Completed by Kravchenko E.A. GOU high school year "JOY TO THE SUN CALLS US!"
PURPOSE Education of personality through aesthetic, moral and spiritual strength musical art. OBJECTIVES Continue acquaintance with the work of the Viennese classics. Develop cognitive interest through differentiated homework and independent research; Consolidate previous knowledge. FIND OUT: what is the significance of the work of the Viennese classics for the development of the world musical culture. Abstract Objectives Lesson Plan
1. Acquaintance: Three outstanding composer classical period.Introduction: Three outstanding composers of the classical period. 2. Acquaintance with the work of J. Haydn. Acquaintance with the work of J. Haydn. Demonstration of a portrait of J. Haydn. Listening to an audio recording. / A fragment of the "Children's Symphony" / Test. Accompanied by repeated listening to the audio recording Conversation / Teamwork/ 3. Acquaintance with the work of W. Mozart. Acquaintance with the work of W. Mozart. Demonstration of the portrait of W. Mozart. Demonstration of a portrait of L. van Beethoven. Test Conversation / Teamwork. / 5. Dispute / What is the meaning of the work of the classics Viennese school? / Debate / What is the significance of the work of the classics of the Viennese school? / Lesson plan Annotation Objectives Lesson plan
CLASSICAL PERIOD 18th century 19th century J. Haydn W. MozartL. van Beethoven
Joseph Haydn, father of the symphony creative legacy 104 symphonies, 83 quartets, 52 piano sonatas, oratorios (“The Creation of the World”, “The Seasons”) 14 masses, operas. Test
“In sorrow, merry, and in joy, sad” W. A. Mozart Composed 41 symphonies Test
... be indulgent to me, seeing my isolation at a time when I, in fact, would be happy to talk with you ... The pinnacle of Beethoven's "late" work is the 9th symphony (1824) Ludwig van Beethoven () Test
H. G. Nefe: “Gifting is not everything, it can perish if given to a person who does not possess diabolical persistence. Forbid, forbid yourself forever to pronounce such words as I can’t, I don’t want to, I don’t know! If you fail, start again! If you fail a hundred times, start again a hundred times! ...... A pinch of talent is enough, but perseverance needs an ocean. ” l "Music should strike fire from people's hearts." (Beethoven)
Unlike his predecessor Mozart, Beethoven composed with difficulty. Notebooks Beethoven is shown how gradually, step by step, a grandiose composition emerges from uncertain sketches, marked by a convincing logic of construction and rare beauty. Just one example: in the original sketch of the famous “motif of fate” that opens the Fifth Symphony, it was entrusted to the flute, which means that the theme had a completely different figurative meaning. A powerful artistic intellect allows the composer to turn a disadvantage into a virtue: Beethoven opposes Mozart's spontaneity, an instinctive sense of perfection, with unsurpassed musical and dramatic logic. It is she who is the main source of Beethoven's greatness, his incomparable ability to organize contrasting elements into a monolithic whole.
Beethoven erases traditional caesuras between sections of the form, avoids symmetry, merges parts of the cycle, develops extended constructions from thematic and rhythmic motifs, which at first glance do not contain anything interesting. In other words, Beethoven creates musical space with the power of the mind, own will. He anticipated and created those artistic directions, which became decisive for the musical art of the 19th century. And today his works are among the greatest, most revered creations of the human genius.
Compositions: Opera Fidelio (1st edition titled Leonora, staging titled Fidelio or Conjugal Love, 1805, Vienna; 2nd edition with the addition of the overture Leonora 3, 1806, Vienna; 3rd edition 1814, Vienna); ballets, including the Creations of Prometheus (1801, Vienna); for soloists, choir and orchestra oratorio Christ on the Mount of Olives (1803), Mass in C-dur (1807), Solemn Mass (1823), cantatas; For symphony orchestra 9 symphonies (1st, 1800; 2nd, 1802; 3rd, Heroic, 1804; 4th, 1806; 5th, 1808; 6th, Pastoral, 1808; 7th, 1812; 8 -I, 1812; 9th, 1823); overtures to the tragedy "Coriolanus" by Collin (1807), to the tragedy "Egmont" by Goethe (1810), etc.; concertos for instruments and orchestra 5 for piano (1st, 1795; 2nd, 2nd edition 1798; 3rd, 1800; 4th, 1806; 5th, 1809), for violin (1806), Triple Concerto for Piano, Violin and Cello (1804); chamber instrumental ensembles 16 string quartets(1798–1826), 10 sonatas for piano and violin (including the 9th, Kreutzer, 1803), 5 sonatas for piano and cello; for piano 32 sonatas, variation cycles (including 32 variations in c-moll; bagatelles); songs, including the cycle To a Distant Beloved (1816); arrangements of folk songs; music for performances drama theater and etc.
Joseph Haydn Wolfgang Amadeus Mozart Ludwig van Beethoven 104 symphonies 41 symphonies 9 symphonies Symphony duration (approx): 17 minutes 40 minutes 60 minutes Why? Because one of the main genres of the classical period, the symphony, is being formed and saturated with content. SYMPHONY - a musical novel about the life of mankind 17
The melody of "Sings" can be learned by children with a focus on musical notation. Sincere and thoughtful, she expresses the composer's great feeling of love for native land which captures us. We seem to have the same feeling. If "Zapevka" is an independent choral work- choral miniature, then "It's snowing ..." - a part from G. Sviridov's "Little Cantata" to B. Pasternak's verses - a lyrical sketch winter nature. Before listening to this music on record, let the students try to sing a melodic improvisation to the verses of B. Pasternak, then compare the sound of the verses of B. Pasternak and A. Pleshcheev and “compose” melodies based on the rhythmic formulas written out in the workbook (“ Playing Composer. In what character will each of the melodies sound? Which of them will have a more developed, detailed melodic line? What will be the peculiarity of the melody for the repeatedly repeated words " It is snowing"? With a system of such tasks, the teacher poses artistic and creative problems for students, the solution of which actively develops them. creative thinking. It is important that it be carried out in the language of music, and not verbally. After that, listen to the music of G. Sviridov to the verses of B. Pasternak, compare it with the melodies "composed" by children. Then have the students sing the melody of this part of the "Little Cantata" according to the notes given in the textbook. The verses sound muffled, almost in a whisper, at a slow pace of calmly falling snow - and G. Sviridov's music sounds as if in an undertone, as if with a mute, "at the same pace, with that laziness ...". In the melody, only two sounds are alternately scanned ( f-sharp And la). Each of these sounds is assigned “its own” timbre (a group of altos is replaced by a group of sopranos), “its own” harmonic background of two chords (alternating mode). In conclusion, it is advisable to listen once again to the 1st part of the cantata “It is snowing ...” in the recording. Uniform, repeated repetition of the main intonation on the same sound in different voices gives transparency, mystery to the sound. Listening to music, you experience the bewitching, almost hypnotic effect of this musical picture - it's snowing. Draw the children's attention to the accompaniment of the choir, the sound of the harp, celesta, flute, which convey the feeling, on the one hand, of some fantasticness, on the other, of bells, aspiration upwards. But is it just landscape? What else does such metric uniformity remind children of? Students, as a rule, hear the swing of the pendulum, the countdown. Music reproduces not only the fall or flight of snow - G. Sviridov's sound picture is also the image of Time itself, which is opposed to the theme of creativity. How is creativity woven into Time? How do the years go - like a passionless snowfall or meaningfully, “like words in a poem”? Thus, the landscape, familiar and close to all of us since childhood, is translated into music with the help of the poet B. Pasternak as an idea about the artist's destiny. Maybe year after year
It follows as it snows,
Or like the words in a poem? Last words phrases are performed by the soloist. Thus, the composer highlights them especially, emphasizing their importance in general sense works. The question remains unanswered. The unchanging refrain "It's snowing, it's snowing" sounds like a magic spell - the violas sing at the lowest sound (an octave lower), and the initial stanza of the verses is repeated again. It seems that the teacher will turn to this music more than once, return to it in the middle grades of the school, when the students can fully discover the philosophical meaning of the compositions staged by the composer and poet. creative tasks. However, approaching them is possible and necessary already in the younger age. school age. If this turn was focused on the music of G. Sviridov, then the following are devoted to the music of S. Prokofiev, a comparison of the works of E. Grieg and P. Tchaikovsky, V.-A. Mozart and L. Beethoven. It is important to enter the world of these composers, as if to enter into a dialogue with each of them. "The World of Prokofiev".“I came to this world to see the sun…” - these lines of K. Balmont are the best suited to the unusual musical fragment sounded at the lesson - “Procession of the Sun” - from the 4th part of the Scythian Suite for a large symphony orchestra by S. Prokofiev “ Ala and Lolly" 1
. The composer pushed the pictorial boundaries of music in the depiction of a picture of the mighty flowering of nature and created a vivid dynamic image rising sun. The finale, Lollia's March and the Sun's Procession, is a dazzling sonic fresco. Music seems to burn with its frantic colorful rumble. Here, according to B. Asafiev, there is "violent will, a thirst for life, healthy, powerful, going ahead and stopping at nothing." This coda is built on the effect of a colossal sonic boom. S. Prokofiev used the "quadruple" composition of the orchestra with a large number of additional voices, making full use of the rich arsenal of brass and percussion instruments. All new groups of instruments are included in the growing rumble, above which the piercing, burning sound of pipes floats and expands. The melodic beginning is almost absent. The teacher can work with this spread both separately and in comparison with the following one, dedicated to music P. Tchaikovsky and E. Grieg. This, on the one hand, will help students remember what works they are already familiar with, on the other hand, it will allow them to highlight the features, originality musical language, the musical speech of each of these composers. In advance, you can invite students to draw a picture of the sunrise. Considering the drawings in the lesson, the teacher, together with the children, selects them according to their mood and character. For example: the sunrise is warm, soft, gentle, lyrical or bright, joyful, burning. Following this, the children listen to two musical fragments and determine which of them is in tune with one or another drawing. (Sounds like "Morning" from the suite "Peer Gynt" by E. Grieg and "Procession of the Sun" from the suite "Ala and Lolly" by S. Prokofiev.) Students will feel the vivid contrast of these two musical pictures. Did the same composer write these works or different ones? What can be said about the authors of these works? Here is how the Russian composer S. Prokofiev expressed his attitude to the music famous pianist Arthur Rubinstein: “You, my dear Prokofiev, could say about yourself:“ The sun is me! ”” And here is how D. Kabalevsky wrote about his music, “solar, as if charged with vital energy”: Russian music of the XX century. His work is filled with mighty life force, dazzling light, imbued with boundless love for life, for man, for nature. Even in the most dramatic, intense, tragic pages of his music… we always feel that somewhere, behind the clouds, the sun continues to shine and it will surely shine over us…” This feeling of Prokofiev’s music also arises in children. IN primary school it is enough to draw students' attention to the chased, courageous rhythms of S. Prokofiev's compositions, which are born from the elements of march, dance, human gesture; listen to the melodic line, continuous, expressive, clear in its emotional content, but having a characteristic pattern in which the simplicity of the lines is combined with unusual curves and angularities. If you listen closely to the musical speech of S. Prokofiev, it will turn out that it is very difficult to sing his melodies: the sounds are separated from each other at a great distance. Have the students try to sing the melody "Walks". With what great leaps and ledges it moves! And if we write out this melody without jumps, we will see that this is the same scale (see note examples on p. 72). "Singers native nature».
This spread contains the words of E. Grieg and P. Tchaikovsky about each other and about the love of each of them for their land, their native nature, for the tunes of their Motherland. This is a kind of creative credo that determined the nature and national style of the music of these masters. Let the children try to create an imaginary portrait of composers already quite familiar to them - S. Prokofiev, P. Tchaikovsky and E. Grieg. This will help listening to their compositions and the statements of composers about each other. For example, P. Tchaikovsky wrote about the Norwegian composer E. Grieg: “In his music ... reflecting the beauty of Norwegian nature, sometimes majestically wide and grandiose, sometimes gray, modest and wretched, but always incredibly charming for the soul of a northerner, there is something something close to us, dear, immediately finding a warm, sympathetic response in our hearts ... ”And here is how E. Grieg assessed himself:“ Artists, like Bach and Beethoven, erected temples on heights. I wanted ... to build dwellings for people in which they would feel comfortable and happy. The essence of E. Grieg's music and the origins of its originality are contained in his tunes - sometimes severely mournful, sometimes gently sad, sometimes fervently cheerful, cheerful and joyful. They reflect the impressions of living among the unusually beautiful nature of Norway. characteristic feature Grigovian melody is the downward movement of the voice from a second to a third, which, as B. Asafiev emphasizes, sounds especially characteristic when the introductory tone moves down to the dominant mode. The teacher can emphasize and play out these “favorite musical sayings” of the composer: “Grigov’s ... northern folk singing-intonation ... always pleasantly excites, like a native friendly stroke in handwriting dear person… You can know very few of Grieg's compositions, but by little you can immediately distinguish the properties and character of his music. How people's faces meet, indelibly remembered due to the special expressiveness of their features. The persuasiveness of the melody of P. Tchaikovsky - music, always song, expressing high culture human feeling, lyrically revealing lasting, like a song, a state of nature, "in lyrical imagery", according to B. Asafiev, "as if making you feel, and therefore see what our heart sings about." His musical style is distinguished by a deep and sensitive rethinking of the rhythmic formula of the waltz, a combination of the wavelike melody inherent in the waltz with Russian chant, breadth and smoothness of breathing. If you listen closely to the musical speech of P. Tchaikovsky, you will notice that all the sounds of the melody are nearby, follow one after another, sing to each other. So children in a form accessible to them are not the first time touching the problem of style, affirming themselves in the idea that "style is a person." The concept of style is filled with more and more capacious, deep meaning. Let's glorify joy on earth. "Joy to the sun calls us." The remarkable Russian composer and scientist Sergei Ivanovich Taneyev (1856-1916) once remarked that if inhabitants of other planets appeared on Earth, who should have been given an idea of humanity in just one hour, it would be best to perform for them the Ninth Symphony by L. Beethoven ... And here is how the poet N. Zabolotsky expressed his impression of the music of L. Beethoven in verse: And through the peace of the space of the world
The ninth wave passed to the very stars ...
Open up thought! Become music, word
Hit the hearts so that the world triumphs! Music J.-S. Bach, V.-A. Mozart, L. Beethoven, symbolizing the highest achievements of human genius, will certainly inspire the teacher to a generalized, creatively improvisational construction of the final lessons of the year. In these lessons, in addition to the works indicated on the pages of the textbook, it is important to include those compositions that the children especially remember and that they would like to perform or hear again. Here, third-graders are invited to first listen to a fragment of the finale of the Ninth Symphony - the last symphony of L. Beethoven - performed by the teacher, then learn its main theme and, finally, hear it performed by the choir and orchestra. Perhaps students have already heard this music, since significant events in the life of many peoples, many countries of the world (for example, Olympic Games) are often celebrated with the performance of the Ninth Symphony. After the students independently determine the content of the musical image of this theme, express their thoughts on this matter, you can learn the final theme with them. The joy of young life is a flame!
New bright days pledge!
We, drinking the flame in our hearts,
We enter your bright chamber. The oppression has been torn from unnecessary borders,
Where everyone lives by work.
All creators of ideas are obedient
Under your big wing. Joy shines on us in the fog,
Warms the heart in the hour of adversity.
The captivity of passions beckons us into the abyss,
Joy to the sun calls us. Joy will be remembered by all nations,
Forgetting the oppression of gray centuries.
From the breast of nature itself
Fortunately, our call is being heard. Even in his youth, carried away by ideas French Revolution, L. Beethoven was looking for musical embodiment ode "To Joy" by F. Schiller, on the text of which the finale of the symphony was written. The ideas of universal human equality, fraternity and freedom worried the composer throughout creative way. It is no coincidence that the musical theme of the finale arose long before the symphony, and in various works composer, you can find images related to this topic. The theme of joy is surprisingly simple and is perceived as a revelation. The voices of the soloists, the choir, the orchestra unite, merge in a single impulse to glorify joy. The theme is transformed into a song, a bright anthem, a heroic march, forming into a grandiose picture of mass jubilation, the triumph of a happy humanity. "Hug, millions!" - the symphony ends with this apotheosis, making the hearts of the listeners beat in unison with the music of L. Beethoven and the words of F. Schiller. The most important thing is that students feel and understand how the works of L. Beethoven and M. Glinka, V.-A. Mozart and S. Prokofiev, a variety of musical genres: ode and cant, symphony and opera. "Glory!" M. Glinka and the finale of L. Beethoven's Ninth Symphony are a single song-hymn to human happiness, joy, this is the triumph of the human spirit.
Explanatory note
Working training program in music for the 3rd grade is developed in accordance with the federal state educational standard the second generation of primary general education, an exemplary program of primary general education in music, taking into account the author's program in music - “Music. Primary school”, authors: E.D. Kritskoy, G.P. Sergeeva, T.S. Shmagina, M., Enlightenment, 2007.
The work program is focused on the use of educational and methodological kit:
- Kritskaya E.D., Sergeeva G.P., Shmagina T.S. "Music": Textbook for Grade 3 Students elementary school- M.: Enlightenment, 2013
- A guide for the teacher / Comp. E.D. Kritskaya, G.P. Sergeeva, T.S. Shmagina.- M.: Enlightenment, 2012;
- Phonochrestomathies of musical material for the textbook "Music". Grade 3 1 (CD) mp3, M., Enlightenment, 2013
The study of music in the 3rd grade of elementary school is aimed at the formation of musical culture as an integral part of the spiritual culture of schoolchildren.
The introduction of children into the diverse world of music through acquaintance with musical works that are accessible to their perception and contributes to the solution of the following goals and objectives:
- formation of the foundations of musical culture through emotional, active perception of music;
- education of emotional and valuable attitude to art, artistic taste, moral and aesthetic feelings: love for the Motherland, pride in the great achievements of domestic and world musical art, respect for the history, spiritual traditions of Russia, the musical culture of different peoples;
- development of perception of music, interest in music and musical activity, figurative and associative thinking and imagination musical memory and hearing singing voice, creativity in various types of musical activity;
- enrichment of knowledge about the art of music; mastering practical skills and abilities in educational and creative activities (singing, listening to music, playing elementary musical instruments, musical-plastic movements and improvisation).
- Types of organization of educational activities:
Independent work
creative work
Contest
Quiz
The main types of control in the organization of work control:
Introductory
Current
final
Individual
Writing
Teacher control
Forms of control:
Observation
Independent work
Test
Planned learning outcomes for students
Subject Results
Music in human life
The student will learn:
Perceive and understand music of different emotional and figurative content, different genres, including fragments of operas. Ballets, cantatas, symphonies;
To convey in musical and artistic activity the artistic and figurative content and the main features of the works of various composers and folk art.
The main laws of musical art
The student will have the opportunity to learn:
Musical picture of the world
The student will learn:
Personal universal learning activities
Regulatory universal learning activities
The student will learn:
The student will have the opportunity to learn:
Understand the meaning of the tasks proposed in the textbook, including design and creative ones;
Cognitive universal learning activities
The student will learn:
The student will have the opportunity to learn:
Summarize educational material;
Establish analogies;
Communicative universal learning activities
The student will learn:
The student will have the opportunity to learn:
In accordance with the Basic Curriculum in Grade 3 for academic subject"Music" is given 34 hours (at the rate of 1 hour per week).
Educational and thematic plan
Sections and topics | Qty hour | Including: |
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Test papers. |
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Russia is my motherland. | |||
Melody is the soul of music. | |||
Nature and music. | |||
Cantata "Alexander Nevsky". | |||
Opera "Ivan Susanin". | |||
Day, eventful. | |||
Morning. | |||
General lesson. | |||
"Singing about Russia - what to strive for in the temple." | |||
Holy Lands of Russia. Duchess Olga. Prince Vladimir. | |||
“Burn, burn brightly so that it doesn’t go out!” | |||
Singers of Russian antiquity. Lel. | |||
Sound pictures. | |||
IN musical theater. | |||
Opera "Ruslan and Lyudmila". | |||
Opera "Orpheus and Eurydice" Overture. Farlaf. | |||
"Ocean - the sea is blue." | |||
Ballet Sleeping Beauty. | |||
IN concert hall. | |||
Sound pictures. | |||
Suite "Peer Gynt". | |||
The world of Beethoven. | |||
“To be a musician, you need skill…” | |||
Miracle music. Sharp rhythm - jazz sounds. | |||
World of Prokofiev. | |||
Singers of native nature. | |||
General lesson. | |||
total |
No. p / p | Section name | Number of hours | results | |||||
subject | Personal | Regulatory | cognitive | Communicative |
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Music in human life | 11h | Origins of music. The birth of music as a natural manifestation human condition. The sound of the surrounding life, nature, moods, feelings and character of a person. A generalized idea of the main figurative and emotional spheres of music and the diversity of musical genres and styles. Song, dance, march and their varieties. Song, dance, marching. Opera, ballet, symphony, concert, suite, cantata, musical. Domestic folk musical traditions. Folk art Russia. Musical and poetic folklore: songs, dances, rituals. Historical past in musical images. Folk and professional music. Compositions of domestic composers about the motherland. Spiritual music in the work of composers. | Music in human life The student will learn: Perceive and understand music of different emotional and figurative content, different genres, including fragments of operas, ballets, cantatas, symphonies; Distinguish between Russian music and music of other peoples; compare works of professional and folk music; Understand moral sense fabulous images in opera and ballet, heroic images in Russian folk songs and in the music of major genres: opera and cantata; Emotionally express their attitude to musical works; Navigate the genres and main features of musical folklore; Understand the possibilities of music, convey the feelings and thoughts of a person; To convey in musical and artistic activity the artistic and figurative content and the main features of the works of various composers and folk art. The student will have the opportunity to learn: Correlate the performance of music with your own life impressions and implement your own performance intention, suggesting a performance plan for the song, etc. Carry out (within the framework of solving project tasks) the search for the necessary information, including ICT; Possess the initial skills of self-organization and self-evaluation of cultural leisure. | The student will have: Emotional responsiveness to musical works of various figurative content; The position of the listener and performer of musical works, the initial skills of assessment and self-assessment of musical and creative activity; The image of the Motherland, the idea of her rich history, heroes - defenders, about the cultural heritage of Russia; sustainable positive attitude to music lessons understanding the meaning of music in one's own life; The basis for the development of a sense of beauty through acquaintance with accessible musical works of different eras, genres, styles; Empathy as understanding the feelings of other people and empathy with them; The concept of music and music lessons as a factor that positively affects health, the initial ideas about leisure. The student will have the opportunity to: Cognitive interest in music lessons, the position of an active listener and performer of musical works; Moral feelings (love for the Motherland, interest in the musical culture of other peoples); Moral and aesthetic feelings, understanding and sympathy for the experiences of the characters of musical works; Understanding the connection between the moral content of a musical work and the aesthetic ideals of the composer; Ideas about music lessons as a way of emotional unloading. | The student will learn: Accept and save the educational, including musical and performing task, understand the meaning of the teacher's instructions and make adjustments to it; Plan your activities according to learning objectives, distinguishing between the method and the result of one's own actions; Perform actions (in oral) reliance on a reference point given by the teacher or peers; respond emotionally to musical characteristic images of heroes of musical works of different genres; Monitor and evaluate your participation in different types musical activity. The student will have the opportunity to learn: Perform actions (in oral written form and in the internal plan) based on the reference point given in the textbook; Perceive the opinion of peers and adults about a piece of music. | The student will learn: Search for the necessary information in the dictionary and from additional sources, expand your understanding of music and musicians; Independently work with additional texts and tasks in the workbook; To convey their impressions of the perceived musical works; Use examples of musical notation when discussing features of music; Choose ways to solve a performance problem; Correlate the illustrative material and the main content of the musical composition; Correlate the content of drawings and schematic images with musical impressions; Perform chants, focusing on the recording by hand signs and musical text. The student will have the opportunity to learn: Search for the necessary information in the dictionary and additional sources, including the controlled space of the Internet; Correlate various works according to mood and form; Build your own reasoning about the perceived properties of music; Use the notation adopted in relative and absolute solmination; To carry out comparison, seriation and classification of the studied objects according to the specified criteria; Summarize educational material; Establish analogies; Compare funds artistic expressiveness in music and other arts (literature, painting); Present information in the form of a message (presentation of projects). | The student will learn: Express your opinion about music in the process of listening and performing, using different speech means (monologue, dialogue, in writing); Expressively perform musical works, take an active part in various types of musical activities; Understand the content of the questions and reproduce easy questions about music; Show initiative by participating in the performance of music; Control their actions in collective work and understand the importance of their correct implementation; Understand the need to coordinate joint actions in the performance of educational and creative tasks; Understand the importance of cooperation with peers and adults; Accept an opinion that is different from your point of view; Seek to understand the other person's position. The student will have the opportunity to learn: Express your opinion about music using different means of communication (including ICT tools). Understand the importance of music in conveying the mood and thoughts of a person, in communication between people; Control your actions and correlate them with the actions of other participants teamwork, including collaboration in project activities. Formulate and ask questions, use speech to convey information, for your actions and the actions of your partner; Strive to coordinate various positions in cooperation; Show creative initiative in collective musical and creative activities. |
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Basic laws of musical art. | 12h | The intonational-figurative nature of musical art. Expressiveness and figurativeness in music. Intonation as a voiced state, expression of a person's emotions and thoughts. Musical and speech intonations. Similarity and difference. Intonation is the source of musical speech. Musical speech as a way of communication between people, its emotional impact. Composer-performer-listener. Features of musical speech in the works of composers, e expressive meaning. The development of music is the juxtaposition and collision of human feelings and thoughts, musical intonations, topics artistic images. | - listen to a piece of music, highlight expressive and pictorial intonations in it, distinguish between works of different genres; - observe the development of musical images, themes, intonations, perceive the difference in the forms of music construction; - participate in the collective embodiment of musical images, expressing your opinion in communication with peers; - to recognize the features of the musical speech of individual composers; apply the acquired knowledge in performing activities; - to recognize folk melodies in the works of composers; the sound of musical instruments and singing voices. The student will have the opportunity to learn: Show creative initiative in the implementation of their own ideas in the process of singing, playing children's elementary musical instruments to the music; Improvise melodies for individual phrases and complete fragments of a poetic text in the nature of a song, dance and march; Use the notation adopted in relative and absolute solminization; Find features of form, presentation in the musical text; - distinguish the sound of musical instruments (including the timbre of the harp, cello, celesta). The student will have the opportunity to: Ideas about the composition (M.I. Glinka, P.I. Tchaikovsky, A.P. Borodin. N.A. Rimsky-Korsakov, F.-Y Haydn, J.-S. Bach, W.-A Mozart, E Grieg, G. V. Sviridov, S. S. Prokofiev, R. K. Shchedrin and others) performing arts; Musical concepts: major and minor scale, fermata, pauses of various durations, sharp, flat, aria, canon, etc. | The student will have: Emotional responsiveness to musical works of various figurative content; The position of the listener and performer of musical works, the initial skills of assessment and self-assessment of musical and creative activity; The image of the Motherland, the idea of its rich history, the defending heroes, the cultural heritage of Russia; Sustained positive attitude towards music lessons; interest in music lessons extracurricular activities, understanding the meaning of music in one's own life; The basis for the development of a sense of beauty through acquaintance with accessible musical works of different eras, genres, styles; Empathy as understanding the feelings of other people and empathy with them; The idea of music and music lessons as a factor that positively affects health, the initial ideas about leisure. The student will have the opportunity to: Cognitive interest in music lessons, the position of an active listener and performer of musical works; Moral feelings (love for the Motherland, interest in the musical culture of other peoples); Moral and aesthetic feelings, understanding and sympathy for the experiences of the characters of musical works; Understanding the connection between the moral content of a musical work and the aesthetic ideals of the composer; Ideas about music lessons as a way of emotional unloading.. | The student will learn: Accept and save the educational, including musical and performing task, understand the meaning of the teacher's instructions and make adjustments to it; Plan your actions in accordance with the learning objectives, distinguishing between the method and the result of your own actions; Perform actions (orally) based on a reference point given by the teacher or peers; Emotionally respond to the musical characteristics of the images of the heroes of musical works of different genres; To exercise control and self-assessment of their participation in various types of musical activities. The student will have the opportunity to learn: Understand the meaning of the tasks proposed in the textbook, incl. design and creative; Perform actions (in oral written form and in the internal plan) based on the reference point given in the textbook; Perceive the opinion of peers and adults about a piece of music. | The student will learn: Search for the necessary information in the dictionary and from additional sources, expand your understanding of music and musicians; Independently work with additional texts and tasks in the workbook; To convey their impressions of perceived musical works; Use examples of musical notation when discussing features of music; Choose ways to solve a performance problem; Correlate the illustrative material and the main content of the musical composition; Correlate the content of drawings and schematic images with musical impressions; Perform chants, focusing on the recording by hand signs and musical text. The student will have the opportunity to learn: Search for the necessary information in the dictionary and additional sources, including the controlled space of the Internet; Correlate various works according to mood and form; Build your own reasoning about the perceived properties of music; Use the notation adopted in relative and absolute solmination; To carry out comparison, seriation and classification of the studied objects according to the specified criteria; Summarize educational material; Establish analogies; Compare the means of artistic expression in music and other forms of art (literature, painting); Present information in the form of a message (presentation of projects). | The student will learn: Express your opinion about music in the process of listening and performing, using different speech means (monologue, dialogue, in writing); Expressively perform musical works, take an active part in various types of musical activities; Understand the content of the questions and reproduce simple questions about music; Show initiative by participating in the performance of music; Control their actions in collective work and understand the importance of their correct implementation; Understand the need to coordinate joint actions in the performance of educational and creative tasks; Understand the importance of cooperation with peers and adults; Accept an opinion that is different from your point of view; Seek to understand the other person's position. The student will have the opportunity to learn: Express your opinion about music using different means of communication (including ICT tools). Understand the importance of music in conveying the mood and thoughts of a person, in communication between people; Control their actions and correlate them with the actions of other participants in the collective work, including joint work in project activities. Formulate and ask questions, use speech to convey information, for your actions and the actions of your partner; Strive to coordinate various positions in cooperation; Show creative initiative in collective musical and creative activities. |
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Musical picture of the world. | 11h | Intonational richness music world. General idea of musical life countries. Various types of music6 vocal, instrumental, solo, choral. Musical instruments. Orchestra: symphonic, brass, folk instruments. | The student will learn: Expressively perform chants and songs in compliance with the basic rules of singing, including conducting (2\4, 3\4, 4\4. 3\8, 6\8) Singing themes from individual pieces of music being listened to; perform songs in one-voice and two-voice presentation; Distinguish between melody and accompaniment, convey a different rhythmic pattern in the performance of available works; Compare musical images in the sound of different musical instruments; Distinguish the language of music different countries peace. The student will have the opportunity to learn: Compare the sound of the same work in different performances; To learn the passed musical works and their authors; Give examples of famous musical genres, forms; Collect music collections, take part in holding cultural events in the classroom, present the results of project activities. | The student will have: Emotional responsiveness to musical works of various figurative content; The position of the listener and performer of musical works, the initial skills of assessment and self-assessment of musical and creative activity; The image of the Motherland, the idea of its rich history, the defending heroes, the cultural heritage of Russia; Sustained positive attitude towards music lessons; interest in music lessons in extracurricular activities, understanding the meaning of music in one's own life; The basis for the development of a sense of beauty through acquaintance with accessible musical works of different eras, genres, styles; Empathy as understanding the feelings of other people and empathy with them; The idea of music and music lessons as a factor that positively affects health, the initial ideas about leisure. The student will have the opportunity to: Cognitive interest in music lessons, the position of an active listener and performer of musical works; Moral feelings (love for the Motherland, interest in the musical culture of other peoples); Moral and aesthetic feelings, understanding and sympathy for the experiences of the characters of musical works; Understanding the connection between the moral content of a musical work and the aesthetic ideals of the composer; Ideas about music lessons as a way of emotional unloading.. | The student will learn: Accept and save the educational, including musical and performing task, understand the meaning of the teacher's instructions and make adjustments to it; Plan your actions in accordance with the learning objectives, distinguishing between the method and the result of your own actions; Perform actions (orally) based on a reference point given by the teacher or peers; Emotionally respond to the musical characteristics of the images of the heroes of musical works of different genres; To exercise control and self-assessment of their participation in various types of musical activities. The student will have the opportunity to learn: Understand the meaning of the tasks proposed in the textbook, incl. design and creative; Perform actions (in oral written form and in the internal plan) based on the reference point given in the textbook; | The student will learn: Search for the necessary information in the dictionary and from additional sources, expand your understanding of music and musicians; Independently work with additional texts and tasks in the workbook; To convey their impressions of perceived musical works; Use examples of musical notation when discussing features of music; Choose ways to solve a performance problem; Correlate the illustrative material and the main content of the musical composition; Perform chants, focusing on the recording by hand signs and musical text. The student will have the opportunity to learn: Search for the necessary information in the dictionary and additional sources, including the controlled space of the Internet; Correlate various works according to mood and form; Use the notation adopted in relative and absolute solmination; To carry out comparison, seriation and classification of the studied objects according to the specified criteria; Summarize educational material; Establish analogies; Compare the means of artistic expression in music and other forms of art (literature, painting); Present information in the form of a message (presentation of projects). | The student will learn: Expressively perform musical works, take an active part in various types of musical activities; Show initiative by participating in the performance of music; Control their actions in collective work and understand the importance of their correct implementation; Understand the importance of cooperation with peers and adults; Accept an opinion that is different from your point of view; Seek to understand the other person's position. The student will have the opportunity to learn: Express your opinion about music using different means of communication (including ICT tools). Control their actions and correlate them with the actions of other participants in the collective work, including joint work in project activities. Formulate and ask questions, use speech to convey information, for your actions and the actions of your partner; Strive to coordinate various positions in cooperation; Show creative initiative in collective musical and creative activities. |
Educational and thematic planning
Lesson topic Lesson type | Content element | Control and evaluation activities | ICT facilities learning | ||
Melody is the soul of music. Lesson-conversation. | The intonational-figurative nature of musical art. Musical means of expression.The birth of music as a natural manifestation of the human condition. The intonational-figurative nature of musical art. Intonation as an internal voiced state, expression of emotions and reflection of thoughts. fixed assets musical expressiveness(melody).song like distinguishing feature Russian music. The understanding of the melody as the basis of music - its soul is deepened.
| input | oral questioning | Video presentation of the song |
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Nature and music.Combined lesson. Traditional. | Expressiveness and figurativeness in music. Various types of music: vocal, instrumental;Expressiveness and figurativeness in music. Various types of music: vocal, instrumental. The main means of musical expression (melody, accompaniment).Romance. Lyrical images in romances and paintings by Russian composers and artists.
| current | oral questioning | Video presentation |
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Vivat, Russia! (kant). Our glory is the Russian state. Combined lesson. Traditional. | Folk musical traditions of the Fatherland. Musical and speech intonations. Similarity and difference.Introducing students to the genre of canta. Folk musical traditions of the Fatherland. Musical and speech intonations. Similarity and difference. Song, marching. Soldier song. Patriotic theme in Russian folk songs. Images of the defenders of the Fatherland in various genres music.
| thematic | oral questioning | Presentation |
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Cantata "Alexander Nevsky". Lesson presentation. | A generalized representation of the historical past in musical images. Folk and professional music. Cantata. Cantata by S. S. Prokofiev "Alexander Nevsky". Images of defenders of the Fatherland in various genres of music.
| final | frontal survey | ||
Opera "Ivan Susanin". study lesson and primary fixation new knowledge. The lesson is conversation. | A generalized representation of the historical past in musical images. Compositions of domestic composers about the Motherland. Intonation as a voiced state, expression of a person's emotions and thoughts. Compositions of domestic composers about the Motherland. Intonation as an internal voiced state, expression of emotions and reflection of thoughts. The image of the defender of the Fatherland in the opera "Ivan Susanin" by M.I. Glinka.
| Video excerpts from operas |
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Morning. A lesson in reinforcing new material. Lesson-conversation. | The sound of the surrounding life, nature, moods, feelings and character of a person. Songness.The sound of the surrounding life, nature, moods, feelings and character of a person. Songness. Expressiveness and figurativeness in the musical works of P. Tchaikovsky " morning prayer"and E. Grieg" Morning ".
| current | group | Video presentation "morning" |
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Portrait in music. A person is hidden in every intonation. Lesson of studying and primary consolidation of new knowledge. Lesson-conversation. | Expressiveness and figurativeness in music. Intonation as an internal voiced state, expression of a person's emotions and thoughts.Portrait in music.
| current | oral questioning | ||
"In the nursery." Games and toys. On a walk. Evening. Lesson of studying and primary consolidation of new knowledge. Traditional. | Expressiveness and figurativeness in music.intonation expression. Children's theme in the works of MP Mussorgsky.
| current | oral questioning | Video fragments of their operas. f-t cartoon"Children's Album" |
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General lesson. | Generalization of musical impressions. Accumulation by students of auditory intonation-style experience through acquaintance with the peculiarities of the musical speech of composers (S. Prokofiev, P. Tchaikovsky, E. Grieg, M. Mussorgsky). | thematic | test | ||
Hail Mary! Virgin Mary, rejoice! Lesson-conversation. |
| current | oral questioning group | ||
An ancient song of motherhood.Combined lesson. Traditional. | The intonational-figurative nature of musical art. Spiritual music in the work of composers.The image of mother in music, poetry, fine arts.
| current | oral questioning | ||
Palm Sunday. Willows. A lesson in learning and consolidating new knowledge. Traditional. | Folk musical traditions of the Fatherland. Spiritual music in the work of composers.The image of the holiday in art. Palm Sunday.
| current | oral questioning | ||
Holy Lands of Russia. Princess Olga and Prince Vladimir. Combined lesson. Traditional | Folk and professional music. Spiritual music in the work of composers.Holy Lands of Russia.
| thematic | oral questioning group | ||
I will tune the harp in the old way ... (epics). Bylina about Sadko and the Sea King Combined lesson. Traditional. | Musical and poetic folklore of Russia. Folk musical traditions of the Fatherland. Folk art. Epics.
| current | independent Job | ||
Singers of Russian antiquity. Lel. Combined lesson. Traditional. | Musical and poetic folklore of Russia. Folk and professional music. Singers are gossips. Images of epic storytellers, folk traditions and rituals in the music of Russian composers (M. Glinka, N. Rimsky-Korsakov).
| thematic | oral questioning | disk "Russian folk instruments" |
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Sound pictures. Combined lesson. Traditional. | Musical and poetic folklore of Russia: rituals. Folk and professional music.Folk traditions and rituals in the music of the Russian composer N. Rimsky-Korsakov.
| final | test; individual. | Fragments from the opera. |
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Farewell to Shrovetide. General lesson. Lesson of control, evaluation and correction of students' knowledge. Quiz lesson. | Musical and poetic folklore of Russia: rituals. folk music | final | |||
Opera "Ruslan and Lyudmila". Overture. Farlaf. A lesson in learning and consolidating new knowledge. The lesson is a conversation. | Opera. The development of music is the juxtaposition and collision of feelings, themes, artistic images. Forms of construction of music as a generalized expression of the artistic and figurative content of the work. Singing voices. Musical themes-characteristics of the main characters. Intonational-figurative development in M. Glinka's opera "Ruslan and Lyudmila".
| thematic | oral questioning | Fragments from the opera. |
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Opera "Orpheus and Eurydice". Lesson of generalization and systematization of knowledge. Lesson-conversation. | Opera. The development of music is a comparison and collision of human feelings and thoughts, themes, artistic images. The main means of musical expression.Intonation-figurative development in K. Gluck's opera "Orpheus and Eurydice".
| current | oral questioning | Presentation. |
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Opera "Snow Maiden". Magical child of nature. Combined lesson. Traditional. | Intonation as an internally voiced state, expression of emotions and reflections of thoughts. Musical development in the juxtaposition and collision of human feelings, themes, artistic images.Musical themes-characteristics of the main characters. Intonational-figurative development in N. Rimsky-Korsakov's opera "The Snow Maiden" and in the introduction to the opera "Sadko"
| current | oral questioning | Video fragments from the opera. |
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"Ocean - the sea is blue." Combined lesson. Traditional. | Intonation as a voiced state, expression of emotions and reflections of a person's thoughts. The development of music is the juxtaposition and collision of human feelings, themes, artistic images.Intonation-figurative development in P.I. Tchaikovsky's ballet "The Sleeping Beauty". Contrast. The ocean is blue. Introduction to the opera "Sadko". I. Rimsky-Korsakov. | current | oral questioning | Video from the film "Sadko" |
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Ballet Sleeping Beauty. Combined lesson. Traditional. | Ballet. The development of music - the juxtaposition and collision of human feelings, themes, artistic images
| thematic | oral questioning | Fragments from the ballet. |
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In modern rhythms (musical). A lesson in learning and consolidating new knowledge. Traditional. | A generalized idea of the main figurative-emotional spheres of music and the variety of musical genres. Musical.Musical as a genre of light music.
| current | oral questioning | ||
Musical competition (concert). Combined lesson. Traditional. | Various types of music: instrumental. Concert. Composer - performer - listener.Genre instrumental concerto.
| thematic | oral questioning group | ||
Musical instruments (flute, violin). Combined lesson. Lesson-lecture. | Musical instruments. Timbre coloring of musical instruments and their expressive possibilities.Expressive possibilities flutes, violins. The expressive power of the violin. Outstanding violin makers and performers.
Caprice No. 24. N. Paganini | current | oral questioning | Module Musical instruments. |
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sounding pictures. Lesson of generalization and systematization of knowledge. Lesson-conversation. | Performance of studied works, participation in collective singing, playing music on elementary musical instruments, transfer of musical impressions of students for the 3rd quarter.
| Thematic | oral questioning | Module Musical instruments. |
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Suite "Peer Gynt". A lesson in learning and consolidating new knowledge. Traditional. | Forms of construction of music as a generalized expression of the artistic and figurative content of works. The development of music is the movement of music. Song, dance, marchingContrasting images of E. Grieg's suite "Peer Gynt".
| current | oral questioning | Cartoon "To the Hall of the Mountain King" |
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"Heroic". A call to courage. Second part, final. Lesson of generalization and systematization of knowledge. Lesson-lecture. | Contrasting images of L. Beethoven's symphony. musical form(three-part). Themes, plots and images of Beethoven's music.
| thematic | oral questioning | Beethoven module. The formation of personality. |
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The world of Beethoven. Combined lesson. Traditional. | Symphony. Forms of construction of music as a generalized expression of the artistic and figurative content of works.
| oral questioning | |||
Miracle music. Sharp rhythm - jazz. A lesson in learning and consolidating new knowledge. Lesson-conversation. | A generalized idea of the main figurative and emotional spheres of music and the diversity of musical genres and styles. Composer-performer- listener. Jazz is the music of the 20th century. Famous jazz musicians-performers. Music is a source of inspiration and joy.
| current | oral questioning | ||
World of Prokofiev. Knowledge consolidation lesson. The lesson is a conversation. | Musical speech as works of composers, transmission of information expressed in sounds. Similarities and differences in the musical speech of G. Sviridov, S. Prokofiev, E. Grieg, M. Mussorgsky.
| thematic | oral questioning | ||
Singers of native nature. Combined lesson. Traditional. | Intonation as a voiced state, expression of a person's emotions and thoughts. Musical speech as works of composers, transmission of information expressed in sounds.Similarities and differences in the musical speech of E. Grieg and P. Tchaikovsky.
| current | oral questioning | Video presentation "Song of Solveig" |
|
33 | Let's glorify joy on earth. Joy to the sun calls us. The lesson is a conversation. | Musical speech as a way of communication between people, its emotional impact on listeners. Musical speech as works of composers, transmission of information expressed in sounds.Music is a source of inspiration and joy.
| thematic | Frontal survey | |
34 | General lesson. Lesson of control, evaluation and correction student knowledge Lesson - concert | Performance of studied works, participation in collective singing, transfer of musical impressions of students.
| final control | group | Fragment from the opera, "Dawn on the Moscow River" |
Sample musical material
Section 1. Russia - My Motherland (5 hours)
Main melody of the 2nd part.From Symphony No. 4. P. Tchaikovsky.
Lark.M. Glinka, lyrics by N. Kukolnik.
Bless you woods.P. Tchaikovsky, lyrics by A. Tolstoy.
The song of a lark is louder.N. Rimsky-Korsakov, words by A. Tolstoy.
Romance.From Musical illustrations to A. Pushkin's story "The Snowstorm". G. Sviridov.
Rejoice, Russian earth; Eagle Russian.Vivacious edges. Unknown authors of the 18th century.
Our grandfathers were glorious; Let us remember, brothers, Rus' and glory!Russian folk songs.
Alexander Nevskiy.Cantata (fragments). S. Prokofiev.
Ivan Susanin.Opera (fragments). M. Glinka.
Section 2. A day full of events (4 hours)
Lullaby.P.Tchaikovsky, lyrics by A. Maykov.
Morning.From the suite "Peer Gynt". E. Grieg.
Sunset.E. Grieg, words by A. Munch, trans. S. Sviridenko.
Evening song.M. Mussorgsky, lyrics by A. Pleshcheev.
Chatterbox.S. Prokofiev, wordsA.Barto.
Cinderella.Ballet (fragments). S. Prokofiev.
Juliet girl.From the ballet Romeo and Juliet. S. Prokofiev.
With a nanny; With a doll.From the cycle "Children's". Words and music by M. Mussorgsky.
Walk. Tuileries garden.From the suite "Pictures at an Exhibition". M. Mussorgsky.
Children's album.Plays. P. Tchaikovsky.
Section 3. About Russia to sing - what to strive for in the temple (4 hours)
Virgin Mary, rejoice.No. 6. From the All-Night Vigil. S. Rachmaninov.
Troparionicon of the Vladimir Mother of God.
Ave Maria.F.Schubert, words by W. Scott, trans. A. Pleshcheeva.
Prelude№ 1 to major. From Volume I of The Well-Tempered Clavier. AND. -WITH. Bach.
Mother.From the vocal-instrumental cycle "Earth". V. Gavrilin, lyrics by V. Shulgina.
Hosanna.Chorus from the rock opera "Jesus Christ Superstar". L. Webber.
Willows.A. Grechaninov, lyrics by A. Blok.
Willows.R.Gliere, lyrics by A. Blok.
magnificencePrince Vladimir and Princess Olga.
Ballad about Prince Vladimir.Words by A. Tolstoy.
Section 4. Burn, burn brightly so that it does not go out! (4 h)
Bylina about Dobryn Nikitich,processed N. Rimsky-Korsakov.
Sadko and the Sea King.Russian epic (Pechora antiquity).
Songs of Boyan.From the opera Ruslan and Lyudmila. M. Glinka.
Songs Sadko,choirWhether height, height.From the opera "Sadko". N. Rimsky-Korsakov.
The third song of Lelya; Seeing Shrovetide,choir. From the prologue of the opera The Snow Maiden. N. Rimsky-Korsakov.
stoneflies,Russian and Ukrainian folk songs.
Section 5. In the musical theater (6 hours)
Ruslan and Ludmila.Opera (fragments). M. Glinka.
Orpheus and Eurydice.Opera (fragments). K. Gluck.
Snow Maiden.Opera (fragments). N. Rimsky-Korsakov.
The ocean-sea is blue.Introduction to the opera "Sadko". N. Rimsky-Korsakov.
Sleeping Beauty.Ballet (fragments). P. Tchaikovsky.
Sounds of music.R.Rogers, Russian text by M. Zeitlina.
Wolf and seven kids in a new way.Musical. A. Rybnikov, script by Y. Entin.
Section 6. In the concert hall (6 hours)
Concerto No. 1 for piano and orchestra.3rd part (fragment). GG Tchaikovsky.
Joke.From Suite No. 2 for orchestra. I.-S. Bach.
Melody.From the opera Orpheus and Eurydice. K. Gluck.
Melody
Caprice№ 24 for violin solo. N. Paganini.
Peer Gynt. Suite№ 1 (fragments);Suite№ 2 (fragments). E. Grieg.
Symphony№ 3 ("Heroic") (fragments). L. Beethoven.
Sonata№ 14 ("Lunar") (fragments). 1st part. L. Beethoven.
Country dance; To Elise; Funny. Sad.L. Beethoven.
Marmot.L. Beethoven, Russian text by N. Raisky.
magic bow, Norwegian folk song.
Violin.R.Boyko, lyrics by I. Mikhailov.
Section 7. To be a musician, you need skill (5 hours)
Melodyfor violin and piano. P. Tchaikovsky.
Morning.From the suite "Peer Gynt", E. Grieg.
The procession of the sunS. Prokofiev.
Spring; Autumn; Troika.From Musical illustrations to A. Pushkin's story "The Snowstorm". G. Sviridov.
It is snowing.From the Little Cantata. G. Sviridov, lyrics by B. Pasternak.
zapevka.G. Sviridov, lyrics by I. Severyanin.
Glory to the sun, glory to the world!Canon.V.-A.Mozart.
Symphony№ 40. The final. V.-A. Mozart.
Symphony№ 9. The final. L. Beethoven.
We are friends with music.I. Haydn, Russian text by P. Sinyavsky.
Miracle music.D. Kabalevsky, lyrics by 3. Alexandrova.
Music lives everywhere.I.Dubravin, words by V. Suslov.
musicians,German folk song.
Fork,Norwegian folk song.
Sharp rhythm.J. Gershwin, words by A. Gershwin, Russian text by V. Strukov.
Lullaby of Clara.Fromopera "Porgy andBess". J.Gershwin.
List of scientific and methodological support.
Educational and methodical set "Music grades 1-4" by E.D. Kritskaya, G.P. Sergeeva, T.S. Shmagina:
Based on the "Program educational institutions. Music grades 1-4
E.D. Kritskaya, G.P. Sergeeva, T.S. Shmagina., M., Enlightenment, 2010
“Methods of working with textbooks “Music grades 1-4”, a methodological guide for teachers M., Education, 2012.
U-turn "Singers of native nature" (p. 124–125) compares the works of Tchaikovsky and Grieg, in which they sing of their native nature, sublime human feelings. Students will be able to better understand and feel the music of these composers by referring to the composers' statements about their attitude to their native land, to each other's music. You can not limit yourself to only those two works, the musical notation of which is offered on this spread (“Morning” and “Melody”), but also bring to the lesson other works by these composers familiar to third-graders. It is important that the children were able to hear their “favorite musical sayings”: for Grieg - the movement of the voice from a second to a third down, for Tchaikovsky - the song wavelikeness, the stepwise movement of sounds. Certainly, the best way to feel this peculiarity of the musical language will help the vocalization of familiar melodies, singing them.
reversal "Let's glorify joy on earth" (p. 126–127) draws the attention of students to the ageless music of V.–A. Mozart (1756-1791). As before, it is recommended to remind students of the works of Mozart they are familiar with: the main themes of the overture to the opera "The Marriage of Figaro", the 1st part of "Symphony No. 40". You can also sing "Spring Song" or "Lullaby". What properties of these compositions will students note? cheerfulness, inexhaustible energy, youthful enthusiasm, admiring the beauty of life. It is no coincidence that the children are invited to reflect on the words of E. Grieg about Mozart's music: “In their the best works it embraces all times."
It is recommended to emphasize the idea that Mozart's talent manifested itself in various musical genres - opera, symphony, works for piano, songs. The new material of the lesson will be the 4th part (final) of "Symphony No. 40". Musical notation main theme the finale of the symphony proposed in the Textbook (p. 126) will allow third-graders to hear two elements: the first is a melody flying up, which is insinuating (ρ) play violins; the second is the affirmation of a strong-willed rhythmically active motif, which is performed by the entire orchestra (ѓ). The contrast of sonorities, the alternation of various groups of the orchestra make up main principle development of the music of the finale of the symphony. To understand how accurately students respond to changes in the sound of music will help role-playing game“We play conductor.”
Acquaintance with Mozart's music continues when learning the canon "Glory to the sun, glory to the world!". First you need to learn this melody in one voice, paying attention to active articulation, the distribution of breath per phrase, the exact execution of a rhythmic pattern (dotted rhythm, pauses), singing long sounds at the end of phrases, melodic options in the second part of the song. The Reader of Musical Material offers a four-voice canon that can be learned in class with choir. A class choir may confine itself to singing a one-voice version of a song, or a two-voice canon. To activate the purity of intonation of a melody, it is necessary to learn it without accompaniment (a capella), with presetting chorus singers in the right key.
Lesson #7 (33)
To be a musician, you need skill...
The main objective of this lesson is to summarize the life-musical impressions of students in the section of the Textbook "To be a musician, you need skill ...". To do this, the teacher needs to build a sequence of works in such a way that, when they are perceived and performed, in the minds of students, the thoughts are affirmed that: a) music reflects the diversity of life; b) each composer and performer reveals a variety of images with the help of his own means; c) listeners hear and feel music differently.
At the beginning of the lesson, you can continue learning the canon “Glory to the sun, words to the world!” Mozart, and then move on to learning the melody from the finale of L. Beethoven's Symphony No. 9, proposed on p. 128 /last page/ of the textbook - "Joy to the sun calls us"
. The composer composed this melody based on the text of F. Schiller's "Ode to Joy". It is performed in the symphony by the choir. You can tell students that the ideas of freedom, brotherhood, equality of people worried the composer throughout his life and the melody of the finale of his Ninth Symphony matured for a long time: echoes of the theme of joy sound in different works of Beethoven. When learning this melody, pay attention to the simplicity and conciseness of the musical thought contained in it: an active, volitional step-by-step movement (only five sounds!) Ends with a characteristic rhythm at the end of the phrase. major scale emphasizes its bright light color. The theme sounds in the finale of the symphony in different ways - either as a jubilant song, or as a bright hymn of joy, or as a festive march, depicting a picture of the jubilation of all mankind. Here is the Russian text of "Ode to Joy", which is recommended to be used when learning this immortal melody, the sound of which accompanies significant events in the life of many peoples of the world. This melody has become an international symbol, a kind of international anthem, a song of unity of the peoples of the Earth:
The joy of young life is a flame! Joy shines on us in the fog,
New bright days pledge! Warms the heart in the hour of adversity.
We, drinking the flame in our hearts, The captivity of passions beckons us into the abyss,
We enter your bright chamber. Joy to the sun calls us.The oppression has been torn from unnecessary borders, Joy will be remembered by all peoples,
Where everyone lives by work. Forgetting the oppression of gray centuries.
All creators of ideas are obedient From the breast of nature itself
Under your big wing. Fortunately, our call is being heard.
After learning Beethoven's melodies, it is recommended, together with students, to remember and sing the melodies of other composers, consonant with the image of "Ode to Joy": the canon "Glory to the sun, glory to the world!" Mozart, choir "Glory!" from the opera "Ivan Susanin" and "Patriotic Song" by M. Glinka and others.
The final stage of the lesson can be devoted to a kind of diagnostics of the musical development of students using "voiced" tasks from Workbook offered on spreads « Music genres», "Musical Form" , "Wonderful Transformations" It is also possible to conduct final testing of students. (See Attachment).
Lesson #8 (34)
Summary of the third year of study.
When developing a scenario for the final lesson of the year, the teacher must take into account the level of development of the musical culture of students, their musical preferences. It is important, using the method of emotional dramaturgy of the lesson, to choose musical material in such a way that it organically combines different kinds schoolchildren's activities - the perception of music and thinking about it, playing music (singing, playing children's musical instruments, improvisation, plastic intonation and musical-rhythmic movements). As mentioned earlier, the final lesson of the year can be held in the form of a "concert lesson" with the invitation of guests.
