Musical image. Features of musical speech

Every beginner or professional choirmaster always faces the problem of correct reading of the choral score, adequate comprehension of what the author wanted to express. This is a deep, very painstaking and rather lengthy independent work on 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 artistic picture and embody 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, an independent life and content. But in a general sense, an artistic image is a way of existence of a work, taken from the side of its expressiveness, impressive energy and significance.

Any artistic image is not completely concrete, clearly fixed setpoints are invested 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 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. 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".

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 types of art, 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. Of great importance for the performer is the study of 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, determined both by his personal qualities and by the aesthetic views prevailing at the time. 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 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 of musical thinking, but not yet thinking itself. It is only a primary sensation, a perceptual response. Since thinking starts, as a rule, from an external or internal "push", the sensation of 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. Nazaykinsky) divide 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 is a complex process, which is based on the ability to hear, experience musical content as an artistic and figurative reflection of reality. Music acts as a complex of expressive means. 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. Understanding the logic of organizing various sound structures, the ability to find similarities and differences in musical material, analyze and synthesize, establish relationships is 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 used 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, requires 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 such a collective that is sufficiently skilled in the technical and artistic and expressive means of choral performance necessary to convey those thoughts and feelings, the ideological content that is inherent 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 intense inner work, he begins to survey the work "... spiritually with one glance, like a beautiful picture or a beautiful person ...", and hear the music "... in the imagination not at all one after another, as it will sound later , but as if all at once. The ability for a holistic presentation is not only a property of 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.

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 the private life of a person, 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. They formed musical lyrical images with the help of 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.

One should also remember Beethoven's "Moonlight Sonata". 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". With the help of a 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 cause very strong feelings that make you perform actions.

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 of a dramatic conflict is Tchaikovsky's opera The Queen of Spades based on Pushkin's story of the same name. 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 there is a 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 held the dead baby in his arms. 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, composers use poems to write epic works, 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 the native land in a particular historical era. 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 the "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, then it turns into a jerky one. The even rhythm is replaced by a dotted one. Slow tempo is combined with 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, watching a 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 the storyline of such works. The most striking creator of fairy-tale creations can be called Rimsky-Korsakov. Even from the school curriculum, children will learn 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 about high human feelings in the language of a fairy tale. 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. There are a lot of fantastic works 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 the Kabardian folk dance created the famous fantasy "Islamey". The fashion for folklore motifs in the classics has not disappeared. Many people are familiar with the modern symphony-action of V. Gavrilin "Chimes".

musical image

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.)

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-tales, unreal;- comic - funnyetc.

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

Lyrically 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 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..

Here are the main properties of the lyrics:-feeling-mood- lack of action.Works that reflect the lyrical image:

1. Beethoven "Sonata No. 14" ("Moonlight")2. Schubert "Serenade"3. Chopin "Prelude"4. Rachmaninov "Vocalise"5. Tchaikovsky "Melody"

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 either wins or dies - most often.

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.

The plot of the opera:

The protagonist of the opera is officer Herman, a German by birth, poor and dreams of getting rich quickly and easily. He is a player at heart, but has never played cards, although he always dreamed of doing so.

At the beginning of the opera, Herman is in love with the rich heiress of the old countess, Lisa. But he is poor and has no chance of marriage. That is, a hopeless, dramatic situation is immediately outlined: poverty and, as a result of this poverty, the inability to achieve a beloved girl.

And then by chance Herman finds out that the old countess, the patroness of Lisa, knows the secret of 3 cards. If you bet on each of these cards 3 times in a row, you can win a fortune. And Herman sets himself the goal of learning these 3 cards. This dream becomes his strongest passion, for the sake of it he even sacrifices his love: he uses Lisa as a way to enter the house of the countess and find out the secret. He appoints Lisa a date at the countess's house, but goes not to the girl, but to the old woman and, at gunpoint, demands to tell him 3 cards. The old woman dies without telling him them, but the next night her ghost appears to him and says: "Three, seven, ace."

The next day, Herman confesses to Lisa that he was the culprit in the death of the countess, Liza, unable to withstand such a blow, drowns herself in the river, and Herman goes to the gambling house, puts three, seven one after another, wins, then puts an ace on all the money won, but at the last moment, instead of an ace, the queen of spades turns out to be in his hands. And Herman sees an old countess in the face of this queen of spades. Everything he has won, he loses and commits suicide.

Herman in Tchaikovsky's opera is not at all the same as in Pushkin's.

Herman in Pushkin is cold and prudent, Liza for him is only a means on the way to enrichment - such a character could not captivate Tchaikovsky, who always needed to love his hero. Much in the opera does not correspond to Pushkin's story: the time of action, the characters' characters.

Herman in Tchaikovsky is an ardent, romantic hero with strong passions and a fiery imagination; he loves Lisa, and only gradually the secret of the three cards displaces her image from Herman's consciousness.

2. Beethoven "Symphony No. 5"All of Beethoven's work can be described as dramatic. His personal life becomes a confirmation of these words. Fighting is the meaning of his whole life. The fight against poverty, the fight against social norms, the fight against disease. About the work "Symphony No. 5" the author himself said: "So fate is knocking at the door!"

3. Schubert "Forest King"It shows the struggle of two worlds - real and fantastic. Since Schubert himself is a romantic composer, and romanticism is characterized by a passion for mysticism, the clash of these worlds is very clearly expressed in this work. The real world is presented in the image of a father, he tries to calmly and sensibly look at the world, he does not see the Forest King. The world is fantastic - the Forest King, his daughters. And the baby is at the junction of these worlds. He sees the Forest King, this world frightens and attracts him, and at the same time he relates to the real world, he asks for protection from his father. But in the end, the fantastic world wins, despite all the efforts of the father."The rider drives, the rider rode,There was a dead baby in his arms.

in this work images of fantastic and dramatic intertwined. From the dramatic image we observe a fierce implacable struggle, from the fantastic - a mystical look.

epic imagesEPOS, [Greek. epos - word]An epic work is usually a poem that tells about the heroic. deeds.

The origins of 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;

^ Lyrics are real, because its object is feelings and moods;

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

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

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

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

Heroism

The unity of the hero with his people, in 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 in a certain historical era.

This is the difference between the epic and the lyrics and drama: in the first place is not the hero with his personal problems, but history.Epic works:1. Borodin "Bogatyr Symphony"2. Borodin "Prince Igor"

Borodin Alexander Porfiryevich (1833-1887), one of the composers of The Mighty Handful.

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

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

“The Tale of Igor's Campaign” (“The Tale of Igor's campaign, Igor, son of Svyatoslavov, grandson of Olegov, 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.

3. Mussorgsky "Bogatyr Gates"

fabulous images

The title itself suggests the storyline of these works. These images are most clearly 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 operas - fairy tales "The Snow Maiden", "The Tale of Tsar Saltan", "The Golden Cockerel", etc. In close unity with nature, fabulous, fantastic images appear in Rimsky-Korsakov's music. Most often they personify, as in the works of folk art, certain elemental forces and natural phenomena (Frost, Goblin, 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 the instrumental type, complex in melodic-rhythmic structure, mobile and virtuosic, are distinguished by great originality, which are used by the composer in the musical depiction of fantastic 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. Isn't it possible to refer to this direction the ancient songs and ballads (folklore), which were composed by different peoples 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" in the works of 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. One cannot help but recall the Norwegian composer Edvard Grieg, famous for his musical canvases, which are based on the folk epic, and the works of Henrik Ibsen "Procession of the Dwarves", "In the Cave of the Mountain King", Dance of the Elves"
, as well as the Frenchman Hector Berlioz, in whose work the theme of the elements of the forces of nature is clearly expressed. 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". By the way, the penetration of literary fiction into musical culture is most clearly seen in the work of Russian composers: Tchaikovsky's The Queen of Spades, Dargomyzhsky's Mermaid and Stone Guest, Glinka's Ruslan and Lyudmila, "The Golden Cockerel" by Rimsky-Korsakov, "The Demon" by Rubinstein, etc. At the beginning of the 20th century, a bold experimenter Scriabin, an apologist for synthetic art, who was at the origins of light music, made a real revolution in 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, classical works by R. Strauss and I. Strauss) and "Solaris" by A. Tarkovsky (who, in his film, together with the composer E. Artemiev, one of the first Russian "synthesizers", created a simply wonderful sound "background", combining mysterious cosmic sounds with ingenious music by J.-S. Bach). Is it possible to imagine the famous "trilogy" by 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 this moment a new era begins, 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 for creating comic images. (...) And yet, despite the important artistic discoveries made by musicians of the 20th century, the comic has not won and, apparently, will never win such a place in musical creativity as it has long occupied in literature, drama theatre, fine arts, cinema" .

So, comic - funny, having a wide significance. The task is “correction with laughter” A 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 hurt 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.

Architecture is the only art form without a sense of humor. The comic in architecture would be a disaster for the viewer, and for the resident, and for the visitor of the building or structure. An amazing paradox: architecture has great potential to embody the beautiful, sublime, tragic in order to express and affirm the aesthetic ideals of society - and is fundamentally deprived of the opportunity to create a comic image.

In music, comedy as a contradiction is revealed through artistic, specially organized algorithms and inconsistencies, which always contain an element of surprise. For example, the combination of diverse melodies is a musical comedy tool. Dodon's aria in the opera "The Golden Cockerel" by N. A. Rimsky-Korsakov is built on this principle, where the combination of primitiveness and sophistication creates a grotesque effect (the intonations of the song "Chizhik-Pyzhik" are heard in Dodon's lips).
In musical genres associated with stage action or having a literary program, the contradiction of the comic is grasped and is graphic. However, instrumental music can express the comic without resorting to "non-musical" means. R. Schumann, having played Beethoven's Rondo in G major for the first time, in his own words, began to laugh, as this work seemed to him the funniest joke in the world. astonishment when he later discovered in Beethoven's papers that this rondo was entitled "Rage over a lost penny, poured out in the form of a rondo". About the finale of Beethoven's Second Symphony, the same Schumann wrote that this is the greatest example of humor in instrumental music. And in the musical moments of F. Schubert, he heard the tailor's unpaid bills - such an obvious worldly annoyance sounded in them.

Music often uses surprise to create comic effect. So, in one of the London symphonies of J. Haydn there is a joke: a sudden blow of the timpani shakes the audience, pulling it out of dreamy absent-mindedness. In the Waltz with a surprise by I. Strauss, the smooth flow of the melody is suddenly broken by the pop of a pistol shot. It always causes a cheerful reaction from the audience. In M. P. Mussorgsky's "The Seminarist", worldly thoughts, conveyed by the smooth movement of the melody, are suddenly broken by a patter that personifies the memorization of Latin texts.

In the aesthetic foundation of all these musical-comedy means lies the effect of surprise.

comic marches

Comic marches are joke marches. Any joke is based on funny absurdities, funny inconsistencies. This is to be found in the music of comic marches. There were also comic elements in the March of Chernomor. The solemnity of the chords in the first section (starting from the fifth measure) did not correspond to the small, “flickering” durations of these chords. The result was a funny musical absurdity, very figuratively painting a "portrait" of an evil dwarf.

Therefore, the March of Chernomor is also partly comical. But only in part, because there are many other things in it. But Prokofiev's March from the collection "Children's Music" from beginning to end is sustained in the spirit of a comic march.

In general, speaking of a comic image in music, the following pieces of music immediately come to mind:

Wolfgang Amadeus Mozart's "The Marriage of Figaro", where already in the overture (introduction to the opera), notes of laughter and humor are heard. And the plot of the opera itself tells about the silly and funny master the count and the cheerful and smart servant Figaro, who managed to outwit the count and put him in a stupid position.

Not without reason in the film "Swap Places" with Eddie Murphy, Mozart's music was used.

In general, there are many examples of the comic in Mozart's work, and Mozart himself was called "sunny": so much sun, lightness and laughter can be heard in his music.

I would also like to draw your attention to the opera "Ruslan and Lyudmila" by Mikhail Ivanovich Glinka. Two images of Farlaf and Chernomor were written by the composer not without humor. Fat clumsy Farlaf, dreaming of an easy victory (meeting with the sorceress Naina, who promises him:

But don't be afraid of me
I am favorable to you;
Go home and wait for me.
Lyudmila will be carried away secretly,
And Svetozar for your feat
He will give her to you as a wife.) Farlaf is so happy that this feeling overwhelms him. Glinka, for the musical characterization of Farlaf, chooses the rondo form, built on repeated returns to the same thought (one thought owns him), and even the bass (low male voice) makes him sing at a very fast pace, almost in a patter, which gives a comic effect ( he seemed to be out of breath).

Introduction

The subject of "Listening to Music" is a kind of introduction to the art of music. Understanding music is a very complex skill that develops in the learning process.

Listening to music helps to actively perceive music and listen carefully to its various features. In addition, listening to music makes it possible to acquaint children with much more complex music compared to the one they themselves perform in the specialty class. Children get the opportunity to hear great vocal, instrumental, orchestral works in good performance. Listening gives you the opportunity to hear music of different genres, forms, styles, eras performed by famous performers and composers.

My observations show that teaching children to actively listen to music is difficult, but doable. The task is precisely to ensure that the process of perception is active, creative, so in our work we use various creative tasks, for example, to reflect our attitude to music through a drawing, compose our own story, fairy tale, and much more. After all, how much more meaningful will be the performance of musical works by children if they have a good command of the means of musical expression, they know how to listen to music, hear themselves, correctly imagine musical images and much more that a competent musician needs to know.

The introduction of the method of "musical graphics" has a special pedagogical effectiveness as a method of polyaesthetic, polyartistic education and upbringing. Drawing music is a creative act that requires independent thinking and action, which creates conditions for maximum concentration, increased attention, and interest.

Children's drawings with the content and form of the work reflected in them serve as a kind of visually fixed "document" that allows, on the one hand, to judge the depth of perception of music, and on the other, about the typological characteristics of the personality of the students themselves. This is a kind of "feedback" that is unattainable by other means (survey, conversation, questioning), and at each lesson and in relation to each child.

For half a year we studied the originality of the musical language in comparison with literature and fine arts. After all, the word in literature, color and drawing in painting are the specific material of these types of arts, in music this material is sound, which creates a complex world of musical intonations. They learned to perceive unfamiliar works from the point of view of emotional and figurative structure, to penetrate into the content of music, relying on the elements of musical speech and the logic of dynamic development. Learned the ability to memorize a piece of music and analyze it; learned the ability to determine the general character and figurative structure of the work; the ability to identify the expressive means of music, they learned to convey their observations and impressions in drawings.

Today we will present you the final lesson on the topic "Musical Image and Features of Musical Speech".

Lesson stages

1. Organizational moment. The emotional mood of students, the message of the topic of the lesson.

2. Introduction to the topic. A conversation about the features of music, painting and poetry, what means of expression a poet, artist, composer uses in creating images of his works.

3. The main part. The definition of the concept of "musical image", the definition of expressive means that create one or another musical image. Conducting a music quiz, analyzing students' drawings from homework. Explanation of new material.

4. Summing up the lesson.

During the classes

teacher - The great artist and scientist of the Renaissance said: “Music is the sister of painting”, what do these sisters have in common, let's look further “Painting is poetry that is seen, And music is painting that is heard” (Slides 3, 4). So - these types of art are very close to each other? The difference is only in the means of expression.

With what help do artists create their paintings (Slide 5)? Poet - ? Composer - ?

Answer - with the help of paints and brushes, pencils or special art crayons. Poets - with the help of words, composers - with the help of sounds.

teacher - Can a composer paint musical pictures?

Let's remember Kushnir's poem: “If you see a river in the picture ...”, “If you see that one of us is looking from the picture ... (students read Kushnir's poems).

teacher - Can music draw? - How does music draw? What or who can the music represent?

Is it possible to draw a landscape, a portrait, animals in music (Slide 6)? Is it possible to create musical images in music? But first of all, let's define what a musical image is? This is ... (Slide 7)

Answer - A musical image is a conditional character of a musical work.

teacher - How are musical images created?

Answer - They are created using different means of expression.

teacher - What means of musical expression do you know? Let's look at the screen (Slide 8). Choose from the proposed concepts those that relate to the means of expression.

Answer - Melody, harmony, registers, dynamics, tempo, rhythm, mode, strokes, texture and much more (Each of the students who answers gives a definition of the means of musical expression).

teacher - Each of these elements of the musical language help us in the perception of the musical image. And now the music quiz (Slide 9). Let's now remember what pieces of music we are already familiar with (It sounds like "Royal March of the Lions").

Answer - This is the "Royal March of the Lions" from the "Carnival of the Animals" by the composer Saint-Saens.

teacher - The Carnival Suite opens with the Royal March of the Lions. What is the nature of the music?

Answer - There was a march. Music - solemn, calm, majestic, proud - draws the image of a strong and intelligent predator.

teacher - Animal Carnival. Which animal should open this carnival, stand at the head?

Answer - A lion.

teacher - Why?

Answer - He is the king of beasts. He's in charge.

teacher - Right. What kind of lion did the composer portray? What means of expression did he use for this? It is important for him that they pay attention to him, to his gait. What musical means of expression conveyed this Saint-Saens? (Re-listening, Slide 10).

Answer - The gait (steps) of the lion depicts the whole ensemble, and the growl represents the piano, so the lion is not scary, but important.

teacher - What register is the music in? What instruments play it?

Answer - Music sounds in a low register, its musical instruments - cellos and double basses perform.

teacher - What texture does the composer use to show this majestic king of beasts? Let's follow the notes.

Answer - The texture is also majestic and powerful. First - chordal, since it is a march, and then unison: it is performed by cellos and double basses in a low register.

teacher - Why do we say "conditional character"?

Answer - I think that the composer, composing the work, wanted to reflect his attitude to life, to embody some of his thoughts, and we, listening to this music, can only guess what he wanted to tell us in this work. Sometimes the composer gives us hints. For example, we listened to the "Royal March of the Lions" from "Carnival of the Animals" by Saint-Saens. Of course, we imagined lions, but each in his own way.

teacher - Of course, in the gamma-shaped passages, some of you heard the “roar” of a lion, and some of you heard how he runs across the savannah, which is why we say “conditional character”, everyone imagines the image in their own way.

teacher - And again the question (Slide 11). Let's look at one more piece. What is the name of this work? Who wrote it? Is music good or bad? In what register did the music sound, With what dynamics? What invoice?

Answer - Santa Claus, composer Schumann.

teacher - Yes - this is Santa Claus - How do you imagine him? By what means of expression did the composer describe this image?

Answer - The music is harsh, even ominous, the dynamics are very loud, the melody sounds in a low register. Minor fret.

teacher - Has the music always been the same, or has it changed? Let's listen again and follow the texture of the work by the notes (Slide 12). What has changed in comparison with 1 part.

Answer - The music stopped in the middle as if frozen, because the dynamics became very quiet, mysterious, the fret was major, the register was medium, and then Santa Claus got angry again. The texture in part 1 is unison and at the end of the phrases it is chordal, as if someone is knocking very loudly with a staff. And in the second - homophonic-harmonic, the melody sounds like a background, against this background a very ominous melody appears in a low register. Santa Claus is not kind at all.

teacher - Let's see your drawings. Describe Santa Claus who comes to you for the New Year.

teacher - What other musical images do you know?

Answer - There are a lot of different images in music. For example, “image-portrait”, “image-landscape”, “image-mood” and many others.

teacher - Literally everything can be conveyed in music: feelings, experiences, thoughts, reflections, actions of one or more people; any manifestation of nature, an event in the life of a person, a people, an image of animals, birds, and a lot of other things. In other words, the language of music is inexhaustible.

Today we will get acquainted with the "image-mood". Each person can have this or that mood: cheerful or sad, calm or anxious. The sun smiled at you, and I want to smile back at him. Mom scolded for some wrongdoing or her favorite toy broke, and the mood becomes sad, sad. Music has a magical property - it can convey any mood of a person, express different feelings, experiences - tenderness, excitement, sadness and joy (Slide 13).

Determine what feelings of mood are expressed in this music?

· Define the nature of the music?

· Listen, the mood of the music will change or not?

· Think about the means of expression used by the composer?

(Sounds play Slides 14, 15).

The play that you just heard is called "Merry - Sad." This piece was written by the wonderful German composer Ludwig van Beethoven (Slide 16).

The story is this: part 1 - "Veselo" - this is the so-called drinking song. Friends gathered all together at the table, and perhaps one of the friends, or perhaps Beethoven himself, sets off on the road. They're all having fun, and the lyrics are:

Sing friends, spring has come.

We were all waiting for a warm day.

Well, Mary, together with dreams,

We will all sing and dance.

Part 2 - "Sad". Beethoven is on the road. He says goodbye to the house, he wants to move to Vienna to meet with the already world-famous Mozart. Beethoven is young and wants to present his compositions to Mozart. He is worried, he leaves his home for the first time and travels to unknown lands. The way to Vienna is very long - that's why he is sad.

Goodbye family, goodbye mother,

I will write to you.

I don't know if I'll see you again.

I'm leaving the house where I was born

Where I grew up dreaming, where I grew up suffering.

I don't know what will become of me.

With such sad thoughts, Beethoven goes to meet Mozart. He does not yet know how the great Mozart will meet him.

Let's listen again, open the notes, and trace the changes in the music and the texture of the piece of music.

teacher - Listen to the melody in the first part of the piece (which is called "Merry") , smooth or jerky? (Performs a fragment). What stroke?

Answer - Broken, staccato stroke.

teacher - Yes, the cheerful, playful melody of this part sounds abruptly, lightly and gently. And the melody of the second part of the play, which is called "Sad"? (Performs a fragment.)

Answer - Melody - smooth. Legato stroke. Slow pace, everything expresses a mood of sadness.

teacher - Correctly. The sad, sad mood of this part is created by a smooth, "smooth" melody.

In conclusion of the lesson, I would like to ask you, do you like the music that we listened to? What new did you learn in the lesson? What interesting things did you learn in the lesson? Is it true that the language of music is inexhaustible? What is the purpose of our lesson?

We have achieved it, I think we have succeeded in it.

Maybe you yourself want to compose a play, or a story, or a fairy tale called "Merry and Sad"? And as homework, you have pictures with clowns on your desk (Slide 17). What is missing in their faces? Therefore, their faces are faceless, color them and finish them so that it is clear where the sad clown is and where the cheerful one is. Outcome of the lesson: assessment of the work in the class of each student.

Guys! Thank you for the lesson. You gave me great pleasure to communicate with you, your deep understanding of such a topic as "Musical Image".

lesson musical image student

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10. Shornikova M. Musical literature: music, its forms and genres: the first year of study: textbook - Rostov n / D: "Phoenix", 2008. - 186 p.

Lesson No. 6 Grade 7 I quarter

According to the textbook by T.I. Naumenko, V.V. Aleev

Topic: "What is a musical image"

The purpose of the lesson:- the formation of expressive means of different types of arts (literary, musical and visual) in creating a single image on the example of the ballad "Forest King" by F. Schubert

Lesson objectives: educational - to introduce the concept of "musical ballad", with the biography of F. Schubert, to determine the musical image in the ballad "Forest King";

Educational- develop communication skills, skills in independent work with information, the ability to analyze and synthesize the information received;

Used teaching methods:

explanation;

practical tasks;

problem situation;

analysis and synthesis;

comparison and comparison.

Forms of organization of cognitive activity:

individual;

pair - group;

collective;

frontal. educational - education of a personal attitude to music, aesthetic taste.

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

Lesson type: Learning new material.

Equipment: computer, screen, presentation on the topic: "Dramatic image".

Intersubject communications Keywords: literature, history.

During the classes

1 .Organizing time

Everyone stood up, lined up, got ready for the lesson, hello, sit down. A fragment of “Ave Maria” by F. Schubert sounds. (I'm reading in the background)

Epigraph:

“Music is one of the most amazing miracles created by man. Is it not a miracle that a small song is capable of evoking great joy in a huge mass of people or plunge them into a state of great sorrow, raising the morale of warriors. Literature, painting, choreography, and acting are combined with music...

Isn't it a miracle - beautiful and amazing?

. 2 . Setting goals and objectives of the lesson.

Topic: "Dramatic image in music. "(Slide 1)

Read the topic of the lesson and make assumptions about what the lesson will be about. Guys. What is an image? The musical image is a particle of life. The composer creates certain ideas, this or that content. Guess what is drama? Drama (Greek Δρα´μα - action. The main properties of drama (slide show)

The dramatic hero, unlike the lyrical one, acts, fights, and as a result of this struggle either wins or dies. In today's lesson, we will get acquainted with a very famous work by composer Franz Schubert, define the features of a dramatic image, get acquainted with a new genre of vocal music and try, together with music and its creators, to experience and compare several simple and accessible feelings, feelings of struggle and victory, the cry of the soul

To accurately determine the genre of this work, I suggest you solve a crossword puzzle. A consultant will help me.

His keyword will be the answer to this question.

(Poster on a blackboard with a crossword puzzle.)

1. German composer, whose last name sounds short, resembling a shot. (Bach)

4. A type of art, the content of which is conveyed in stage musical and choreographic images. (Ballet)

5. Quiet performance. (Piano)

6. When two perform, it is called ... (duet)

Conclusion: The genre with which we are getting acquainted today is called a ballad.

3 . Updating of basic knowledge Are you familiar with this genre?

Then describe it to me. And in music, a vocal ballad is a song that has free development. The plot of the ballad is sharply dramatic; reality and fantasy, epic and lyrics are intertwined in it. slide(2)

Conclusion: As you can see, the definition of a musical genre is not much different from the definition of a literary one.

4 . Hearing a ballad"The Forest King" by F. Schubert in German. – F. Schubert was fascinated by the poetry of the German poet W. Goethe. (portrait of the poet). She excited, captivated the imagination, mind, soul of the young composer. The ballad "Forest King" Schubert composed when he was only 18 years old.

- Now you listen to one of the most famous works of Schubert and identify the means of musical expression Slide (3,4,5) you listened to the work

Where does the ballad start?

What feelings does the music express?

What image did the composer convey in his music?

Who performs this piece of music?

- What is the name of this work?

What dramatic events are conveyed in this work?

– This is a solo narrative song with fantasy elements. In it, the composer created a living picture in which the subtlest shades of human feelings are revealed.

- What did you hear in the accompaniment?

Can you see it? (Swift, dramatic movement.)

Is the music expressive or pictorial? (Both expressive and pictorial.)

Re-listening to a piece.

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

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

5 .Lesson summary.

At the end of the lesson, students can choose to sing previously learned songs.