What piece of music makes you happy. Using music to evoke emotion

The content of which reveals a certain verbal program embedded in it by the composer, very often poetic, - that's what program music. This phenomenon gives her specific features, which distinguish it from non-programmed ones, which reflect the moods, feelings, emotional experiences of a person. The program can be a reflection of any phenomena of reality.

Specificity and synthesis

In theory, all music is programmed to one degree or another, except that it is almost impossible to accurately designate either objects or concepts that evoke certain feelings in the listener. Only speech, oral or written, possesses such abilities. Therefore, composers often provide their works with a program, thus forcing the verbal or literary premise to work in synthesis with all the musical means used by them.

The unity of literature and music is helped by the fact that both these types of art are able to show the development and growth of the image in time. Various types of creative activities have been united since antiquity, since art was born and developed in a syncretic form, associated with rituals and labor activity. In terms of means, it was very limited, therefore, it simply could not exist separately and without applied tasks.

disengagement

Gradually, the way of life of mankind improved, art became more sophisticated, and there was a tendency to separate its main genera and species. Reality was enriched, and the reflection of this was already achieved in all its diversity, although art forever remained syncretic in ritual, spiritual, vocal-instrumental, dramatic aspects. The joint actions of music and words, however, which determine the program, also never went far from music.

These may be the names that program music provides. Examples - in the collection piano pieces P. I. Tchaikovsky where each play has not only a "speaking", but also a "telling" title: " morning prayer"," Nanny's Tale "," Doll's Illness "and all other small works. This is his collection for older children" Seasons ", where Pyotr Ilyich added a bright poetic epigraph to the title. The composer took care of the specific content of the music, explaining what is program music and how to perform this work.

Music plus literature

Program music for children is especially understandable if the work has both a title and an accompanying word, which is composed by the composer himself or by the writer who inspired him, as Rimsky-Korsakov did in symphonic suite"Antar" based on the fairy tale by Senkovsky or Sviridov in music for the story

Nevertheless, the program only complements the music, not being an exact explanation. It's just that the object of inspiration is the same for the writer and the composer, but the means are still different.

Music minus literature

If a piece is called "A Sad Song" (for example, Kalinnikov, Sviridov and many other composers have it), this determines only the nature of the performance, but not the specific content, and that is how program and non-program music differ. The specifics are "The dog got lost", "Clowns", "Grandfather's clock" (which tick-indulge, and then they will certainly beat). This is almost all program music for children, it is deeper and faster understood and better absorbed.

The musical language most often specifies the program content itself by means of its figurativeness: the sound can imitate the singing of birds ("Firebird", "Cuckoo"), forcing tension, fun festivities, fairground noises ("An Extraordinary Incident", "Maslenitsa" and others. This is the so-called sound recording, which also clarifies what program music is.

Definition

Any equipped verbal characteristic the work necessarily contains elements of software, which has many types. And what is program music, you can understand, even listening to or learning etudes. They themselves are designed to develop the technical capabilities of a musician in the role of detailed exercises and may not only contain programs, but also music as such, but they still often carry the features of software and even can be absolutely software. But if in instrumental work there is a plot, and the content is consistently revealed, it is necessarily program music. Examples can be found in both national folk and classical compositions.

"Three whales" and national features in the program

They also help to understand what program music is, certain features of applied (“Polyushko”, for example), marches in all genre diversity (“March of Chernomor” and “March wooden soldiers"), as well as dance - folk, classical, fantastic. This, with light hand D.B. Kabalevsky, in music - "three pillars" that determine genre affiliation.

The characteristic features of national music also usually serve as a programmatic piece of music, setting the general concept, tempo, rhythm of the composition ("Saber Dance" by Khachaturian, for example, "Two Jews ..." and "Gopak" by Mussorgsky).

Landscape and scene programming

The display of one or a series of images that do not change throughout the entire composition is also program music. Examples of works can be found everywhere: "In the fields" by Gliere, "On the rocks and fjords" by Grieg and so on. This also includes pictures of holidays and battles, musical images landscape and portrait.

even the same literary plots composers embody in music in different ways: for example, Shakespeare's "Romeo and Juliet" turned into an overture by Tchaikovsky, where the programming is generalized, and by Berlioz it is consistent. Both, of course, program music. The title can most often be seen as story program, for example, Liszt's "Battle of the Huns" based on the fresco of the same name by Kaulbach, or his sketches "Dwarfs' Round Dance" and "Forest Noise". Sometimes works of sculpture, architecture, painting help to understand what program music is, because they participate in the choice visual means for a musical picture.

Conclusion

Software enriches music with new expressive means, helps in the search for new forms of work, differentiates genres. If the composer refers to the program in his composition, it brings his listener closer to reality, spiritualizes life, and contributes to the comprehension of deep spiritual principles. However, if programming prevails over other tasks, then the perception of music is noticeably reduced, that is, the listener needs space for his own creative perception.

Therefore, many composers tried to refuse from programming (including Mahler, Tchaikovsky, Struaus and others), but, despite this, none of them succeeded in completely non-program music. The unity of music and the specifics of its content is never indissoluble and absolute. And the more generalized the content is reflected, the better for the listener. What is program music - it will become clear from the slightest strokes of the development of musical thought: having ears, so to speak, will hear, despite the fact that a single definition and even an identical understanding of this phenomenon in music among music theorists has not yet appeared.

What is music?

Music is a cultural practice and art form that consists of a combination of sounds and silences of varying duration. These sounds and silence follow a rhythm of necessity, which may vary according to musical style. Through their works, composers can convey various messages and thoughts to the audience. This is what turns music into a means of communication to the fullest.

The difference between musical genres

In order to distinguish between musical genres, several criteria must be taken into account.
The sound source is the most important criterion. Depending on the instruments present in the music, the use of the voice or the set of voices and/or instruments, the musical genre may differ.

The destination of music also helps determine its musical genre. For example, church music and a military march differ depending on the location in which they are played.

Song length is also an important specific characteristic. The national anthem does not last as long as the classical one musical composition or music in the opera.

The social role of music facilitates the differentiation of musical genres. For example, religious, funeral, dance music, film music, computer games etc. have well-defined social roles.

Depending on the musical genre and perceptions, listeners experience completely different emotions. So we're going to look at how these emotions differ and how they are conveyed from a general point of view.

What emotions?

Emotion is a psychological and physical reaction to a situation, an internal or external stimulus. As René Descartes showed, there are different types of emotions. According to Descartes, there are 6 primary emotions: admiration, love, hate, sadness, desire and joy. All other emotions that exist are made up of these primary emotions, or are some altered form of them. Meanwhile, the intensity of the emotions of one individual may differ from the intensity of the emotions of another, because all people do not respond in the same way to the same stimuli. Therefore, we will look at several common emotions and the moments in which we experience them.

Multiple emotions

Joy - positive emotion. Usually it means satisfaction with the situation in this moment, such as the joy of using one's own favorite dish or when you manage to succeed in something difficult. Physically, people experience joy by smiling and/or laughing. Joy is usually associated with hope and glee. Indeed, if we achieve a goal that we have been moving towards for years, then we are happy and feel joy.

Sadness ranges from mild malaise to deep depression, in which people have no desire and seem to be drowned in their emotions. Sadness is associated with despair, impotence and melancholy.

Delight- an emotion experienced in relation to what is great, beautiful or the actualization of an ideal. We admire someone we find to be the best in a certain area or in general.

Love- emotion of attachment sentimental and / or sexual attraction between people. More broadly, we may also like something abstract. Then we try to find spiritual, intellectual, physical or imagined intimacy with what we love.

Hatred- a deep and cruel dislike for someone or something. This emotion is the opposite of love. Therefore, we do not seek any intimacy with the person or thing we hate.

Wish- an emotion that implies the fact of wanting something. We always want what we don't have. Therefore, when we get what we want, we fill that gap.

Therefore, it is interesting to ask ourselves what is the relationship between music and emotion, and how does the musician convey the exact emotion through your work.

The relationship between music and emotions

Music has always been one of the main emotional vectors. As the well-known German philosopher Emmanuel Kant: Music is the language of emotions.
Meanwhile, people have various characters are sensitive to different things and react differently to situations. Consequently, music also evokes different emotions and memories in every person. That is, people are not the same in relation to music. This explains why they don't like the same genre of music, the same tone of voice, or why some prefer one instrument faster than another. For example, a man may love a piece of music because he danced to it with his wife for the first time. Conversely, a person may hate and/or may be overwhelmed with sadness because they heard this music when they learned about the death of a loved one. These emotional associations reinforce the subjective evaluation of individuals and are the smallest part of our musical experience.

Similarly, musical works have a strong expressive structure that allows them to provide emotional states. a large number individuals. Something that allows you to get the strength of significant social cohesion in different cultures. This social cohesion is carried out mainly during adolescence. During this period, music translates the emotional states experienced by adolescents. It also makes it easier to group according to musical preferences, so we find groups of rockers, rappers, goths. It also explains why, in the process of dating, a teenager most often asks about musical preferences. The fact of listening to a certain style of music allows teenagers to belong to something and have common points of view with other people. Emotional responses to music may change over the course of life, but they will remain a major focus during adolescence.

Music is also different from other art forms, because contrary to the painting, for example, where emotions are conveyed by sight, music conveys emotions only by hearing. Therefore, it requires the presence of sounds, exceptional and original ways in order for each piece of music to correctly convey the desired emotions.

In addition, music is an art form and, like any art, individuals can appreciate it in a voluntary way. Consequently, the audience listens to music willingly in order to experience pleasure. This pleasure can take various forms and depends mainly on what the hearer has experienced, on his condition at the time of hearing. For example, when a couple is left alone for a candlelit dinner, they would rather listen to romantic pieces of music to heighten the emotion of the moment than 130 decibel heavy metal.

So, we can conclude that music is dominated by 4 large categories emotions of music: joy, anger (or fear), sadness and calmness. An interesting fact is that even if the emotions are negative, the music is nevertheless pleasant to the listener. Hence, it is interesting to know how composers convey emotion through their works.

How to convey the exact emotion through music?

As said before, music has several characteristics such as scales, notes, silence, and more. Therefore, the musician must play and modify its characteristics as he pleases in order to create the desired piece of music, and thus the emotion he wants to convey.
However, there are a few rules to follow depending on the musical genre the musician wants to compose. The composer must carefully choose which instruments he wants to use and whom he will contact. The sound of each instrument is essential to get an overall complicity with the music.

Also, tempo can quickly define the genre of music. A slow tempo with a piano melody will make you feel sad or calm. Conversely, a fast tempo with appropriate melodies will communicate some joy. People are happy to listen and want to dance. However, only one tempo cannot convey a specific emotion. Therefore, each instrument is important and can change all music. Indeed, if the tempo remains fast, but there is an aggressive double bass, a heavy battery with a double pedal, the emotions will be completely different, like the dance. This is a rather crude example, but the same is true depending on where the note is placed. These little tweaks can absolutely change the music.

The composer may also use the normal hearing of the majority of the audience to enhance the conveyance of emotion. For example, sounds reminiscent of negative events will convey emotions with a negative valence (anger, fear, or sadness). Conversely, sounds reminiscent of positive events will convey emotions with a positive valence (joy, calmness).

Therefore, it is quite difficult to perfectly manipulate all the sounds in order to convey the desired emotion. It requires a lot of experience and mostly listening. The composer must be inspired by everything that surrounds him, that exists musically, in order to eventually create his own music.

Music project

Subject " Feelings of joy in works of art»

Completed by a student of 8 "B" class

Kozachenko Vyacheslav

head music teacher

Gubkina N.V.

2016-2017 academic year

1.Introduction………………………………………………………………3p.

2.Main part…………………………………………………..4p.

3.Conclusion (conclusions)……………………………………….6p.

Introduction

“Joy comes to our lives when we have something to do, someone to love and something to hope for” Viktor Frank.

At music lessons, we considered the big topic “World human feelings”, where on the listened works they determined what feelings and emotions are manifested in musical works. The most varied and vivid was the manifestation of a feeling of joy. Here we talked about what makes our guys happy, how they would describe this feeling in a different way, they even tried to portray it. And I decided not to stop there and find out how great people conveyed feelings of joy in their works.

The purpose of the work: to consider how the feeling of Joy is manifested in other types of art.

Tasks:

1. Find the concepts of Joy and Art, how they are connected
2. Consider examples of works in various art forms that convey a feeling of Joy
3. Draw conclusions

Main part

To figure out what works I should look for, I decided to find out what the words Joy and Art mean, I went to the library, where I looked through many dictionaries: musical ____________, Ozhigov's dictionary, a dictionary of synonyms ... In which I learned:

• Joy is an emotion expressed by a person, which is a positive feeling. internal state man and his spiritual satisfaction.

Synonyms for the word Joy: delight, fun, fun, happiness, triumph, pleasure ... ..

• In science, art is called as actually creative artistic activity, and its result ispiece of art .

Art forms: Painting, architecture, sculpture, film, literature, music…

After learning the different types of art, I went to the teacher of music, literature, art, and also turned to the Internet, looking for examples of works expressing a feeling of joy. There were a lot of them, in my work I cited only a few.

Literature

1. The story "Gooseberry" by A.P. Chekhov.

In which the feeling of joy was manifested throughthe happiness of a man whose cherished dream came true, who got what he wanted: he finally grew, harvested and tried his gooseberries.

2. M. Kuzmin's poem"Oh, to be abandoned - what happiness!"

In this poem, a feeling of joy is manifested through love for another person, expressed through the perception of the surrounding nature.

Painting

1. Ekaterina Babok "Sunny Childhood"

The bright and wonderful colors of these images convey a feeling of joy and delight.
2. The painting "Three Joys" by N.K. Roerich In this picture, N. Roerich showed the joy of a person from doing a favorite thing.

Music

1." Smile "Plyatskovsky.M; Shainsky V.

IN this fragment songs, joy arises from friendship, have a nice day, from just a smile to each other.

2. L .V.Beethoven Symphony No. 9 "Ode to Joy" -is a hymn of joy

W. A. ​​Mozart "Little Night Serenade" -night party under the windows of a loved one

P.I. Tchaikovsky "Kamarinskaya" -festive fun party

Photo

These photos show an unconstrained joy that comes from enjoying fleeting moments in life, the delight of happiness.

Cinema

"On the night before Christmas" N.V. Gogol

I took a fragment where the feeling of people's joy is manifested in skiing, in games, in winter fun.

Conclusion:

Love for another person

Love for what you love

Achieving the goal

Holidays,

Short description

1. Music project

Theme "Feelings of joy in works of art"

2. Completed by a student of 8 "B" class

Kozachenko Vyacheslav

3. Head music teacher

Gubkina N.V.

4. The purpose of the work: to consider how the feeling of Joy is manifested in other types of art.

5. Research methods:

Information retrieval

Analysis of works

6.Conclusion:

In the course of my work, I have revealed how the feeling of Joy manifests itself in various forms of art, such as literature, music, painting, cinema, photography through

Love for another person

Love for what you love

Perception of the surrounding world

Achieving the goal

Holidays,

fleeting moments of happiness

Admiring children's emotions.

In the course of work, we encountered difficulties: among the many works to choose specific works.

“Joy is a special wisdom. A person has the highest gift to know joy,” wrote Helena Roerich, “A high forehead is given to see the highest. From the Far Worlds to a small flower, everything offers people joy."

Packages of musical programs for the regulation of the emotional state

The influence of music on the emotional sphere of a person

For the practice of aesthetic education, it is very important to find ways to form a high emotional culture in schoolchildren. Education of the ability to respond to the whole gamut of human experiences is one of the important tasks of musical education. To do this, a music teacher must have information on the basis of what patterns a person's emotions are reflected in music.

All existing music education programs and guidelines emphasize that music is a means of developing the emotional sphere of students, however, the proposed repertoire is built according to historical, thematic or genre principles. None of the existing programs of musical education has been able to find the principles of selecting musical works according to their emotional content, as well as those objective grounds on which a particular piece of music can be attributed to the expression of a certain emotional state. The musical programs say nothing about the connection between the value attitude to the object and the nature of the experiences experienced in this case. As a rule, it is stated that if a person loves something, then this should somehow excite him. The main issue is to identify the connection between the emotional sphere of a person and the patterns of its reflection in music, i.e. the translation of worldly emotions into aesthetic ones has not yet been fully disclosed in musicology.

The search for a solution to the problem under consideration has a long history. The ancient Greek philosophers, in whose works we find the development of the principles of the ethical impact of music on a person, proceeded from its imitative nature. By imitating this or that affect with the help of rhythm, melody, timbre, the sound of this or that musical instrument, music, according to the ancients, evokes in the listeners the same affect that it imitates. In accordance with this position in ancient aesthetics, classifications of modes, rhythms, and musical instruments were developed, which should be used to educate the personality of an ancient citizen with the appropriate character traits.

In the Middle Ages this problem was studied within the framework of the theory of affects, which establishes a connection between the emotional manifestations of a person in life and the ways they are reflected in music. In this theory, the interaction of tempos, rhythms, modes, timbres in transmission was considered in detail. emotional states, their effect on people with different temperaments, but the complete concept of modeling emotions in the theory of affects has not been created.

From contemporary research it should be noted the works of V.V. Medushevsky, who points out that "the principle of modeling implies the existence of a certain correspondence between the semantic structure of a musical work and our intuitive ideas about emotions."

Experiment: To identify the most significant parameters of emotion reflection in music, a group of five musicians-experts was offered 40 pieces of music with the task of decomposing them according to the generality of emotional states expressed in them. It was required to differentiate musical works according to the parameters "anger", "joy", "sadness", "calm". As a result of the experiment, 28 works were selected, which were attributed by all experts to the expression of emotions of the same modality. The proposed model for categorizing emotions based on two parameters (tempo and mode) obeys the law of quantitative changes and their transformation into qualitative differences. The same melody performed in major or minor scale, fast or slow, will, depending on this, convey a different emotion. Therefore, if we set out to place various musical works in the proposed grid of coordinates, then some of them, depending on the intensity of the expressed emotion, will be located closer to one of the coordinate axes, while others will be further away. For example, a very sad work will be farther from the y-axis than a work expressing a slight elegiac sadness.

As the practice of pedagogical observations shows, the above categorization of emotions based on two components of musical expressiveness is quite clearly manifested in the perception of music of the Baroque era (A. Vivaldi, J.S. Bach), Viennese classics (F. Haydn, W. Mozart, L. Beethoven ), romantic composers (F. Schubert, R. Schumann, F. Chopin, F. Liszt, E. Grieg, I. Brahms), Russian classical music(P.I. Tchaikovsky, N.A. Rimsky-Korsakov, A.K. Glazunov), contemporary music(S.S. Prokofiev, D.D. Shostakovich).

In works traditional in terms of musical expressiveness, the following patterns can be distinguished that should be taken into account when perceiving music in order to understand the emotions inherent in it:

1. Slow tempo + minor coloring of the sound in a generalized form model the emotion of sadness and convey moods of sadness, despondency, grief, regret about the past beautiful past.

2. Slow tempo + major coloring simulate emotional states of peace, relaxation, satisfaction. The nature of the musical work in this case will be contemplative, balanced, peaceful.

3. Fast tempo + minor coloring in a generalized form model the emotion of anger. The nature of the music in this case will be intensely dramatic, excited, passionate, heroic.

4. Fast tempo + major coloring simulate the emotion of joy. The nature of the music is life-affirming, optimistic, cheerful, joyful, jubilant.

Further analysis of the proposed model of emotion reflection in music showed that in its characteristics it is in some sense isomorphic to the well-known classification of temperaments proposed by Eysenck. But instead of the parameter "introversion-extroversion" in our model, the tempo is taken - slowly-fast, and instead of "stability-instability" - the parameter major - minor. In both models, to characterize both the temperament of a person and the mood of a musical work, it turns out to be sufficient to have indicators of two variables - the tempo (either mental activity or a musical work) and the qualitative feature of emotional experience, disclosed in one case in the concept of "stability-instability", and in the other - major or minor fret. The main thing is that between the emotional life of a person and its manifestation in natural temperament, on the one hand, and the reflection of its features in music, on the other, there are certain dependencies and connections,

It is known that choleric and sanguine people are characterized by a fast pace of mental activity, while melancholic and phlegmatic people are slower. If melancholic and choleric people are distinguished by instability, mood instability, then phlegmatic and sanguine people will be distinguished precisely by stability, the general major emotional attitude.

In the theory of affects mentioned above, the position was postulated that listeners like the music that best suits their natural temperament. The task was to verify this position in the experiment. 58 schoolchildren of grades VIII-IX were asked to listen to several pieces of music expressing various emotions (sadness, joy, anger, calmness).

The participants of the experiment were asked to evaluate each of the listened works on a five-point scale - from -2 to +2 with gradations - "do not like at all", "do not like", "indifferent", "like", "like very much". It was also necessary to rank the listened works according to their degree of preference.

Eysenck's personal questionnaire "Extraversion-neuroticism" (form A) made it possible to identify the temperament of the participants in the experiment. During the analysis, eight questionnaires were excluded as unreliable, since the number of points on the "False" scale exceeded 5 units. Of the remaining 50 questionnaires, in 21 cases we obtained a match between the temperament of the schoolchild identified with the help of the questionnaire and the character of the music they liked the most. In 29 cases, schoolchildren liked the kind of music that did not correspond to the peculiarities of their temperament. Thus, the assumption that schoolchildren should like the music that best suits their natural temperament was not fully confirmed. We found that the preference for musical works, the mood of which corresponds to the peculiarities of the temperament of this or that schoolchild, is noted mainly among those who have little musical experience. Musically developed students, who react vividly to music, gave high marks to all the pieces they listened to and found it difficult to choose the one they liked the most. Such schoolchildren, as it were, departed from their natural preferences and could positively evaluate music that was different in comparison with their temperament. It can be assumed that the liveliness of response to musical works, different in nature, indicates the development of the emotional sphere of students. However, finding more subtle correlations between the level of development of the student's emotional sphere, the level of his musical responsiveness and the peculiarities of his natural temperament requires further study.

Musical education, offering students emotions of various modalities in the content of musical works, makes them at the same time more capable of experiencing those emotional states that are not included in the structure of emotions of their natural temperament, thereby expanding and deepening contacts with people around them and reality.

……………………………………………………………………………………………………………………………………………………………………………………. EMOTIONAL RESPONSIBILITY TO MUSIC

A special place in raising the level of the moral and aesthetic culture of the younger generation belongs to music, which, actively influencing the consciousness of a person and his emotional sphere, is the most important, indispensable means spiritual development personality. Perception of the expressive meaning of the musical language, penetration into the content of the work, into its emotional meaning, is possible only if there is an ability to emotionally respond to music, therefore, educating children in love for music, the ability to empathize with the figurative-emotional meaning contained in it is one of the main tasks of musical education. children.

In psychology emotional responsiveness (susceptibility, sensitivity) is understood :

as a property of an individual to easily, quickly and flexibly respond emotionally to various influences - social events, the process of communication, characteristics of partners, etc.

How emotional reaction on the state of another person, as the main form of manifestation of an effective emotional attitude towards other people, including empathy and sympathy;

as an indicator of the development of humane feelings and collectivist relations.

Emotional responsiveness to works of art is understood :

as the ability to respond to events, phenomena, works of different genres;

as the ability to empathize with the characters, to correlate literary facts with life experience;

as the ability of emotional empathy with music;

as an emotional response to works of art.

Emotional responsiveness is the starting point for the development of aesthetic feelings, relationships, needs, as well as aesthetic tastes and interests of the individual.

Aesthetic feelings and aesthetic emotions constitute the highest stage in the development of human feelings, they are an indicator of the level of a person's spiritual life.

According to I. Kant, "emotional responsiveness is a catalyst for thinking (more precisely, intellect), since it initially ennobles the mind, aestheticizing it."

Preschool age is the period when sense cognition peace. It is at this age that it is necessary to teach the soul to work: to empathize with another person, his feelings, thoughts, moods.

Aesthetic education is aimed at developing the skills of preschoolers to perceive, feel and understand the beautiful, notice good and bad, act creatively on their own, thereby joining various types artistic activity.

One of the brightest means of education is music. Emotional responsiveness to music is the basis of musicality. It is associated with the development of emotional responsiveness in relationships with people, with the development of such personal qualities as kindness, the ability to sympathize with another person (A.I. Katinene, M.L. Palavandishvili, O.P. Radynova).

Music is emotional knowledge. Therefore, the main feature of the musicality of B.M. Teplov calls the experience of music, in which its content is comprehended. “Since musical experience is essentially an emotional experience, and it is impossible to understand the content of music except by emotional means, the center of musicality is the ability of a person to respond emotionally to music.”