Essays on artistic images in modern musical compositions. “Creation and development of an artistic image in the process of working on a piece of music

Synopsis of an open lesson in the accordion specialty for students in grades 1-2 of the music school

Topic: “Work on the artistic image of the work on the example of B.N.P. "Quail", "Polyushko-field" by L. Knipper.

Work description: The development of a student's artistic image when playing an instrument of musical works is one of the most important tasks for a teacher-musician. When working on the artistic image of a piece of music, the main task of the teacher is to develop a number of abilities in the student that contribute to his "enthusiasm" when playing. These include creative imagination and creative attention. Education of creative imagination aims to develop its clarity, flexibility, initiative. The ability to clearly, vividly imagine an artistic image is characteristic not only for performers, but also for writers, composers, and artists. This summary presents the forms and methods of work in the specialty lessons with students of the junior classes of the Children's Music School on the disclosure of the artistic image of the work on the example of diverse plays.

Lesson type: open
Work form: individual
Lesson topic: Work on the artistic image of the work on the example of B.N.P. “Quail”, “Polyushko-field” by L. Knipper
The purpose of the lesson: Learn to reveal the artistic image of works.
Tasks:
educational - define the concept of "artistic image of a work"; learn to reveal the intent of the work.
Educational - educate the performance culture.
Educational– Develop the ability to listen and understand the work being performed, develop imagination, thinking, memory, sense of rhythm.

During the classes
The structure of the lesson consists of five parts:
1 part - organizational;
Part 2 - work on new material;
Part 3 - consolidation of the studied material in the lesson;
Part 4 - the result of the lesson;
Part 5 - the wording of the homework.

Part 1 - Organizational
Preparing the gaming machine:
playing scales in C, G Major with the right hand with different strokes: legato, staccato; arpeggios, right hand chords at a slow tempo;
playing the C major scale with the left hand;
playing the C major scale with two hands.
homework analysis - an oral report on the homework done: what tasks were set for the student, what was done, and what did not quite work out, why? What difficulties were encountered in the implementation; checking homework - holistic playing of pieces with two hands "Polyushko-field" by L. Knipper and B.N.P. "Quail" with the fulfillment of the tasks set earlier:
1. to make changes of fur in the indicated places of the musical text;
2.accurately fulfill the fingering requirements - observe the fingers placed above the musical signs;
3.accurately withstand all durations;
4. keep a uniform pace of execution;
5. achieve non-stop playing with two hands, while accurately observing the musical text.

Part 2 - work on the disclosure of a work of art
Setting the goal of the lesson – In order to learn how to reveal the idea of ​​the work, i.e. artistic image, you need to understand what it is, and by what means the idea of ​​​​the work is revealed. Therefore, the purpose of our lesson is to derive the concept of "artistic image", and learn, using the means of musical expression, to reveal it.
Methods of working on the play by L. Knipper "Polyushko-field"
holistic playing of the play by the teacher;
performance analysis: student's answers to teacher's questions:
1.what do you think this piece is about? During the dialogue, it is possible to use pictures, drawings that help to understand the meaning of the work.

2.Do you know the lyrics of the song?

3. What helped you understand what this work is about? What means of musical expression did the composer use?
4. What is the pace in this piece? Dynamics, strokes, the nature of the accompaniment?
5. How many parts can the play be divided into? What did we present in the first part, and what in the second? How is this change noticeable in music?

6. Try to explain what is an "artistic image"?

After the student answers the questions, one should start working on the artistic image of the play "Polyushko-Field".
Working methods
1. detailed demonstration of the teacher on the instrument - playing each part separately;
2. playing in an ensemble with a teacher;
3. work on phrasing: determining the climax in each phrase, graphic representation of the dynamics in the notes, singing the melody, showing the teacher on the instrument; method of the game-comparison (the game of the teacher and the student is compared, analysis)
4. work on the rhythm: playing with the score aloud, clapping the rhythm of each part, working on difficult rhythmic places;
5. work on the strokes - to achieve coherent, smooth playing in the right hand part, and to achieve clear accompaniment in the left hand part (playing with separate hands);
6. the connection of two parts: in the first part, the artistic image is “a column on foot”, and in the second part - “cavalry” (the change in accompaniment contributes to the creation of such an image);
7. work on a single tempo of performance - playing under a metronome;
8. if you encounter difficulties when connecting, you should return to work with separate hands to clarify the musical text, fingering, change of fur.

Methods of working on B.N.P. "Quail" are similar to the methods of working on the play by L. Knipper "Polyushko-field"

Part 3 - Consolidation of the skills acquired in the lesson
Holistic playing of plays by students with two hands with the exact fulfillment of the task - to reveal the artistic image of the work during the game. Analysis of one's own performance, indicating the positive and negative sides when playing pieces.

Part 4 - Summary of the lesson
The student coped with the tasks assigned to him: he tried to convey the artistic image of the works during the game, learned to independently analyze his own performance, find errors, difficulties in performance and look for ways to overcome them. The student realized that in order for the work to sound, it is not enough to accurately learn the musical text, you need to pay a lot of attention to working on dynamics, phrasing, rhythm, strokes, i.e. over the means of musical expression. In the future, independent work of the student is planned to reveal the artistic image of the work.

Part 5 - the wording of homework
Consolidation of the skills acquired in the lesson - a holistic playing of pieces by heart, taking into account all the comments.
These methods used when working on the disclosure of the artistic image on the example of the works "Polyushko-field", "Quail" can be used when working in other works. Such methods of working on a work help students to independently work on the disclosure of the artistic image in the works.

Municipal budgetary educational institution

additional education for children

"Children's School of Arts" p. Kamyshi

Kursk district, Kursk region

Methodical development

Topic: "

Compiled by: folk string teacher

tools

Malyutina Oksana Vyacheslavovna

2015

TABLE OF CONTENTS:

I.EXPLANATORY NOTE

II. CONTENT:

1. INTRODUCTION

2. STAGES OF WORK ON THE WORK:

sound design

preparation for concert performance

3. CONCLUSION

III. BIBLIOGRAPHY

IV. LIST OF ELECTRONIC - EDUCATIONAL RESOURCES

Explanatory note to the methodological development « Formation of the artistic image of a musical work. This methodological development is intended for teachers of DL in general education schools and art schools. This paper reveals the ways and methods of work used in creating the artistic image of the performed works. The main task is not only to teach students how to perform well technically works, but to try to convey with the help of sounds all the thoughts and feelings, character, image that the composer puts into a particular work. The initial goal of this work is the task of developing the interest of the researcher among students, and the end result is the education of independence of performance and understanding of musical material, ways of its transmission. As one of the features of the performance of works in the classroom, there are several stages of work that will help lead to the desired result. This contributes to the fact that the teacher creates a certain scheme of work, coordinated primarily with his pedagogical experience and, accordingly, specifies the abilities and characteristics of each student. The motto of this work can be the words "from simple to complex." The whole complex of necessary skills of a domrist: from the simplest movements to complex (combined), corresponding to the modern level of the performer's skill.

“Music is a higher revelation than wisdom and philosophy.

Music should strike fire from the human soul.

Music is a people's need"

/ Ludwig van Beethoven. /

As gymnastics straightens the body, so music straightens the human soul.

/ V. Sukhomlinsky /

Introduction.

An artistic image is an image from art, which is created by the author of a work of art in order to most fully reveal the described phenomenon of reality.

The main task of the teacher is to teach the child to convey meaningfully and sensually the content of the work, the composer's intention with sounds. Technical perfection and virtuosity of performance are only a means to achieve a highly artistic goal. “Skill ... in performance begins where technical brilliance disappears, where we listen only to music, admire the inspiration of the game and forget about how, with the help of what technical means the musician achieved this or that expressive effect ... - wrote D. Shostakovich. - ... All the richest technique of these musicians, a truly limitless complex of expressive means that they possess, is always completely subordinated to the task of the brightest and most convincing embodiment of the composer's idea, bringing it to the listener.

Work on a piece of music is one of the components of the performing process. The artistic interpretation of a musical work plays a particularly important role, both in shaping the future musician and in the subsequent development of his performing skills, musical thinking, taste, and aesthetic outlook. The study of this or that piece of music can give good results only if you have a correct understanding of the methods of working on it, which are based on the principle of step-by-step - sequential learning.

Stages of work on the work.

Formation of an image-representation

The work on the work can be divided into four stages. Of course, such a distinction is conditional and is determined by the individual data of the student. The very division of the process of working on a work, and the duration and content of its individual stages, are conditional.

First stage

general preliminary acquaintance with the play, with its main artistic images, emotional tone of the work, technical tasks.

Second phase

a deeper study of the play, the selection of means of expression and mastery of them, detailed work on the play in parts, excerpts.

Third stage

this is a complete and complete performing embodiment of the idea of ​​the play, based on a deep and detailed preliminary study of it.

Fourth stage

achievement of readiness of the play, preparation of the play for the stage embodiment, that is, its masterful performance at a concert or exam.

As a rule, the content of the main central stage of the work (undoubtedly the most voluminous) is often detailed in the work, and insufficient attention is paid to the first and last stage, as a result, the piece of music loses its core, the unity of thought invested in it by the author. Fragmentary performance, distorting the musical content, gives rise to fragmentary perception, so one of the tasks of the teacher iseducation of the ability to cover the composition of the work and determine the place and role of each element in it.

First stage - familiarity with the musical material of the work

The initial goal of the teacher's work with the student is to interest the student, to arouse the interest of the researcher in him.

At the first stage, the student covers only the general character and emotional tone of the piece of music. Gradually, this impression begins to differentiate, but initially only a few components of the whole are singled out. At the stage of acquaintance with the workgoal pedagogical activity consists in the development of students' artistic thinking, the formation of an orientation towards creating the image of a play.

The origin and development of a musical-performing image in different children takes place in different ways, depending on the degree of their talent. But in any case, it's good when the student can express his opinion about the nature of the work in words - the quality of the sound, the nature of the strokes, articulation, game movements will largely depend on this.

Acquaintance of the student with the work can be carried out by showing the teacher, reading from a sheet (thumbnail playback). After playing the piece by the teacher, the student himself or with the help of the teacher must collect information about the composer, about his era, the time of creation of the work; to study the main features of the author's style; determine the emotional structure of the work and conducta brief musical-theoretical analysis of the work.

First stagework on the play sets itself the followingtasks :

Understand the form, style, mood of the work;

To trace the course of the formation of the author's thought, to understand the logic of its deployment;

To realize the integrity of the content of the piece on the basis of musical and theoretical analysis (tempo designations, dynamic shades, the nature of the melody, strokes);

Recognize the contours of the sound form (pitch, rhythm,semantic accents, caesuras);

Find the most noticeable elements of expressiveness.

The deepening of the preliminary analysis of the work will continue throughout the work on the essay. The first introductory stage contributes to the quick orientation of the student in the contours of the shape of the sound canvas.

Second phase - work on subtleties and details

At the second stage, the disclosure of the idea is made on the basis of a much more complete analysis, which creates the possibility of a synthetic approach to the performed work. At this stage, students, highlighting the leading components of the artistic image of a musical work - melody, harmony, rhythm, etc., establish their interaction.

Target The second stage of work on a piece of music involves a detailed study of the author's text.

A scrupulous study of musical notation clarifies the processes of development of a work, clarifies the internal auditory idea of ​​each facet of the image, teaches us to understand and appreciate the role of individual means of musical expression within the artistic whole.

Tasks second stage:

Parse musical notation;

Determine the characteristic features in the structure of the melody - finding semantic accents, climaxes, agogic nuances in its contour;

Work on the technique and artistic expressiveness of the performance of the work (sound quality, its timbre coloring and sound color, dynamic nuance);

Achieve smoothness and continuity of presentation.

Crushing into links - isolating the simple from the complex;

Counting out loud, tapping a rhythmic pattern, playing an instrument;

Exaggerated, exaggerated display of the teacher;

Use of leading questions;

- "sound-word" or subscript text.

Analysis of the musical text is one of the main ways to accurately comprehend the contours of the musical canvas; it must necessarily be combined with the reading and understanding of stage directions. It must be remembered that any "random"the inaccuracy of the game at the very beginning of work leads to a distortion of the emerging image , and that mistakes made during the first analysis are often firmly rooted and greatly hinder the learning of a piece.

One often hears the opinion that the initial analysis should be so slow that the child can play the whole part of the piece in a row without making mistakes and stops. This is hardly correct, because such a slow pace leads to a complete meaninglessness of the game. Therefore, it is expedient at the initial analysis to use the methodcrushing into certain parts.

Guided by the methodical method of isolatingfrom complex to simple , it is possible to facilitate the perception of music by temporarily fixing the student's attention on some tasks and at the same time allowing only an approximate implementation of others. For example, with an accurate reading of the pitch and fingering, you can temporarily control the metric only by ear, or, while maintaining the accuracy and meaningfulness of the performance of all three named components, gradually connect new ones (feeling of a phrase, dynamics, strokes, etc.).

The role of the method common in practice is greatperformance show as a means suggesting ways to master specific performance tasks and difficulties. It was mentioned above about the demonstration - the performance necessary for the student before starting work on a piece of music. However, such a holistic display goes further into the stage of a dissected display of individual artistic and technical details. One of these characteristic moments is an exaggerated demonstration, emphatically demonstrating to the student the sound and technical details of the performance that are not quite successful for him.

To activate the independence of executive decisions, it is usefulleading questions method for example, “What did you not succeed at all in this play?”, “Did it sound beautiful?” etc.

To educate the student's independence, this method can also be used in such tasks as designating fingerings in separate passages of a work or caesuras between melodic constructions. The task of the teacher is to achieve independence at a certain stage of work on the work of the student.

The essence of the “sound-word” or interlinear text method is that a verbal text is selected for a musical phrase or intonation turn, which allows the child to more accurately feel the expressiveness of music: intonation accents, phrase endings.

Third stage - sound design

Target the third stage is the unification of the learned details into an integral organism, the achievement of the unity of all the components of the work, the proper expressiveness and meaningfulness of the performance.

"I see - I hear - I play - I control."

Tasks this stage of work on the work:

Develop auditory thinking skills and the ability to present the results of your action even before its implementation;

Achieve a smooth and uncomplicated performance (both from notes and from memory);

Overcome motor difficulties;

Link game images;

Deepen the expressiveness of the game;

Achieve bright dynamic sound;

Clarify rhythmically correct performance, achieve unity of tempo.

inalienablestage of the musician's work on the design of the sound image isconstantanalysis and auditory control in the process of execution. Thanks to auditory thinking, the student begins to embrace the logical connections of the composition, its semantic relationships. He gradually begins to anticipate, to predict the onset of one or another fragment of the work.

To solve the tasks of the third stage of forming an image-representation, the following are used:methods works:

Trial playback of the whole piece;

Classes "in presentation" (without a tool);

Conducting;

Comparison of small pieces of music from different parts;

Multiple repetitions;

Gradual elongation of musical thought.

Trial playbacks will allow the performer to determine the proportions of the details of the composition in a complete canvas and correct them among themselves. Thanks to trial performances, the domrist will be able to identify the degree of consistency of transitions between constructions, eliminate inaccuracies in the rhythmic formation of music, and the dynamic deployment of the performing image. Trial performances will reveal the technical flaws of the game.

It is necessary to combine trial playing in its entirety with incessant in-depth work on the details and parts of the work.

In addition to trial performances, one of the links in mastering the form of composition should bemusician lessons without an instrument , work "in the mind", "in the representation" - removal from real, gaming problems, turning off finger (muscle) automatisms will lead to the activation of the musician's fantasy.

The technique for developing the skill of performing a piece without relying on real sound should be built on the basis of the level of individual training of students, and be of a gradually increasing complexity.

"Conductor" the method of work is a unique form of study, as it allows you to embrace the entire work "in one circular motion, a continuous arc thread." Such coverage will help the musician convey the non-stop flow of the sound stream, which will undoubtedly contribute to the harmony of the form of the work. Conducting plays an important role intemporary structure organization pieces, in strengthening the musician's sense of rhythm.

The methods of multiple repetitions and gradual lengthening are useful in working on motor-difficult sections of the work.

Fourth stage – preparation for concert performance.

Coverage of the holistic form of the work is possible only if the musician can rise above reality and turn from a direct participant in the events into a director of the musical action.

Target The final stage of the musician's work on the work is to achieve the level of "aesthetic completeness" of the interpretation.

One of the maintasks , which is staged at the final stage of work on the play - preparation for the stage incarnation - is"performing brilliance" which includes the indispensable ability to perceive and convey with no less inner fullness all the variety of states, colors, images of the work. It is important to achieve, upon completion of work on the play, inner emancipation, creative freedom, the ability toplay a piece with complete confidence, conviction, and persuasiveness in any setting, on any instrument, in front of any audience.

Before entering a responsible performance, the play must be “beaten” in an unusual setting, in front of the audience. The success or failure of such an execution will be an indicator of the degree of completion of the work. Currently, there are a large number of techniques to overcome stage excitement. This includes exercise and breathing exercises. But the key to success largely depends on the good memorization of the text and the proficiency of the work, on the technically complex passages worked out in detail. I would like to quote the words of the famous pianist I.Ya. Paderewski:“If I don’t work out one day, only I notice it. If I don't practice for two days, the critics notice. If I don't practice for three days, the public notices." I would like to quote the words of A.P. Shchapov, thanks to which you can set up your students for a concert performance: “Before the performance, all sorts of talk about possible “excitement”, about the necessary “calmness” is completely inappropriate, and no verbal persuasion is needed for the student that “everything is working out for you”.

Excitement during a performance is absolutely inevitable, but it should lead ... not to a deterioration, but to an improvement in the quality of the game. On the stage there should be not “calmness”, but “creative confidence”, which only to a small extent depends not only on suggestion and self-suggestion, but is also based primarily on a very generalized, but at the same time quite real feeling of the completion of the work, the clarity of all artistic intentions, full possession of game ideas and technical apparatus, on the absence of doubts, nebulae in memory images, on the absence of clamps in motor skills.

Conclusion.

Music can magically help in development, awaken feelings, and ensure intellectual growth. As experience shows, under the influence of music lessons, even children with a delay and lag in mental development begin to make progress.

The role of the teacher in educating students of the correct ideas about the artistic and figurative structure of the work being studied is very responsible. A clear, deeply conscious artistic goal is the key to successful work on a piece of music.

The above methods of work should be considered as an exemplary model, starting from which each teacher should make his own personal scheme, consistent with his pedagogical experience and concretize according to the characteristics of each student. In general, the proposed methods of work are designed to develop and enrich the musical thinking of the child. At the same time, they form creative connections that arise in the communication between the teacher and the student at certain stages of learning.

MUNICIPAL BUDGET INSTITUTION OF ADDITIONAL EDUCATION "KUZMOLOVSKAYA SCHOOL OF ARTS"

An open lesson with a 4th grade student Arina Malova (age 10).

Topic: Work on the artistic image in the works "

Teacher Dobrovolskaya T.I.

village Leskolovo

2017

Lesson topic : "Work on the artistic image in the works"

Lesson type: combined.

The purpose of the lesson: consolidation and improvement of skills for creating and reproducing an artistic image.

Lesson objectives:

Educational:

to consolidate the skills of the ability to play various pieces of music musically, emotionally, figuratively, with auditory control;

introduce interesting facts from the biography of composers whose works are performed by the student;

search for performing techniques to convey a musical image.

contribute to the expansion of musical horizons.

Developing:

promote the development of creative abilities (artistry);

develop musical ear, memory, attention, internal culture;

develop aesthetic and moral feelings;

develop musical erudition, from which a sense of proportion, style and taste is born;

to promote the development of in-depth perception and transmission of mood in the performed piece of music;

promote the development of cognitive activity, creative thinking.

Educational:

to form an emotional and value attitude to the music that sounds in the lesson;

cultivate musical taste;

to promote the development of emotional responsiveness to music.

Teaching methods:

comparison method;

visual-auditory method;

method of observing music.

way of thinking about music

method of emotional dramaturgy;

verbal methods: conversation (hermeneutic, heuristic), dialogue, explanation, clarification;

method of musical generalization;

plastic modeling method.

Repertoire lesson plan:

1. Gamma E dur

3. S. Banevich "The soldier and the ballerina"

Lesson plan:

1. Organizational moment

2. Work on the scale.

3. Working with musical material

4. Consolidation of the material covered.

5. Summary of the lesson

6. Homework

Introduction.

The student's musical and artistic images are living, spiritualized, actively and dynamically developing "phenomena" with which he comes into non-verbal contact, experiencing a sense of spiritual satisfaction in the process of this communication. Therefore, the most important moment in the development of cognitive (cognitive) abilities can be considered the upbringing of performing independence in a student - the ability to interpret a work in one's own way, create and develop one's own musical and artistic images, and independently find technical techniques to realize one's idea.

The notion that music is a special language of communication, a musical language, like the language of German, English, etc., is indisputable. Fascinated by his work, a competent teacher tries to convey this point of view to his students, to form an associative link between musical and artistic works, comparing plays with poems, fairy tales, stories and stories. Of course, one should not understand the language of music in the literal sense as a literary language. Expressive means and images in music are not as clear and concrete as the images of literature, theater, and painting. Music operates by means of a purely emotional impact, refers mainly to the feelings and moods of people. “If everything that happens in a person’s soul could be conveyed in words,” A.N. Serov wrote, “there would be no music in the world.”

Since we are talking about the creation and development of an artistic image, it is necessary to define what is meant by the concept of "content of a musical work". The generally accepted concept is that the content in music is an artistic reflection by musical means of human feelings, experiences, ideas, attitudes of a person to the reality around him. Any piece of music evokes certain emotions, thoughts, certain moods, experiences, ideas. This is the artistic component of a musical composition. But, of course, when performing it, one should not lose sight of the technical side of music-making, since the careless performance of a piece of music does not contribute to the creation of the desired image in the listener. This means that the teacher and the student face a rather difficult task - to combine these two areas when working on a piece of music, to synthesize them into a single systematic, holistic approach, a method where the disclosure of artistic content is inextricably linked with the successful overcoming of possible technical difficulties.

During the classes:

1. At the beginning of the lesson, we play the E major scale. Once again we play the scale, refining the fingering. Next comes the work on the scale in thirds and decims. Particular attention is drawn to the dynamic shades in playing the scale.

Next comes work on chords and arpeggios by hand. We remember that we play the arpeggio "as if drawing loops" with each hand. Work on arpeggios in a dynamic way on short, broken and long ones.

When working on chords, we achieve a smooth bright sound and activity of the fingers when taking chords from the instrument and then transferring it.

Game D7.

Homework.

Polyphony is the main thing in the education of a student (Neuhaus). Working on polyphonic works is an integral part of learning piano performing arts. This is explained by the enormous importance that developed polyphonic thinking and possession of polyphonic texture has for every piano player. The ability to hear polyphonic fabric, perform polyphonic music, the student develops and deepens throughout the training

The general mood of the invention in F major is close to the part "Gloria" ("Glory") from Bach's Mass in B minor. The invention is based on a theme that first rises along a broken triad (fa-la-fa-do-fa-fa), and then descends (fa-mi-re-do, re-do-cb-la, cb-la-sol -F). The theme is joyful, light, fast. Here you can talk about a lot of rhetorical and symbolic figures. The very contour of the theme - the ascent along the triad and the scale-like descent correspond to the stanza of the chorale "Christ lay ..." - "Praise the Lord", at the same time the descent is three times four notes - a symbol of Holy Communion. Joyful, light and fast theme contains ups and downs - there are associations with the flight of angels. From the 4th measure, the chime of the bells appears - the glorification of the Lord (la-do-sib-do, la-do-sib-do, la-do-sib-do) - again three times four notes each - a symbol of Holy Communion. In the 15th measure in the lower voice and in the 19th measure in the upper voice, the interval of the descending diminished seventh is sharply highlighted - a symbol of the fall. In bars 5-6, 27-28, 31, a parallel movement of sixths appears - a symbol of contentment and joyful contemplation.

The invention is written in 3 partial form - 11+14+9 bars.

The first section, starting in F major, ends in C major. The second section, starting in C major, ends in B flat major. The third section, starting in B flat major, ends in F major.

The polyphonic feature of this peculiar fugue is canonical imitation. However, this canon, which initially goes strictly to the octave, jumps to the lower non (in measure 8), and is interrupted in measure 11.

Showing and working with a student on fragments of the work. Work on a dynamic plan, work on creating the image of the “flight of angels”.

Work on the inventions of J.S. Bach helps to understand the world of deep, meaningful musical and artistic images of the composer. The study of two-voice inventions gives a lot to students of children's music schools for acquiring the skills of performing polyphonic music and for musical and pianistic training in general. Sound versatility is characteristic of all piano literature. The role of work on inventions in auditory education, in achieving timbre diversity of sound, in the ability to lead a melodious melodic line is especially significant.

3. S. Banevich "Soldier and ballerina".

Playing the piece by heart. Dialogue with the student about his opinion about the piece played.

Story based on the fairy tale by G.Kh. Andersen about the history of the tin soldier. Creation of the image of a tin soldier and a ballerina. Their relationship.

Showing and working with a student on fragments in a piece of music and creating a musical image for this fragment. Work on the dynamic plan in the work. Work on pedaling.

4. I. Parfenov "In the spring forest"

Playing the piece by heart. Debriefing with the student of successes and failures.

Dialogue with the student about his idea of ​​the spring forest, for more detailed work on the fragments in the work.

Work on dynamics and pedalization in the piece.

RESULTS OF THE LESSON: reflection (analysis of activity) and self-reflection (introspection)

What have been done

What did not have time, what to finish

What I understood, what I did not understand

What did you learn

What was difficult, what was not. Analysis of your mistakes.

Emotional results: what you liked, how the mood.

Mark 1-5

Rating - overall impression

Conclusion: The goal of the lesson is achieved, not achieved.

Conclusion

Introspection of the lesson: We believe that the lesson was a success, and the goal of the lesson - to work on the artistic image in the works was achieved. At the end of the lesson, during the control playback, the student tried to convey her inner feelings and emotions as much as possible. Of course, intonation is discussed in every lesson, but usually in ordinary working lessons the teacher sets several tasks at once (textual, technical, intonation, etc.), so it is difficult for the student to fully concentrate, for example, on the task of correct intonation.)

This thematic lesson is valuable precisely because the child is given only one specific task and it is easier for him to focus on it. This helps the child to perceive this material more emotionally, remember it and apply it in performance. Of course, an open lesson involves a new, unusual environment for both the teacher and the student, therefore, we can say about some tightness, stiffness and tension in the child and the teacher. All the planned stages of the lesson were completed, packed in class time, the tasks of the lesson were defined. The student showed the ability to work on details and on the whole, on nuances and musical phrases, on correcting inaccuracies and errors in performance. The perception of the instructions of the teacher is quick and conscious. The student at the lesson showed her ability to express her inner feelings through sound.

An artistic image is a form of reflection of reality by creating aesthetic influencing objects. In other words, this is a subjective recreation of the world surrounding the artist: pictures of nature, portrait sketches, events, etc. It is the unity of thoughts and feelings, rational and emotional. Emotionality is historically early and aesthetically the most important foundation of the artistic image.

In modern musicology, both the musical theme (by analogy with the first characteristic of the hero of the drama) and the theme together with it and all metamorphoses (by analogy with the whole fate of the hero in the drama) and the unity of several themes - the work as a whole are considered as an image. Based on the epistemological understanding of the image, it is obvious that both the entire work and any significant part of it, regardless of its size, can be called a musical image. There is an image where there is content. The boundaries of the musical image can be established only if we mean not a reflection of reality in general, but a specific phenomenon, whether it be an object, a person, a situation, or a separate mental state. Then, as an independent image, we will perceive the musical “construction”, united by some kind of mood, one character. Where there is no content, no image, there is no art.

In musical pedagogy, the problem of interpreting the artistic image is very relevant. There are a number of tasks aimed at solving this problem. This is the upbringing of creativity in children, the development of the intellect, the horizons of students. The goal of the teacher in this direction is to cultivate the ability to perceive the musical image in its concrete sound embodiment, to trace its development, to listen to the corresponding changes in the means of expression. There are ways to enhance the perception of music.

1. A way of listening. This method underlies the entire musical and auditory culture and is a prerequisite for the development of the simplest auditory skills, the perception of musical images and the formation of musical ear. Children gradually master voluntary auditory attention, selectively directing it to certain musical phenomena in connection with new situations and tasks.

2. A way of differentiating musical phenomena by comparing their specific and similar relationships. Music as a temporary art is based on the principle of contrast and identity. Children are capable of comparing the simplest individual properties of sound (louder - quieter, higher - lower, etc.), contrasting musical images, and various musical constructions.

3. Ways of orienting music as in an ideological and emotional phenomenon.

Music should always excite, delight the child, evoke response experiences, give rise to thoughts. Gradually, comparisons of musical works appear, the most beloved of them appear, a selective attitude is created, the first assessments appear - the first manifestations of musical taste are born. This enriches the personality of the child, serves as a means of its comprehensive development.

4. Ways of creative attitude to musical phenomena.

Thanks to the mastery of these methods, children develop creative imagination in the process of perceiving musical images, the beginnings of the simplest forms of musical creativity appear.

The development of the aesthetic perception of music requires a certain system and sequence. With regard to children of primary school age, it is possible, by selecting works, to evoke various emotions in children. In addition, they are instilled with skills that lay the first foundations of a listener's culture: the ability to listen to the end of a piece, to follow its location, to remember and recognize it, to distinguish its main idea and character, the most striking means of musical expression. It is also important that the young musician receive as many vivid artistic impressions as possible. It is necessary to listen to good works in the best possible performance.

Of great importance for the student's understanding of the artistic image of the work is the knowledge of style. The term "musical style" defines the system of means of musical expression, which serves to embody a certain ideological and figurative content. The commonality of stylistic features in musical works is based on the socio-historical conditions of the composers' outlook and feelings, their creative method, and on the general laws of the musical-historical process.

Of great importance is also how emotionally the artistic image is perceived and transmitted. The preparation of the “spiritual apparatus” for performing arts ultimately means cultivating the ability to “ignite”, “want”, “get carried away” and “desire”, in other words, an emotional response to art and a passionate need to excite and convey to others performing ideas. The ability to "get involved - want" is educated. If a flame of responsiveness to music smolders in the soul of a student, this flame can be blown up. Pedagogical influence can enhance the emotional response to music, enrich the palette of his feelings, raise the temperature of his "creative heating". This emotional complex can be "lured out" by developing and nurturing a number of abilities. First of all, creative imagination should be attributed to them. It is very important to understand that a child who has the ability to fantasize, think extraordinary, will be much more interesting for listeners, will be more diverse in transmitting music. Imagination is activated precisely in preschool and primary school age. This period is sensitive for the formation of fantasy. Children will engage in creativity with enthusiasm if the teacher constantly pays attention to the development of the students' imagination function, because. The psychological basis of creative activity is precisely imagination. The development of imagination goes along the line of more and more correlation of created images with practice. In adolescence, creative imagination often appears in the adult form of inspiration. Teenagers experience the pleasure of creative creation. At this age, the imagination is based on special knowledge and on the development of technical methods of action in a particular area of ​​creative activity. It is necessary to take into account age-related changes when organizing the educational activities of young musicians.

All work with the student is based on his studies in the classroom and at home. It often happens like this: the student simply does not know how to study independently at home, or vice versa - he cannot concentrate on the lesson.

From the very first lesson, the teacher should create a favorable atmosphere for the lesson so that the student feels free and fully trusts the teacher. Awakening interest in music, in an instrument, in classes is the defining goal of any teacher. Tell in detail how to teach, what techniques should be used to memorize movements, text, phrases, work through everything in the lesson with the student - this is the first and quite feasible task of the teacher

First grade.

Development of musical and auditory representations. The initial development of musical-figurative thinking.

Learning the names of the parts of the violin and the bow. Fundamentals of body and hand positioning. The simplest stroke, dynamic and fingering notation. Sound quality, intonation, rhythm. Acquaintance with the violin system. The study of the first position, semitones between all fingers (except semitones at the nut). Initial types of distribution of the bow. The simplest types of detashe stroke with the whole bow and its parts, legato up to 4 notes per bow. Connection of strings and bow movements (change). Scales and triads in light keys. Performing simple pieces, preferably songs with lyrics.

During the year, it is necessary to go through with the student 2-3 scales and arpeggios in one octave and 1 scale in two octaves, 8-10 etudes, 8-10 pieces.

Songs on open strings (collection by V. Yakubovskaya)

Folk songs:

Bunny walks in the garden

Like under a hill

On the green meadow

How did our girlfriends go?

Selected studies 1 part - No. 1,2,8,10,11,16,17,19

Plays:

V. Gerchik "Sparrow"

N. Metlov. Lullaby

D. Kabalevsky. "Like a March", Little Polka

A. Komarovsky. Little Waltz, Cuckoo

V. Kalinnikov. Shadow-shadow, Crane

M. Krasev. funny geese

N. Lysenko. Chanterelle

M. Magidenko. Cockerel

A. Filippenko. chickens

A. Potolovsky. Hunter

N. Baklanova. October March

I. Dunayevsky. Lullaby

I. Kachurbina. Teddy bear with a doll

L. Beethoven. Marmot

J. Haydn. song

W. Mozart. Allegretto, May song

I. Starokadomsky. air song

R. Schuman. March

E. Robinson. Song about Joe Hill

Yanka. Czech folk song

Second class.

Further work on staging, intonation, sound production, rhythm. Study of strokes detashe, legato (up to 8 notes per bow) and their alternation. Getting started on martele. Sound dynamics. Conducting a bow on two strings. The simplest flageolets.

Start learning 3 positions. Introduction to violin tuning. Two-octave major and minor scales and triads. Development of initial skills in reading music from a sheet (in the presence of a teacher).

During the year, you should go through 2-3 scales and arpeggios, 6-8 etudes, 6-7 pieces, 1 work of large form.

Selected studies 1 part - No. 19,20, 25, 47, 40, 48, 27

Part 2 - No. 1-4, 9, 10, 12, 14

Works of a large form:

G. Handel. Sonatina, Variations in A Major

O. Reading. Concerto in B minor 1st movement, 3rd movement, Concerto in G major

A. Kravchuk. Concert

Plays:

"There was a birch in the field"

"Like thin ice"

"In the damp forest of the path"

N. Baklanova. Mazurka, Round dance, Romance

L Beckman. Herringbone

And Gedike. Hare, Lullaby

B. Dvarionas. Prelude

D. Kabalevsky. Our land, Round dance, Song

S. Komitas. Brook

D. Shostakovich. Little march, hurdy-gurdy

I. Bach. Gavotte

J. Haydn. Andante

H. Gluck. Merry round dance

K. Weber. Chorus of hunters

A.Hasse. Minuet and Bourre

G. Handel. Prelude

F Schubert. Ecossaise

R. Schuman. Cheerful peasant

D.Martini. Andante, Gavotte

W. Mozart. Minuet, Shepherd's Song, Lullaby

G.Purcell. Aria

J. Rameau. Rigaudon

Niyazi. Lullaby

"Sleep, my dear" - Slovak Nar. Song

V. Kalinnikov. Pussy

L. Alexandrova. song

P. Tchaikovsky. The organ grinder sings

Third class.

Further work on the development of musical-figurative thinking. Work on intonation, rhythm, sound extraction. The study of strokes: detashe, legato, martele, and their alternation. Assimilation of positions (I II III) and their change. Double notes and simple chords in I position. Scales and triads in separate positions and using transitions. Chromatic sequences. Preparatory exercises for the performance of trills. Vibration skills. Skills for self-analysis of simple works and reading notes from a sheet.

During the school year, work with the student: 4-5 major and minor scales and arpeggios (with inversions) in the first three positions and with transitions, 6-8 etudes for various types of techniques, 5-6 pieces of various nature, 1-2 pieces of large forms.

Selected studies 1 part №48, 61, 62, 63-70

Part 2 - No. 15 - 48

Works of a large form:

N. Baklanova. Sonatina, Concertino

O. Reading. Concerto in B minor,

A. Yanshinov. Concertina

F. Seitz. Concert №1

A. Komarovsky. Variations "Mowers went out into the field"

Plays:

N. Bogoslovsky. Sad story, Lullaby

A. Ayvazyan. Song in D major

N. Gunn. Meditation

M. Glinka. Dance from the opera "Ivan Susanin"

D. Kabalevsky. Like a waltz, skipping

R. Ilyina. On the swing

P. Tchaikovsky. Old French song, Organ grinder sings, Neapolitan song

A. Khachaturian. Andantino

A. Komarovsky. quail

A. Gedike. merry fellow

G. Fried. sad waltz

D. Shostakovich. Barrel organ, sad song

L. Beethoven. Country dance

L. Marchand. Minuet

I. Bach. March, Spring

M. Glinka. Polka

Wisla. Polish Nar song

S. Levy. Tarantella

Fourth grade.

Work on intonation, sound dynamics, rhythm. The study of strokes detashe, legato, martele, and their alternation. Acquaintance with the staccato stroke. The study of the first five positions, various types of their change. Easy exercises in higher positions. Exercises and etudes in double notes in the first position. Chords. Further study of two-octave scales and triads. Acquaintance with three-octave scales and triads. vibration skills. Reading sheet music.

During the year, work with the student 4 scales and 6-8 etudes, 6 diverse pieces, 1-2 works of large form.

Selected studies Part 2 - No. 33 - 58

Works of a large form:

N. Baklanova. Sonatina

L. Beethoven. Sonatina

F. Seitz. Concert №1 2-3 parts

N. Baklanova. Variations

Plays:

I. Bach. Gavotte

A. Ayvazyan. Song in G major

N. Baklanova. Allegro, Etude-staccato

F. Amirov. Scherzo

I. Brahms. Lullaby

G. Marie. Aria in the old style

M. Glinka. lark

O. Jenkinson. Dance

K. Karaev. Thoughtfulness, Little Waltz

J. Luly. Gavotte

N. Myaskovsky. Mazurka

S. Levy. Tarantella

K. Stoyanov. Lullaby

E. Poplavsky. Polonaise

D. Martini. Sarabande

W. Mozart. Bagatelle

V. Bononcini. Rondo

Y. Sulimov. March

G. Fried. Zainka

P. Tchaikovsky. Waltz, Sad Song, Stormy Lullaby, Neapolitan Song

A. Pergolesi. Siciliana

J. Rameau. Tambourine

Fifth grade.

Development of musical-figurative thinking. Work on the strokes of detashe, legato martele, staccato, sotie. their various alternations. Assimilation of higher positions. Double notes in the first three positions. Work on the connection of positions in the performance of two-voice. The study of three-octave scales, various types of arpeggios (inversions). Acquaintance with the chromatic scale, performed by two types of fingering - sliding and alternating fingers. Introduction to quarter flags. During the year it is necessary to pass 5-6 major and minor scales and arpeggios, 7-8 etudes, 5-6 pieces, 2 works of large form.

Selected studies. part 2

J. Mazas. Etudes 1 notebook

Works of a large form:

A. Vivaldi. Concerto in A minor, part 1

A. Vivaldi. Concerto in G major

G. Batsevich. Concertina

Sh. Dankla. Variations on a Theme by Weigl, Variations on a Theme by Pacini

N Baklanova. Variations

Plays:

N. Rubinstein. spinning wheel

And Matteson. spinning wheel

M. Mussorgsky. A tear

W. Mozart. Bagatelle

L. Ober. Presto

D. Pergolesi. Aria

J. Rameau. Gavotte

V. Rebikov. Character dance

R.Shuman. May song

P. Tchaikovsky. Sweet Dream, Mazurka, Sad Song

Y. Sulimov. Rondo

A. Spendiarov. Lullaby

Sixth grade.

Further work on the development of musical performance skills. Studying the strokes of detashe, legato, martele, staccato, sotie. Development of the left hand technique: fluency, trills, various types of combination of positions, double notes. Chords. flageolets.

Three-octave scales, arpeggios - triads with appeals, sixth chords, quartsextakta chords, seventh chords. Gamma in double notes (thirds, sixths, octaves). Chromatic scale, performed by two types of fingering - sliding and alternating fingers.

During the year it is necessary to pass 4-5 major and minor scales and arpeggios, 2 scales in double notes, 6-7 etudes, 6-8 pieces, 2 works of large form.

J.Mazas. Etudes 1-2 notebooks

Works of a large form:

J..Akkolai. Concert

Sh. Berio. Variations in D minor

A.Vivaldi. Concerto in A minor

Sh. Dankla. Variations

A. Corelli. Sonatas

G. Handel. Sonata in E major

D.Viotti. Concert №22

Plays:

A. Alexandrov. Aria

A.Arensky. Fugue on the Theme "Crane"

I. Bach. Siciliana, Aria, Gigue

L. Beethoven. Country dance

A. Borodin. "What are you, little brat"

G. Handel. Minuet, Prelude

M. Glinka. Waltz, Nocturne, Innocentity, Feeling

R. Glier. Waltz, Prelude

M. Ippolitov-Ivanov. Melody

N. Korchmarev. spanish dance

K.Mostras. East Dance

C. Cui. Continuous movement

W. Mozart. Rondo

V. Rebikov. Song without Words

N. Rimsky-Korsakov. Indian guest song

A. Yanshinov. spinning wheel

A. Rubinshtein. Melody

Seventh grade.

Further assimilation and development of musical and performing skills.

Work on three-octave scales in a mobile tempo: scales up to 12 legato, arpeggios up to 9 legato. Chromatic scales. Scales in various stroke variants. Scales in double notes. Work on strokes.

During the year it is necessary to pass 4 three-octave scales and arpeggios, 2-3 scales in double notes, 2 chromatic scales, 6-8 etudes, 5-6 pieces, 2 works of large form.

F. Kreutzer. Etudes №5, 9, 12

F. Mazas. Etudes 2 notebook

F. Fiorillo. 36 studies

Works of a large form:

Sh. Berio. Concert No. 9, Variations

A.Vivaldi. Concerto in G major, Concerto in A major

D.Viotti. Concerts No. 23. 28

G. Handel. Sonata in G minor

P. Gutin. Concert

D.Kabalevsky. Concert 1 part

A. Corelli. Sonata in G minor

P.Rode. Concert No. 7

Plays:

A.Arensky. forget-me-not

N. Benda. Caprice, Grave

A. Daken. Cuckoo

B. Dvarionas. Elegy

D.Deplan. Intrada

I. Bach. Aria, Sicilian

K. Korchmarev. spanish dance

F. Kreisler. Rondino, Porpora Minuet

A. Lyadov. Prelude, Little Waltz

K.Mostras.Round dance

S. Prokofiev. Gavotte from the Classical Symphony

A. Rubinshtein. Melody

K. Sen - Sans. Swan

P. Tchaikovsky. Song without words, Autumn song, Sentimental waltz

D. Shostakovich. Elegy, Nocturne, Lyrical Waltz

F. Schubert. Bee

B. Britten. Lullaby and Pantomime

Eighth grade.

Improvement and development of all previously passed types of violin technique.

Legato scales and arpeggios for 2 bows, double note scales up to 4 legato, legato chromatic scales for 2 bows.

During the year it is necessary to pass 6 etudes for different types of technique (fluency, legato, detashe, staccato, sotie, chords,), 4 major and minor scales, 4-5 pieces, 2 major forms.

Prepare a final exam program: a three-octave scale and arpeggio, a scale in double notes, 2 etudes for various types of techniques, 2 diverse pieces, a concert - 1 part or 2 and 3 parts.

R. Kreutzer. 42 studies

Works of a large form:

Sh. Berio. Concerts No. 9, 7

G. Handel. Sonatas №3,6

D. Kabalevsky. Concert

R. Kreutzer. Concert №13

L.Spor. Concert №2

T. Vitali. Chaconne

A. Alyabiev. A. Vietan. Nightingale

P. Gutin. Concert

Plays:

A. Daken. Cuckoo

F. Schubert. Bee

C. Cui. Continuous movement

D. Shostakovich. Elegy, Prelude No. 24

C. Massenet. reflection

A. Alexandrov. Aria

P. Tchaikovsky. Song without words, Sentimental waltz

D. Dvarionas. Elegy

M. Balakirev. Impromptu

I. Bach. Aria

D.Kabalevsky. Improvisation

R. Glier. Romance

A. Khachaturian. Nocturne

A. Dvorak. Humoresque

Ninth grade.

Additional year of study. The task of the teacher and the student is to prepare a program for admission to an institution of secondary vocational education.

R. Kreutzer. Etudes

F. Fiorillo. 36 Etudes and Caprices

B. Sibor. Violin double note technique

S.Korguev. Exercises in double notes

Works of a large form:

I. Bach. Concertos in G major, E major, A minor

Sh. Berio. Concert №7, Ballet scenes

D.Viotti. Concert №22

A. Corelli. Folia

A. Vietan. Ballad and Polonaise

G. Handel. Sonatas No. 1-6

R. Kreutzer. Concerts No. 13, 19

W. Mozart. Concert "Adelaide"

D. Tartini. Sonatas No. 5, in G minor ("The Abandoned Dido")

L.Spor. Concerts №2,9,11

Plays:

M. Balakire. Impromptu

R. Glier. Romance

D. Grazioli. Adagio

A. Daken. Cuckoo

D.Kabalevsky. Improvisation

F. Kreisler. Siciliana and Rigaudon

Prelude and Allegro in the style of Punyani

F. Couperin. small windmills

A. Khachaturian. Nocturne

P. Tchaikovsky. Song without words, Romance, Melody, Humoresque

E. Elgar. love greeting

G. Venyavsky. Legend

A.Fig. Continuous movement

A. Dvorak. Humoresque

12. Methodical literature

1. Auer L. "My violin school"

2. Berlyanchik M. “Fundamentals of education of a beginner violinist. Thinking. Technology. Creation"

3. Ginzburg L. "On the work on a piece of music"

4. Gotsdiner A. "Auditory teaching method and work on vibration in the violin class"

5. Grigoriev V. "Methods of teaching to play the violin"

6. Gurevich L. “Education of fingering thinking of a violinist”

7. Lieberman M., Berlyanchik M. "Culture of violinist's sound"

8. Markov A. The system of violin playing "

9. Mostras K. "The system of homework", "Intonation on the violin"

10. Collection of articles 1960 “Essays on the methodology of teaching the violin. Questions of technique of the violinist's left hand»

11. Stepanov B. "Basic principles of practical application of strokes"

12. Flash K. "The Art of Violin Playing"

13. Shirinsky A. "Violinist's stroke technique"

14. Yankelevich Yu. "Pedagogical heritage"

15. Shulpyakov O. "Technical development of a performing musician".

16. Belenky B., Elboim E. “Pedagogical principles of L.M. Zeitlin"

17. Problems of music pedagogy

18. Grigoriev V. “Some features of the pedagogical system of D.F. Oistrakh"

guidance material

1. Kreisler F. - Selected pieces for violin 1930

2. Zakharyina T. Violin primer

3. "Pedagogical repertoire for violin" ed. K Mostras

4. Amateur concert - comp. A. Yampolskaya

5. M. Glinka - Pieces for violin, arranged by A. Yampolsky

6. Mozart W.A. Plays 1988

7. Garlitsky M. Step by step

8. Young violinist Issue 1, edited by K. Fortunatov

9. Young violinist Issue 2

10. Young violinist Vol. 3

11. Shradik G. Exercises

12. Wolfart F. 60 Etudes for Violin Op.45

13. Kaiser G. Etudes Op. twenty

14. Selected etudes Issue 1M….1988

15. Selected etudes Vol. 2 M….1988

16. Selected etudes Issue 3 M…1988

17. MazasF Etudes M ... 1971

18. Fiorillo F. 36 etudes and caprices, M ... 1961

19. Kreutzer R. Etudes, ed. Yampolsky A. M ... 1954

20. Korguev S. Exercises in double notes M…., 1949

21. Yakubovskaya V. Up the stairs L…., 1986

22. Tchaikovsky P. "Children's Album" arrangement

23. Shalman S. "I will be a violinist" part 1, 2 L .... 1986.

24. Reader 1-2 classes of children's music school 1985

25. Reader grades 2-3 Children's music school 1986

26. Reader grades 3-4 Children's music school 1986

27. Reader grades 4-5 Children's music school 1984

28. Reader for grades 5-6 of the Children's Music School 1988

29. Reader Concerts. Middle and senior classes of music school, issue 1, 21988

30. Tchaikovsky P. Pieces for violin-arrangement 1974

31. Classical music issue 1, 1987

32. Beethoven L. - Pieces. Senior classes 1986

33. Glier R. - 8 easy pieces M-L, 1987

34. Kabalevsky D. - Plays M.. 1984

Conclusion

Music is a creative process. The student must be given some freedom of creative choice. On their own, the student may suggest changing the fingering, some nuances or strokes. It is only important to prove the case, and the teacher should be able to listen to the student and not put pressure on him with his authoritative opinion.

From all of the above, we can draw some conclusions: the issues of setting hands are the most important and determine the fate of a novice violinist both professionally and in terms of his health. It can also be said that even the smallest and most imperceptible movement can cause problems with the technique of both hands. Proper homework and the ability to make your own choices will give the novice violinist a ticket to the world of music and creativity.

Since we do not have the right to predetermine the musical future of the child, at first we must lead everyone in one way: to learn to listen and perceive music both from the outside and in our own performance (listen to ourselves), develop an aesthetic taste, instill a loving attitude towards the sound of the violin, elementary mastery of sound and rhythm; and, finally, as a result of all that has been said, to achieve expressive and figurative performance of children's plays. With this approach to learning, music gives children not only joy, but also merges with their own experiences, awakens imagination. Hence the passion for studies, and passion, as far as we know, is the key to success in any business.

I tried to consider all aspects of the educational process, the ways of shaping the performing skills of a violinist were identified.

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Methodical report.

Topic: "Creation and development of an artistic image in the process of working on a piece of music."

Prepared by: Teacher of Folklore

accordion classes

Klochkova T.V.

"Creation and development of an artistic image in the process of working on a piece of music"

At present, musical education is an integral part of the formation of the spiritual culture of the individual based on the development of his musical literacy and the ability to master universal cultural values. The purpose of the musical education of schoolchildren today is to introduce students to the world of great musical art, to teach them to love music in all the richness of its forms and genres, in other words, to educate students in musical culture as part of their entire spiritual culture.

In this regard, perhaps the most important question arises - what do we, musical teachers, teach our students? What is the expected result of a child's education in a music school? The relevance of this issue, in our opinion, lies in the fact that the problem of the integrated development of the intellectual abilities of children has recently become increasingly important at all stages of education. At the same time, we should not lose sight of the fact that, in our opinion, the main task of the teacher of an “ordinary” children's music school is to educate a competent listener, a connoisseur of music in particular and art in general, a creatively educated, intellectually developed person. Not all music school graduates will continue their studies at secondary and higher musical educational institutions, choose music as their profession, and become good performers. At the same time, if there is no musically developed audience, why do we need music at all? Doesn't this mean that the preparation of a competent listener is more important than the preparation of the performer? In addition, specialists with developed artistic, creative thinking are in great demand today both in culture, education, and in other spheres of life. The thesis that general education is not “the study of subjects”, but is the development of the individual through subjects, is widely known and beyond doubt; in the first place is the personality, the subject, his interests, and objects - in the second. Objects are only means, the goal is the personality, namely, its development.

So what is to be taught? Let's try to find the answer to the question posed from the point of view of the teacher of wind instruments.

Based only on the teaching methodology, we can say that the teacher of the children's music school in the lesson of the specialty teaches his pupils mainly two things:

1. attentive and competent reading of musical text;

2. technique, that is, techniques and means that allow you to embody on the instrument, in a specific sound, what you “read” in the notes.

Text and technique. Both are undeniably important and necessary in the creative activity of a young performer on folk instruments, but one should not be limited to this. Taking B.V. Asafiev’s intonation theory as a basis, we can say that communication with art in general and with music in particular is a human form of communication: a person is an artistic image. The student's musical and artistic images are living, spiritualized, actively and dynamically developing "phenomena" with which he comes into non-verbal contact, experiencing a sense of spiritual satisfaction in the process of this communication. Therefore, the most important moment in the development of cognitive abilities can be considered the education in the student of performing independence. - the ability to interpret a work in one's own way, create and develop one's own musical and artistic images, and independently find technical techniques to realize one's idea.

The notion that music is a special language of communication, a musical language, like the language of German, English, etc., is indisputable. Fascinated by his work, a competent teacher tries to convey this point of view to his students, to form an associative link between musical and artistic works, comparing plays with poems, fairy tales, stories and stories. Of course, one should not understand the language of music in the literal sense as a literary language. Expressive means and images in music are not as clear and concrete as the images of literature, theater, and painting. Music operates by means of a purely emotional impact, refers mainly to the feelings and moods of people. “If everything that happens in the human soul could be conveyed in words,” A.N. Serov wrote, “there would be no music in the world”

One should not put an equal sign between the language of music and the usual literary language, and because the same musical text is perceived and performed differently by different musicians-performers, introducing their artistic images, feelings, thoughts into the musical text. And if a young musician can distinguish individual “words” in music, compose them into sentences, phrases - a piece of music will acquire surround sound, be filled with meaning, feelings, and not just “loud - soft”, “faster - slower”.

Instrumental music is not capable of expressing exact concepts as concretely as spoken language, but sometimes it achieves such a captivating emotional-figurative power that it is difficult or impossible to achieve with the help of spoken language. “You say that words are needed here. Oh no! It is precisely here that words are not needed, and where they are powerless, the “language of music” appears fully armed, said the great P.I. Tchaikovsky.

Waking up your imagination, activating your creative imagination and not being shy about vividly, emotionally conveying the born images and experiences to the listener is a difficult task for a novice school performer. It is known that childhood and adolescence are accompanied by psychological crises. During these periods, children are especially vulnerable; And here the teacher, as a senior friend, kind and wise, must help his student to plunge into the magical, fabulous world of music together with him, in every possible way to show him that in this world we are equal and can freely communicate in the language of sounds. I am sure: it depends on the teacher, on the level of his knowledge, competence, erudition, moral qualities - whether his subject is interesting to the child, or he is simply tolerated. Unfortunately, we can often observe such a situation: a child comes to the first grade of a music school with awe in his soul, joy in his eyes, expectation of a fairy tale when communicating with music, and after 2-3 years he goes to " musician from under the stick”, completing my studies only because my parents force me to.

What is necessary for a student's musical performance to become lively, interesting, so that the comprehension of a musical work gives him the joy of creativity, the joy of revealing the secret of sounds and musical signs? What did the composer want to put into them, what events, impressions contributed to the creation of this or that play? In other words, how to awaken a student's imagination, to form the ability to create an artistic image of a musical work?

It should be noted that most of the information about a piece of music communicated to schoolchildren by a teacher takes the form of verbal descriptions, pictures, and certain associations. On their basis, students recreate for themselves a meaningful image of the analyzed musical composition (the appearance of the hero of a musical work, past events, unprecedented landscapes, fairy-tale paintings, nature, etc.). And here it is very important - whether the teacher will be able to awaken and develop interest in music with his expressive and emotional story. It is at this stage that the further path of development of the novice performer is determined: whether he will follow the path of creative thinking or the strict execution of the musical text. At the same time, one should only pay attention to the following: often, wanting to explain the meaning of music to the student as fully as possible, even experienced musician teachers follow the path of excessive specification of the image, voluntarily or involuntarily replacing music with a story about it. At the same time, it is not the mood of the music that comes to the fore, not the psychological state that it contains, but all sorts of details, probably interesting, but leading away from the music.

The recreating (reproductive) imagination, which is “responsible” for the creation and development of artistic images, develops in schoolchildren in the process of learning to play musical instruments by forming the ability to identify and depict the implied states of musical images, the ability to understand their certain conventionality, sometimes understatement, the ability to bring their own emotions into experiences given to us by the composer.

Speaking about creating an artistic image of the music being performed, it is worth noting that work on this must begin as early as possible. For example: wind players have such a concept - "play long notes", while controlling the state of the labial muscles (embouchure), the work of the diaphragm, etc. The lesson, of course, is necessary for the maintenance and development of performing skills, but it is rather boring for a child who not so long ago listened to his mother's fairy tales and still believes in Santa Claus. At this stage of the lesson, we consider it useful to give the student such tasks: “today you are in a good mood and we are playing cheerful, cheerful notes”, or “today you look tired, let's play calm sounds like a lullaby for your beloved cat”. Children are amazingly transformed, accept the images proposed by the teacher, and offer their own: “yesterday we went camping, I will play marching notes for you.” Thus, the boring performance of long notes (the very name "long-and-and-and-n" makes a child feel sad) turns into a fascinating journey into the world of musical images. The guys try to fill each sound with some kind of semantic, artistic and figurative content.

Since we are talking about the creation and development of an artistic image, it is necessary to define what is meant by the concept of "content of a musical work". The generally accepted concept is that the content in music is an artistic reflection by musical means of human feelings, experiences, ideas, attitudes of a person to the reality around him. Any piece of music evokes certain emotions, thoughts, certain moods, experiences, ideas. This is the artistic component of a musical composition. But, of course, when performing it, one should not lose sight of the technical side of music-making, since the careless performance of a piece of music does not contribute to the creation of the desired image in the listener. This means that the teacher and the student face a rather difficult task - to combine these two areas when working on a piece of music, to synthesize them into a single systematic, holistic approach, a method where the disclosure of artistic content is inextricably linked with the successful overcoming of possible technical difficulties.

Undoubtedly, the most interesting activity for students in the lessons of the specialty is work on an artistic piece of music.

Starting to work on a play, analyzing the content of the work with the student, many teachers often make mistakes of two opposite directions. For the first one, it is characteristic that the teacher seeks to teach children to “see” the work being analyzed in detail, tries to retell its content in words, to create a “literary plot”. As a result, the student actively fantasizes, draws colorful pictures, paying little attention to the technical side of the performance, as a result of which he cannot convey his images to the listener due to the technical imperfection of the performance. The second direction is joined by teachers who, guided by the fact that music is the art of sounds and acts directly on our feelings, generally neglect figurative representations, consider it unnecessary to talk about music and limit themselves to “pure sound”, technically perfect and not needing any associations performance. Which of these directions is most acceptable in the musical development of a student? Probably - the truth, as always, is somewhere in the middle, and whether the performer finds the “golden section point” depends on whether he will be successful with the audience.

Already at the stage of acquaintance with the work, the teacher outlines the first touches to a possible artistic image. Telling a student about the composer, his work, the time of creation of a particular piece, he must have not only deep musical and theoretical knowledge, but also a very high technique of pedagogical work: be able to properly approach each student, taking into account his individual abilities, in order to provide the necessary assistance in working on the musical content and possible technical difficulties. Thus, the teacher is required to have a constant high emotional responsiveness to the artistic content of the musical works on which his student is working, a creative approach to their interpretation and ways to master their specific difficulties. It is important to be able to look at a musical composition with fresh eyes every time, even in those cases when it is difficult to find a new detail of interpretation in a long-familiar work. It is almost always possible, based on previous experience, to make certain improvements in the process of mastering this work by the student, to speed up the mastery of its difficulties, and thereby make the work interesting both for oneself and for the student.

It is good if the teacher has sufficient command of the instrument and can show the work being analyzed in his own artistic interpretation. Of course, the performance in the classroom, for the student, must be as bright, exciting, emotional as on the big stage.

The principle: "First play as I do and then as you see fit" should in no way affect the student's creative independence. Each of the participants in the educational process, both the teacher and the student, has the right to his own vision of the musical and artistic image.

Also, one of the main tasks of a brass teacher, as well as any other musician, is to teach a child to listen to himself, because the ability to hear, understand, comprehend what is inherent in a piece of music is the basis of performing arts. Often we are faced with the fact that the student simply entertains himself with the general sound, without listening and not focusing on what is the main task at this stage. While working on a piece, it should make the student listen to himself from the outside. It is necessary to strive, firstly, for a full, soft, and secondly, for the most melodious sound. Not without reason, one of the highest praises for the performer is “his instrument sings”. Singing, melodiousness is the main law of musical performance, the lifeblood of music.

Having thus compiled for ourselves a general picture of the work, having taken a general look at the architecture of the musical building, let's try to consider its individual parts (analysis of form, structure). Perhaps this is an interesting story (sonata, concerto), or a voluminous story (an extended play), or a short story (a short play). Many practicing teachers pay insufficient attention to the development of thought processes when working on musical material. The analysis of a piece of music is often simply omitted, focusing on the pure performance of the musical text. As a result, students have poorly developed musical and artistic thinking, which is necessary for the intellectual and intuitive perception of music. Meanwhile, how the formation of an artistic image is based on a comprehensive understanding of the work, which is impossible in the absence of an emotional and intellectual beginning. A thorough artistic and theoretical analysis of the studied composition stimulates increased interest, activates an emotional attitude towards it. At this stage, the originally created artistic image gets its development, acquires clearer colors, becomes voluminous, alive. “The method of life associations, as well as associations with other works of art, but necessarily specific, certainly accessible and understandable to those who listen to you, is one of the most effective”

Young performers who do not yet have sufficient experience in abstract thinking easily associate musical works with literature or architecture. The repertoire of thematic works accumulated from elementary grades, such as “Kitty”, “Merry Geese”, “Hippo”, “Cockerel”, etc., have a positive effect on the development of figurative thinking. To develop it, not to push it aside under the onslaught of technical problems is the task of the teacher. Children come to a music school to study music. Mastering the instrument is only a means to that end. So the study of the language is not an end in itself, but a means of communication, cognitive development, familiarization with the culture of the people. It will not be superfluous to remind you that not every graduate of the Children's Music School or Children's Art School will become a professional musician, but there are many competent connoisseurs of real art.

So, having seen the musical building, the work as a whole, defining its components, outlining the exposition, development, culmination, finale, decomposing each component into phrases, we understand that the largest, most beautiful, majestic building consists of small bricks (literally - bars). And each of these bricks is beautiful both in itself and as a whole. The performer distinguishes between individual motives-characters, their mutual development, contrast and similarity of images. It should be noted that work on artistic content necessarily takes place through understanding the structure, logic of the tonal plan, harmony, voice leading, texture of the work being studied, i.e. the whole complex of artistic, expressive and technical means used by the composer. At the same time, the development of the image includes not only the analysis of its structure, but also the identification of the role of each element of the musical structure in revealing the ideas and emotions inherent in this work in accordance with the composer's intention. Taking this into account, we are aware that in developing artistic and figurative thinking, one should in no way lose sight of its intellectual component.

Thus, having carefully studied the work from the point of view of musical form, we again, brick by brick, put it together, fully comprehending the purpose of each brick-measure, each note-letter in the word, their role in the overall construction of the musical presentation. At the same time, there is practically no problem of memorization by heart. Like an actor who, in search of the most expressive intonation, repeats the same phrase or word hundreds of times, the student plays every measure, interval, even one note (especially in a cantilena piece), not memorizing the text, but “getting used to” it, developing and improving his musical and artistic image.

In this article, we do not consider the technological side of working on the text of a musical work - a lot of methodological and methodological literature is devoted to this issue. We are interested in emotional and artistic understanding of musical material, which includes:

1. the general impression of the first playing of the work,

2. dividing it into parts, which are a meaningful, logically completed element of the studied work,

3. a meaningful combination of parts, episodes through the establishment of similarities and differences in emotional and technical terms between them, a comparison of tonal and harmonic language, accompaniment, features of voice leading, texture, etc., and as a result - a combination of various artistic images, the development of associative links .

Of course, such work requires a lot of time. Many teachers, in pursuit of the curriculum, do not allow themselves and the student to delve into the artistic component of the musical work, build their work on the strict performance of the musical text, its multiple, monotonous repetitions. As a result of such work, the musical material is gradually learned by heart, “enters the fingers”. And indeed - the entire load during such activities falls on the motor-motor memory (finger memory). Memorization is mechanical, unconscious. The performance of a work learned in this way by heart is devoid of meaningfulness, the students play “one note”, not understanding the meaning of the music. Perhaps the young musician performs the work quite cleanly, but is there any sense in such work? What kind of artistic-figurative thinking, intellectual development can we talk about in this case?

Meanwhile, the task of education in the modern period of the development of society, which is distinguished by such features as global integration, flexibility, mobility of thinking, dialogue, tolerance and close communication at all levels, is to prepare a person who corresponds to this new culture. In the introduction to the Concept of the State Standard of General Education we read: “Life in constantly changing conditions is becoming new norms, which requires the ability to solve constantly emerging new, non-standard problems; life in a multicultural society, which puts forward increased requirements for communication interaction and cooperation…”. This thesis requires the development of creativity, imagination, and a creative approach to solving problems in young people. The development of these personality traits occurs, among other things, through training in the art of music. “A child of school age is most receptive to emotional and holistic, spiritual and moral development, civic education. At the same time, the shortcomings of development and education during this period of life are difficult to make up for in subsequent years.

“The upbringing of a person, the formation of the properties of a spiritually developed personality, love for one’s country, the need to create and improve is the most important condition for the successful development of Russia”

In conclusion, it makes sense to recall the common truth - in every child there is a creative seed that we, music teachers, are obliged to develop. Every child is talented, every child is the universe, and we, teachers, are responsible for every little person who comes to us. Let your student not become a professional musician, but if he is creatively and intellectually developed, successfully socialized, a citizen in demand in modern society, then you, as a teacher, have achieved the main goal in your work.

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