Characteristics of the process of musical perception. Characteristics of the process of musical perception Questions and tasks

Topic 1. Music as a phenomenon. Types musical creativity.

Music(from the Greek musike, lit. - the art of the muses) - an art form in which the means of embodiment artistic images meaningful and specially organized (in height and time) sound sequences serve. Expressing thoughts and feelings in an audible form, music, along with speech, serves as a sound means of human communication.

In a developed musical culture, creativity is represented by many intersecting varieties that can be differentiated according to different criteria.

Classification of musical phenomena by types of musical creativity:

1. Folklore or folk art.

Creative characteristics:

1) Oral. Passed from mouth to mouth.

2) Unprofessional.

3) Canonical (canon - a model according to which this or that work is created)

2. Creativity minstrel type. Or urban entertainment music from early medieval to contemporary pop or pop music.

Creative characteristics:

1) Oral.

2) Professional.

3) Canonical.

4) Theoretically meaningless.

3. Canonical improvisation(religious music).

Creative characteristics:

1) Oral.

2) Professional.

3) Canonical.

4) Theoretically meaningful.

4. Opus - music(opus is the original composition recorded in the musical text). Opus - music is also called - composer, autonomous, serious, classical, academic.

Creative characteristics:

1) Written.

2) Professional.

3) Original (requirements - originality, individuality).

4) Theoretically meaningful.

Classification characteristics of music as an art:

1. Non-pictorial.

2. Temporal (not spatial).

3. Performing.

Topic 2. Properties musical sound. Expressive means of music.

In the musical language, separate musical sounds meaningful and organized so that they form complex of expressive means of music. The expressive means of music serve to embody artistic images that can evoke a certain range of associations in the listener, through which the content is perceived. piece of music.

Music sound properties:

1. Height.

2. Duration.

3. Volume.

Expressive means of music:

1. Melody.

2. Harmony.

3. Invoice.

5. Dynamics.

Melody. Organizes sounds by pitch in their sequence.

One of the most important (along with rhythm) means of expression. The word "melody" can act as a synonym for the word "music". (Pushkin A. S. “From the pleasures of life, music yields to one love, But love is a melody”). Melody is also called musical thought.

The expressiveness of the melody is based on the fact that its analogue outside of musical phenomena is speech. Melody plays the same role in music as speech plays in our Everyday life. Common between melody and speech - intonation. In speech, intonation carries mainly emotional coloring, in music - both semantic and emotional.

Harmony. Organizes sounds by pitch (vertical) in simultaneity.

Harmony organizes sounds into consonance.

Consonances are divided into consonances(nice sound) and dissonances(sharp sound).

Consonances can sound stable and unstable. These qualities are a colossal means of expression. They convey the growth of tension, the decline in tension, create a sense of development.

Texture. This is a musical fabric that organizes sounds both horizontally and vertically.

Invoice types:

1. Monody (melody without accompaniment).

A) polyphony is the simultaneous sounding of equal melodies.

3. Melody with accompaniment (homophonic texture).

4. Chord and Chord figuration.

Rhythm is the organization of sounds in time. Sounds have different duration. Sounds have an accent (accent and non-accent). Rhythm Functions:

a) rhythm arranges music time, divides it into proportional sections from accent to accent. The section from accent to accent is a measure. This is the metric function of rhythm (called "meter");

b) rhythm conveys forward movement, creates a feeling of life, uniqueness, since sounds of different duration are superimposed on the metric grid.

The associative field of rhythm is very wide. The main association is with the movement of the body: the plasticity of the gesture, the rhythm of the step. It can also be associated with heartbeat, breathing rhythm. Reminds me of the countdown. Through rhythm, music is connected with other art forms, primarily with poetry and dance.

Dynamics– organization of sounds by loudness. Forte is loud, piano is quiet. Crescendo - decrease in dynamics, tension and diminuendo - increase.

Timbre- the color of the sound that distinguishes this or that instrument, this or that singing voice. To characterize the timbre, visual, tactile, taste associations are most often used (bright, shiny or matte timbre, warm or cold timbre, juicy timbre), which once again indicates the associative nature of music perception.

Men's: tenor, baritone, bass

Women's: soprano, mezzo-soprano, contralto

Compound symphony orchestra:

4 main groups

(the order of listing instruments in groups is by pitch, from top to bottom):

Strings (violin, viola, cello, double bass).

Woodwinds (flute, oboe, clarinet, bassoon).

Brass wind instruments (trumpet, horn, trombone, tuba).

Percussion (timpani, big drum, snare drum, cymbals, triangle).

Compound string quartet:

2 violins, viola, cello

Kholopova VN Music as a form of art. SPb., 2000

Gusev V. E. Aesthetics of folklore. L., 1967

Konen V.J. The third layer: New mass genres in the music of the XX century. M., 1994

Martynov V.I. Zone Opus Posth, or Birth new reality. M., 2005

Orlov G. A. The Tree of Music. SPb., 2005

Music, as the end result of mixing sounds and silence in time, conveys the emotional atmosphere, the subtle feelings of the person who wrote it.

According to the works of some scientists, music has the ability to influence both the psychological and physical state of a person. Naturally, such a piece of music has its own character, laid down by the creator either purposefully or unconsciously.

Determining the nature of music by tempo and sound.

From the works of V. I. Petrushin, Russian musician and a teacher-psychologist, we can distinguish the following basics musical nature in the work:

1. the sound and slow tempo convey the emotion of sadness. Such a piece of music can be characterized as sad, conveying sorrow and despondency, carrying regret about the irrevocable bright past.
2. sound and slow tempo carry a state of peace, contentment. The nature of the musical work in this case includes peace, contemplation and balance.
3. The minor key and fast tempo suggest the emotion of anger. The nature of the music can be described as passionate, agitated, tensely dramatic.
4. The major coloring and fast tempo undoubtedly convey the emotions of joy, indicated by an optimistic and life-affirming, cheerful and jubilant character.

It should be emphasized that such elements of expressiveness in music as dynamics, timbre and means of harmony are very important for reflecting any of the emotions, the brightness of the transfer of musical characteristics in the work depends heavily on them. If you conduct an experiment and play the same melody in a major or minor sound, fast or slow tempo, then the melody will convey a completely different emotion and, accordingly, general character the piece of music will change.

The relationship between the nature of a piece of music and the temperament of the listener.

If we compare opuses classical composers with works contemporary masters, then one can trace a certain trend in the development of musical coloring. It becomes more and more complex and multifaceted, but the emotional background, character, does not change significantly. Therefore, the character of a piece of music is a constant that does not change over time. Works written 2-3 centuries ago have the same effect on the listener as they did during the period of popularity among contemporaries.

It was revealed that a person chooses music for listening not only based on his mood, but unconsciously taking into account his temperament.

1. melancholic - slow minor music, emotion - sadness.
2. Choleric - minor, fast music - emotion - anger.
3. Phlegmatic - slow major music - emotion - calmness.
4. Sanguine - major, fast music - emotion - joy.

Absolutely all musical works have their own character and temperament. They were originally laid down by the author, guided by feelings and emotions at the time of creation. However, it is not always possible for the listener to decipher exactly what the author wanted to convey, since perception is subjective, passes through the prism of the listener's feelings and emotions, based on his personal temperament.

In modern psychological and pedagogical literature, the perception of music is considered as “the process of reflection, formation of a musical image in the mind of a person. At the heart of this process is an evaluative attitude to the perceived work.

There is another definition musical perception: this is “a complex activity aimed at adequate reflection of music and combining the actual perception (perception) musical material with musical and general data life experience(apperception), cognition, emotional experience and evaluation of the work"

Musical perception is a complex, mentally multi-component process. Anyone with simple physical hearing can tell where music is playing and where it's just the noise produced by various objects, machines and other objects. But not everyone can hear the reflection of the subtlest experiences in the sounds of music.

In addition, musical perception is a historical, social, age concept. It is conditioned by a system of determinants: a piece of music, general historical, life, genre and communicative context, external and internal conditions of perception. It is also determined by age and gender. Musical perception is influenced by the style of the work, its genre. For example, the masses of Palestrina are listened to differently than the symphonies of Shostakovich or the songs of Solovyov-Sedov. Music is perceived differently in the historic Philharmonic Hall, in particular, in the hall of the Academic Chapel. M.I. Glinka or on the open stage of the park of culture and recreation. And it's not just the acoustic features of these concert venues, but also in the mood that the atmosphere, interior, etc., creates in the listener. Construction and decoration of a concert or theater halls is one of the most difficult tasks architecture and applied arts. Decoration concert halls flowers, paintings, sculptures, etc. has an unusually beneficial effect on musical perception.

To develop musical perception means to teach the listener to empathize with the feelings and moods expressed by the composer through the play of sounds specially organized. This means - to include the listener in the process of active co-creation and empathy with ideas and images expressed in the language non-verbal communication; it also means an understanding of the means by which an artist-musician, composer, performer achieves a given aesthetic effect of influence. In addition to activity, musical perception is characterized by a number of qualities, in which its beneficial, developing influence on the human psyche, including mental abilities, is revealed.

Musical perception, like no other, is distinguished by vivid emotionality and imagery. It touches on various aspects. emotional sphere. Despite the abstract musical language, the musical content is diverse and embossed in images. And the specificity of their perception lies not in the strict fixation of these images, but in their variability. The work of reproductive thinking is connected with musical perception and its inherent evaluative activity.

Speaking about the specifics of musical perception, it is necessary to understand the difference between hearing music, hearing music and perception music. Hearing music does not involve focusing attention only on it, listening already requires focusing attention on music, while perception is associated with comprehending the meaning of music and requires the inclusion of intellectual functions. Moreover, the more complex, larger-scale a piece of music, the more intense intellectual work it requires from a person when it is perceived. An intermediate stage between listening to music and its perception is comitate perception, a kind of “lightweight” perception, “half an ear”. It has been dominant for thousands of years.

The formation of a full-fledged musical perception testifies to the most complex multilateral interrelated process: firstly, about intellectual growth of a person, and secondly, about the improvement of all his main musical ability, thirdly, about high level development musical art, which culminated in the appearance of the classical sonata and symphony. It is the perception of such genres as symphony and sonata that requires the greatest intellectual tension and concentration.

The development of the perception of music occurs in the process of all kinds musical activity. For example, in order to learn a song, you must first listen to it; when performing a song, it is important to listen to the purity of the intonation of the melody, the expressiveness of its sound; moving to the music, we follow its rhythmic, dynamic, tempo change, development and convey our attitude to the work in motion.

In the process of perception of music, we can distinguish several stages:

The stage of the emergence of interest in the work to be heard, and the formation of an attitude towards its perception,

listening stage,

Stage of understanding and experience,

Interpretation and evaluation stage,

realizing that the division is conditional, since the sequence of stages can change, one period of perception can merge with another.

Analyzing the process of musical perception, we can present it in two planes of activity, inextricably bound friend with the other - perception as such and the idea of ​​music, i.e. holistic image of the work. Only multiple perception (repetition) of music allows a person to form a full-fledged holistic image of the work. In the process of multiple perception of music, there is a constant improvement of auditory actions, the degree of their coordination. At the first listening, the main task of perception is the approximate coverage of the entire musical plan of the work with the selection of individual fragments. In the process of repeated listening in the structure of musical activity, forecasting and anticipation based on previously formed ideas begin to appear. The listener compares what sounds in this moment time with the previously perceived, with its own associative series. Finally, in the process of subsequent perception on the basis of in-depth analysis through synthesis, a rational-logical assimilation of musical material takes place, a comprehensive comprehension and experience of its emotional meaning.

From the foregoing, it is clearly seen that musical perception is characterized by certain properties. Some of them are specific for musical perception (emotionality, imagery), while others are common to all types of perception (integrity, meaningfulness, selectivity).

Speaking about the perception of music, one cannot bypass such an integral part of it as emotionality. Aesthetic emotionality is understood as the experience of the beauty of the artistic image, feelings, thoughts awakened by music. Aesthetic perception music is always emotional, without emotions it is unthinkable. At the same time, emotional perception may not be aesthetic. Listening to music, a person can simply “succumb” to its mood, “get infected” with it, simply rejoice or be sad, without thinking about its aesthetic content. Only gradually, as a result of purposeful activity to gain experience in communicating with music, having received certain knowledge, musical baggage, he will begin to highlight the aesthetic side of a musical work, to notice and realize the beauty and depth of sounding music.

Sometimes the aesthetic experience is so strong and vivid that a person experiences a feeling of great happiness. "This feeling - according to the definition of the composer D. Shostakovich - arises from the fact that in a person under the influence of music the dormant forces of the soul awaken until now and he cognizes them."

Another characteristic property of musical perception is integrity. A person perceives a piece of music, first of all, as a whole, but this is carried out on the basis of the perception of the expressiveness of individual elements of musical speech: melody, harmony, rhythm, timbre. The perceived musical image is a complex unity of various means of musical expression, creatively used by the composer to convey a certain artistic content. An artistic musical image is always perceived by a person as a whole, but with varying degrees completeness and differentiation, depending on the level of development of each individual.

“The concept of the integrity of musical perception is not adequate to the concept of its completeness of differentiation. Naturally, an unprepared listener cannot adequately perceive the entire system of means that creates a musical image, as a professional musician is capable of doing. Nevertheless, he perceives in the work its holistic image - the mood, the nature of the work.

One of the most important (if not the most important) components of perception in general and musical perception in particular is meaningfulness. Psychologists say that perception is impossible without the participation of thinking, without awareness and understanding of what is perceived. V.N. Shatskaya writes that "under the main perception of a musical work is meant the perception associated with its aesthetic assessment and awareness of music, its ideas, the nature of experience and all the expressive means that form the musical image" .

The thesis about the unity of the emotional and the conscious in the perception of music also takes place in the works of Russian scientists. One of the first to formulate it was B.V. Asafiev. “Many people listen to music,” he wrote, “but only a few hear, especially instrumental music. ... Under instrumental music nice to dream. To hear in such a way as to appreciate art is already intense attention, which means mental work, speculation. The unity of the emotional and conscious in the perception and performance of music is one of the basic principles of musical pedagogy.

Logic plays an important role in the perception of music. thinking. All his operations (analysis, synthesis) and forms (judgment, conclusion) are aimed at the perception of the musical image and means of musical expression. Without it, the process of musical perception could not take place.

One of the most important operations of thinking for the perception of music is comparison. At the heart of the perception, "becoming" of music lies precisely the process of comparing, for example, the intonations of the previous and subsequent sounds in one work, repeating complexes of consonances in different works.

Of essential importance are the operations of classification, generalizations, which help to attribute a piece of music to certain genre or style that, in turn. Makes it much easier to understand. Forms of thinking - judgment and inference - underlie the evaluation of specific musical works, the whole process artistic education and musical culture generally.

Selectivity perception is manifested in the ability to catch the expressiveness of intonations and follow the development of melodies, musical themes. One can also speak about the selectivity of musical perception in a broader sense - as a preference for one or another musical style, genre, certain musical works. In this case, the selectivity of perception can be considered as the basis for the formation of artistic taste.

Selectivity as a property of musical perception, in particular, in children, has not yet been studied enough. Mass pedagogical observations and surveys show that the majority of children prefer "light" music to "serious" music. But this phenomenon has not been scientifically explained. It is not clear why children like some works and are accessible, while they reject others as boring and incomprehensible.

Musical perception is difficult process which is based on the ability to hear, experience the musical content of the work as an artistic and imaginative reflection of reality. In the process of perception, the listener, as it were, “gets used” to musical images works. However, to feel the mood in the music is not all, it is important to comprehend the idea of ​​the piece. The structure of adequate thoughts and feelings, understanding of the idea arise in the listener due to the activation of his musical thinking, which depends on the level of general and musical development.

Summing up the analysis of the process of musical perception, it is worth noting that the need for the development of perception has been repeatedly pointed out by musicologists-practitioners who work directly with the children's audience. The development of musical perception expands and strengthens the musical experience of students, activates their thinking. An important condition for the development of the ability to think is direct emotional perception. Only after it can one proceed to a detailed analysis of the work.

In this way, proper organization"listening" to music, taking into account the peculiarities of perception contribute to the activation of musical activity, the development of interests, musical tastes students, and, consequently, the gradual formation of musical culture.

“You say that words are needed here.

Oh no! It is precisely here that words are not needed, and where they are powerless,

is fully armed with its "language of music ..."

(P. Tchaikovsky)

The desire to embody the features of nature can constantly bring to life significant works art. After all, nature is so diverse, so rich in miracles, that these miracles would be enough for more than one generation of musicians, poets and artists.

Let's turn to P. Tchaikovsky's piano cycle "The Seasons". Like Vivaldi, each piece by Tchaikovsky has a title corresponding to the name of the month to which it is dedicated, as well as an obligatory subtitle and an epigraph that deepens and concretizes its content.

"January. At the fireside”, “February. Shrovetide", "March. Song of the Lark”, “April. Snowdrop", "May. White Nights”, “June. Barcarolle", "July. Song of the mower”, “August. Harvest”, “September. Hunting”, “October. Autumn song”, “November. On the troika”, “December. Christmas time.

Such images were associated in Tchaikovsky with the perception of special poetry, the soul of each month of the year.

Probably every person certain time of the year evokes a whole layer of images, thoughts, experiences, close and understandable only to him. And if different composers created their own "Seasons", then, of course, these are completely dissimilar works that reflect not only the poetry of nature, but a special art world their creators.

However, just as we accept nature in its various manifestations - after all, the rain, and the blizzard, and the cloudy autumn day, - in the same way we accept the one full of love artistic look which the composer embodies in his works. Therefore, listening to the play “November. On the troika”, we do not think that the troika 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, which so expressively tells about the “soul of November” that the great Tchaikovsky breathed into it.

Music 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.

History, people, characters, human relationships, pictures of nature - all this is presented in music, but presented in a special way. A correctly found intonation, a bright rhythmic pattern will tell us much more about the work than the longest and most detailed literary 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.

Listen to the playP. Tchaikovsky "November" from piano cycle"Seasons".

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.

P. Tchaikovsky

Note example 2

P. Tchaikovsky. "November. On a trio." From the piano cycle "The Seasons". First section. Fragment T

You remember that this cycle was conceived by the composer as a kind of musical narrative about the life of nature, about its continuously changing appearance, so subject to the endless movement of the seasons.

The second section of the play brings us closer to the content expressed in the title 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 visibility to the sound of the play and at the same time introduces another cheerful moment - the moment of admiring the picture dear to every Russian heart.

Note example 3

P. Tchaikovsky. "November. On a trio." From the piano cycle "The Seasons". Second section. Fragment

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.

Perhaps, in this last fading of sound, the lines from the epigraph to the play are remembered for the first time? Indeed, in the play itself there are no echoes of that promised melancholy and anxiety that are given in the poem. How, then, to understand the programmatic content of the epigraph to the play?

November, the last autumn month, last days before the long winter sets in. Here, ringing bells, the troika rushed - and now it is farther and farther away from us, hiding in the distance, and the ringing of bells is getting quieter ... The play of farewell - such is "November" in its location in the cycle of the seasons. And no matter how cheerful the composer’s gaze is, able to see the charm and fullness of life at any time of the year, he is still not free from a feeling of acute regret, which is always inevitable when parting from something familiar and dear in its own way. And if this is so, then we can say that here programming is significantly expands and deepens musical image, introducing into it a semantic subtext that we would not have caught in music alone.

Questions and tasks

1. Is the mood of P. Tchaikovsky's play "November" in tune with your ideas about this season?

2. What is the role of N. Nekrasov's poem "Troika" in the context of the play "November"?

3. Which of the program components of the work (the name of the month, the title of the play, the epigraph poem), in your opinion, reflects the nature of the music to a greater extent?

4. What do you see as the main similarities and differences in the embodiment of the artistic images of the seasons in the works of A. Vivaldi and P. Tchaikovsky?

Song repertoire:

1. What is autumn? This is the sky Crying sky under your feet Birds fly in puddles with clouds Autumn, I haven't been with you for a long time. CHORUS: Autumn. Ships burn in the sky Autumn. I would be away from the earth Where sadness drowns in the sea Autumn, dark distance. 2. What is autumn? These are stones Loyalty over the blackening Neva Autumn again reminded the soul of the most important Autumn, I am deprived of peace again. Autumn. I would be away from the earth Where sadness drowns in the sea Autumn, dark distance. 3.What is autumn? It's the wind Plays again with torn chains Autumn, will we crawl, will we reach dawn, What will happen to the Motherland and to us. Autumn, will we crawl, will we live to see the answer? Autumn, what will happen to us tomorrow. CHORUS: Autumn. Ships burn in the sky Autumn. I would be away from the earth Where sadness drowns in the sea Autumn, dark distance. The city melts in a flock in the mist Autumn, what did I know about you How much will the foliage be torn Autumn is always right.

Municipal Autonomous Educational institution gymnasium №26 of the city of Tomsk

Control testing in music for I quarter

(according to the program Naumenko T.I., Aleeva V.V.)

7th grade

Compiled by: Zhukov Lyubov Ivanovna,

music teacher,

G. Tomsk

2016

Final control No. 1 in music (questions)

7th grade

BUT) true understanding nature Not a cast, not a soulless face.

2. For the artist to have true work art, you need:

A) nothing

c) see and understand

3. Which composer was struck by a melody (in the oratorio “Creation of the World”) expressing the birth of light, and he exclaimed: “This is not from me, this is from above!”

A) I. Brahms

B) M. Glinka

C) I. Haydn

4. Nature in III

A) alive, raging

B) calm, peaceful

B) raging and peaceful

A) unity of content

C) unity of form

A) non-software

B) software

A) one B) two C) three

A) from literary program

A) details

B) generalization

C) both answers are correct

A) all the sorrows of the world

b) all the joys of the world

C) the sadness and joy of the hero

A) the sea and Sinbad's ship

C) Prince Guidon

Final control No. 1 in music (answers)

7th grade

1. What does F. Tyutchev teach us to a greater extent in his poem:

Not what you think, nature,

A) a true understanding of nature Not a cast, not a soulless face.

B) imagination It has a soul, it has freedom,

C) the use of the gifts of nature There is love in it, outside there is a language.

2. In order for the artist to have a genuine work of art, you need:

A) nothing

B) see, understand and embody

c) see and understand

3. The composer who was overshadowed by a melody (in the oratorio "Creation of the World"), expressing the birth of light, and he exclaimed: "This is not from me, this is from above!"

A) I. Brahms

B) M. Glinka

C) I. Haydn

4. Nature in III part of the concert "Summer" (from the cycle "The Seasons") A. Vivaldi appears:

A) alive, raging

B) calm, peaceful

B) raging and peaceful

5. What idea unites a poem by F. Tyutchev, a painting by I. Repin and I. Aivazovsky (page 4 of the textbook), music by A. Vivaldi:

A) unity of content

B) unity of content and form

C) unity of form

6. What kind of music is difficult to explain in words:

A) non-software

B) software

C) having a name (“Forest”, “Scheherazade”, “Night in Madrid” and others)

7. How many moods are there in P. Tchaikovsky's play “November. On the three"

A) oneB) two At three o'clok

8. Etude No. 12 by A. Scriabin - proof that the expressiveness of the content of a musical work does not always depend on:

A) from the literary program

B) from the means of musical expression

C) from the personal experience of the composer

9. The basis of creativity in art is (choose the odd one):

A) expression of feelings and thoughts strangers

B) expression of feelings and thoughts experienced by the author

AT) personal experience defeats and victories

10. What is the most important property musical content:

A) details

B) generalization

C) both answers are correct

11. What feelings does the music generalize? moonlight sonata» L. Beethoven:

A) all the sorrows of the world

b) all the joys of the world

C) the sadness and joy of the hero

12. N. Rimsky-Korsakov in symphonic suite Scheherazade uses the names of individual parts as a program (choose the odd one):

A) the sea and Sinbad's ship

B) the story of Calender - prince

C) Prince Guidon