Every choirmaster, beginner or professional, always faces the problem of correct reading choral score adequate comprehension of what the author wanted to express. This is a deep, very painstaking and long enough independent work over the score. But the most difficult thing in this process is the creation of the future artistic image of the work: it is to be able to connect all the elements into a single art picture and make it through expressive performance. In a certain sense, each choral work is a certain “sound plot”, which has a sound personality and requires special creative solutions from the performers.

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The essence of the concept of musical - artistic image

An artistic image is a generalized artistic reflection of reality, clothed in the form of a specific individual phenomenon.

Artistic image, the universal category of artistic creativity inherent inarta form of reproduction, interpretation and development of life by creating aesthetically affecting objects. An image is often understood as an element or part of an artistic whole, usually a fragment that has, as it were, independent life and content. But in general sense artistic image- the way of existence of the work, taken from the side of its expressiveness, impressive energy and significance.

Any artistic image is not completely concrete, clearly fixed setpoints are clothed in it with the element of incomplete certainty, semi-appearance.

An image is a subjective phenomenon that arises as a result of subject-practical, sensory-perceptual, mental activity, which is a holistic integral reflection of reality, in which the main categories (space, movement, color, shape, texture, etc.) are simultaneously represented.

Figurative thinking is one of the main types of thinking, distinguished along with visual-effective and verbal-logical thinking. It is not only genetic early stage in development in relation to verbal-logical thinking, but also constitutes in an adult independent view thinking, receiving special development in technical and artistic creativity. In psychology, imaginative thinking is sometimes described as a special function - imagination.

Imagination - psychological process, which consists in the creation of new images (representations) by processing the material of perceptions and representations obtained in previous experience. Imagination is unique to man. Imagination is necessary in any kind of human activity, especially in the perception of music and the "musical image".

The musical image is characterized by the absence of concrete life objectivity. Music does not depict anything, it creates a special objective world, a world of musical sounds, the perception of which is accompanied by deep feelings.

Music as a living art is born and lives as a result of the unity of all activities. Communication between them occurs through musical images, because. music (as an art form) does not exist outside of images. In the composer's mind, under the influence of musical impressions and creative imagination, a musical image is born, which is then embodied in a piece of music.

“As a special type of spiritual activity, aesthetics and philosophers single out the so-called artistic activity, understood by them as the practical-spiritual activity of a person in the process of creating, reproducing and perceiving works of art.”

Musical art, despite all its unique specificity, cannot be fruitfully mastered without support from other art forms, because only in their organic unity can one cognize the integrity and unity of the world, the universality of the laws of its development in all the richness of sensory sensations, the variety of sounds, colors, movements.

The study of musical content is one of the "eternal" problems of musicology, performance, and pedagogy. Music is a procedural art; without performance, a piece of music cannot live a full life. A musical text is always a message (author - performer - listener), which naturally implies a performing interpretation. The problem of "text - performer", being resolved through interpretation, inevitably leads each musician to understanding the text as a complex formation in the unity of its two sides: a symbolic fixation of the author's intention (musical text) and a certain message filled with figurative and semantic content (musical text).

"Musical art, like any other, requires that those who practice it sacrifice all their thoughts, all feelings, all the time, all their being," wrote Lev Aronovich Barenboim.

A piece of music that exists in a musical notation receives a real sound embodiment only in the process of musical performance, therefore the performer is a necessary intermediary between the composer and the listener. Musical performance can be vocal, instrumental and mixed. Opera art also belongs to the latter variety; however, in the opera, soloists are also actors, and decorative art plays an important role. Depending on the number of performers, musical performance is divided into solo and collective. Collective performance can be chamber-ensemble with several relatively equal performers (for example, a trio, quartet, etc.) and symphonic, choral, as a rule, under the guidance of a conductor (choirmaster), who, with the help of other musicians, realizes his performing plan. Many performance designations in sheet music (tempo, dynamics, etc.) are relative and, within certain limits, can be implemented in different ways. Therefore, the task of musical performance is not just the exact reproduction of the musical text, but also the most complete embodiment of the author's intentions. Great importance for the performer, it has to study the era in which the composer lived, his aesthetic views, etc. All this helps to better understand the content of the work. Each performer, revealing the author's concept of the composition, inevitably introduces individual features into the performance, which are determined both by his personal qualities and by the dominant ones. given time aesthetic outlook. Thus, any performance of a work is also its interpretation, interpretation.

L.V. Zhivov writes: “The performing artistic image, which is largely associated with the evaluation of the work by the listeners, often acquires an independent meaning in our minds, since it can reveal such values ​​that were not in the primary image. Nevertheless, the fundamental basis of any musical performance is the musical text of the work, without which performing activity is impossible. Recorded in musical notation, it requires not just a competent reading, but guessing, deciphering the author's intentions, as well as those aspects of his music that he could not have suspected. The fact is that musical notation is just a sketch compared to the real sound of music. . Therefore, a special role in creating the image is played by the search for intonational meaning in the process of studying the work.According to the concept of B.V. Asafiev, intonation is the main conductor of musical content, musical thought, as well as the bearer of artistic information, emotional charge, spiritual movement. However, an emotional reaction to intonation, penetration into its emotional essence is the starting point of the process. musical thinking but not thinking itself. It is only a primary sensation, a perceptual response. Since thinking begins, as a rule, from an external or internal "push", then sensation musical intonation is a kind of signal, an impulse to any musical and mental actions.

Modeling an artistic musical image is one of the most complex psychological processes, which is based on the processes of musical perception, imagination, memory and musical thinking.

Perception - the mental process of reflecting objects and phenomena of reality in the aggregate of their various properties and parts with a direct impact on the senses. This distinguishes perception from sensation, which is also a direct sensory reflection, but only of individual properties of objects and phenomena that affect the analyzers. The very concept of "perception" scientists (E.V. Nazaikinsky) bred into the concepts of "perception of music" (the process of communicating with music) and "musical perception". In pedagogy, musical perception is understood as a process of reflection, formation of a musical image in the human mind. musical perception - difficult process which is based on the ability to hear, experience musical content as an artistic and figurative reflection of reality. Music has a complex effect means of expression. This is a harmonic warehouse, timbre, tempo, dynamics, metro-rhythm, they convey the mood, the main idea of ​​the work, evoke associations with life phenomena, with human experiences.

Imagination - the activity of consciousness, as a result of which a person creates new ideas, mental situations, ideas, based on images that have been preserved in his memory from past sensory experience, transforming them. Imagination is necessary in any human activity, especially in the perception of music and the "musical image". There are voluntary imagination (active) and involuntary (passive), as well as recreative and creative imagination. Recreating imagination is the process of creating an image of an object according to its description, drawing or drawing. Creative imagination is the independent creation of new images in the process of creative activity. It requires the selection of materials, the combination of various elements in accordance with the task and creative intent.

Musical thinkinghow the process of purposeful and meaningful processing of musical and sound material is expressed in the ability to understand and analyze what is heard, mentally represent the elements of musical speech and operate with them, evaluating music. In the process of forming an artistic musical image, various types of musical thinking are involved: figurative, logical, creative and associative.

The performing musician and the listener must operate in the process of musical perception with certain systems of ideas about intonations, the simplest expressive and visual means - everything that evokes certain moods, poetic memories, images, sensations, etc. At this level, musical-figurative thinking manifests itself, the measure and degree of development of which depend on the place this aspect occupies in the preparation of a musician.

Further forms of reflection of musical reality in the human mind are associated with understanding the logical organization of sound material. The transformation of intonations into the language of musical art is possible only after a certain processing, bringing them into one or another structure. Outside of musical logic, outside of the diverse integrative connections that reveal themselves through form, mode, harmony, metrorhythm, etc. music will remain a chaotic set of sounds and will not rise to the level of art. Comprehension of the logic of the organization of various sound structures, the ability to musical material find similarities and differences, analyze and synthesize, establish relationships - the next function of musical thinking. This function is more complex in nature, since it is conditioned not only and not so much by perceptual, emotional-sensory, but mainly by intellectual manifestations on the part of the individual, it implies a certain formation of his musical consciousness. It must be emphasized that with a certain autonomy of these two functions, the processes of musical and mental activity become full-fledged only when they are organically combined and interacted.

Creative thinking is a special stage of musical thinking. Musical and intellectual processes at this level are characterized by a transition from reproductive to productive actions, from reproducing to creative ones. In this regard, the question of finding productive methods that form creative thinking is very relevant. One of the most effective methods that form the creative qualities of a person is the method of problem-based learning (M.I. Makhmutov, A.M. Matyushkin, M.M. Levina, V.I. Zagvyazinsky, etc.). It is widely used in general education schools and university practice. However, in music pedagogy it is applied on an intuitive level, without specific methodological developments.

The development of musical thinking is inextricably linked with the ability to comprehend the logic of the musical language, the understanding of which is “based on a figurative comparison of the expressive means of music, which serve to convey its artistic content, with the means of verbal language, which serve to convey thoughts” (L.A. Mazel, 1979).

Without the development of creative abilities, it is impossible to prepare a high-class professional in any type of activity, especially in the field of art, since musical activity, both performing and pedagogical require non-standard, original thinking from a specialist. There are many ways to develop creative abilities, one of which is problem-based learning, since it is the mental difficulties that arise in a problem situation that encourage the student to actively search for thinking.

The meaning of the musical image is a generalization, which is based on the experience of the expressive function of the image. Musical images designate insofar as they express.

An image in musical art, if, of course, it is artistically sound, is always filled with a certain emotional content, reflecting a person's sensual reaction to certain phenomena of reality.

To create the image of a choral work, pedagogical tasks are also required (teaching certain singing skills, correct intonation; expanding ideas about choral musical culture), psychological tasks (development of creative thinking, creative imagination of choir singers on the material of choral music, formation of artistic and emotional activity of students) and aesthetic tasks (the formation of ideas about the enduring value of domestic and foreign choral art, acquaintance with which is carried out in the process of all learning choral singing, the development of aesthetic taste, aesthetic emotions).

In general, a conductor is a rather complex and multifaceted profession. "A conductor (French diriger - to manage) is a person who has received a special musical education, manages an orchestra, choir, opera performance, unites the entire mass of performers in a single rhythm, giving his own interpretation to the work."

Vl. Sokolov writes: “A choir is a group that is sufficiently proficient in technical and artistic and expressive means. choral performance, necessary in order to convey those thoughts and feelings, then ideological content which is embedded in the work.

P.G. Chesnokov in his book "The Choir and Its Management" writes that "the choir is such a collection of singers, in the sonority of which there is a strictly balanced ensemble, a precisely calibrated system and distinctly developed artistic nuances."

“The leader of the choir is the conductor. He ensures ensemble harmony and technical perfection of performance, strives to convey to the team of performers his artistic intentions, his understanding of the work. Over 50 years of successful work, A. Anisimov was convinced that the art of choral singing depends entirely on the creative initiative, the special inclination of the choirmaster-conductor to choral work, on persistent systematic work, pedagogical, organizational, volitional qualities and, of course, the talent of the musician-interpreter.

The emergence of a musical work, learning and performance is inextricably linked with the perception of its integrity. The conductor presents the work as if instantly, in the form of a certain integral image. W. A. ​​Mozart said that as a result of tense inner work he begins to review the work “... spiritually at a glance, as beautiful picture or handsome man…”, and to hear the music “…in the imagination, not one after the other, as it will sound later, but as if all at once.” The ability to present in a holistic way is not a property of only a very talented people, each musician possesses it with varying degrees of accuracy and strength.

Zhivov V.L. Choral performance: Theory.Methodology.Practice: Uch.posob. for stud. top manager M., Vlados. 2003. page 9.

A musical image is a combination of character, musical and expressive means, socio-historical conditions of creation, construction features, and the composer's style. Musical images are:

Lyrical images of feelings, sensations;

epic-description;

Dramatic-images-conflicts, clashes;

Fabulous-images-fairy tales, unreal;

Comic-funny, etc. Using the richest possibilities of the musical language, the composer creates a musical image in which

embodies certain creative ideas, this or that life content.

Lyrical images

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 - a monologue of the hero, in which he tells about his experiences.

The lyrical image reveals the individual spiritual world creator. There are no events in a lyrical work, unlike drama and epic - only a confession lyrical hero, his personal perception of various phenomena. Here are the main properties of the lyrics:

Mood

Lack of action Dramatic/..images

Drama (Greek Δρα´μα - action) is one of the types of literature (along with lyrics, epic, as well as lyrepic), which conveys events through the dialogues of characters. Since ancient times, it has existed in folklore or literary form among various peoples.

Drama is a work that depicts the process of action.

The main subject of dramatic art became human passions in their most striking manifestations.

The main features of the drama:

A person is in a difficult, difficult situation that seems hopeless to him

He/is looking for/a way/out/of/this/situation

He enters into a struggle - either with his enemies, or with the situation itself. Thus, the dramatic hero, unlike the lyrical one, acts, fights, as a result of this struggle he either wins or dies - most often ... most of all.

In the drama, in the foreground are not feelings, but actions. But these actions can be caused precisely by feelings, and very strong feelings - passions. The hero, who is under the power of these feelings, performs active actions.

Almost all Shakespearean characters are dramatic characters: Hamlet, Othello, Macbeth.

They are all overwhelmed with strong passions, they are all in a difficult situation.

Hamlet is tormented by hatred for the murderers of his father and a desire for revenge;

Othello suffers from jealousy;

Macbeth is very ambitious, his main problem is the thirst for power, because of which he decides to kill the king.

Drama is inconceivable without a dramatic hero: he is its nerve, focus, source. Life swirls around him like water seething under the action of a ship's propeller. Even if the hero is inactive (like Hamlet), then this is explosive inactivity. "The hero is looking for a catastrophe. Without a catastrophe, a hero is impossible." Who is the dramatic hero? Slave of passion. He is not looking, but she is dragging him to disaster.

Works embodying dramatic images: 1. Tchaikovsky "The Queen of Spades"

The Queen of Spades is an opera based on the story of the same name by A. S. Pushkin. epic images

EPOS, [Greek. epos - word]

An epic work is usually a poem that tells about the 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 action of epic heroes are reminiscent of real story and geography (how epic is radically different from fairy tales and myths, which are completely unrealistic). However, the epic is not entirely realistic, although it relies 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 vice versa: some historical events and the characters seem worse to us than they really were. Epic properties: -Heroism

The unity of the hero with his people, in whose name 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)

Epic images in music are images not only of heroes, but also of events, history, they can also be images of nature, depicting the Motherland at a certain time. 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.

Epic works:

1.Borodin "Bogatyr // symphony"

2. Borodin "Prince//Igor"

Borodin Alexander Porfiryevich (1833-1887), one of the composers " 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 ..images The name itself suggests the storyline of these works.These images are most vividly embodied in the work of N.A.Rimsky-Korsakov.This is the symphonic suite "Scheherazade" based on the fairy tales "1001 Nights", and his famous opera-tales "The Snow Maiden", "The Tale of Tsar Saltan", "The Golden Cockerel", etc. In close unity with nature, fabulous, fantastic images. Most often they personify, as in the works folk art, one or the other elemental forces and natural phenomena (Moroz, Leshy, Sea Princess, etc.). Fantastic images include, along with musical-pictorial, fairy-tale-fantastic elements, also features of the external appearance and character of real people. Such versatility (it will be discussed in more detail when analyzing the works) gives Korsakov's musical fantasy a special originality and poetic depth. Rimsky-Korsakov's melodies of an instrumental type, complex in melodic-rhythmic structure, mobile and virtuoso, which are used by the composer in musical description, are very original. fantasy characters. Here you can also mention fantastic images in music. fantastic//music//some//reflections

No one now has any doubts that fantastic works, published in huge circulations every year, and fantastic films, which are also made in many, especially in the United States, are very popular. What about "fantastic music" (or, if you prefer, "musical fantasy")?

First of all, if you think about it, "fantastic music" has been around for a long time. Is it not to this direction that the ancient songs and ballads (folklore) that were composed different nations all over the Earth in order to praise the legendary heroes and various events (including fabulous - mythological)? And around the 17th century, operas, ballets and various symphonic works created based on various fairy tales and legends have already appeared. The penetration of fantasy into musical culture began in the era of romanticism. But we can easily find elements of its "invasion" already in the works musical romantics such as Mozart, Gluck, Beethoven. However, fantastic motifs sound most clearly in the music of German composers R. Wagner, E.T.A. Hoffmann, K. Weber, F. Mendelssohn. Their works are filled with gothic intonations, motifs of a fairy-tale-fantastic element, closely intertwined with the theme of confrontation between man and the surrounding reality. It is impossible not to recall the Norwegian composer Edvard Grieg, known for his musical canvases, which are based on the folk epic, and the works of Henrik Ibsen "The Procession of the Dwarves", "In the Cave of the Mountain King", the Dance of the Elves and the Frenchman Hector Berlioz, in whose work the theme of the elements of the forces of nature pronounced. Romanticism also manifested itself in Russian musical culture. Mussorgsky's works "Pictures at an Exhibition" and "Night on Bald Mountain" are filled with fantastic figurativeness, which depict a witches' sabbath on the night of Ivan Kupala, which had a tremendous impact on modern rock culture. Mussorgsky also owns a musical interpretation of N.V. Gogol's story "Sorochinsky Fair". Incidentally, penetration literary fiction into musical culture, it is most clearly noticeable precisely in the work of Russian composers: Tchaikovsky's The Queen of Spades, Dargomyzhsky's Rusalka and The Stone Guest, Glinka's Ruslan and Lyudmila, Rimsky-Korsakov's The Golden Cockerel, Rubinstein's The Demon, etc. At the beginning of the 20th century, a real revolution in music was made by bold experimenter Scriabin, an apologist for synthetic art, who stood at the origins of light music. In the symphonic score, he entered the part for the light in a separate line. Fantastic imagery filled with his works such as "Divine Poem" (3rd Symphony, 1904), "Poem of Fire" ("Prometheus", 1910), "Poem of Ecstasy" (1907). And even such recognized "realists" as Shostakovich and Kabalevsky used the technique of fantasy in their musical works. But, perhaps, the real flowering of "fantastic music" (music in science fiction) begins in the 70s of our century, with the development of computer technology and the appearance of the famous films "Space Odyssey 2001" by S. Kubrick (where, by the way, they were very successfully used classical works R. Strauss and I. Strauss) and "Solaris" by A. Tarkovsky (who, in his film, together with the composer E. Artemyev, one of the first Russian "synthesizers", created a simply wonderful sound "background", combining mysterious cosmic sounds with brilliant music J.-S. Bach). Is it possible to imagine the famous "trilogy" J. Lucas " star Wars"and even "Indiana Jones" (which was filmed by Steven Spielberg - but the idea was Lucas!) without the incendiary and romantic music of J. Williams, performed by a symphony orchestra.

In the meantime (by the beginning of the 70s), the development of computer technology reaches a certain level - musical synthesizers appear. This new technique opens up brilliant prospects for musicians: it has finally become possible to unleash their imagination and model, create amazing, downright magical sounds, weave them into music, “sculpt” the sound, like a sculptor!.. Perhaps this is already a real fantasy in music. So from now on it starts new era, a galaxy of the first master synthesizers, authors-performers of their works appears. Comic images The fate of the comic in music has developed dramatically. Many art historians do not mention the comic in music at all. The rest either deny the existence of musical comedy, or consider its possibilities to be minimal. The most common point of view was well formulated by M. Kagan: “The possibilities of creating a comic image in music are minimal. (...) Perhaps only in the 20th century did music begin to actively seek its own, purely musical means to create comic relief. (...) And yet, despite the important artistic discoveries made by musicians of the 20th century, the comic has not won and, apparently, never will win such a place in musical creativity as it has long occupied in literature, drama theater, fine arts, cinema.” So, the comic is funny, having a wide significance. The task is “correction with laughter” Smile and laughter become “companions” of the comic only when they express the feeling of satisfaction that a person has a spiritual victory over what is contrary to his ideals, what is incompatible with them, what is hostile to him, because to expose what what contradicts the ideal, to realize its contradiction means to overcome the bad, to get rid of it. Consequently, as the leading Russian esthetician M. S. Kagan wrote, the clash of the real and the ideal underlies the comic. At the same time, it should be remembered that the comic, unlike the tragic, occurs under the condition that it does not cause suffering for others and is not dangerous for a person.

Shades of the comic - humor and satire. Humor is a good-natured, gentle mockery of individual shortcomings, weaknesses of a generally positive phenomenon. Humor is friendly, harmless laughter, although not toothless. Satire is the second type of comic. Unlike humor, satirical laughter is menacing, cruel, sizzling laughter. In order to injure evil, social ugliness, vulgarity, immorality, and the like as much as possible, the phenomenon is often deliberately exaggerated and exaggerated. All forms of art are capable of creating comedic images. There is no need to talk about literature, theater, cinema, painting - it is so obvious. Scherzo, some images in operas (for example, Farlaf, Dodon) - carry out the comic in music. Or let us recall the finale of the first part of Tchaikovsky's Second Symphony, written on the theme of the humorous Ukrainian song "Crane". This is music that makes the listener smile. Humor is full of Mussorgsky's "Pictures at an Exhibition" (for example, "Ballet of the Unhatched Chicks"). The Golden Cockerel by Rimsky-Korsakov and many musical images of the second movement of Shostakovich's Tenth Symphony are sharply satirical.

11.Concepts

Song or song - the simplest but most common form vocal music, which unites poetic text with a melody. Sometimes accompanied by orchestika (also facial expressions). A song in a broad sense includes everything that is sung, subject to the simultaneous combination of words and melody; in a narrow sense - a small poetic lyrical genre that exists among all peoples and is characterized by the simplicity of musical and verbal construction. Songs differ in genres, warehouse, forms of performance and other features. The song can be performed by one singer or by a choir. Songs are sung both with instrumental accompaniment and without it (a cappella).

Music lessons on new program aimed at developing the musical culture of students. The most important component of musical culture is the perception of music. There is no music outside of perception. it is the main link and a necessary condition for the study and knowledge of music. Composing, performing, listening, pedagogical and musicological activities are based on it.

Music as a living art is born and lives as a result of the unity of all activities. Communication between them occurs through musical images, because. music (as an art form) does not exist outside of images. In the composer's mind, under the influence of musical impressions and creative imagination, a musical image is born, which is then embodied in a piece of music.

Listening to a musical image, i.e. life content embodied in musical sounds, determines all other facets of musical perception.

Perception is a subjective image of an object, phenomenon or process that directly affects the analyzer or system of analyzers.

Sometimes the term perception also denotes a system of actions aimed at getting acquainted with an object that affects the senses, i.e. sensory-exploratory activity of observation. As an image, perception is a direct reflection of an object in the totality of its properties, in objective integrity. This distinguishes perception from sensation, which is also a direct sensory reflection, but only individual properties of objects and phenomena that affect the analyzers.

An image is a subjective phenomenon that arises as a result of subject-practical, sensory-perceptual, mental activity, which is a holistic integral reflection of reality, in which the main categories (space, movement, color, shape, texture, etc.) are simultaneously represented. In terms of information, the image is an unusually capacious form of representation of the surrounding reality.

Figurative thinking is one of the main types of thinking, distinguished along with visual-effective and verbal-logical thinking. Images-representations act as an important product of figurative thinking and as one of its functioning.

Figurative thinking is both involuntary and arbitrary. Reception 1st are dreams, daydreams. “-2nd is widely represented in the creative activity of man.

The functions of figurative thinking are associated with the presentation of situations and changes in them that a person wants to cause as a result of his activity, transforming the situation, with the specification of general provisions.

With the help of figurative thinking, the whole variety of various actual characteristics of an object is more fully recreated. The image can be fixed simultaneous vision of the object from several points of view. A very important feature of figurative thinking is the establishment of unusual, "incredible" combinations of objects and their properties.

In figurative thinking, various techniques are used. These include: an increase or decrease in an object or its parts, agglutination (creation of new ideas by attaching parts or properties of one object in a figurative plan, etc.), inclusion of existing images in a new summary, generalization.

Figurative thinking is not only a genetically early stage in development in relation to verbal-logical thinking, but also constitutes an independent type of thinking in an adult, receiving special development in technical and artistic creativity.

Individual differences in figurative thinking are associated with the dominant type of representations and the degree of development of methods for representing situations and their transformations.

In psychology, imaginative thinking is sometimes described as a special function - imagination.

Imagination is a psychological process that consists in creating new images (representations) by processing the material of perceptions and representations obtained in previous experience. Imagination is unique to man. Imagination is necessary in any kind of human activity, especially in the perception of music and the "musical image".

A distinction is made between voluntary (active) and involuntary (passive) imagination, as well as recreative and creative imagination. Recreating imagination is the process of creating an image of an object according to its description, drawing or drawing. Creative imagination is the independent creation of new images. It requires the selection of materials necessary to build an image in accordance with one's own design.

A special form of imagination is a dream. This is also the independent creation of images, but a dream is the creation of an image that is desired and more or less distant, i.e. does not provide an immediate and immediate objective product.

Thus, the active perception of the musical image suggests the unity of two principles - objective and subjective, i.e. what is inherent in the work of art itself, and those interpretations, ideas, associations that are born in the mind of the listener in connection with it. Obviously, the wider the range of such subjective ideas, the richer and fuller the perception.

In practice, especially among children who do not have sufficient experience in communicating with music, subjective ideas are not always adequate to the music itself. Therefore, it is so important to teach students to understand what is objectively contained in music, and what is introduced by them; what in this “one’s own” is conditioned by the musical work, and what is arbitrary, far-fetched. If in the fading instrumental conclusion of "Sunset" by E. Grieg, the guys not only hear, but also see the picture of the sunset, then only the visual association should be welcomed, because. it comes from the music itself. But if Lel's Third Song from the opera "The Snow Maiden" by N.A. Rimsky-Korsakov, the student noticed “raindrops”, then in this and in similar cases it is important not only to say that this answer is wrong, unreasonably invented, but also, together with the whole class, to figure out why it is wrong, why unreasonable, confirming your thoughts evidence available to children at this stage of development of their perception.

The nature of fantasizing to music, apparently, is rooted in the contradiction between the natural desire of a person to hear its vital content in music and the inability to do this. Therefore, the development of the perception of the musical image should be based on an ever more complete disclosure of the vital content of music in unity with the activation of associative thinking of students. The wider, more multifaceted the connection between music and life is revealed in the lesson, the deeper the students will penetrate into the author's intention, the more likely it becomes for them to have legitimate personal life associations. As a result, the process of interaction between the author's intention and the listener's perception will be more full-blooded and effective.

What does music mean in human life?

From the most ancient times, the beginning of which even the most meticulous human sciences are not able to establish, primitive At first, he tried purely sensually to adapt, adapt, adapt to the rhythms and modes of the rhythmically changing, developing and sounding world. This is recorded in the most ancient objects, myths, legends, tales. The same can be observed today, if you carefully observe how the child behaves, how the child feels literally from the first hours of life. It is interesting when we suddenly notice that a child from some sounds comes into a restless, abnormal, agitated state to screaming and crying, while others bring him into a state of peace, tranquility and satisfaction. Now, science has proven that a musically rhythmic, calm, measured, spiritually rich and versatile life of a future mother during pregnancy has a beneficial effect on the development of the embryo, on its aesthetic future.

A person “growing” very slowly and gradually into the world of sounds, colors, movements, plastics, comprehending the whole multifaceted and infinitely diverse world in order to create a figurative form of reflection by his consciousness of this world through art.

Music, in itself, as a phenomenon is so strong that it simply cannot pass by a person unnoticed. Even if in childhood she was a closed door for him, then in adolescence he still throws open this door and throws himself into rock or pop culture, where he greedily feeds on what he was deprived of: the possibility of wild, barbaric, but genuine self-expression. But after all, the shock that he experiences at the same time might not have been - in the case of a "prosperous musical past."

Thus, music conceals in itself enormous possibilities of influencing a person, and this influence can be controlled, which has been the case for all past centuries. When a person treated music as a miracle given to communicate with the higher spiritual world. And he could communicate with this miracle all the time. Divine service accompanied a person all his life, nourished him spiritually and at the same time educated and educated him. But worship is basically a word and music. A huge song and dance culture is associated with calendar agricultural holidays. The wedding ceremony in artistic interpretation is a whole science of life. Folk dances are the teaching of geometry, the education of spatial thinking, not to mention the culture of acquaintance, communication, courtship, etc. The epic - and this is history - was presented musically.

Let's look at the subjects at school Ancient Greece Keywords: logic, music, mathematics, gymnastics, rhetoric. Perhaps this was enough to raise a harmonious person. What remains of this today, when in our programs there are words about a harmonious personality everywhere. Only mathematics. Nobody knows what logic and rhetoric are at school. Physical education is nothing like gymnastics. What to do with the music is also not clear. Now music lessons after the 5th grade are no longer obligatory; at the discretion of the school administration, they can be replaced with any subject of the “art history” plan. Most often it depends on the availability of the right teacher, and where he has music is taught. But many other subjects were added to the school curriculum, but harmony, mental and physical health disappeared.

Music obeys the laws of life, it is reality, therefore it has an impact on people. It is very important to learn to listen and understand classical music. Even at school, children learn what a musical image is and who creates it. Most often, teachers give the concept of an image a definition - a particle of life. The richest possibilities of the language of melodies enable composers to create images in musical works in order to realize their creative ideas. Immerse yourself in the rich world of musical art, learn about the different types of images in it.

What is a musical image

It is impossible to master the musical culture without the perception of this art. It is perception that makes it possible to carry out composing, listening, performing, pedagogical, musicological activities. Perception makes it possible to understand what a musical image is and how it is born. It should be noted that the composer creates an image under the influence of impressions with the help of creative imagination. To make it easier to understand what a musical image is, it is better to imagine it as a combination of musical expressive means, style, character of music, construction of a work.

Music can be called a living art that brings together many activities. The sounds of melodies embody the life content. The image of a musical work means thoughts, feelings, experiences, actions of certain people, various natural manifestations. Also, this concept implies events from someone's life, the activities of an entire nation and humanity.

The musical image in music is the complexity of character, musical and expressive means, socio-historical conditions of origin, principles of construction, and style of the composer. Here are the main types of images in music:

1. Lyrical. It conveys the author's personal experiences, reveals his spiritual world. The composer conveys feelings, mood, sensations. There are no actions here.
2. Epic. Narrates, describes some events in the life of the people, talks about their history and exploits.
3. Dramatic. Depicts privacy man, his conflicts and clashes with society.
4. Fairy. Shows fictional fantasies and imaginations.
5. Comic. Exposes all evil, using funny situations and surprise.

lyrical image

In ancient times there was such a folk stringed instrument - the lyre. The singers conveyed their various experiences and emotions with the help of it. From him came the concept of lyrics, conveying deep emotional experiences, thoughts and feelings. The lyrical musical image has emotional and subjective elements. With the help of it, the composer conveys his individual spiritual world. A lyrical work does not include any events, it only conveys the state of mind of the lyrical hero, this is his confession.

Many composers have learned to convey lyrics through music, because it is very close to poetry. Instrumental lyrical works include works by Beethoven, Schubert, Mozart, Vivaldi. Rachmaninov and Tchaikovsky also worked in this direction. Musical lyrical images they formed with melodies. It is impossible to formulate the purpose of music better than Beethoven did: "What comes from the heart must lead to it." Forming the definition of the image of musical art, many researchers take this very statement. In his Spring Sonata, Beethoven made nature a symbol of the awakening of the world from hibernation. The musical image and skill of the performer help to see in the sonata not only spring, but also joy and freedom.

It must also be remembered that moonlight sonata"Beethoven. This is a truly masterpiece work with a musical and artistic image for piano. The melody is passionate, persistent, ending in hopeless despair.

The lyric in composers' masterpieces connects to figurative thinking. The author tries to show what imprint this or that event left in his soul. Prokofiev simply skillfully conveyed the "melodies of the soul" in Natasha Rostova's waltz in the opera "War and Peace". The nature of the waltz is very gentle, one can feel timidity, slowness and, at the same time, excitement, a thirst for happiness. Another example of the composer's lyrical musical image and mastery is Tatyana from Tchaikovsky's opera Eugene Onegin. Also, the works of Schubert "Serenade", Tchaikovsky "Melody", Rachmaninov "Vocalise" can serve as an example of a musical image (lyrical).

Dramatic musical image

In Greek, "drama" means "action". By using dramatic work The author conveys events through the dialogues of the characters. In the literature of many peoples, such works existed a long time ago. There are also dramatic musical images in music. Their composers show through the actions of heroes who are looking for a way out of the situation, entering into a fight with their enemies. These actions are very strong feelings that make you do things.

The audience sees the dramatic hero in a constant struggle, which leads him either to victory or to death. Actions come first, not feelings. The most striking dramatic characters are Shakespeare's - Macbeth, Othello, Hamlet. Othello is jealous, which leads him to tragedy. Hamlet is overcome by the desire for revenge on the murderers of his father. Macbeth's strong lust for power drives him to kill the king. Without a dramatic musical image in music, drama is unthinkable. He is the nerve, the source, the focus of the work. The dramatic hero is presented as a slave of passion, which leads him to disaster.

One example dramatic conflict is Tchaikovsky's opera "The Queen of Spades" based on the story of the same name by Pushkin. At first, the audience gets acquainted with the poor officer Herman, who dreams of getting rich quickly and easily. He had never gambled before, although he was a gambler at heart. Herman is stimulated by his love for the wealthy heiress of an old countess. The whole drama is that the wedding cannot take place because of his poverty. Soon Herman learns about the secret of the old countess: supposedly she keeps the secret of three cards. The officer is overcome by the desire to uncover this secret at all costs in order to hit the big jackpot. Herman comes to the Countess's house and threatens her with a gun. The old woman dies of fear, without betraying the secret. At night, a ghost comes to Herman and whispers the treasured cards: "Three, seven, ace." He comes to his beloved Lisa and confesses to her that the old countess died because of him. Lisa, out of grief, threw herself into the river and drowned herself. The cherished words of the ghost haunt Herman, he goes to the gambling house. The first two bets, on a three and a seven, turned out to be successful. The win has turned Herman's head so much that he goes all-in and bets all the money won on the ace. The intensity of drama is approaching its peak, instead of an ace in the deck it turns out to be queen of spades. At this moment, Herman recognizes the old countess in the lady of spades. The final loss leads the hero to suicide.

It is worth comparing how Pushkin and Tchaikovsky show the drama of their hero. Alexander Sergeevich showed Hermann to be cold and prudent, he wanted to use Lisa for his own enrichment. Tchaikovsky took a slightly different approach to portraying his dramatic character. The composer slightly changes the characters of his characters, because their image needs inspiration. Tchaikovsky showed Herman as romantic, in love with Liza, with a fiery imagination. Only one passion displaces the image of the beloved from the head of an officer - the secret of the three cards. The world of musical images of this dramatic opera is very rich and impressive.

Another example of a dramatic ballad is Schubert's The Forest King. The composer showed the struggle between two worlds - real and fictional. Schubert was characterized by romanticism, he was fascinated by mysticism, and the work turned out to be quite dramatic. The collision of two worlds is very bright. The real world is embodied in the image of a father who looks at reality sensibly and calmly and does not notice the Forest King. His child lives in a mystical world, he is sick, and the Forest King seems to him. Schubert shows a fantastic picture of a mysterious forest shrouded in gloomy mist and a father rushing through it on a horse with a dying child in his arms. The composer gives his own characteristics to each character. The dying boy is tense, frightened, in his words there is a plea for help. A delusional child enters the terrible realm of the formidable Forest King. The father tries his best to calm the child.

The whole ballad is permeated with a heavy rhythm, the horse's tramp depicts an uninterrupted octave fraction. Schubert created a complete visual-auditory illusion filled with drama. At the end, the dynamics of the musical development of the ballad ends, as the father kept on the hands of the dead baby. These are the musical images (dramatic) that helped Schubert create one of his most impressive creations.

Epic portraits in music

Translated from Greek, "epos" means a story, a word, a song. In epic works, the author tells about people, the events in which they take part. Characters, circumstances, social and natural environment come to the fore. Epic literary works include stories, legends, epics, novels. Most often for writing epic works composers use poems, they tell about heroic deeds. From the epic you can learn about the life of ancient people, their history and exploits. The main dramatic musical images and the skill of the composer represent specific characters, events, stories, nature.

The epic is based on real events, but there is also a share of fiction in it. The author idealizes and mythologises his characters. They are endowed with heroism, perform feats. There are also negative characters. The epic in music shows not only specific persons, but also events, nature, symbolizing native land in any given historical period. So, many teachers present a lesson in musical image in the 6th grade with the help of excerpts from Rimsky-Korsakov's opera "Sadko". The students try to understand by what means of music the composer was able to draw a portrait of the hero after listening to Sadko's song "Oh, you dark oak tree." Children hear a melodious, smooth melody, an even rhythm. Gradually, the major is replaced by a minor, the tempo slows down. The opera is rather sad, dreary and thoughtful.

The composer of The Mighty Handful, A. P. Borodin, worked in the epic style. The list of his epic works can include " Bogatyr Symphony"No. 2, the opera" Prince Igor. "In Symphony No. 2, Borodin captured the mighty heroic Motherland. At first, a melodious and smooth melody goes on, then it turns into a jerky one. The even rhythm is replaced by a dotted one. Slow tempo is combined with a minor.

The well-known poem "The Tale of Igor's Campaign" is considered a monument of medieval culture. The work tells about the campaign of Prince Igor against the Polovtsians. Bright epic portraits of princes, boyars, Yaroslavna, Polovtsian khans were created here. The opera begins with an overture, then there is a prologue about how Igor prepares his army for a campaign, watches solar eclipse. Four acts of the opera follow. A very striking moment in the work is the crying of Yaroslavna. At the end, the people sing glory to Prince Igor and his wife, even though the campaign ended in defeat and the death of the army. To display the historical hero of that era, the musical image of the performer is very important.

It is also worth including in the list of epic creations the work of Mussorgsky's "Bogatyr Gates", Glinka's "Ivan Susanin", Prokofiev's "Alexander Nevsky". The composers conveyed the heroic deeds of their heroes by various musical means.

Fabulous musical image

In the very word "fabulous" lies story line such works. The most striking creator of fairy-tale creations can be called Rimsky-Korsakov. Since school curriculum children will recognize his famous fairy tale-opera "The Snow Maiden", "The Golden Cockerel", "The Tale of Tsar Saltan". It is impossible not to recall also the symphonic suite "Scheherazade" based on the book "1001 Nights". Fairy-tale and fantastic images in Rimsky-Korsakov's music are in close unity with nature. It is fairy tales that lay the moral foundation in a person, children begin to distinguish good from evil, they learn mercy, justice, condemn cruelty and deceit. As a teacher, Rimsky-Korsakov spoke in the language of a fairy tale about high human feelings. In addition to the above operas, one can name "Kashchei the Immortal", "The Night Before Christmas", "May Night", "The Tsar's Bride". The composer's melodies have a complex melodic-rhythmic structure, they are virtuoso and moving.

fantastic music

It is worth mentioning the fantastic musical images in music. Fantastic works a lot is created every year. Since ancient times, various folklore ballads and songs praising various heroes have been known. Musical culture began to be filled with fantasy in the era of romanticism. Elements of fantasy are found in the works of Gluck, Beethoven, Mozart. The most prominent writers of fantastic motifs were German composers: Weber, Wagner, Hoffmann, Mendelssohn. Gothic intonations sound in their compositions. The fabulous-fantastic element of these melodies is intertwined with the theme of man's opposition to the world around him. folk epic with elements of fantasy is the basis for the works of composer Edvard Grieg from Norway.

Is fantastic imagery inherent in Russian musical art? Composer Mussorgsky filled his creations Pictures at an Exhibition and Night on Bald Mountain with fantastic motifs. Spectators can watch the witches' sabbath at night on the feast of Ivan Kupala. Mussorgsky also wrote an interpretation of Gogol's "Sorochinsky Fair". Elements of fantasy can be seen in the works of Tchaikovsky's "Mermaid" and Dargomyzhsky's "The Stone Guest". Such masters as Glinka ("Ruslan and Lyudmila"), Rubinstein ("The Demon"), Rimsky-Korsakov ("The Golden Cockerel") did not remain aloof from fantasy.

A real revolutionary breakthrough in synthetic art was made by the experimenter Scriabin, who used elements of light music. In his works, he specially entered lines for light. His writings "The Divine Poem", "Prometheus", "The Poem of Ecstasy" are filled with fantasy. Some devices of fantasy were present even among the realists Kabalevsky and Shostakovich.

The advent of computer technology has made fantastic music a favorite of many. Films with fantastic compositions began to appear on TV screens and cinemas. After the advent of musical synthesizers, great prospects for fantastic motives opened up. The era has come when composers can sculpt music like sculptors.

Comic displays in musical works

It is difficult to talk about comic images in music. Few art critics characterize this trend. The task of comic music is to correct with laughter. It is smiles that are the real companions of comic music. The comic genre is lighter, it does not need conditions that bring suffering to the heroes.

To create a comic moment in music, composers use the effect of surprise. So, J. Haydn in one of his London symphonies created a melody with a timpani part, which instantly shakes the listeners. A pistol shot breaks the smooth melody in a waltz with a surprise (“Bullseye!”) by Strauss. This immediately cheers up the room.

Any jokes, even musical ones, carry with them funny absurdities, funny inconsistencies. Many are familiar with the genre of comic marches, joke marches. Prokofiev's march from the collection "Children's Music" is endowed with comedy from beginning to end. Comic characters can be seen in Mozart's "The Marriage of Figaro", where laughter and humor are already heard in the introduction. Cheerful and clever Figaro deftly cunning in front of the count.

Elements of satire in music

Another type of comic is satire. Rigidity is inherent in the satirical genre, it is formidable, sizzling. With the help of satirical moments, composers exaggerate, exaggerate some phenomena in order to expose vulgarity, evil and immorality. So, Dodon from Rimsky-Korsakov's opera The Golden Cockerel, Farlaf from Glinka's Ruslan and Lyudmila can be called satirical images.

Image of nature

The theme of nature is very relevant not only in literature, but also in music. Showing nature, composers depict its real sound. The composer M. Messiaen simply imitates the voices of nature. Such English and French masters as Vivaldi, Beethoven, Berlioz, Haydn were able to convey the pictures of nature and the feelings they evoke with a melody. Rimsky-Korsakov and Mahler have a special pantheistic image of nature. Romantic perception of the surrounding world can be observed in Tchaikovsky's play "The Seasons". A gentle, dreamy, affable character is Sviridov's composition "Spring".

Folklore motifs in the art of music

Many composers used the melodies of folk songs to create their masterpieces. Simple song melodies became the decoration of orchestral compositions. Images from folk tales, epics, legends formed the basis of many works. They were used by Glinka, Tchaikovsky, Borodin. Composer Rimsky-Korsakov in the opera "The Tale of Tsar Saltan" used the Russian folk song "In the garden, in the garden" to create the image of a squirrel. Folk melodies are heard in Mussorgsky's opera Khovanshchina. Composer Balakirev based on Kabardian folk dance created the famous fantasy "Islamey". Fashion on folklore motifs did not disappear in the classics. Many people are familiar with the modern symphony-action of V. Gavrilin "Chimes".

Introduction

Music as a living art is born and lives as a result of the unity of all activities. Communication between them occurs through musical images. In the composer's mind, under the influence of musical impressions and creative imagination, a musical image is born, which is then embodied in a piece of music. Listening to a musical image, i.e. life content, embodied in musical sounds, determines all other facets of musical perception.

In other words, a musical image is an image embodied in music (feelings, experiences, thoughts, reflections, the action of one or more people; any manifestation of nature, an event from the life of a person, people, humanity ... etc.)

Types of musical images

A musical image is a combination of character, musical and expressive means, socio-historical conditions of creation, construction features, and the composer's style.

Musical images are:

• -lyrical - images of feelings, sensations;
• -epic - description;
• - dramatic - images-conflicts, clashes;
• - fabulous - images-fairy tales, unreal;
• -comic - funny, etc.

Using the richest possibilities of the musical language, the composer creates a musical image in which he embodies certain creative ideas, this or that life content.

lyrical image

The word lyric comes from the word "lyre" - this is an ancient instrument played by singers (rhapsody), telling about various events and emotions experienced. Lyrics - a monologue of the hero, in which he tells about his experiences.

The lyrical image reveals the individual spiritual world of the creator. 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.