Landscape in musical works examples. Musical works about nature: a selection of good music with a story about it

musical landscape.

Integrated lesson of music and fine arts Grade 6.

Pshenichnaya Tatyana Nikolaevna
art teacher,
and drawings

Trifonova Irina Anatolyevna,

music teacher
State Institution "Secondary School No. 1"
Akmola region, Kokshetau

Target: To form students' awareness of the relationship between music and visual arts.

Tasks:

educational: to form the skills of conscious perception of art;

consolidate knowledge about the means of music and fine arts;

educational: cultivate a love for art, creativity;

developing: develop "inner" vision, imagination, artistic thinking; encourage children to express themselves creatively in the image of nature;

development of artistic and creative abilities of students, fantasy, imagination;

Type of: integrated lesson.

View: combined lesson.

Work form: frontal, individual.

Methods: explanatory and illustrative (conversation, briefing), partly search, demonstration, reproductive.

Interdisciplinary communication: music, visual arts.

Equipment and visibility: multimedia equipment (computer, interactive whiteboard / screen, projector) electronic summary of the lesson "Musical Landscape".

Tools and materials: for the teacher - a projector, a music center; for students - gouache, sketchbook, brushes, palette, simple pencil, eraser, watercolor, non-spill cup, brushes, napkin.

Preliminary work: processing and supplementing the material for the lesson; selection of illustrative material; development and design of an electronic presentation for the lesson; development of cards for training visual memory.

Sound range: P.I. Tchaikovsky "December", "Svyatki" piece for piano from the album "The Seasons". A. Vivaldi "Winter" from the cycle "The Seasons". Song by V. Udartsev “Rain is an artist”. Song "Hymn to Music".

Visual range: A. Savrasov "Winter Landscape". And Vasnetsov "Winter Morning". Sample student drawings.

Expected Result: students are aware of the relationship between music and visual arts.

Lesson structure: 1. Organizational stage. 2. Introductory conversation. 3. Song performance. 4. Conversation. 5. Group work. 6. Doing creative work. 7. Review and analysis of student work. 8. Summing up the lesson. 9. Briefing on homework.

During the classes:

1. Organizing time. Greetings. Check readiness for the lesson.

2. Music teacher: Today we have an unusual lesson for you. Today in class we will talk about musical pictures ah, pictures of nature. Therefore, the topic of our lesson is called “Musical Landscape”.

(Slide. Statement on the interactive whiteboard)

Fine art teacher:

Man is inextricably linked with nature, he is a part of it. And the enjoyment of nature, the desire to find in it consonance with one's feelings, one's ideals, has always been a source of creativity for writers, artists, and composers. The creative process is the same when creating a pictorial, musical or literary image. An artistic image is created only when a real object emotionally affects the artist, when the creator turns on his “inner ear”, tries to transfer his inner feelings, emotional assessment to the language of colors, sounds, words. V. Okudzhava very succinctly expressed the essence of the creative process

Music teacher: Everyone writes what he hears.
Everyone hears how he breathes.
As he breathes, so he writes,
Not trying to please...

Fine art teacher: I will guess a riddle, and you guess it

I have a pencil

colorful gouache,

watercolor, palette, brush

And a thick sheet of paper

And also - an easel-tripod,

Because I am... an artist

Music teacher: Guys, we have in our repertoire the song "Rain is an artist." Let's sing.

3. Song performance:“Rain is an artist” by V. Udartsev with the whole class.

4. Conversation.

Fine art teacher: What is the genre of rain?

Of course, most often rain is depicted in landscapes.

Let's remember what a landscape is?

Really landscape (from French Paysage, from pays - country, area) - a genre of fine art (as well as individual works of this genre), in which the main subject of the image is the primordial, or, to one degree or another, nature transformed by man.

(Select a landscape from the reproductions on the slide).

And now let's look at the works of famous landscape painters.

(There are slides with landscapes by famous artists).

Nature is always a mystery to us. The more mysterious the phenomena of nature, the more attention it attracts to itself, makes you think. One of these mysterious phenomena is the change of seasons.

Music teacher: In music, many composers addressed the theme of "Seasons". So famous italian composer and violinist Antonio Vivaldi (portrait of the composer), composed the famous cycle "The Seasons", consisting of four concerts "Winter", "Spring", "Summer" and "Autumn".

Pyotr Ilyich Tchaikovsky - Russian composer (portrait of the composer on the board) also composed piano cycle"The Four Seasons", which included 12 small pieces, and each piece has its own name for the composer.

1) And what Austrian composer, with whom we met not so long ago in a lesson, has a work with the same name “The Seasons”?

Joseph Haydn, an Austrian composer.

Now excerpts from the works of Antonio Vivaldi and Pyotr Ilyich Tchaikovsky will be heard. Listen carefully to the music and answer the question:

2) What season did the composers depict in their works? (Excerpts from the works of composers sound.)

That's right, the concert “Winter” from the cycle “The Seasons” by Antonio Vivaldi was performed by a string orchestra and the play December called “Svyatki” from the cycle “The Seasons” by P. I. Tchaikovsky.

3) In the performance of which instrument did the concert sound?

piano.

4) What is Christmas time? (Information about Christmas time is prepared by one of the students in the class.)

Student: Christmastide is the twelve-day period between the feast of the Nativity of Christ and the feast of the Baptism of the Lord. Before today many traditions of merry celebration have been preserved: carols, games, visits. (holiday slide)

5) How would you characterize these two pieces of music dedicated to winter? Think about the fact that winter is different.

6) What winter was in the music of Antonio Vivaldi? Describe it with adjectives, but what about P.I. Tchaikovsky?

7) Did you pay attention to the fact that in the play "Svyatki" the rhythm of which dance sounded?

Fine art teacher: Tell me, guys, is it possible to see the music? What images do you see while listening to music? (Children answer - winter, snow, blizzard, wind, etc.)

5. Group work.

Music teacher:1 task: "Question - answer" on music and fine arts from teachers. 2 questions for the team.

Fine art teacher: In the manuscripts of which Renaissance artist were sketches of designs for a helicopter, parachute and submarine found? (Leonardo da Vinci)

Music teacher: Russian composer who composed the ballets: The Nutcracker, The Sleeping Beauty, Swan Lake? (Chaikovsky).

Fine art teacher: What is the name of the genre of fine art when artists draw animals ( animalistic genre)

Music teacher: A musical performance in which the characters sing? (Opera).

Fine art teacher: The theory says that a mixture of red, green and blue flowers will be black, but real dyes absorb and reflect light differently. What color will turn out in practice? (Grey)

Music teacher: This Austrian composer is called the “king of the waltz”, who is he? (Strauss)

2 task "It is interesting" (students tell pre-prepared Interesting Facts from the world of music and fine arts)

Student: The Milan Conservatory bears the name of Giuseppe Verdi, although in 1833 they refused to enroll him. The young Verdi was told that he was 4 years older than the usual age of those accepted, was not a citizen of the Lombardo-Venetian Kingdom and was deprived of musical talent.

Student: The Belgian master Adolphe Sax, who invented the saxophone, originally called it a completely different name - the mouthpiece ophicleid. Only two years later, his friend composer Berlioz called the new instrument the saxophone in a magazine article, and this name took root much more readily.

Student: It is believed that Pablo Picasso is the most famous artist in the world. His paintings are of great value, but in the early years of his life in Paris, Picasso was so poor that he was sometimes forced to heat with his paintings instead of firewood. Picasso's full name consists of 23 words: Pablo-Diego-Jose-Francisco-de-Paula-Juan-Nepomuseno-Maria de los Remedios-Cypriano de la Santisima-Trinidad-Martir-Patricio-Clito-Ruiz- i-Picasso.

Student: Leonardo da Vinci could draw with one hand while writing with the other. Leonardo da Vinci was a strict vegetarian and never drank cow's milk, as he considered it theft. He was also an animal rights activist, buying caged birds only to release them into the wild.

6. Doing creative work.

3 task:"We draw - we draw." We draw a winter landscape using the "Spray" technique

7. Review and analysis of student work.

Music teacher: Guys, do you know that many classical works sound in modern processing. We want to bring to your attention a very beautiful video.

Maybe you will recognize the familiar music that will now sound in this video.

(A video is shown on the board.)

Pay attention to the beautiful winter landscape that surrounds the musicians.

So, what familiar music did you hear in this video? (cold hearted)

The video is being discussed.

8. The result of the lesson.

Music teacher: Guys, what was interesting and attractive in this topic?

Fine art teacher: What new have you learned? What would you like to know more about? (Students express their own opinion on the topic being studied, share their impressions).

9. Briefing on homework. Draw a musical landscape.

I would like to end our lesson with a wonderful positive song "Hymn to Music" (performing the song: “Hymn to Music” by the whole class.)

Thank you for your work. The lesson is over.

Listening to the instrumental compositions of contemporary European composers, sometimes you almost visually feel the pictures of nature imprinted in them.

This, of course, testifies to the incredible talent of the author of music. But at the same time, this is the result of a huge evolution that European instrumental music has gone through over three centuries. Often the image of the landscape in music is based on sound recording.

Sound writing is associated with imitation various sounds- birdsong ("Pastoral Symphony" by Beethoven, "The Snow Maiden" by Rimsky-Korsakov), thunder ("Fantastic Symphony" by Berlioz), ringing of bells ("Boris Godunov" by Mussorgsky). And there is also an associative connection of music with all kinds of phenomena in nature. For example, an enlightened listener does not need to be explained that in Mussorgsky's symphonic painting "Dawn on the Moscow River" a sunrise is depicted, and in symphonic suite Rimsky-Korsakov's Scheherazade, entire fragments are devoted to the image of the sea.

It is more difficult to perceive a picture when the author sets himself a more abstract goal. Then the titles or verbal remarks of the authors act as a guide in the circle of associations. For example, Liszt has studies called “Evening Harmonies” and “Snowstorm”, while Debussy has plays “Moonlight” and “The Hills of Anacapri”.

Musical art has always operated with expressive means characteristic of its era. The images of the surrounding world that seemed to the representatives various styles a worthy object of art, were chosen based on the artistic tastes of their time. But sometimes representatives of various musical styles, even being contemporaries, took irreconcilable positions. You don't have to look far for examples. It is known that representatives of classicism condemned the great Handel for his excessive straightforwardness and rudeness. A prominent French writer, Madame de Stael (1776-1817) wrote that in her oratorio "The Creation of the World" he, depicting bright light, so violently hit the listeners on the ears that they stopped them. No less harshly, Pyotr Ilyich Tchaikovsky, chastising his students in the composition class, declared: “Have you brought any Ravel to my lesson again?” ...

Baroque era

From the end of the 16th century to the beginning of the 18th century, one of the dominant trends in European art was the Baroque style. During this period, the idea of ​​the unity, infinity and diversity of the world matures in society, an interest in the natural elements surrounding a person is formed. Music sought to create a "universal language" that would bridge the gap between the images of the world and art. In the musical aesthetics of that time, its language is brought to such specific color and sound representations that recommendations appear that assign a certain color to each interval. Categories such as light and darkness, movement and stillness become the property of instrumental and vocal art. One of the most famous masterpieces baroque music can be considered a cycle of 4 instrumental concerts The Four Seasons by Antonio Vivaldi (1678-1741). The author acts here not only as a great imitator of natural phenomena (in the concert "Summer" there is a picture of a thunderstorm), he also demonstrates to the world his lyrical perception of nature.

Perfect classicism

In parallel with the baroque, in the same period, classicism became widespread, based on the belief in the reasonableness of being, in the presence of a single, universal order that governs the course of things in nature and in life. The aesthetics of classicism is strictly normative. Its most important rule is the balance of beauty and truth, the logical clarity of the idea, the harmony and completeness of the composition. A number of rules, such as the unity of time, place and action in dramatic literature, the strict regulation of colors in paintings, designed to depict perspective (brown for the foreground, green for the middle and blue for the far), touched and musical art. His rules in the field of composition, harmony, correlation of melody and accompaniment are akin to those established in painting. In addition, for music, as well as for other genres of art, there was a single standard: "a materialized dream of impeccable geometric perfection." Since the main theme of the art of this period is the life conflicts of the hero, the role of the landscape is more than modest. However, such great pantheists as Joseph Haydn(1732-1809), also managed to perfectly depict sunrises and sunsets in this style: the images of the slow parts of his sonatas and symphonies immerse the listener in an atmosphere of spiritual contemplation, where each phrase is an example of such perfection, which is also characteristic of the composition as a whole. The pinnacle of classicism in the depiction of nature, his recognized masterpiece is Beethoven's Pastoral Symphony (1770-1827).

Fascinating impressionism

In the second half of the 19th century, society formed A New Look to the world. The achievements of science and philosophy have turned the idea of ​​the relationship between man and nature - it began to be perceived as an object in which there is nothing frozen and eternal. Some artists came to the conclusion that the system of expressive means developed over the centuries is unsuitable for reflecting new images. The renewal of all expressive means also took place in music. The new style of painting and music was called "Impressionism". The creators of his musical "dictionary" are the composers of the new French school - Claude Debussy (1862-1918) and Maurice Ravel (1875-1937). Well-known are the statements of C. Debussy that characterize the fundamental moments of his worldview: “I made a religion from a mysterious nature ... Only musicians have the privilege of embracing the poetry of night and day, earth and sky, recreating the atmosphere and rhythm of the majestic trembling of nature.” His orchestral piece afternoon rest faun" becomes a kind of manifesto of a new direction. In the same direction, there are many piano pieces Ravel, including "The Play of Water". It is in the work of Ravel that the piano becomes an instrument, "which is subject to the images of butterflies in the darkness of the night, the singing of birds in the sultry stupor of a summer day, the boundless waves of the ocean, the predawn sky, in which the sounds of bells float" (this is how the outstanding pianist of the 20th century Jourdan-Moran writes about his cycle of plays called "Mirrors").

Impressionism opened up a new concept in the relationship between the artist and the outside world. Art, which existed under the banner of baroque, classicism and romanticism, put man at the center of the universe, regarding him as the main value in the universe. The impressionist worldview, on the other hand, comes from the opposite relationship: for him, a huge, dazzling world and the dynamics of its existence - main object art, and a person with his emotional instability is an atom lost in the eternal whirlpool of nature.

This "superhuman" view led to the fact that Impressionism itself became a "happy moment" in the history of music. The world wars of the 20th century again made the suffering person the central figure of art, prompting artists who survived national tragedies to turn to the problems of good and evil. And the images of nature in music again receded into the background.

However, in cinema, which became one of the most sought-after art forms in the 20th century, sound images of the surrounding world become the most important expressive elements of the film. And the most striking musical film sketches subsequently take on a life of their own - they are performed at concerts as independent orchestral works. And how not to recall in this context the names of such unique and talented composers as Mikael Tariverdiev and Ennio Morricone.

Romanticism and pan-musicality

The origins of a new attitude to nature, formed in early XIX century, it is customary to find in creativity French philosopher Jean-Jacques Rousseau (1712-1778). His acutely personal, exaggeratedly emotional attitude to nature was picked up by the romantics. This is a worldview based on the psychological parallel between the experiences of the individual and the state of environment is reflected in their work. Untouched wild nature is perceived by artists as a mirror of the human soul. The image of natural phenomena is psychologized and serves as a magnificent background against which the experiences of a proud and independent hero are highlighted. The most graphic examples of musical romanticism can be found in the piano work of Liszt (1811-1886) and in the symphonic canvases of Berlioz (1803-1869).

The romantic view of the relationship between nature and art reached a kind of apogee in the romantic idea of ​​"pan-musicality". Supporters of this trend believed that not only the essence of the world is contained in music, but also music is contained in the essence of the world. This view is reflected very well in the lines of Byron (1788-1824):

I hear harmony in a stream of silver,

Harmony is heard in the backwater with reeds,

There is harmony in everything, listen - it is everywhere,

And the old earth is full of consonance of spheres.

On Russian soil, one of those who managed to brilliantly convey pictures of nature in a romantic manner was Rimsky-Korsakov (1844-1908). His symphonic sketches of the sea in terms of their impact are akin only to the magnificent canvases of Aivazovsky (1817-1900).

In the same period in Russia, on the basis of Russian romanticism, the star of the immortal musical genius- Alexander Scriabin (1871-1915). The anticipation of world cataclysms led him not only to a poetic, but also to a symbolic perception of the image of fire. In the late period of creativity, the flame became not only the main in an artistic way his numerous piano poems, but also the symphonic canvas Prometheus. In addition, this is the first piece of music in which a line was introduced that reflects the author's wishes in the field of lighting effects. Scriabin's works, imbued with extreme pathos and scorching colors, bring his work closer to the most important art direction of the 20th century - expressionism.

Music and nature

“In the musical language, to paint means to awaken certain memories in our heart, and certain images in our mind” (O. Balzac).

It is difficult to name a composer who would not reflect his admiration for the images of nature in music. The sound of rain, bird singing, play of sparkling in the sun water jets… All these sounds of nature inspired composers to create musical works.

Listen, the music is around...

It is in everything - in nature itself.

And for countless melodies

She creates her own sound.

She is served by the wind, the splashing of the waves,

Thunder rolls, the sound of drops,

Birds incessant trills

In the midst of green silence.

And woodpecker shot, and train whistles,

Barely audible in a nap,

And the downpour - a song without words

All on the same happy note...

(M. Evensen)

Music often conjures up different pictures nature. Nature and art are inseparable from one another, because nature from childhood and forever enters the life of every person.

If, reading books, peering at paintings, listening to music, we pay attention to everything connected with nature in them, we may even be surprised at how often and deeply nature penetrates art, how closely they are connected with each other. with a friend. That is why any person has a love for art and a love for nature - very close and kindred feelings.

Man is inextricably linked with nature, he is a part of it. And the enjoyment of nature, the desire to find in it consonance with one's feelings, one's ideals, has always been a source of creativity for writers, composers, and artists.

Musicians, artists and poets have always sought to convey the amazing beauty of the world in their works. On the canvases of artists, nature never looks dead and silent. Peering into the picturesque landscape, we will definitely hear sounds inspired by wildlife.

Natural phenomena, musical sketches of flora and fauna appear in instrumental and piano works, vocal and choral compositions, and sometimes even in the form of program cycles.

Pictures of the change of seasons, the rustling of leaves, bird voices, the splashing of waves, the murmur of a stream, thunderstorms - all this can be conveyed in music. Many famous composers were able to do it brilliantly: their musical works about nature have become classics of the musical landscape.

What an ocean of sounds surrounds us! The singing of birds and the rustle of trees, the sound of the wind and the rustle of rain, the rumble of thunder, the roar of the waves. Hear music in nature, listen to the music of rain, wind, the rustle of leaves, the surf, determine whether it is loud, fast or barely audible, flowing.

Music can depict all these sound phenomena of nature, and we, the listeners, can represent. How does music "depict the sounds of nature"?

Composers use their own musical means of expression, which help to vividly depict an image or action. They are compared with the paints of artists. "Colors of Music"

melody (musical thought),

tempo (speed of sound),

fret (major, minor, pentatonic, etc. - the mood of the music)

pitch (register),

dynamics (sound volume),

rhythm (alternation of different durations),

harmony (succession of chords).

If composers have their own musical colors, then their works can be called musical pictures. What is a musical picture? A musical picture is a work that conveys the composer's impression of nature, events, and phenomena in a very bright and accessible way.

Picturesque music is colorful, bright, rich, saturated with musical voices - timbres, expressive music. Listening to her, it is easy to imagine a certain picture. it visual music, where the amazing beauty of the world is conveyed with the help of musical means of expression.

In the visual arts, there is a genre of painting depicting pictures of nature - a landscape. Music also has landscapes that we will observe. The musical landscape is a “mood landscape” in which the expressiveness of intonation merges with pictorial details. musical language. Harmony and timbres of musical instruments play an important visual role in music.

One of the brightest and most majestic musical pictures created by Beethoven. In the fourth part of his symphony (“Pastoral”), the composer “painted” a picture of a summer thunderstorm with sounds. (This part is called "Thunderstorm"). Listening to the mighty sounds of an intensifying downpour, the frequent peals of thunder, the howling of the wind depicted in music, we imagine a summer thunderstorm.

The Russian composer A.K. masterfully uses the orchestra to create a mysterious landscape. Lyadov. Lyadov wrote: "Give me a fairy tale, a dragon, a mermaid, a goblin, give me something, only then I am happy." The composer prefaced his musical fairy tale "Kikimora" literary text, borrowed from folk tales. “Kikimora lives, grows with a magician in the stone mountains. From morning to evening, the cat-Bayun amuses Kikimora, tells overseas tales. From evening until broad daylight, Kikimora is rocked in a crystal cradle. Kikimora grows up. She keeps evil on her mind for all the people honest. When you read these lines, the imagination begins to draw both the gloomy landscape “at the magician in the stone mountains”, and the fluffy cat-Bayun, and the flickering in the moonlight of the “crystal cradle”.

The composer uses the low register of wind instruments and cello with double basses to depict stone mountains sunk in the darkness of the night, and the transparent, light high sound of flutes and violins to depict a “crystal cradle” and the twinkling of night stars. fabulousness distant kingdom depicted by the cello and double bass, the disturbing roar of the timpani creates an atmosphere of mystery, leading to a mysterious country. Unexpectedly, a short, poisonous, sharp theme of Kikimora breaks into this music. Then, in a high transparent register, magical, heavenly sounds of the celesta and flute appear, like the ringing of a “crystal cradle”. The whole sonority of the orchestra seems to be highlighted. The music seems to elevate us from the darkness of the stone mountains to a transparent sky with a cold mysterious twinkling of distant stars.

The musical landscape of the "Magic Lake" resembles a watercolor. The same light transparent paints. Music breathes peace and quiet. About the landscape depicted in the play, Lyadov said: “This is how it was with the lake. I knew one such - well, simple, forest Russian lake and in its invisibility and silence it is especially beautiful. It was necessary to feel how many lives and how many changes in colors, chiaroscuro, air took place in an incessantly changeable silence and in seeming stillness! And in the music you can hear the sounding forest silence and the splash of a hidden lake.

Creative fantasy composer Rimsky-Korsakov was awakened by Pushkin's The Tale of Tsar Saltan. There are such extraordinary episodes in it that "neither in a fairy tale to say, nor to describe with a pen!" And only music was able to recreate a wonderful world Pushkin's fairy tale. The composer described these miracles in the sound pictures of the symphonic picture "Three Miracles". We will vividly imagine the magical city of Ledenets with towers and gardens, and in it - Squirrel, who “gnawing a nut in front of everyone”, the beautiful Swan Princess and mighty heroes. As if we really hear and see a picture of the sea in front of us - calm and stormily rising, bright blue and gloomy gray. It is necessary to pay attention to the author's definition - "picture". It is borrowed from the fine arts - painting.

Imitation of the sounds and voices of nature is the most common method of visualization in music. One of the most favorite tricks is to imitate the voices of birds. We hear a witty "trio" of a nightingale, a cuckoo and a quail in the "Scene by the Stream" - 2 parts of Beethoven's Pastoral Symphony. Bird voices are heard in the pieces for harpsichord "Roll Call of Birds", "Cuckoo", in the piano piece "Song of the Lark" from P. I. Tchaikovsky's cycle "The Seasons", in the prologue of Rimsky-Korsakov's opera "The Snow Maiden" and in many other works.

Another technique exists for depicting not sounds, but the movements of people, birds, animals. Drawing a bird, a cat, a duck and other characters in music, S.S. Prokofiev ("Peter and the Wolf") portrayed them characteristic movements, habits, so skillfully that you can personally imagine each of them in motion: a flying bird, a crouching cat, a jumping wolf. Here rhythm and tempo became the main visual means.

After all, the movements of any living being occur in a certain rhythm and tempo, and they can be very accurately reflected in music. In addition, the nature of the movements is different: smooth, flying, sliding, or, conversely, sharp, clumsy. The musical language sensitively responds to this as well.

The depiction of nature in art has never been a simple copy. No matter how beautiful the forests and meadows are, no matter how the element of the sea attracts artists, no matter how it enchants the soul Moonlight night- all these images, being captured on canvas, in verses or sounds, evoked complex feelings, experiences, moods. Nature in art is spiritualized, it is sad or joyful, thoughtful or majestic, it is what a person sees it.

landscape in instrumental music

Listening to the instrumental compositions of contemporary European composers, sometimes you almost visually feel the pictures of nature imprinted in them. This, of course, testifies to the incredible talent of the author of music. Often the image of the landscape in music is based on sound recording. Sound painting is associated with the imitation of various sounds - birdsong ("Pastoral Symphony" by Beethoven, "The Snow Maiden" by Rimsky-Korsakov),

peals of thunder (“Fantastic Symphony” by Berlioz), ringing of bells (“Boris Godunov” by Mussorgsky). And there is also an associative connection of music with all kinds of phenomena in nature. For example, an enlightened listener does not need to be explained that in Mussorgsky's symphonic

“Dawn on the Moscow River” depicts the sunrise, and in Rimsky-Korsakov's symphonic suite “Scheherazade”, entire fragments are devoted to the image of the sea.

It is more difficult to perceive a picture when the author sets himself a more abstract goal. Then the titles or verbal remarks of the authors act as a guide in the circle of associations. For example, Liszt has studies called “Evening Harmonies” and “Snowstorm”, while Debussy has plays “Moonlight” and “The Hills of Anacapri”.

Musical art has always operated with expressive means characteristic of its era. The images of the surrounding world, which seemed to the representatives of various styles a worthy object of art, were chosen based on the artistic tastes of their time.

One of the most famous masterpieces of baroque music can be considered a cycle of 4 instrumental concertos "The Seasons" by Antonio Vivaldi (1678-1741). The author acts here not only as a great imitator of natural phenomena (in the concert "Summer" there is a picture of a thunderstorm), he also demonstrates to the world his lyrical perception of nature.

In the era of classicism, the role of the landscape is more than modest. However, such great pantheists as Joseph Haydn (1732-1809) were able to perfectly depict sunrises and sunsets in this style: the images of the slow parts of his sonatas and symphonies immerse the listener in an atmosphere of spiritual contemplation. The pinnacle of classicism in the depiction of nature, his recognized masterpiece is Beethoven's Pastoral Symphony (1770-1827).

Romantics for the first time draw parallels between the experiences of the individual and the state of the environment. The image of natural phenomena serves as a magnificent background against which the experiences of a proud and independent hero are highlighted. The most graphic examples of musical romanticism can be found in Liszt's piano work and in Berlioz's symphonic canvases. On Russian soil, one of those who managed to brilliantly convey pictures of nature in a romantic manner was Rimsky-Korsakov. His symphonic sketches of the sea are akin to the magnificent canvases of Aivazovsky in terms of their impact.

In the second half of the 19th century, there new style painting and music - "impressionism". The creators of his musical "dictionary" are the composers of the new French school - Claude Debussy (1862-1918) and Maurice Ravel (1875-1937). Debussy's statements characterizing the main points of his worldview are well known: "I made a religion out of mysterious nature... Only musicians have the privilege of embracing the poetry of night and day, earth and sky, recreating the atmosphere and rhythm of the majestic trembling of nature."

Many of Ravel's piano pieces, including The Play of Water, belong to the same direction. It is in the work of Ravel that the piano becomes an instrument, "which is subject to the images of butterflies in the darkness of the night, the singing of birds in the sultry stupor of a summer day, the boundless waves of the ocean, the predawn sky, in which the sounds of bells float" (this is how the outstanding pianist of the 20th century Jourdan-Moran writes about his cycle of plays called "Mirrors").

Music and painting

Examples of the relationship between sound and color are numerous both in music and in painting. So, V. Kandinsky (1866–1944) correlated this or that musical timbre with a certain color, and the famous painter M. Saryan (1880–1972) wrote: “If you draw a line, then it should sound like a violin string: or sad , or happily. And if it doesn't sound, it's a dead line. And the color is the same, and everything in art is the same.

The outstanding Russian composers N. Rimsky-Korsakov and A. Scriabin also possessed the so-called “color hearing”. Each tonality seemed to them painted in a certain color and, in connection with this, had one or another emotional coloring. “Color hearing” is also inherent in the creative individualities of many contemporary composers. For example, E. Denisov (1929-1996) - some of his works are inspired by the play of color, the play of light in the air and on the water.

The parallels between musical opuses and paintings are especially clear in French and Russian art. Art critics are closely studying the relationship between Rococo painting and the work of the eighteenth-century clavicino players, between the romantic images of E. Delacroix and G. Berlioz, between the canvases of the Impressionists and the works of C. Debussy. On Russian soil, they regularly emphasize the parallels between the paintings of V. Surikov and the folk dramas of M. Mussorgsky, find an analogy in the depiction of nature by P. Tchaikovsky and I. Levitan, fairy-tale characters by N. Rimsky-Korsakov and V. Vasnetsov, symbolic images by A. Scriabin and M. Vrubel.

Meanwhile, one can speak of a true fusion of the artistic and musical vision of the world only after getting acquainted with the work of M. Čiurlionis (1875-1911), an outstanding Lithuanian artist and composer. His most famous paintings "Sonata" (consisting of paintings by Allegro, Andante, Scherzo, Finale) and "Preludes and Fugues" bear the imprint of the author's musical perception of the surrounding reality. From musical heritage M. Čiurlionis, in which the pictorial principle manifests itself in the most original way, his symphonic poems ("In the Forest", "Sea") and piano pieces stand out.

Among the musical works inspired by all kinds of paintings and sculptures, performers are of particular interest to: "Betrothal" based on the painting by Raphael and "The Thinker" based on the sculpture of Michelangelo F. Liszt, as well as "Pictures at an Exhibition" created by M. Mussorgsky under the impression drawings by W. Hartmann.

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Municipal educational institution

"Voronovskaya average comprehensive school»

636171, Tomsk region, Kozhevnikovsky district, with. Voronovo, st. Proletarian, 17

cont. tel. 31208, tel/fax 31208; mail: [email protected] TIN 7008004715

Abstract on the topic:

"Music and Fine Arts"

(materials for the Competition of student essays "Krugozor")

Performed:

Turchkov Alexander

8th grade student

Supervisor:

Kunitsyna Anna Vladimirovna

music teacher

Tomsk - 2011

1. Introduction ……………………………………………………….. 2 – 3

2. Images of painting in music …………………………………… 4 – 11

3. Landscape in music ……………………………………………….. 11 – 16

4. "Musical painting" of fairy tales and epics ……………………. 16 – 18

5. Conclusion ………………………………………………………. 19

6. List of used literature …………………………….. 20

Introduction

Music can be studied in different ways.

You can talk about musical works, learn to understand them and admire their sound.

You can devote lessons to the work of great composers and performers in order to see how much work even the lightest and most cheerful music is created.

You can finally master musical notation step by step, learn to sing, play various musical instruments, comprehending musical science as if from within.

I put in front of me goal: the study of music in unity with what gives birth to and surrounds it: with life, nature, customs, beliefs, poems, fairy tales, paintings and many, many others.

Tasks:

learn to observe, compare, contrast, see the big in the small;

learn to understand that the world is one, and what such an understanding serves;

· to learn all this with the help of music, because music can tell about everything;

Learn to listen to music.

All of these are different ways to get involved in music.

But one day I have a question: what is music?

Is it true that this is a miracle born from the Cosmos, from the movement of the planets, from itself? After all, the great Edvard Grieg said: “Words sometimes need music, but music needs nothing.” Is it so? Yes and no.

Yes, because every art is valuable in itself, it speaks its own language, it never invades the domain of another art. Sound cannot compete with color, just as sculpture does not compete with verse, just as air does not compete with fire in nature. The very opposition seems absurd. Every thing on Earth is valuable in itself and, from this point of view, does not need anything.

No, because there is a universal connection of phenomena and its laws are immutable. Thus, for the sound of a melody, a tightly stretched string is required, and the string gives an expressive sound only in contact with a tree of a special breed, processed in a special way - and all this is already far beyond the music itself. So it is with all other things in the world: for some things ink and paper, brushes and paints are required, for some things rivers flow and meadows bloom, and from this point of view everything needs everything.

Images of painting in music

If the connection between music and literature is indisputable and obvious, then music and visual arts form a more complex union. The reason lies in their nature: after all, music and poetry are temporary arts, they interact in a single stream of sound, a single beat of a rhythmic pulse. Fine art is a spatial phenomenon: it inscribes its lines and forms into the natural world, enriches it with colors and colors. Music here, it would seem, has nothing to do with it: it has its own artistic field, and its meeting with painting, if possible, is only on " no man's land"- for example, in an opera or a musical performance, where the action requires both musical expression and decorative design.

However, studying the vast area of ​​program music, we find in it not only songs and fairy tales, poems and ballads, not only titles inspired by literary images - such as, for example, "Scheherazade" by N. Rimsky-Korsakov, "Peer Gynt" by E Grieg or "Snowstorm" by G. Sviridov. In music, it turns out, symphonic paintings and etudes-paintings, frescoes and prints have long existed. The names of musical works reflect the images that inspired them - “Forest” and “Sea”, “Clouds” and “Mists”, as well as “Bogatyr Gates in Kyiv”, “ old lock”, “Roman fountains”.

It turns out that not only literature, but also the fine arts can give rise to musical sounds.

“What the will of the gods enviously divided, the goddess Fantasy connects, so that each Sound knows its own Color, through each leaf a sweet Voice shines through, calling for brothers Color, Pene, Aroma,” wrote the German romantic poet Ludwig Tieck. But if the “envious will of the gods” separated sound and color, drawing boundaries between the arts, then it did not affect the natural world, where everything still lives and breathes in the unity of its manifestations. Each art, striving to create its own full-fledged world, is able to say more than what is traditionally attributed to it.

Forest, like a painted tower,

Purple, gold, crimson,

Merry colorful wall

It stands over a bright meadow.

Birches with yellow carving

Shine in blue azure.

This is how I. Bunin described paints autumn nature in his poem Falling Leaves. The passage quoted is a genuine poetic landscape; in it, each image is saturated with picturesque color: the forest is like an elegant tower, trimmed with carvings. Even this small example shows that literature has enough visual means– her colorful epithets and metaphors draw a bright and voluminous visual image.

But after all, musical landscapes are also colorful in their own way - what shades of the seasons, what colors, what butterflies can sometimes be “seen” in music!

And without questioning the temporal nature of musical art, let's try to answer the question: what in music can give visibility to the sound?

1. What is a "musical space"?

2. How does it express itself in sounds?

Let's remember the echo in the forest or in the mountains, the echo as a natural "carrier" of the sound space.

Let's listen to the sound of the echo and try to understand what its spatial effect is. Isn't it true that the outlines of space depend on

the proximity or distance of the echo, and, accordingly, the degree of loudness of its sound?

In this way. One of the most important carriers of space in music is loudness dynamics. The realization of this moment led the musicians to the discovery of a huge layer of expressive means associated with the distribution of loudness levels in the work. It is noteworthy that these levels are called shades or nuances in music - and this is a definition from the field of painting! Maybe the first creators musical definitions they felt the organic connection of two, it would seem, such distant arts: words often betray the secrets of their origin.

Shades musical dynamics have their own scale: the lower indicator of this scale is pp (pianissimo) means extremely quiet performance, the upper - ff (fortissimo) - extremely loud. Between these extremes there are a number of intermediate nuances: p (piano) - quiet mp - moderately quiet mf - moderately loud f - loudly. In the texts of musical works, one can even find such notes as ppp and fff indicating a special expressiveness of performance.

If we compare the work of painting and music from the point of view of dynamics, then here it is obvious that the object depicted in the foreground of the picture "sounds" louder than what makes up its background. This peculiar "loudness" of the image is expressed both in its size, and in greater detail, and in the intensity of the colorful embodiment. The background can only represent the vague outlines of objects, gradually fading on the horizon.

Relief and background - these spatial concepts, ascending by their nature to the fine arts, received universal meaning in the dramaturgy of any work of art. In music, in addition to the simple effect of an echo, they are embodied in a combination of a solo voice and instrumental or choral accompaniment, in the organization of operatic dramaturgy, where against the background of through scenes sometimes there is a close-up - arias, arioso, ensembles, in the sequence of the main and secondary themes in the sonata form.

In literature, the combination of relief and background manifests itself in the relationship between central and secondary characters, actions, and paintings.

However, the concept of "secondary" in art is conditional. In any genuine work of art the role of the background in relation to the close-up is not mechanically illustrative, but semantic. The choice of details by the artist is not accidental, even if it is just a framing landscape, details of clothing or the interior of a dwelling. Here, for example, is P. Fedotov's painting "Breakfast of an Aristocrat". How much can be seen in such seemingly insignificant things as a bitten piece of bread - the only food of an impoverished aristocrat, side by side with a book about oysters! And the beautiful interior of his room is not just a frame in which the image of a human figure is placed, but an intrinsically valuable world of excellent objects that contrast brightly with the comedy of the plot.

Another concept universal for all arts, also originating in painting, is contrast.

The contrast, which originally arose as a juxtaposition of colors or scales, that is, a purely spatial phenomenon, gradually captured the sphere of music as well. Contemporary music is already unthinkable without contrasts: major and minor, fast and slow tempo, loud or quiet sonority, high or low registers. The contrasts used in music often have great pictorial possibilities, depending on the content of the work. Indeed, in art it is not the contrast of techniques that is important, but the contrast of meanings.

E. Drobitsky's painting "Life and Death" is an example of a direct comparison of two eternal philosophical categories. The way they relate to each other has found its plastic expression in many details.

The contrast of light and dark in this picture is similar to the contrast of light and shadow: the light figure of Life has both detailed facial features - soft, feminine, and detail in the image of clothes and even hairstyles. The dark figure of Death represents only a silhouette - without a face, without details, but this silhouette exactly matches the silhouette of the light figure. The only detail concentrated in the hands of a dark figure - the objects that are depicted here symbolize the possible outcome of life: wealth, many written pages. A bright figure conceals only possibilities - in her hands is only the germ of life - with all future deeds and accomplishments.

The contrast of colors in painting can be likened to the contrast of major and minor modes in music, which corresponds to the mood, the contrast of registers, creating a more “dark” and more “light” sound.

The song “Sleep well” (No. 1 from F. Schubert’s cycle “Winter Way”) uses the principle of modal contrast - a comparison of minor and major. Here we can talk about the psychological depth of the music, which conveys the duality of the hero's emotional state. The first song in the cycle - one of the most tragic works of the composer - it still harbors glimmers of hope for a possible overcoming of misfortunes.

The contrast of the musical-pictorial nature can be found in numerous "landscape" plays.

This example is the beginning of C. Debussy's prelude "Sails". The bright picturesqueness of the prelude, of course, lies not only in simple reception register mappings. However, the initial “sketch” of the work is precisely in the contrast of the light sails blown by the sea wind and the dark surface of the water, the entire boundless expanse of the sea.

When we talk about registers, we use the words "high", "low", "medium". The concept of "pitch" applies not only to registers, but to all musical tones. "Pitch" is one of key concepts music means distribution musical sounds in space.

It is known that music is built on only seven notes.

This is the C major scale, consisting of seven notes: do, re, mi, fa, salt, la, si.

Notes differ among themselves in height - each subsequent note of the scale is higher than the previous one. But this means that the sound difference is also based on a spatial concept. The high and low sounding of the voice, the choir, the orchestra is the basis of the expressiveness of music, and along with the movement in time (rhythm) there is the movement of music in space: down to the gloomy roar of basses, up to the radiant sonority of high voices. It is no coincidence that the first samples of music combining these voices in simultaneity arose in the space of cathedrals, in their architecture reflecting the aspiration to rise.

Choral music is works created for a church choir; in their sound, as well as in the arrangement of choir performers in the cathedral, the idea of ​​​​a single spiritual space - choir, cathedral - was embodied. Maybe that's why the great thinker Goethe so insisted on the relationship between architecture and music: the cathedral as a symbol of silenced music, music as the striving of the lines of the cathedral.

When music is called temporal art, they mean the indispensability of its movement in time. After all, music is not comprehended in the simultaneity of all its constituent sounds, but is listened to gradually, from beat to beat. But even a work of fine art is so often impossible to cover in its entirety! Not only spatial multi-subject compositions, but even individual paintings require consistent consideration, they take time. This means that music, although it is a temporal art, bears the features of spatiality, just as visual art, which is spatial in nature, has the qualities of temporal art. So we see that in the life of art everything is interconnected.

If music developed only as a temporary art, then it would probably cultivate what is associated with the processes of movement - metrical meters, rhythms, durations. However, not to a lesser, but even to a greater extent, its spatial possibilities developed and deepened in it.

The invention of new instruments is a continuous search for timbres capable of expressing not only a variety of sounds, but also a variety of colors and shades. The invention of chords and chord combinations filled music with color, capable of expressing the most complex visual associations. The introduction of polyphony, opposition of registers made it possible to distinguish light and dark sounds in a bizarre musical fabric ...

Following the phenomena came concepts, and now the musicians have made their property words that were previously the exclusive property of artists: gamma, tone and semitone, shade and nuance, musical color, color, cold and warm timbres, light and gloomy melodies. Thus, the musical space received not only outlines, it acquired its “inhabitants”, who have their own unique look, color, and flavor.

The musical space breathes and pulsates, expands and contracts, strikes with the colorfulness of sound combinations and thins out to a single sound. The art of sounding space - such a definition is quite suitable for music, which has long been given over to the power of choral and orchestral performances. But even apart from complex polyphonic works: isn't a lonely singing voice a sounding space?

The spatial possibilities of music, its inherent property of sound representation - this is the reason that the embodiment of the ideas of fine art is subject to music. Whether we are looking at a portrait, admiring a landscape or a still life - all these images have their own musicality, and all this can be conveyed in sounds in its own way.

Landscape in music

The depiction of nature in art has never been a simple copying of it. No matter how beautiful the forests and meadows are, no matter how the elements of the sea attract artists, no matter how the moonlit night enchants the soul - all these images, being captured on canvas, in poems or sounds, evoke complex feelings, experiences, moods. Nature in art is spiritualized, it is sad or joyful, thoughtful or majestic; She is what a person sees her.

The theme of nature has long attracted musicians. Nature gave music sounds and timbres that were heard in the singing of birds, in the murmur of streams, in the noise of a thunderstorm. Sound representation as an imitation of the sounds of nature can be found already in the music of the 15th century - for example, in the choral pieces of K. Zhaneken "Birdsong", "Hunting", "Nightingale".

Thus, the path was outlined for the development of music of its landscape and visual possibilities. Gradually, in addition to imitating sounds, music learned to evoke visual associations: in it, nature not only sounded, but also played with colors, colors, highlights - it became visible. "Musical painting" - this expression of the composer and critic A. Serov is not just a metaphor; it reflects the increased expressiveness of music, which has discovered another figurative sphere for itself - the spatial-pictorial.

Among the bright musical pictures associated with the image of nature is P. Tchaikovsky's cycle "The Seasons". Each of the twelve pieces of the cycle represents the image of one of the months of the year, and this image is most often conveyed through the landscape.

The theme of the seasons, their reflection in nature is the basis of the content of this work, supported by a poetic epigraph from Russian poetry that accompanies each play.

Despite the poetic source, Tchaikovsky's music is brightly picturesque - both in terms of generalized emotional terms associated with the "image" of each month, and in terms of musical depiction.

Here, for example, is the play "April", which is given the subtitle "Snowdrop" and prefaced by an epigraph from A. Maikov's poem:

Dove, pure snowdrop - a flower,

And next to it is the final snowball.

Last dreams about the grief of the past

And the first dreams of another happiness ...

As often happens in lyric poetry, the image early spring, first spring flower is associated with the awakening of human strength after the winter torpor, the dusk of frost and blizzards - to new feelings, light, the sun. A small flower growing right out of the snow becomes a symbol of these fresh feelings, a symbol of the eternal desire for life.

If Tchaikovsky's music, for all its vivid depiction, is nevertheless aimed at conveying the mood, the experience caused by the first flowering of spring, then in the work of other composers one can find a vivid visual image, accurate and specific. Franz Liszt wrote about it this way: “A flower lives in music, as well as in other forms of art, for not only the “experience of a flower”, its smell, its poetic enchanting properties, but its very form, structure, a flower as a vision, as a phenomenon does not may not find its embodiment in the art of sound, because in it everything, without exception, that a person can experience, experience, think and feel is embodied and expressed.

The shape of a flower, the vision of a flower is tangibly present in the introduction to I. Stravinsky's ballet The Rite of Spring. An amazing phenomenon of nature - the blooming of buds, stems - is captured in this music, which, according to B. Asafiev, conveys "the action of spring growth."

The initial theme-melody, performed by the bassoon, in its outlines resembles the structure of a stalk, which constantly stretches, rushes up. Just as the stem of a plant is gradually overgrown with leaves, the melodic line throughout the entire sound also “overgrown” with melodic undertones. Shepherd's flute tunes gradually turn into a thick musical fabric, in which bird chirping is heard.

The landscape in music, probably, can be likened to the landscape in works of art - the pictures of nature that composers turned to are so diverse. Not only the seasons, but also the seasons of the day, rain and snow, forest and sea elements, meadows and fields, earth and sky - everything finds its sound expression, sometimes literally amazing with pictorial accuracy and the power of impact on the listener.

The creation of many landscape images belongs to impressionist composers (impressionism - artistic direction formed in Western Europe in the last quarter of the 19th - early 20th centuries). In their work, themes that require special musical representation, including landscape themes, have been widely developed.

The musical landscape of the Impressionists is an area of ​​detailed development of all means of expression that give color, visibility, and picturesqueness to the sound. Picturesqueness is already present in the titles of works: for example, “sails”, “Wind on the plain”, “Steps in the snow” (all these are the names of C. Debussy’s preludes), “Wonderful Evening”, “Wild Flowers”, “Moonlight” (romances K. Debussy), "The Play of Water", "Reflections" (piano pieces by M. Ravel) and so on.

The need to embody such complex and subtle images in music has led to an increase in spatial and colorful musical possibilities. Harmonies became more tart, rhythms became more refined, timbres became more refined. The music of the Impressionists discovered the ability to convey not only colors, but also highlights, shadows - as, for example, in M. Ravel's "Water Game". Such possibilities of music turned out to be consonant with the painting of the Impressionists; perhaps never before have these two arts been so close to each other.

Turning to poetry, impressionist composers opted for such works, in which the colorful, picturesque beginning was also clearly expressed. Here is one such poem; its author is the poet Paul Verlaine.

An endless row of fences and wild grapes;

Expanse of distant blue mountains; sea ​​tart aroma.

A windmill, like a scarlet beacon, on the bright green of the valley;

The running of foals is masterful near the coastal snags.

Lush sheep on the slopes, flowing like a river, -

Whiter than milk on the carpets, they are bright green.

Laces of foam astern, and a sail above the water,

And there, in the Sunday blue, the copper bells call.

If there were a landscape genre in poetry, then this poem would fully meet its requirements. Each of his lines is an independent image, and taken together they form a single picture of the Sunday summer landscape.

The romance of C. Debussy, created on the basis of this poem, gives the poetic image even greater depth. The composer introduces an element of movement, lively and cheerful, but this movement is also pictorial, it is, as in Verlaine's poem, as if captured.

The initial figure of the accompaniment is a quintuplet ( rhythm group of five sounds) - resembles a pattern - either the pattern of endless fences, or the lace of foam, but we feel that this pattern is definitely connected with the images of the poem.

So, we see that the landscape in music is present in all the richness of its manifestations - both as a “mood landscape” (for example, in Tchaikovsky), consonant with the landscape canvas of I. Levitan and V. Serov, and as a dynamic landscape that conveys the processes taking place in nature (for Stravinsky), and as a colorful picture, containing the diverse manifestations of the charm of the surrounding world (for the Impressionists).

Landscape images in music allow us to see how much music has learned from painting in conveying the appearance, vision of nature. And perhaps, thanks to such music, our perception of nature becomes richer, fuller, more emotional? We better begin to see and feel the details, comprehend colors and moods, hear a kind of music in everything. “Nothing in terms of musicality can compare with the sunset,” wrote K. Debussy, and this musicality of perception of the world becomes equal to the perception of its boundless beauty. The ability for such perception is the secret of the spirituality of a person - the highest of all the principles inherent in him.

"Musical painting" of fairy tales and epics

Bizarre, magical, fantasy world fabulous creativity found its expression in music in different ways. A fairy tale could become the basis of the plot of an opera, ballet or instrumental composition, but along with the embodiment of its content, the musical world of its images grew, became more and more picturesque and visible. The appearance of fairy-tale heroes, forest, underwater and mountain fairy-tale landscapes and kingdoms, birds and animals - in a word, all the richness of the visible magical world received its sound expression. Thanks to music, we learned that in a fairy tale all sounds are special, magical: falling snowflakes rustle unusually, and goldfish dance in the water in a special way, and the flight of the fabulous Humpbacked Horse is completely different, not like ordinary horse running.

Here is one example of such "magic" music - "Dance of golden-finned and silver-scaled fish" from N. Rimsky-Korsakov's opera "Sadko". Already in the very name of this vividly expressive musical fragment, created by the great musical storyteller (N. Rimsky-Korsakov wrote seven operas written in fairy tales), one can see the subtle figurativeness and picturesqueness of the musical concept. All means of music - from flexible and whimsical melodic lines to the timbre diversity of the orchestra - are aimed at creating a colorful musical picture. Many musicians called the opera "Sadko" an encyclopedia of the fabulous musical language of the 19th century.

In this opera, there are also many fairy-tale portrait images. The difference in the image of fairy-tale characters from musical portraits real people is to bring in the mysterious, mysterious, connected with the incomprehensible magical world.

On the one hand, the deep lyricism of the musical statements of fairy-tale characters, on the other hand, the atmosphere of a fairy tale that envelops their characteristics and actions - this duality is a genuine artistic discovery of the composer. B. Asafiev, comparing the work of N. Rimsky-Korsakov and the "outstanding poet of the Russian fairy tale" M. Vrubel, wrote that in a number of scenes of "Sadko" "Vrubel's visions are heard."

The Beautiful Princess - the Swan, depicted in the painting by M. Vrubel, is not just an illustration for the "tale of Tsar Saltan" by A. Pushkin, it is - generalized image female fairy-tale images. In some ways, he is akin to the image of the Sea Princess Volkhova from the opera Sadko, which is also full of inexpressible charms - and at the same time mysterious, incomprehensible. When sea ​​princess sings her wonderful lullaby, she puts a lot of lyrical feeling into it. Music has intonations folk song, giving Volkhov warm, lively features of a real girl.

Thanks to music, many well-known and beloved fairy tales have been supplemented and enriched with musical sounds. We heard what music Masha danced to in The Nutcracker, heard not only the music of the dance itself, but of the whole festively decorated hall - the Christmas tree, New Year's toys, snowflakes outside the window. P. Tchaikovsky, like a good magician, only touched his fairy tale magic wand musician - and she immediately came to life, filled with the charm of a real holiday, a warm and deep feeling - and seemed to become a reality, a part of our life.

So, we see that the tales themselves are very musical: the characters in them willingly sing and dance, and very often these songs and dances become part of the magical world of miracles, holidays and bright hopes. And maybe that's why fairy-tale music is so picturesque, because it contains all the ideas about the magical, mysterious, because it is a person's dream come true about the beautiful? It's no coincidence that beautiful fabulous images in the imagination of artists surpass all conceivable beauty that occurs in reality.

So in folk art the main thing that determines the viability of any nation finds its expression - its deep love for life, rich imagination, poetic attitude to beauty, patriotism and remarkable strength - not robbery, not barbaric, but wise and right.

Fairy tales, legends, legends, epics from century to century pass on to the descendants the rich experience of the people. Good and evil, strength and weakness, reality and fiction in their endless string of artistic incarnations form a powerful poetic stream of eternal images, which are called by the great word "tradition".

Conclusion

In conclusion, it can be noted that music is complicated story its relationship with other art forms. In collaboration with whom it was born, grew, strengthened and comprehended the world. Music has become a very independent and developed art, it continues its noble partnership with the word and verse, it is full of colors and images. In the same way, both poetry and painting convey the music of the surrounding world in their own way, because art strives for the fullness of each of its statements. Sometimes art relies only on its own possibilities, extracting from them the ability to say more than it is intended by nature. Poetry, music, painting remain themselves, but creative possibilities each of these types of art increase many times over, any theme, any image is subject to them.

Color and color in music, rhythm and tonality in painting, melodiousness and melodiousness of verse are only a small part of verbal metaphors that reveal a deep interweaving of art forms.

We will grow and mature, we will discover new works, read new books. And with the acquisition of experience, we will again and again be convinced of how everything in life is interconnected, how things, actions, people's destinies are connected by thousands of invisible threads. It is impossible to harm one thing, so as not to harm everything else. People born on the same earth are basically similar to each other. Therefore, the art created by them can be close and understandable to everyone: it tells about everything, it is universal.

Bibliography

www.wikipedia.ru

Naumenko T.I., Aleev V.V. Textbook for general educational institutions. – 3rd ed., stereotype. - M .: Bustard, 2001

using health-saving technologies.

Target : the formation of students' ideas about the relationship of music, fine arts, the concept of "musical landscape".

Tasks:

health-saving- preserve and strengthen the physical and mental health children, using a change of activity and listening to works that have a positive effect on the psyche and mood of children;

educational -bring children to the understanding of the concepts of "musical landscape", "musical picture";

developing - develop the creative abilities of each child, his artistic fantasy and imagination;

educational -cultivate love for nature, the world around.

During the classes:

1. Organizational moment.

Musical greeting.

2. Introduction to the topic of the lesson.

The depiction of nature in art has never been a simple copying of it. No matter how beautiful the forests and meadows are, no matter how the elements of the sea attract artists, no matter how the moonlit night enchants the soul - all these images, captured on canvas, in poems or sounds, evoke feelings, experiences in us, create a certain mood. Nature is spiritualized in art. She is sad or joyful, thoughtful or majestic; it is what a person sees it.

View slides - pictures of nature.

Music often conjures up different pictures of nature in our imagination. Nature and art are inseparable from one another, because nature from childhood and forever enters the life of every person.

The artist, poet, composer often sing of the beauty of nature in their works.

Definition of the topic of the lesson, goals and objectives.

3. Work on the topic of the lesson.

Images of nature have long attracted musicians. What does nature give us?

Children's answers.

Correctly. Nature gives music sounds and timbres that are heard in the singing of birds, in the murmur of streams, in the noise of a thunderstorm.

Listening to musical fragments. Children identify the sounds of nature.

Gradually, in addition to simply imitating the sounds of nature, music learned to evoke visual impressions in the listener. In it, nature not only sounded, but also played with colors, colors, highlights. There is even an expression"musical painting". What is the genre of painting that depicts pictures of nature called in fine arts?

Children's answers.

Performance of the song to the words of E. Uspensky "If you see in the picture."

Do you think there are landscapes in music?

Children's answers.

Well done! Now let's try to define what a musical landscape is.

The game "Complete the landscape" is being held.

Let's now gather all your answers into one definition and write it down.

MUSICAL LANDSCAPE is a “mood landscape”, in which the expressiveness of intonations merges with the pictorial details of the musical language.

Music has its own artistic means(paints) - timbre, rhythmic, modal, dynamic, with the help of which he depicts life.

musical picture- a work that very vividly and accessible conveys the composer's impression of the pictures of nature, events, phenomena, bright personalities.

Name the works that show pictures of nature.

Children's answers.

The cycle “The Seasons”, already known to us, is one of the most striking musical pictures associated with the image of nature. Tell us about this album.

Checking homework. A quiz based on works from the cycle "The Seasons".

If Tchaikovsky's music expresses the general mood of spring joy, then in the work of other composers one can find a more accurate landscape image.

Listening to the introduction to I. Stravinsky's ballet "The Rite of Spring".

Guys, what did you imagine while listening to this piece?

Children's answers.

Well done! This picture shows the real "action of spring growth".

Analysis of the work - work in groups at the blackboard. The guys draw up a picture of early spring on the board from the proposed fragments (drops, trees, streams, snowdrops, sun, etc.). The action takes place under repeated listening to the piece.

And now tell us about your picture, do not forget to tell about the moods that visited you when drawing up the picture.

Children talk about their paintings.

Well done! Do you like spring? ( Children's answers) Why? ( Children's answers) How do you feel when you think about the approach of spring? ( Children's answers)

Performance of the song "Spring".

Let us now play the game "Drips".

The game is based on the repetition of a rhythmic pattern, hitting the knees with the palms.

Well done! You've got it all right! Now let's breathe in the smell of spring.

Breathing exercises are performed.

Excellent! Now you can take your seats.

The children take their seats.

Spring always gives us the sun, warmth and joy. Listen new song, which is called "Give a smile" and determine its rhythm, pace and mood.

The teacher sings a song, the guys answer questions. Learning the first verse of the song.

Guys, today in the lesson we talked about such a wonderful time of the year as spring, and now let's depict spring in colors.

Before the children, cards with different colors, the guys raise the colors that they see fit.

Okay, now write down in a notebook the colors that you have chosen. It's yours homework- using this color palette, draw to next lesson drawing depicting spring landscape. And, of course, don't forget what a musical landscape is.

4. The result of the lesson.

The children answer the teacher's questions.

What new did you learn in the lesson?

What have you learned?

What did you remember?

What else would you like to know?

Who do you think was the most active today, worked best of all?

Joint grading for the lesson.

5. Reflection.

Guys, now show with what mood you will leave the lesson?

Faces in front of children depicting different facial expressions. Children choose the one that suits their mood and hang it on the board.

I wish you to remain kind and active, such as in our lesson. And now try to accurately repeat the following musical lines intonation.

The teacher sings a goodbye song. Children repeat.

Thank you for the lesson!