EXPRESSIVE MEANS OF MUSIC
Dynamics
“It is possible to convey a hundred dynamic gradations that fit between the limits,
which I call: yet no sound and already not a sound."
G. Neuhaus
You have, of course, heard of the explosive called dynamite. Do you know the Dynamo sports team? Where else can you find this root? Well, of course, in tape amplifiers - "speakers". In all these examples, we are talking about strength: δύναμις [speaker] in Greek "strength". But the last example is closest to us, because it deals specifically with the power of sound. We adjust the volume of the sound not only with the help of the volume lever. This can be done directly on the piano keys by playing louder or softer, forte or piano. These hues (or, in French, nuances) are called dynamic hues, and the strength of a musical sound is called dynamics.
Dynamics - the power of sound, dynamic shades (nuances) - shades of the power of sound.
Musical dynamics brings us back to the origins of music. After all, loud and quiet sounds, as well as various shades, exist outside of musical works. A thunderstorm rumbles, and a drizzling rain rustles a little audibly; the noise of the sea surf is menacing, and the splash of the lake is gentle and not at all terrible. The echo sounds differently, mimicking our voice almost nearby, then fading in the distance.
And even such purely musical features as crescendo (crescendo) - a gradual increase in sonority and diminuendo (diminuendo) - its gradual weakening, are also present in nature.
Listen to how the wind rustles in the crowns of trees, at first slightly touching the leaves, then becoming louder and stronger, capturing the entire crown at the moment of climax, making it sway, making noise, and only then gradually weakening its pressure until it completely calms down. Such a character of dynamics, which could be schematically depicted by the musical signs cresc., dim., is the universal law of any sound.
Or maybe its manifestation should be sought in wider boundaries - not only in music, not only in sounds in general, but in the diversity of all existing things? Isn't this what F. Tyutchev wrote about in his poem "Wave and Thought"?
Thought after thought, wave after wave
Two manifestations of the same element:
Whether in a tight heart, in a boundless sea,
Here - in prison, there - in the open, -
The same eternal surf and end,
The same ghost is disturbingly empty.
If this “eternal surf and end” is the same universal law of life, then perhaps music affects a person in such a way that it most clearly carries in itself his obvious embodiment? Indeed, in any, even the smallest, piece of music there are rules for the distribution of dynamics, giving it expressiveness and meaningfulness. Moreover, this meaningfulness is the main difference between artistic dynamics and the sound dynamics of nature: in music, it never acts as a “ghost of disturbingly empty”, but, on the contrary, forms a deeply regular movement, participating in the creation of an artistic image along with other means of musical expression. .
Remember the introduction to M. Mussorgsky's opera "Khovanshchina" - "Dawn on the Moscow River". The music of this unusually expressive fragment conveys the unhurried approach of the Moscow morning. The single-voiced, low-pitched melody that opens the introduction is like the first ray of light that comes more and more, grows, is colored by the radiance of the rising sun, suddenly flashing and playing on the golden domes of Moscow churches.
Listening to this fragment, you are once again convinced how great, how truly limitless the possibilities of music are in conveying not only any movement, process, but also its subtlest shades and gradations. Not just a general line of gradual dynamic growth, but the smallest details, details - all this gives the music such authenticity, a sense of authenticity.
This is the same realism in music that B. Pasternak wrote about: “Everywhere, in any art, realism, apparently, does not represent a separate direction, but constitutes a special degree of art, the highest degree of authorial accuracy.” Such precision is inherent in the creativity of every great musician, who is equally conscientious both in building a large composition and in finishing every little thing. The scene of a summer thunderstorm from the IV part of L. Beethoven's Symphony No. 6 is extremely expressive! Listen to how, along with orchestration and harmonic colors, the dynamics manifest themselves in this composition.
The storm starts slowly. The music very clearly and vividly depicts its onset: the sky frowns, the wind intensifies (timpani tremolo), the first drops of rain appear (pizzicato strings). All this happens along with an increase in dynamics, leading to the highest point of rampant natural elements. The storm literally collapses: thunderclaps, lightning flashes are heard in the music, minor colors thicken visibly and tangibly. The gradual decline of the storm is accompanied by a gradual calm in the orchestra; the storm is moving away - and only distant peals of thunder are still heard in the music. However, they too soon disappear: the clouds dissipate (the minor gives way to the major), the music brightens up.
Dynamics is one of the brightest expressive means of music. It can even be said that this is the most important carrier of musicality in general, no matter what it manifests itself in: in poetry, in prose, in the intonations of human speech. Indeed, in any poem there are indicators of dynamics that allow us to hear whether it sounds “quiet” or “loud”; and when describing human characters, the writer certainly indicates how this or that hero speaks, what kind of voice he has; and in our everyday observations, we often guess a person by the peculiarities of the sound of his speech. And it often turns out that quiet but weighty words convince us much more than noisy verbiage.
Musicians have long explored the artistic possibilities of loud dynamics. Even in the Renaissance, various effects were created by dynamic means - for example, the echo effect in O. Lasso's chorus "Echo". It has been noticed that the comparison of volumes during the performance of the same melody sounds like an echo echo, giving the music a special spatiality. It is also known that a quiet, measured melody lulls, and a loud and solemn melody invigorates, therefore all the lullabies of the world are sung softly, and all marching marches, on the contrary, are very sonorous.
However, between these extreme manifestations of dynamics, there are, according to the accurate remark of G. Neuhaus, many intermediate shades. Not only composers, but also performers are well aware that the reproduction of the author's intention to a large extent depends on the accuracy in observing dynamic shades. G. Neuhaus, an outstanding pianist and teacher, repeated to his students: “You must not confuse Maria Pavlovna (mp) with Maria Fedorovna (mf), Petya (p) with Pyotr Petrovich (pp), Fedya (f) with Fedor Fedorovich (ff)” . These words tell us not only about the vivid perception of dynamic shades, but also about the exactingness of the remarkable master to observe the smallest nuances of loudness.
dynamic shades:
rr - pianissimo- extremely quiet performance.
R - piano- quiet.
mp- mezzo piano- Moderately quiet.
mf- mezzo forte- Moderately loud.
f- forte- loudly.
ff- fortissimo- Extremely loud.
Of course, like any other means of expression, dynamics is extremely rarely used in any one sound. In the entire history of music, you will not find a work that from beginning to end would be equally loud or equally quiet. The movement of dynamics is influenced not only by the natural laws of loudness distribution, but also by many other circumstances.
Try, for example, to sing any melody by all means with the sound of one loudness - and you will immediately be convinced of the unmusical nature of your performance. The melody itself is flexible and changeable; when it moves up, you want to sing it a little louder, when it ends, you need to reduce the sound. At the same time, it can sound entirely within any one shade - for example, mf; thus, increasingly subtle gradations of loudness will occur within the boundaries of this designation.
That is why the expressiveness of music is based on dynamic variability. The gradual rise of climax - decline, for example, in the fragment we have considered from Symphony No. 6 by L. Beethoven is one of the possible variants of dynamics; a contrasting juxtaposition of sonorities, as in O. Lasso's chorus "Echo", is another version of it.
Dynamics has always been an ally of musical programming. After all, turning to a certain program idea, the composer took on a special responsibility: to express in sounds the content that is hidden behind the title of the work. Therefore, in program music, the artistic role of all its aspects is so high - rhythm, harmony, texture and, of course, dynamics.
The play "Moonlight" from the "Bergamas Suite" by C. Debussy, like most of the works of this most poetic composer, is distinguished by the smallest detail in musical writing. Captivating moonlit night, full of magical charm, mysterious and enigmatic - this is the image of this music, which, as always, is much higher and richer than the words that can be said about it.
The moon was sad. Bows in oblivion
Led by angels. From a trembling chest
Viol, in the silence of flowers, a combustible cry was born
Either white as fog, or blue consonances.
These lines are from S. Mallarme's poem "The Phenomenon". They can be attributed to the music of C. Debussy - a bright and consistent spokesman for the elusive wonders of nature. Colors, sounds, aromas, sounding light - this flickering is transmitted in his music as if on the verge of its conceivable possibilities. Everything that music says about itself is refined to the limit, detailed - both in the modulations of harmonic color, and in the delicate detail of the rhythm, and in the finest dynamic nuances. Listening to “Moonlight”, you experience the impression of full visibility of moonlight, every twig, every dark knot against its background, every barely perceptible rustle.
No less expressive are the examples of sound representation of dynamics.
Have you ever heard how the morning forest wakes up, how it gradually fills with various sounds, rustles, birdsong? But the singing of birds has long attracted musicians. For many of them it has become a kind of school of composer's skill. The special timbres inherent in each bird, the nature of the chirping, the tempo, strokes, and, finally, the loudness that is characteristic of its singing - all this taught the accuracy, detail, and expressiveness of musical characteristics. O. Messiaen's orchestral work "Awakening of the Birds" is one of the results of such a "forest school", which very accurately conveys the various sounds of a summer forest filled with the voices of birds. In the musical fragment given below, one can hear the singing of the Little Bird, the House Owl, the Wood Lark, the Warbler, the Blackbird and other birds, gradually awakening and greeting the dawn with their singing. The music of "Awakening the Birds" opens up new possibilities of sound representation - not only rhythmic and timbre, but also dynamic.
"Dynamics" in translation means "strength". This force, implying the loudness of the sound, can be understood more broadly - as a force affecting a person along with other musical "forces". It contains a huge world of figurative possibilities: the world of sound diversity, the world of expressive musical movement, the inner life of a musical work, every moment of which is never emotionally neutral, indifferent. Every moment of music is always unique, and therefore the power of each musical sound is also unique.
Questions and tasks:
1. With what dynamic shades would you convey the various sounds of nature: the sound of rain, the roar of thunder, the rustle of leaves, the roar of the sea (continue this series yourself)?
2. Do you think that non-sounding phenomena or objects have dynamic shades? What do you associate them with (what qualities, with what shades)?
3. In the Diary, identify "loud" and "quiet" poems.
4. What is the role of nuances in the dynamics of a piece of music? Try to connect your answer with the words of G. Neuhaus in the epigraph to this section.
5. Among the means of musical expression, name those that can be found not only in music, but also in the surrounding world; which belong only to music.
Presentation
Included:
1. Presentation - 16 slides, ppsx;
2. Sounds of music:
Debussy. "Moonlight" from "Suite Bergamas", mp3;
Beethoven. Symphony No. 6 in F major, op.68 - IV. Allegro, mp3;
Lasso. "Echo", mp3;
Messiaen. "Awakening of the Birds", mp3;
Mussorgsky. "Dawn on the Moscow River" from the opera "Khovanshchina", mp3;
3. Accompanying article, docx.
Notation
Volume (relative)
The two basic notations for loudness in music are:
Moderate degrees of loudness are indicated as follows:
Except signs f and p , There are also
Additional letters are used to indicate even more extreme degrees of volume and silence. f and p . So, quite often in the musical literature there are designations fff and ppp . They do not have standard names, usually they say "forte-fortissimo" and "piano-pianissimo" or "three fortes" and "three pianos".
In rare cases, with additional f and p even more extreme degrees of sound intensity are indicated. So, P. I. Tchaikovsky in his Sixth Symphony used pppppp and ffff , and D. D. Shostakovich in the Fourth Symphony - fffff .
Dynamic designations are relative, not absolute. For example, mp does not indicate the exact volume level, but that this passage should be played somewhat louder than p , and somewhat quieter than mf . Some computer sound recording programs have standard key velocity values that correspond to one or another volume designation, but, as a rule, these values \u200b\u200bare customizable. Below is a table of correspondence of these designations to sound volume levels in backgrounds and sons.
Designation Name Volume level, background Volume, sleep fff Forte fortissimo - the loudest 100 88 ff Fortissimo - very loud 90 38 f Forte - loud 80 17,1 p Piano - quiet 50 2,2 pp pianissimo - very quiet 40 0,98 ppp Piano-pianissimo - the quietest 30 0,36 gradual change
The terms used to denote a gradual change in volume are crescendo(Italian crescendo), denoting a gradual increase in sound, and diminuendo(ital. diminuendo), or decrescendo(decrescendo) - gradual weakening. They are abbreviated in notes as cresc. and dim.(or decresc.). For the same purposes, special signs - "forks" are used. They are pairs of lines connected on one side and diverging on the other. If the lines diverge from left to right (<), это означает усиление звука, если сходятся (>) - weakening. The following fragment of musical notation indicates a moderately loud beginning, then an increase in sound and then its weakening:
"Forks" are usually written below the staff, but sometimes above it, especially in vocal music. Usually they denote short-term changes in volume, and signs cresc. and dim.- changes over a longer period of time.
Notation cresc. and dim. may be accompanied by additional instructions poco(rus. poko- a little), poco a poco(rus. poco a poco- little by little) subito or sub.(rus. subito- suddenly), etc.
Abrupt changes
Sforzando(ital. sforzando) or sforzato(sforzato) denotes a sudden sharp accent and is indicated sf or sfz . The sudden increase in a few sounds or a short phrase is called ringforzando(ital. rinforzando) and is designated rinf. , rf or rfz .
Designation fp (forte piano) means "loudly, then immediately quietly"; sfp (sforzando piano) indicates a sforzando followed by a piano.
Accent
Accent(Italian accento) - highlighting individual tones or chords through stronger stress. When writing, it is indicated by the sign > above or below the corresponding note (chord).
Music terms related to dynamics
- al niente- literally "to nothing", to silence
- calando- "going down"; slow down and lower the volume.
- crescendo- reinforcing
- decrescendo or diminuendo- turning down the volume
- marcato- emphasizing each note
- morendo- fading (calming down and slowing down the pace)
- perdendo or perdendosi- losing strength
- piu- more
- poco- a little
- poco a poco- little by little, little by little
- sotto voice- in an undertone
- subito- suddenly
Story
The Renaissance composer Giovanni Gabrieli was one of the first to introduce dynamic shades into musical notation, but until the end of the 18th century, such designations were rarely used by composers. Bach used the terms piano, più piano and pianissimo(written in words), and we can assume that the designation ppp at that time meant pianissimo.
Notes
see also
Modern musical notation stave Musical signs strokes leagues Music Music theory Musical notation Wikimedia Foundation. 2010 .
See what "Dynamics (music)" is in other dictionaries:
MUSIC (from the Greek musike, literally the art of muses), a type of art in which musical sounds organized in a certain way serve as a means of embodying artistic images. The main elements and expressive means of music are fret (see LAD), ... ... encyclopedic Dictionary
Modern Encyclopedia
- (from the Greek musike letters. the art of muses), a type of art in which musical sounds organized in a certain way serve as a means of embodying artistic images. The main elements and expressive means of music are harmony, rhythm, meter, tempo, ... ... Big Encyclopedic Dictionary
Music- (Greek musike, literally the art of the muses), an art form in which musical sounds organized in a certain way serve as a means of embodying artistic images. The main elements and expressive means of music are harmony, rhythm, meter, ... ... Illustrated Encyclopedic Dictionary
- (gr. musike - literally: the art of muses) a type of art that reflects reality in sound artistic images, a work or a set of works of this art, actively influencing the human psyche. Music is capable of... Encyclopedia of cultural studies
I Music (from the Greek musike, literally the art of the muses) is a type of art that reflects reality and affects a person through meaningful and specially organized sound sequences, consisting mainly of tones ... ... Great Soviet Encyclopedia
- (Greek moysikn, from mousa muse) a type of suit that reflects reality and affects a person through sound sequences that are meaningful and specially organized in height and time, consisting mainly of tones ... ... Music Encyclopedia
additional teacher
Education: Lysenko Natalia Anatolievna
Group No. 4
The date:
Plan-summary of the lesson.
Topic: Dynamics as a means of musical expression.
Purpose of the lesson: Expand and deepen already receivedknowledge of the dynamics of musical sound as a means of expression. Familiarize yourself with dynamic shades and their designations.
Tasks
Educational: define the concept of dynamics, dynamic shades. Learn to distinguish the dynamics of voice, musical instruments. Learn to hear dynamic shades in musical works. Perception of means of musical expressiveness through the system of creative tasks.
Developing: Develop a conscious, holistic perception of music. Develop creative thinking and imagination. To develop interest in classical music, the ability to listen, analyze and talk about a piece of music. Development of singing skills, phrasing skills of a vocal work, using the acquired knowledge.
Educational: to involve students in active activities, to promote free communication in a team with the help of musical games. Cultivate a love for music, a desire to listen and perform it. To improve the emotional sphere, aesthetic taste, to attach to musical values on the example of the music of Antonio Vivaldi.
Course progress.
Teacher: Music can influence a person’s feelings, evoke a feeling of joy in us, or vice versa, sadness, anxiety or delight. We have already talked about musical intonation as the language of music in which the author speaks to us. And today we will talk about another means of musical expression, which helps and enhances the impact on our perception. And that's musical dynamics. Who can say what dynamics is?
(Student answers.)
Dynamics is a change in the strength of sound, the loudness of the sound of a piece of music.
What dynamic shades do you already know? (student answers)
That's right, we already know that a loud sound is called forte, and a quiet one is called piano. But there are a lot of shades of volume, as well as shades of the same color in painting. And listening to music, we will learn to distinguish between them. Before you (on the slide) is a table of dynamic shades. As you can see, musicians also use other volume designations, such as: not very quiet or, on the contrary, very loud, and others.
Dynamics helps the composer or performer to correctly convey the desired feelings and moods to the listener. So the lullaby sounds especially gentle thanks to the nuance of the piano (quietly). The solemnity of the march is given by Forte (loud sound), etc.
Now I invite you to listen to excerpts from musical works, analyze and explain how the dynamics help to convey the mood of the music. (Students are divided into groups, listen to passages, discuss them in a group and give answers)
The next task is also performed in groups.
Here are 4 schemes for the dynamic development of a piece of music. You will listen to 4 excerpts from A. Vivaldi's violin concertos "The Seasons". Your task is to determine which scheme fits which of the sounded fragments. (Students complete tasks and explain their answers)
I think you have already well understood dynamic shades and now we will practice with you to perform vocal examples with dynamics.
On the example of already studied chanting material and songs, students perform tasks. Sing on the Fort; on the piano; start on the piano and perform a crescendo; start on the piano and do a diminuendo. Tasks are performed first by the whole choir, then individually by each student. Students, together with the teacher, select the most logical variant of phrasing and dynamics in the song being studied and work out the correct performance.
Summary of the lesson:
The teacher asks students what new things they have learned and learned in the lesson.
Today we not only got an idea about musical dynamics, how it helps to realize the author's intention in a piece of music, but also applied this knowledge in practice, performing vocal exercises and songs. Thanks everyone for the lesson!
The summary of the music lesson “Dynamic Shades” was developed according to the VIII type program for the 5th grade by the author V.V. Voronkova. Author: Dubrovina Lyubov Anatolyevna - music teacher MBOU secondary school No. 17 (branch) of the urban district - the city of Kamyshin, Volgograd region Type of lesson: Learning new material and consolidating knowledge. The purpose of the lesson: To form in students a conscious idea of \u200b\u200brhythm as a means of musical expression. Purpose: to expand the knowledge already gained about the dynamics of sound as a means of expression. Introduce dynamic shades.
Download:
Preview:
Music lesson summary« Dynamic Shades »developed according to the program of the VIII type for the 5th grade by the author V.V. Voronkova.
Lesson type: Learning new material and consolidating knowledge.
The purpose of the lesson : To form in students a conscious idea of \u200b\u200brhythm as a means of musical expression.
Target: expand the knowledge already gained about the dynamics of sound as a means of expression. Introduce dynamic shades.
Tasks:
Tutorial: introduce students to the concept of "dynamic shades";
to teach to distinguish the dynamics of a person's voice; musical instruments; objects around us. Show children the meaning of dynamic shades in a piece of music. Perception of means of musical expressiveness through the system of creative tasks.
Correction - developing:develop creative thinking and imagination; develop an interest in classical music; develop a cognitive interest in the surrounding life, be able to talk about music using musical terms; replenish vocabulary; involve students in active activities; develop singing skills.
Educational: to cultivate interest in classical music through listening, to cultivate self-control skills in the process of developing the ability to evaluate one's work,to encourage students to adequate self-assessment in the classroom.
Equipment: multimedia, presentation, phonograms "Songs of Friends" by G. Gladkov; “Waltz” by E.Dogi from the film “My sweet and gentle beast”; V. Shainsky "Blue Wagon"
Lesson plan
1.Org. moment. Greetings
3. Work on the topic of the lesson
Flower station.
Forte and Piano Station
4. Consolidation of the studied material.
Station "Mountain pass".
Station "Mysterious".
5. Summary of the lesson.
6. check yourself . Dynamics. Terminal station.
7. Reflection
Technological map of the lesson
Lesson stages | Stage organization. Equipped ing. | Before zi moat ka re me neither | Teacher activity | Student activities | Formed UUD |
1.Org. moment. Hi action. | slide 1 | Good afternoon, good afternoon We met again | Listen to music and sing We are ready. | Acceptance of the social role of the student. Development of motives for learning activities and the formation of the personal meaning of learning |
|
2. Updating the basic knowledge of students on the topic of the lesson. | Sounds "Waltz" by E.Dogi from the movie "My affectionate and gentle beast" (On the board in the topic of the lesson I add:dynamic shades). | Guys! Let's analyze the sounded piece of music: What can we say about the melody that has now sounded? What happens in this piece? What is the means of musical expression? The melody emerges from silence, then gains maximum strength and instantly fades away, the sound gains strength and loses it. Please read expressively the poetic text of Agnia Barto "Our Tanya". (relatively loud and relatively quiet) The concepts of "loud" and "quiet" are very relative. For example, when you are in a good mood, you turn on the tape recorder at full volume, and your neighbor is in a bad mood that day. Therefore, he is outraged. For him, this sound seems too loud. So what conclusion can be drawn? But it can also sound different. For example: sounds that are quiet for a trumpet turn out to be too loud for a guitar. Let's do an experiment:Knock on the table. Quiet... a little louder... loud... very loud! Please note: the louder we knock, the more force we have to apply. It's the same in music. Music can be quiet or loud, it can abruptly or smoothly move from one volume to another. | (student answers) About the power of sound Guys read: Our Tanya is crying loudly: loudly The same sound is perceived differently by us. Tapping a pencil on the table | The ability to enter into a dialogue and participate in a collective discussion of the problem, to argue one's position Development of cooperation skills with the teacher and peers in different learning situations. Argumentation of one's opinion and position in communication. Expressing your thoughts with sufficient completeness and accuracy Arguing your opinion and positions in communication. Ability to organize educational cooperation and jointness with partners |
|
3. Work on the topic of the lesson Station "Tsveto" chnaya» Station "Forte and Piano" | slide 2 "Song of Friends" from the cartoon "The Bremen Town Musicians". Slides 3 - 5 slide 6 Attachment 1 Verse by E. Koroleva. The sound of the button accordion gradually from quiet to loud. Appendix 2 Slides 7.8 | What is the power of sound called? Correctly! Today we will expand our knowledge of dynamics. We will get acquainted with dynamic shades. And so that you better remember the dynamic shades, and make it more interesting for you, we will travel on the Jolly Express. Guys, what fun song do we know? I invite you to perform the "Song of Friends" from the cartoon "The Bremen Town Musicians". Guys, we have arrived at the Tsvetochnaya station. Let's see what beautiful flowers are in front of us. Now we will sniff them. We take a short breath and a long slow exhalation with a count: 1,2,3,4.5, etc. And now let's look at this flower meadow, let's call our flowers Yegorka and try to count them. We remember the phrase: “As on a hill, on a hillock, 33 Egorkas lived, once Egorka, two Egorkas, three Egorkas ...”, etc. We continue our journey on the Jolly Express. We move to the next station with these words: “Knock, knock, knock, the wheels are knocking, the locomotive is going, the locomotive is going. Past the fir trees, past the pines - he brought us far. I'll tell you what residents live at this stop. What are the most common words? How are these words used in music? How are you. Guys, do you think who lives at this station? Attention! A dynamic train is approaching us. Write down and memorize dynamic shades: | Dynamics By express our fast Nobody can be bored. On the way, cheerful tourists, On the way, funny friends! And to make it even more interesting And it seemed easier to go Let's sing - and a cheerful song Help you on a long journey. (children answer) (perform 1 verse) Working on breathing Each time you repeat the exercise, the exhalation lengthens by increasing the number of numbers and gradually slowing down the pace. Working on breathing (the guys repeat the words, while stomping their feet loudly) (Loud quiet) f - FORTE (loudly) p - PIANO (softly) This means that Forte and Piano live at this stop. Students write down terms with explanations. | Ability to organize educational cooperation and joint activities with partners Willingness to receive the necessary information, defend one's point of view in a dialogue and in a speech, put forward a hypothesis and evidence Establish cause and effect relationships. put forward a hypothesis and evidence Give definitions to concepts. |
|
4. Consolidation of the studied material Station "Mountain pass". Zaga station daughter". | (the game is offered by M.A. Mikhailo howl). Appendix 3 Game material: toy. V. Shainsky "Blue Wagon" Slide 9 Appendix 4 | We are at the station Forte and Piano They invite us to play the game "Loudly - Quietly Drinking" What means of expression did we use in the game? What? Guys, we've been sitting too long at this station. Let's go further. Do you remember the chorus of V. Shainsky's song "Blue Wagon"? Let's sing part 1 of the chorus just f. Did the song sound beautiful in our performance when we shouted it? How can you change the sound of a song to make it more expressive? What dynamic nuances helped us create a joyful mood in this song? We arrived at the station, which is called"Mountain pass". Guys, do you know how the echo in the mountains answers. For example, if I shout high in the mountains: “What time is it now?” What will the echo answer me? (hour, hour). Could the echo say, “Two hours, forty minutes”? Let's now play a game called Echo. I will ask, and you repeat the last syllable and at the same time clap your hands. We repeat the last syllable twice and clap our hands twice, doing it at the same time. Begin! What helped us in the game? Solve the riddle: To two notes known add a suggestion get loud and a long beep | Are playing the game A leader is selected who leaves the class. The rest agree and hide the toy. The driver, having entered the class, must find it, guided by the sound of the song that the students of the class sing (for the purpose of fixing, the song that they have just learned is used) The main rule: the sound of the song intensifies as you approach the toy and, conversely, subsides as you move away from it. Dynamic shades (student answers) (guys sing chorus) (Guys perform). (children's answers) You need to change the sound of the song. The strength of the sound should change throughout the song. Let's focus on the option "the closer - the louder" in the first part and in the second part of the chorus "the farther - the quieter." crescendo and diminuendo. Well, of course not. dynamic shades (SIREN). | Express your thoughts with sufficient completeness and accuracy. Extracting the necessary information from a piece of music; The ability to independently plan ways to achieve goals, consciously choose the most effective ways to solve educational and cognitive problems. The ability to correlate their actions with the planned results Express your thoughts with sufficient completeness and accuracy. |
|
5. The result of the lesson. Terminal station. | "Check yourself" Dynamics. Slides 10-17 | Our journey is coming to an end. Remember the most pleasant moments of our trip. - What did we do in class today? Let's check if you know dynamic shades? Test "Test yourself" | (children's answers) (children's answers) | The ability to correlate their actions with the planned results - argumentation of one's opinion and position in communication |
|
6.Ref lecture. | Slide 18 | Teacher: Our trip went well. You have learned to distinguish between dynamic shades. | Possession of the basics of self-control and self-esteem, decision-making, the implementation of the main choice in educational and cognitive activities. |
||
Summary of the lesson on the subject of musical literacy and listening to music on the topic "Dynamic shades, their role and significance in music. "King" of ballroom dancing (the history of the emergence and spread of the waltz)"
Author: Lyudmila Ivanovna Atamanova, teacher, MBOU DOD DShI, Usman, Lipetsk region.
Short description: I offer you a summary of the lesson on the subject of musical literacy and listening to music for grade 1. This material will be useful for teachers of the Children's and Children's School of Arts working in the Department of General Aesthetic Education. In the proposed development of the lesson, a student-centered approach was used. This work contains a presentation for clarity of the studied material. The lesson is aimed at developing the musical abilities of students, expanding knowledge in the field of analyzing a musical work, and educating musical culture.
Target: To acquaint students with the concept of "dynamics", to help understand the designation, the role of dynamic shades in music, and also to talk about the emergence and spread of the waltz, its place in the rich and diverse world of music, involving children in the lesson.
Tasks:
1. Educational: to cultivate a sense of careful and respectful attitude to cultural heritage, to accept dance as part of the spiritual and national culture.
2. Educational: develop musical abilities: hearing, speech, memory, include creative imagination in the lesson, be as active as possible.
3. Educational: to form the ability to memorize, navigate in dynamic shades, apply them in practice. Learn waltz among other musical genres.
Equipment: musical instrument, musical, literary and educational material, technical means.
During the classes
(Slide)
Teacher: Guys, in our very first lesson we got acquainted with the concept of "sound". What is this?
Students: Sound is the result of vibrations of an elastic body (for example, a string, a column of air). Sounds are divided into musical and noise.
Teacher: And by their nature, sounds are quiet and loud, and no one will ever confuse them. You have two boxes in front of you. (Slide)
Teacher: Guess what sounds are hidden in them? First, enter the missing letters in the cells horizontally, then indicate in the frames what sounds they are: loud or quiet.
Teacher: And yet the concept of "loud" or "quiet" is very relative. For example, when you are in a good mood, you turn on the player at full volume, and the neighbor is in a bad mood that day, so he is indignant. For him, this sound seems too loud. The same sound is perceived differently by us. But it can also sound different. For example, sounds that are quiet for a trumpet turn out to be too loud for, say, a harp or guitar. Let's knock on the table: softly - a little louder - even louder - loudly - very loudly! Please note: the louder we knock, the more force we have to apply. (Slide)
Teacher: The power of sound is called volume and is a very important property of musical sounds.
Write the definition in your notebook.
Music can be loud or quiet, it can abruptly or smoothly move from one volume to another. (Slide)
Teacher: Changing the volume of sounds in music is called dynamics.
Write the definition in your notebook
Dynamics (the Greek word dinamikos means "strong") is the power of sound. Music, like human speech, is filled with many sound shades. The more such shades, the more expressive it is. These sound shades are called dynamic. You never speak only loudly or only quietly. The strength of the sound depends on what and how you want to say. To speak, sing or play with force means with feeling, with great spiritual uplift. If you hit the keys hard, you get ...
Students: Loudly!
Teacher: What if it's weak?
Students: Quiet!
Teacher: Italian words forte (loudly), piano (quietly). The name of what instrument will come from these words?
Students: piano.
Teacher: Remember these notations and write them down. (Slide)
Teacher: Now let's play. Solve the charade and fill in the cells. The answer is written on the board
Let's add a preposition to two known notes,
You will get a long and loud beep.
SIREN)
Teacher: Depict a siren with your voice. Start quietly, gradually increase the volume - the siren is approaching, passing by, moving away ... The closer, the louder, the farther, the quieter. (Slide) Let's write down the definitions:
(crescendo) crescendo - gradually increasing, (diminuendo) diminuendo - gradually weakening.
Homework
draw dynamic forks for these symbols:
P_________f ; f_________p
Teacher: We've only looked at the basic dynamic tones today, but if you look at the dynamic forks, you can see that the sound will change at different points on the forks. We will talk about this in the next lesson, but now listening to music and you will surely pay attention to the dynamic shades that will sound in it, as one of the most important means of musical expression. But before the music starts, I have to tell you about it. Of course, you have been convinced many times that music is closely connected with all the arts: literature, theater, cinema, and even with the visual arts: painting, architecture, sculpture. But all these arts exist even without music, having a completely independent meaning. But there is such a field of art that does not exist without music. What is this art?
Students: Dance.
Teacher: Of course, dance. And therefore, when we pronounce the word “dance”, not only dance figures of the dance itself always appear in our minds, but also the music characteristic of it, the musical image of this dance. Dance, choreography is a huge and very diverse area of art. There are dances born by one nation, but which have become the property of many. Some were only danced by common people in villages and cities, others only in aristocratic salons, and there were those who enjoyed the same success both among common people and in court circles.
Today we will talk about only one dance, an amazing dance! It arose on a certain national basis, but gradually became the dance of almost all the peoples of the world, appeared in a broad democratic environment, one might say, in the city and village squares, and became an absolutely universal dance. At first it was only meant to be danced. And very soon he literally permeated all areas of music without exception. This dance has existed for more than three centuries and shows no signs of aging. I think you guessed what this dance is. Well, to make your answer more convincing, guess the riddle:
The whole hall lit up brightly,
Everyone is invited to the ball
I ask you to answer
What is this dance?
Waltz!
Well, of course, a waltz, a dance that has a triple meter (one, two, three). It is emphasized by the presentation of the accompaniment, which is typical for the waltz: on the first quarter there is a bass sound, and on the second and third quarters there are two chords that form a harmonious sounding harmony with the bass. (show music notation)
And now listen to how this waltz will sound in performance.
Performed by student R. Bazhilin "Waltz"
For homework, distribute notes with "Waltz", where children must arrange dynamic shades.
Teacher: Do you know how the waltz originated?
A long time ago, the inhabitants of small Austrian towns and villages after work gathered on the lawns to relax. They sang, danced, smartly stamping their wooden shoes, spinning and bouncing: one, two, three. A violinist played a simple melody merrily, the guys picked up the girls and lightly tossed them in the dance. And so this dance reached the main city of Austria, its capital - Vienna. And the inhabitants of Vienna were all inveterate dancers. They danced at home, and at a party, and in dance halls, and just on the streets of the city. When the village dance "one-two-three" came to Vienna, the inhabitants of the Austrian capital looked down on him and said dismissively: "Landl", which meant provincial, redneck. Well, what a dance! Shoes knock, men toss women, they scream in unison; try to dance such a dance on a smooth parquet - you will immediately slap! Is it a joke to try? Of course, not so famously ... hush, hush! You don't have to jump like that! The movements are softer, smoother. And he is nothing, this "landler", this provincial! And the dance "Lendler" became a regular guest of all dance halls. (Slide)
Performed by F. Schubert "Lendler"
Discussion related to character and dynamics
Teacher: And then this dance turned into another, which they began to call the waltz. But where did this name come from? Maybe it is nobler than the previous one? Not at all! There is such a device - rollers, between which metal plates are flattened and rolled. These two rollers are spinning all the time and retract the metal tape with their rotation. Isn't it the music of dance that draws you in, draws you into whirling? So they called the new dance the word "walzen" - spinning, rotating. (Slide)
This is how the character of the waltz is described in his novel "Eugene Onegin" by A.S. Pushkin:
Monotonous and insane
Like a whirlwind of young life,
The waltz whirlwind is spinning noisy,
The couple flashes by the couple.
But the real waltz became famous when composers paid attention to it. Do you know who was the first to compose waltzes? Not? Then I'll tell you now. But for this, let's remember Andersen's fairy tales.
Students: Flint, Wild swans, Thumbelina.
Teacher: Well, in which fairy tale does music play a major role?
Let me remind you that in this fairy tale, the princess refused to accept gifts from the prince - a real rose and a nightingale - and marry him. Then the prince smeared his face with soot and went to work for the king-father of the princess. By evening, the prince made a magic pot, all hung with bells: when something was boiled in this pot, the bells evoked an old song.
Sounds like "Oh, my dear Augustine"
Student: The story is called "The Swineherd". (Slide)
Teacher: So who is Augustine?
Augustine is the name of a singer. He lived in Vienna almost four hundred years ago. He walked around the city and sang songs. Everyone loved Augustine very much, because in his company life became brighter and more fun. The singer became especially popular in the year of the plague. The Black Sea mercilessly mowed down people. But Augustine walked around the city and sang his songs. People listened to his songs and believed that the plague would soon pass. One day, returning home late in March after a feast with friends, Augustine found himself in a cemetery and fell into a pit where the poor who died of the plague were buried. Waking up in the morning, Augustine, as if nothing had happened, got up and went to the city, telling his friends about his unusual lodging for the night. After that, the singer's fame increased even more, and people believed that his music, his songs were stronger than the plague.
The song plays again.
Teacher: It's a waltz! It is possible that Augustine is one of the first musicians in the world who began composing waltzes! And how many beautiful waltzes were written by composers in different countries! These are Russian composers, and French, and German. (Slide)
And now we will listen to the waltz of the German composer K.-M. Weber from the opera "Magic Shooter".
This is one of the earliest waltzes, the opera was created in 1821. Here you can still feel the connection with the landler, especially since in the opera it is danced by peasants to the uncomplicated accompaniment of village musicians right on the square.
The traditional hunting competition in shooting ends with a merry holiday. The peasants, in their simple, uncomplicated clothes and rustic shoes, dance slowly, smoothly describing circles. And the melody is simple and artless, has a uniform rotational movement.
Waltz K.-M. Weber from the opera "Magic Shooter"
There is only one theme in the waltz, it sounds several times throughout the play. Each waltz formation has 8 measures - this structure is typical for dance music. Well, we will finish our lesson with one of the most beautiful waltzes in the world. It was composed by a man who at the beginning of the 20th century lived in the capital of waltzes, the city of Vienna, and received the title "King of Waltzes" there. This is the famous Johann Strauss (there were two of them - father and son, both were famous and both famous, but the son significantly surpassed his father). (Slide)
