of the idea and its implementation.
- the unity of content and form.
“Love and study the great art of music. It will open the whole world for you
high feelings. It will make you spiritually richer, purer, more perfect.
Thanks to music, you will find new, previously unknown strengths in yourself. You
you will see life in new tones and colors”, D.D. Shostakovich.
D/z. learn the terms.

Unity of a musical work

1. What are the manifestations of tradition and innovation in a piece of music.
2. Means of musical expression, their role in the creation of a musical work (on the example of Intermission to Act III from the opera "Lohengrin" by R. Wagner).

Music material:

1. R. Wagner. Intermission to Act III. From the opera "Lohengrin" (hearing);
2. P. Tchaikovsky. Introduction to the ballet The Sleeping Beauty (listening);
3. Y. Dubravin, lyrics by V. Suslov. “Music lives everywhere” (singing).

Characteristics of activities:

1. Understand the importance of means of artistic expression in the creation of a musical work.
2. Own separate special musical terms that reflect knowledge of the means of musical expression.

“Do not be afraid of the words theory, harmony, polyphony, etc.
Be friendly to them and they will smile at you."

R. Schumann

Imagine that you have come to the theatre. Soon the heavy curtain will part and the performance will begin. The heroes of the old fairy tale have not yet appeared on the stage, but the music is already playing, and you are captured by it.

The orchestra plays the introduction ( introduction - a word of Latin origin, meaning "introduction" - a brief introduction to an opera or ballet performance) to Pyotr Ilyich Tchaikovsky's ballet The Sleeping Beauty.

What is this music about? ... Suddenly, the powerful and harsh sound of a huge orchestra falls on you. "Prickly", broken melodic lines, sharp sound of dissonant ( dissonance - a combination of two or more sounds that form a tense, sharp consonance. The word "dissonance" comes from the Latin dissonantia, which means "discordant sound") chords, formidable calls of wind instruments creates a musical portrait of the evil fairy Carabosse.

But then a light breeze of the passage of the harp takes us to the magical world of Goodness and Beauty: a beautiful melody appears against the background of the most delicate accompaniment. This is the Lilac Fairy theme. She calmly soars, illuminated light colors consonant ( consonance - a harmonious combination of two or more sounds. Translated from Latin, consonantia means "consonant sound") chords. Music sounds fragile, defenseless. How can such a fairy resist the onslaught of the evil Carabosse?

Let's follow how the theme of the Lilac Fairy will develop. At first, only two instruments play the melody: the flute and the cor anglais. Then the violins lead it, and finally a new theme is born from it: it sounds solemnly and triumphantly on brass instruments. As a result of development, the lyrical melody turned into a heroic one.

What caused such a transformation?

long time ago solemn ceremonies meetings, parades, greetings were opened with celebratory fanfares. These wind instruments played melodies using the sounds of major triads. In the future, such melodies began to be called fanfare. They are always associated with the expression of joy. And if they are also performed by brass wind instruments, then they acquire a heroic, solemn character. Therefore, listening to the introduction, we believe that the Lilac Fairy will defeat Carabosse, good will overcome evil.

Words are not needed to describe this. The music told the tale in its own language, stronger and more expressive.

But how to understand musical language? How is it different from speech?

The musical language is rich and varied, because its vocabulary contains not just sounds, but melody, mode, rhythm, harmony, timbre, dynamics, tempo, strokes, phrasing...

Composers use all these elements of the musical language in their various combinations when creating music.

The musical material, i.e. melody, harmony and rhythm, is certainly inexhaustible.
Millions of years will pass, and if music in our sense still exists,then the same seven basic tones of our scale, in their melodic and harmonic combinations, animated by rhythm, will still serve as a source of new musical thoughts.

P. Tchaikovsky

We usually perceive a piece of music as a whole, in the unity of everything that it consists of. It is difficult, sometimes simply impossible, to single out one thing in his sound - melody, rhythm or timbres. Each composer in his work strives to create their unity. The point is not that he invents some new means of expression, but that each time he subordinates them to his plan, his ideas about the world, about life, about people.

Just as people are unique, so are their deeds. Take any simple thing - two different person make it completely different! This is even more true for complex things, containing not only skill, but also spiritual energy - after all, upbringing, experience, tastes, habits, education, and much, much more are involved in their creation. Therefore, we are not surprised that two composers living at the same time and in the same country are sometimes as different from each other as two different works of even one composer or two different violins by the same master are different.

To understand a piece of music, we usually turn to two sides - tradition (tradition - what is inherited from previous generations), in which it arose, and the unique "handwriting" of its author.

Why is Tradition Necessary?

Because everything in the world arises gradually, nothing comes from nowhere. Each river flows from its source and flows into its own sea; apprenticeship precedes mastery, youth precedes maturity... A new song is born from the song features of its time, a new rhythm from rhythmic ones, a new timbre from timbre ones. Any phenomenon, taken in isolation from the roots that gave rise to it, looks ridiculous, like an alien from nowhere.

Why do we look again and again in art for its uniqueness (unique - one of a kind), originality?

Because in every significant work, no matter how strongly the tradition is expressed in it, there is necessarily something that has not yet been and will never be, because the moment of creativity, like any moment, is unique.

The unity of the old and the new, which forms each piece of music, raises a natural question: how does it manifest itself? In the biography of the composer? In the titles of his works? Partly yes.

Both the life of the composer and the titles of his works - all this helps us to understand a lot in his work.

But to understand music one should learn from the music itself, in which fantasy, inspiration, understanding of the world have found their fullest expression.

And although the music acts holistically, it is still very different: in some cases, the rhythm solos in such integrity, and in others - the melody, in some cases we plunge into the magical world of harmony, in others - into the multi-colored timbre kingdom. This is natural: after all, in each work, the general plan dictates the choice of the necessary means of expression.

It would be strange if, for example, images fairy world suddenly embodied in angular, sharp rhythms, and not in colorful harmony and orchestration. It would also be strange if Spanish dances sounded with Slavic smoothness of lines, etc.

Fortunately, this never happens. Musical tales are still, as always, unhurried and colorful, and Spanish dances are fast and rhythmic.

Every mood, every feeling, experience and character has its own musical "representatives". Something expresses itself in melody, something - in harmony, and something - in special dynamic means.

That is why the understanding of music requires an appeal to what is called the means of musical expression. These means are formed by such aspects of music as rhythm, melody, harmony, polyphony, texture, timbres and dynamics. Of course, the above series can be continued. Every musician knows how important are the various strokes included in the concept of articulation, acceleration and deceleration of the tempo, which form the area of ​​musical agogy, how unusually expressive is the role of the pedal.

Listen to musical works and try to think not only about the fact that music is made up of different aspects of its sound, but also about how each side is expressive. And then, from the fluidity and diversity that always underlie musical works, you can single out special features, appearing either in harmony, or in timbres or rhythms and forming that uniqueness of the “face” that has always distinguished great works of musical art.

Questions and tasks:

1. What is the unity of a piece of music?
2. What, besides the knowledge of tradition and innovation, helps us to get to know a piece of music better?
3. Listen to Intermission to Act III of the opera Lohengrin by R. Wagner. Is it possible to agree that the power of the influence of this music is connected with the unity of all its expressive means? To answer this question, try to characterize the features of rhythm, mode, melody, timbre, dynamics. (Description of the work in the lesson)

Presentation

Included:
1. Presentation, ppsx;
2. Sounds of music:
Wagner. Introduction to act 3 from the opera "Lohengrin", mp3;
Chaikovsky. Carabosse theme from the ballet "Sleeping Beauty", mp3;
Chaikovsky. Lilac Fairy Theme from the ballet "Sleeping Beauty", mp3;
3. Accompanying article, docx.