Like other types of human spiritual activity, music is a means of understanding the world, given to man so that he learns to understand himself, to see the beauty of the universe and comprehend the meaning of life. “Music is the language of feelings,” said Robert Schumann. But music began to learn to express feelings only at the end of the Renaissance, at the turn of the 16th-17th centuries. It was a time when a person realized himself as a person capable of thinking, feeling and creating, when secular art and opera was born. The expression of human passions-affects became the primary task of musical art in the 18th century, and in the era of romanticism, the world of emotions and sensations becomes the main area that composers turn to in search of themes, images, and even means of expression.
Feelings, sounds, sketches of the surrounding life, movement... But isn't the world of ideas subject to music? “Every truly musical work has an idea,” Beethoven said. The idea expressed in his famous Fifth Symphony, the author himself formulated as follows: "From darkness to light, through struggle to victory." It is not at all necessary that words help music in the embodiment of ideas, be it a literary program, an opera libretto, a poetic epigraph or author's explanations. We do not know the program of the 6th symphony by Tchaikovsky, which, according to the composer himself, existed in his imagination, very few know the fragmentary statements of Tchaikovsky, concretizing the figurative and ideological content essays. However, it is unlikely that anyone will doubt that this music is about life and death, about the confusion of the human spirit, comprehending the tragic inevitability of departure.
Emotions and sensations, movement and change, ideas and representations, everyday life and nature, real and fantastic, the finest nuances of color and grandiose generalizations - everything is accessible to music, although not to the same extent. What means does musical art, what patterns underlie it, in what forms does it express such a diverse content?
Music exists in a special coordinate system, the most important dimensions of which are sound space and time. Both dimensions make up the primary, generic properties of music, although only the first one is specific to it - pitch. Of the thousands of sounds of the surrounding world, only musical sounds can become music (noise and percussion effects are used very selectively even in the works of modern avant-garde composers). But the musical sound itself cannot be perceived either emotionally or aesthetically. Not yet music - and the totality musical sounds, which can be likened to an artist's palette or a set of words at the disposal of a poet.
It is believed that the main expressive means of music are melody, harmony and rhythm.
The bearer of meaning and the smallest structural unit of the musical language is intonation, the existence of which reaffirms the deep connection between the two worlds - verbal and sound - and proves that at the beginning of music, too, "there was a word." However, here the concept of intonation acquires a different, much deeper and more comprehensive meaning. Academician B. Asafiev very accurately said this: “Music is the art of intoned meaning.” Ancestors of many musical intonations the intonations of human speech have become, but not ordinary ones, but those that appear at the moments of the most vivid expression of passions or emotions. The intonations of crying, complaints, exclamations or questions came into music from life and, even without being associated with the word (for example, in instrumental genres), retain their primary emotional and psychological meaning. A mandatory attribute of the heroic beginning in music is imperative, invocative intonations - in particular, an ascending quart, on the last sound of which a metrical stress falls.
AT different eras different composers manifested certain properties of harmony differently: the classics valued in it, first of all, the ability to logically connect harmonies, to activate the process musical development and build a composition (which is especially pronounced in sonata form); romantics significantly increased the role of the expressive-emotional qualities of harmony, although they were not indifferent to the sound brilliance; Impressionist composers completely immersed themselves in admiring the sound color - it is no coincidence that the very name of this direction is directly related to a similar trend in European painting.
The manifestations of the expressive properties of the mode are very diverse. The major and minor keys, familiar to everyone, have a quite definite emotional and coloristic coloring: the major sounds light, upbeat and is associated with joyful, bright images, music written in minor is, as a rule, gloomy in color and is associated with the expression of sad-melancholic or mournful moods.
Of great importance in music is the tempo - that is, the speed of performance, which depends on the frequency of alternation of metric beats. Slow, fast and moderate tempos are associated not only with different types of movement, but also with a certain area of expressiveness. It is impossible to imagine, for example, a romance-elegy at a fast tempo or a Krakowiak at the tempo of an adagio. The tempo has a strong influence on the "genre mood" - it is the slow nature of the movement that makes it possible to distinguish funeral march from a drill march or a scherzo march, while more radical changes in tempo can completely rethink the genre - turn a slow lyrical waltz into a dizzying scherzo, and a gallant minuet into a majestically imposing sarabande. Often tempo and meter play a decisive role in creating a musical image. Let's compare two of Mozart's most famous works - the theme of the first part of the 40th symphony and Pamina's aria from the second act of the opera "The Magic Flute". They are based on the same intonation of complaint - lamento, painted in the elegiac tones of G minor. The music of the first part of the symphony is akin to an agitated speech in which feeling is directly poured out; it creates a feeling of a quivering, almost romantic impulse. The lyrics of the aria are grief, deep, hopeless, as if chained from the inside, but full of hidden tension. At the same time, the decisive influence on the character of the lyrical image is exerted by the tempo: in the first case it is fast, and in the second it is slow, as well as the size: in the symphony it is two-part, with tending to downbeat measure with iambic motifs, in Pamina's aria - with a tripartite pulsation, softened and more fluid.
Main elements musical language
“Do not be afraid of the words theory, harmony, polyphony, etc. Be friendly to them and they will smile at you."
(R. Schumann)
Rich and varied means of expression music. If the artist in drawing and paint, the sculptor in wood or marble, and the writer and poet in words recreate pictures of the surrounding life, then composers do this with the help of musical instruments. Unlike non-musical sounds (noise, rattle, rustle). Musical sounds have a precise pitch and a definite duration. In addition, they can have a different color, sound loud or soft, be performed quickly or slowly. Melody, rhythm, mode and harmony, register and timbre, dynamics and tempo - these are all expressive means of musical art.
Melody
The world of music is filled with beautiful melodies by Bach, Mozart, Grieg, Chopin, Tchaikovsky...
You already know a lot of music. They remain in your memory. If you try to remember them, you will surely hum a tune. Working musical memory A. S. Pushkin remarkably followed in the “little tragedy” “Mozart and Salieri”. Mozart exclaims to Salieri:
Yes! Beaumarchais was your friend;
You composed Tarara for him,
Glorious thing. There is one motive...
I keep saying it when I'm happy...
La-la-la-la...
"Tarar" - opera Italian composer Antonio Salieri on a libretto by Pierre Beaumarchais.
First of all, Mozart recalls the motive - an expressive particle of the melody. The motive can cause an idea of the whole melody, its character. But what is a melody? Melody- developed and complete musical thought, expressed in one voice.
The word "melody" comes from two words - melos - song, and ode - singing. In general, a melody is what you and I can sing. Even if we do not remember all of it in its entirety, we hum some of its motives, phrases. After all, in musical speech, as in verbal speech, there are sentences and phrases.
Several sounds form a motif - a small particle of a melody. Several motifs make up a phrase, and phrases make up sentences. Melody is the main means musical expressiveness. It is the basis of any work, it is the soul of a musical work.
The life of a melody is like the life of a flower. A flower is born from a bud, blooms and finally withers. The life of a flower is short, but the life of a melody is even shorter. Per a short time it manages to emerge from the motive, "bloom" and end. In each melody there is a "blooming point", the highest point of its development, the highest intensity of feelings. It's called the climax. The melody ends with a cadence - a steady turn.
If we continue the comparison with a flower, then we should remember that flowers bloom in different time days. Some open their cups towards the first rays of the sun, others “wake up” on a hot afternoon, and still others wait until dusk to give their fragrance to the coolness of the night.
Melodies also "bloom" at different times. Some immediately start from the top - the climax. In others, the climax is in the middle of the melody or near its end. A striking example to that - the song of E. Krylatov " Winged swing"(words by Y. Entin) from the movie" Adventures of Electronics ". Its melody, gradually developing, reaches a climax, emphasized by sonorous repetitions of the highest note.
It is easy to see that the structure of the melody is similar to the structure of speech. As phrases are formed from words, sentences are formed from phrases, so in a melody small expressive particles - motives - are combined into phrases. A musical phrase, as a rule, is formed from two or three motifs. Its duration is determined by the duration of the breath of the performer singing or playing a wind instrument. (In the performance of music on bowed strings, keyboard instruments the influence of breathing on the length of the phrase is not noticeable, but is also taken into account.)
Usually one phrase is performed in one breath (exhalation). Several phrases connected by a common line of development form sentences, and sentences form an integral melody.
The climax (from the Latin culminis - peak) is usually located in bars 5-6 of an 8-bar period or in bars 12-13 of a 16-bar period (that is, in the third quarter of the period) and in these cases falls on the so-called "golden section" point . The meaning of the "Golden Section" is in the beauty of strict proportions, proportionality and harmonic balance of parts and the whole. " golden ratio» available in the building human body both in architecture and painting. The principle of the "golden section" was used by the great Italian scientist and artist of the 15th - early 16th century Leonardo da Vinci, although the doctrine of proportions was successfully developed and put into practice in ancient Greece.
Folk musical creativity- an inexhaustible treasury of wonderful melodies. The best songs peoples of the world are distinguished by their beauty and expressiveness. They are different. Sometimes, it seems, there is no and never will be the end of the chant. One sound turns into another, the song flows in a continuous stream. They say about such a melody: "the melody of a big breath." It is also called cantilena. Composers P. Tchaikovsky, S. Rachmaninov and others were distinguished by the ability to create such melodies.
Listen to Russian folk song"The Nightingale" performed by the Big Children's Choir. Slowly, singsongly flowing broad melody.
But the opposite happens. There are no long drawn-out sounds in the melody, it is closer to a simple conversation, the turns of human speech are felt in it. Similar melodies can be found in epics. It is not for nothing that people say that epics affect, and the performers of epics are called storytellers. These melodies are called recitative.
The word "recitative" comes from the Latin recitare, which means - reading aloud, recitation. Recitative - half-single, half-talk.
Especially often composers turn to recitative in opera, where it serves as one of the means musical characteristic heroes. For example, in the unhurried and majestic melody of Susanin's recitative, the courageous image of the hero of the opera M. Glinka arises.
AT instrumental works melodies are sometimes significantly different from vocal ones, that is, intended for singing. For musical instruments, you can create melodies with a very wide range and large jumps. wonderful images instrumental melodies can be found in the piano works of the great Polish composer F. Chopin. In his nocturne in E-flat major, a wide melodiousness is combined with the complexity of the melodic pattern.
Inexhaustible melodic richness classical music. Songs by F. Schubert and romances by S. Rachmaninoff, piano pieces by F. Chopin and operas by G. Verdi, compositions by W. Mozart, M. Glinka and P. Tchaikovsky and many other composers have become popular with listeners due to their bright expressive melodies.
Harmony
This is one of the main means of expression. It gives color to the music, and sometimes it carries most of the semantic and emotional load. Harmonious chords create harmony, leaving the impression of harmony, beauty, fullness. And sometimes she even plays big role than a melody. Listen to the famous Prelude No. 20 by F. Chopin. There is practically no extended melody in it. general mood it creates harmony.
A sequence of chords along with a melody is called harmony.
Thanks to harmony, the expressiveness of the melody is enhanced, it becomes brighter and richer in sound. Chords, harmonies and their sequence constitute harmony, closely interacting with the melody.
In Chopin's Polonaise in A major, the powerful "orchestral" sound of the piano is achieved thanks to the polyphonic chords that accompany the melody of a solemn heroic character.
There are many works in music that sound light and graceful. For example, dancing. Chords in simultaneous sounding here would be perceived too ponderously and awkwardly. Therefore, in the accompaniment of dances on a strong beat of measures, the lower sound of the chord (bass) sounds separately, and then its other sounds in simultaneous sound. This type of presentation of harmony is used in Waltz in A flat major by F. Schubert, which gives the music lightness and elegance of sound.
In works of a melodious lyrical nature, in order to achieve a soft, "stringed" sound of harmony, chords decomposed by sounds are often used. In L. Beethoven's Moonlight Sonata, such sounding of the accompaniment, combined with the unhurried movement of the sad melody, gives the music smoothness and creates an elevated and noble mood.
The possibilities of combinations of chords, harmonies are infinitely varied. Their unexpected and abrupt changes give the impression of something unusual, mysterious. Therefore, when composers write fairytale music, harmony becomes one of the most important elements of the musical language. For example, a miracle magical transformation swans into red maidens in N. Rimsky-Korsakov's opera "Sadko" occurs with the help of a colorful change of "magic" chords.
There are pieces of music in which harmony dominates, determines the character and mood of the piece. Listen to the prelude in C major from the first volume of I. Bach's Well-Tempered Clavier.
In the unhurried and smooth change of decomposed chords, in the alternation of tensions and recessions, in the steady movement towards the solemn climax and in the subsequent completion, a finished and harmonious work is formed. It is imbued with a mood of sublime peace. Enchanted magic game harmonic colors, we do not notice that there is no melody in this prelude. Harmony fully expresses the mood of the piece.
Rhythm
Rhythm is the organizer of musical sounds in time. Rhythm means the ratio of the durations of sounds to each other. Can't exist without rhythm musical composition how a person cannot live without the work of the heart. In marches, dances, fast pieces, the rhythm organizes, streamlines the movement, the nature of the work depends on it.
Can a piece of music be expressive without melody and harmony? The answer is given to us by the original play "Panic" by S. Prokofiev from the music for the play "Egyptian Nights". The action takes place in the palace of the legendary Egyptian queen Cleopatra.
...Night. The palace is surrounded by enemies - the troops of the Romans. The inhabitants of the palace face captivity or death. Crazed with fear, people run out of the distant chambers of the palace. They rush towards the exit. And here are the last steps...
Illustrating this episode, the composer uses the tremendous power of expressiveness of rhythm. The originality of music lies in the fact that it is performed only percussion instruments: small and big drums, timpani, tom-toms. The part of each instrument has its own rhythmic pattern. At the climax, a clot of rhythmic energy of great strength and tension is formed.
Gradually, the tension dissipates: the tam-tom falls silent, then the timpani, the snare drum, the bass drum also subsides ... So, using the mean musical means, Prokofiev created a vivid play, leading role in which the rhythm plays.
The expressive role of rhythm is especially pronounced in the famous orchestral piece French composer M. Ravel "Bolero". Unchanging rhythmic formula Spanish dance sustained here throughout the entire work (it is written in the form of 12 variations). "Iron Rhythm" holds the melodious melody as if in a vice and gradually increases the grandiose tension in the development of restrained and passionate Spanish dance. The rhythmic "formula" of the bolero is performed by the solo drummer.
Recall that in music fret means the consistency of sounds, different in height. These sounds are combined around the main sound - tonics. AT European music the most common frets - major and minor. Most of pieces that you play and about which in question in our book are also written in these two modes. Is the dependence of the character of music on the mode strong? Let's listen to G. Sviridov's play "Spring and Autumn".
The composer painted the same landscape with sounds at different times of the year. In the first part, light transparent chords, a fragile melodic line recreate spring landscape. Listening to music, we imagine the delicate colors of greenery that has dressed the trees, the light aromas of blooming gardens, ringing voices birds. The piece sounds in a major key, upbeat, light.
But now the mood has changed, the pace has slowed down. The colors of a familiar landscape faded. You seem to see the black silhouettes of naked trees through the gray mesh of the rain. From music as if disappeared sunlight. spring colors major scale went out, they were replaced by a minor. In the melody, the intonations of dissonances-tritones were sharply outlined. The slow tempo intensified the expressiveness of the sad minor chords.
Listening to the second part of the play, we can easily notice that it is just a variant of the first. But the change of mode gives the impression that it sounds new play, opposite in character and mood to the first.
Pace
Of course, you know well that this word means the speed of movement. True, this term does not come from the word speed, but from the word time (Latin tempus). Both the character and the mood of the play depend on the tempo. A lullaby cannot be played at a fast pace, and a gallop cannot be played at a slow pace.
Let's remember the main musical tempos. They are commonly referred to in Italian.
Largo (largo) - very slowly and widely.
Adagio (adagio) - slowly, calmly.
Andante(andante) - at the pace of a calm step.
Allegro (allegro) - quickly.
Presto (presto) - very quickly.
Often there are variations of these rates:
Moderato (moderate) - moderately, restrained.
Allegretto (allegretto) - quite lively.
Vivace (vivache) - alive.
Listen to a fragment of the main theme of the famous Fantasy in D minor by the great W. Mozart. Listen to how well the soft pulsating texture of the accompaniment to this delicate, fragile melody is chosen.
And the following example is also from the music of W. Mozart - the most popular finale of his piano sonata, also known as the Turkish March or Turkish Rondo. Incendiary music, quite different. Here W. Mozart does not feel sad, does not dream, but contagiously has fun.
Previously, tempos in music were determined approximately, according to mood. But sometimes composers wanted to indicate the tempo very precisely. AT early XIX century, the German mechanic I. Melzel invented the metronome especially for this. Required speed easy to find by metronome.
Dynamics
Equally important is the performance dynamics, that is, the power of the sound. Surely you paid attention to the fact that during the performance the musicians play either loudly or softly. This is not happening because the musician wants it that way. So the composer conceived and indicated with the help of what dynamic shades it is possible to reveal his idea.
There are two main dynamic shades, and you know them very well: forte - loud and piano - quiet. In music they are written in Italian letters: F and R.
Sometimes these shades are enhanced. For example, very loud - FF (fortissimo) or very quiet - PP (pianissimo). Often during the work, the strength of the sound changes more than once. Let's remember P. Tchaikovsky's play "Baba Yaga". The music starts barely audible, then its sonority grows stronger, reaching very loud, and gradually subsides again. As if a stupa with Baba Yaga appeared from afar, swept past us and disappeared into the distance.
That's how dynamic shades can help the composer create a vivid musical image.
Timbre
One and the same melody can be played on the piano, and on the violin, and on the flute, and on the guitar. And you can sing. And even if you play it on all these instruments in the same key, at the same tempo, with the same nuances and touches, the sound will still be different. With what? The very coloring of the sound, its timbre. This word comes from the French timbre, which means a bell, as well as a label, that is, a distinguishing mark.
Timbre- a special coloring of sound, characteristic of each voice and instrument. By this color we distinguish different voices and tools apart.
Listen to a Russian folk song performed by the choir Im. Pyatnitsky "I walk with loach".
Diversity singing voices especially noticeable in the opera, where for each character the composer selects the timbre of voice that best suits his character. In N. Rimsky-Korsakov's opera The Tale of Tsar Saltan, the role of the Princess Swan was written for soprano, and the matchmaker of Babarikha was written for mezzo-soprano. The performer of the role of Tsarevich Gvidon is a tenor, and Tsar Saltan is a bass.
Register
Wander all over the piano keyboard. Listen to how the lowest sounds differ from the highest.
When you were just starting to get acquainted with the instrument, you were probably told that “a bear is lying in a den” below, and “birds are singing” above. But the keys that are in the middle sound the most melodic. They are most often used in music. And not because it is more convenient to reach them, but because they are richer than others in terms of musical expressiveness. But if we need, for example, to depict a thunderstorm, then how can we do without thunder in the bass and sparkling zigzags of lightning in the "bird" register?
What is a row of piano keys? A number of sounds. And in short - a sound row. So the register is part of the scale. This is correct, but does not tell us anything about the registers themselves - about their nature, features.
Here, for example, is the middle case. The one in which we sing and speak. Our ear is best tuned to the "conversational" wave. And besides, whether you know it or not, we listen to music not only with our ears, but also with our vocal cords. When we listen to a melody, our vocal cords sing it silently, whether we like it or not. Therefore, when a singer's ligaments get sick, he is not allowed not only to sing himself, but also to listen to other singers.
This suggests the conclusion: the one who sings better and cleaner, hears the music better and gets more pleasure from it. It is no coincidence that R. Schumann, already known to you, wrote in his “Rules for young musicians": "Sing diligently in the choir."
The middle register is the most familiar to us. And when we listen to music written in this register, we pay attention not to the register itself, but to other details: melody, harmony and other expressive details.
And the lower and upper registers are sharply distinguished by their special register expressiveness. The lower case resembles a "magnifying glass". He does musical images bigger, bigger, bigger. He can scare. And say, "Shh, it's a secret."
Mysteriously, unusually, E. Grieg's play "In the cave of the mountain king" begins. But the frightening theme of the formidable king Shahriar from symphonic suite N. Rimsky-Korsakov "Scheherazade".
The upper register, on the contrary, seems to “reduce” what sounds in it. In the "Children's Album" by P. Tchaikovsky there is a "March wooden soldiers". Everything in it is like in a real military march, but small, “toy”.
Now we can say that register- this is a part of the scale that has a certain sound color. There are three registers: upper, middle and lower.
We listened to examples written in the same register. But this kind of music is rare. Often composers use all registers at once. As, for example, E. Grieg in piano piece Nocturne. "Nocturne" means "night". In Norway, in the homeland of E. Grieg, in the summer there are the same white nights as in St. Petersburg. The music of E. Grieg's Nocturne is colorful and picturesque. Register paints play important role in this sound painting.
Presentation
Included:
1. Presentation - 30 slides, ppsx;
2. Sounds of music:
Bach. Prelude in C minor (harpsichord in Spanish) Beethoven. Sonata "Lunar", part I - Adagio sostenuto (fragment), mp3;
Glinka. Susanin's recitative "Smell the Truth" from the opera "Life for the Tsar", mp3;
Grieg. "In the Hall of the Mountain King" from the suite "Peer Gynt" (fragment), mp3;
Grieg. Nocturne from "Lyrical Suite" (fragment), mp3;
Mozart. Rondo in Turkish style (fragment), mp3;
Mozart. Fantasy in D minor (fragment), mp3;
Prokofiev. "Panic", from the music for the play "Egyptian Nights", mp3;
Ravel. "Bolero" (fragment), mp3;
Rimsky-Korsakov. "The Miracle of the Transformation of Swans into Red Maidens" from the opera "Sadko", mp3;
Rimsky-Korsakov. Shahriar's theme from the symphonic suite "Scheherazade", mp3;
Sviridov. "Spring and Autumn", mp3;
Chaikovsky. "Baba Yaga" from " children's album", mp3;
Chaikovsky. "March of Wooden Soldiers" from "Children's Album", mp3;
Chopin. Nocturne in E flat major, Op. 9 No. 2 (fragment), mp3;
Chopin. Polonaise in A major, op. 40 No. 1 (fragment), mp3;
Chopin. Prelude in C minor, op. 28 No. 20, mp3;
Schubert. Waltz in A flat major, mp3;
"I walk with loach", mp3;
Nightingale (in Spanish BDH), mp3;
3. Accompanying article - lesson summary, docx.
THE SIGNIFICANCE OF MUSIC AS A KIND OF ART
The beautiful awakens the good.
D. B. Kabalevsky
How to explain the enormous power of the influence of music on spiritual world human?
First of all, its amazing ability to display the experiences of people at different moments of life. The people rejoice - this translates into solemn and joyful sounds of music; a soldier sings on a campaign - the song gives a special cheerful mood, organizes a step, the mother mourns dead son Sad sounds help express grief. Music accompanies a person all his life.
Musical works reflect the pages of history. In the days of the Great Patriotic War one of the best songs of that time - "The Holy War" by A. Alexandrov. She united Soviet people in their stern, adamant determination to fight until great victory. AT besieged Leningrad D. Shostakovich creates the famous Seventh Symphony. It condemns the greatest evil that fascism brings. “I don’t like to say such words to myself, but it was my most inspired work,” the composer recalls. The following words also belong to him: “In sorrow and in joy, in work and at rest, music is always with a person. She entered life so fully and organically that she is taken for granted, like the air that one breathes without thinking, without noticing ... How much poorer the world would become if it were deprived of a beautiful peculiar language that helps people understand each other better.
This is another feature of music - to unite people, in a single experience. Becoming a means of communication between them is perceived as a miracle that a piece of music created by one person evokes a certain response in the soul of another. P. I. Tchaikovsky said: “Perhaps he has never been flattered and touched in his author's pride in his life, as when L.N. Tolstoy, listening to the Andante of my quartet and sitting with me, burst into tears.
Vivid artistic musical works, influencing the aesthetic side of the soul, become a source and means of education. Is music capable of affecting all listeners with the same force? Of course no. And this is another feature of it. Each person in his own way shows interest and passion for music, gives preference to any musical genre, favorite composer, individual work with some listening experience. Just as one learns to write, read, count, draw, so one must learn to recognize and evaluate music, to listen attentively, noting the dynamic development of images, the clash and struggle of contrasting themes, and completion. We must learn to comprehend this "beautiful peculiar language." Gradually developed musical taste, there is a need for constant communication with music, artistic experiences become more subtle and diverse.
Another feature of music that interests us is that it influences a person from the very first days of his life. Hearing the gentle melody of a lullaby, the child concentrates, calms down. But now a cheerful march is heard, and the expression immediately changes baby face, the movements come to life! Early emotional reaction allows from the first months of life to introduce children to music, to make it active assistant aesthetic education.
Music as an art form. The originality of musical art
Musical art, which directly and strongly affects a person already in the first years of his life, occupies a large place in his general cultural development. Music is close to the emotional nature of the child. Under the influence of music, his artistic perception develops, experiences become richer.
Music - greatest source aesthetic and spiritual pleasure. It accompanies a person throughout his life, causes an emotional response, excitement, desire for action. It is able to inspire, ignite a person, instill in him the spirit of vivacity and energy, but it can also lead to a state of melancholy, grief or quiet sadness. Joyful, cheerful, heroic music lifts the mood, excites, increases efficiency. Calm, lyrical - relieves stress, soothes, eliminates oppressive fatigue.
Music is art. Music has possibilities incomparable with any other kind of art. It has the power of the greatest emotional impact on a person.
Art is a special, artistic and figurative reflection of life, the external and internal world of a person, it is thinking in artistic images. Artistic image- something that is common to any kind of art, something that distinguishes art from other forms human culture, and what constitutes the art of music in particular. The artistic image is the “core”, “heart” of a work of art.
Let us dwell briefly on the issue of the specifics of musical art, highlight its main and unique features.
Music is an intonational art. Through intonation, it expresses a huge wealth of emotional and semantic content, the center of which is a person and the world around him.
One of the sources of the emergence of musical images are the real sounds of nature and human speech - everything that the human ear perceives in the surrounding world. “Since ancient times, man has sought to reproduce in singing or in instrumental tunes what he heard around him: the chirping of birds, the rumble of thunder, the murmur of a stream, the buzzing of a spinning wheel. The main basis of musical art was the meaningful and sensually expressive speech of a person.
Developing in the process of sound communication, music was at first inseparable from speech and dance. It adapted to the rhythm of labor movements, facilitated them, united people with a common desire. As a painter imitates the forms and colors of nature, so a musician imitates sound - intonations, timbre, voice modulations. However, the essence of music is not in onomatopoeia and visual moments.
Music, in contrast to the spatial arts (painting, sculpture, etc.), which have the means of an objective depiction of reality, is the art of expressing feelings, emotions, moods, thoughts and ideas (the musical image is devoid of direct, concrete visibility, but it is dynamic by its nature and generally, by sound means, expresses the essential processes of life).
In connection with this, the content of music is primarily the emotional side of a person's mental experiences, and only through these experiences does the reflection of the images of the surrounding reality take place. Music deepens these images and brightly reveals their content.
The power of the influence of music on a person lies in its ability at certain moments to bring people together in a single mood, emotions, impulse, to evoke feelings of love, fun, triumph, pride, sadness, hatred.
The peculiarity of music, its emotional power lies in the ability to show the rich world of human feelings that have arisen under the influence of the surrounding life. Psychologist B.M. Teplov says about this: “Music is first of all a way to the knowledge of the vast and richest world of human feelings. Deprived of its emotional content, music ceases to be art."
With the help of its emotional language, music affects feelings, thinking, influences the worldview of a person, directs and changes it. Influencing the feelings and thoughts of people, music contributes to the emotional knowledge of the surrounding reality and helps to transform and change it. Music penetrates into the deepest recesses of the human spirit, awakens pure noble feelings, allows one to comprehend the fate of the individual and the state of the world.
One of the main means of creating a musical image is a melody, organized rhythmically, enriched with dynamics, timbre, etc., supported by accompanying voices.
The nature of the impact of a musical composition depends on how specific its content is. From this point of view, music with verbal text, program and non-program purely instrumental music are distinguished.
The first includes song, romance, choir, cantata, oratorio, opera and others.
Program music is provided with a verbal (often poetic) program that reveals its content. The program can be a title that points to some phenomenon of reality that the composer had in mind, or to the literary, pictorial or plastic work that inspired him. An example is the piano cycle by P.I. Tchaikovsky "The Seasons", works of small forms and written for children, other composers ("Clowns" by D. Kabalevsky, "Spring Stream" by A. Zhivtsov, etc.). The author of the music, by suggesting the title, orients the imagination of the listener and the performer in a certain direction.
The program and music of a program composition are in unity. Just as it is impossible to tear off a person's feelings from his thinking, since abstract feelings do not exist, so it is impossible to tear apart the program and the music that expresses it.
Knowledge of the program is a necessary condition for adequate perception of a piece of music. “Music (program) makes it possible to penetrate extremely deeply into the content of a wide variety of ideas, images, events, but only on one condition: if this content itself is known in advance. From music as such, the content of any thought or picture cannot be known for the first time. But when this content is known, with the help of music you can feel it so deeply, experience it, make it your inner property, as it can be in no other way. This is the power of music, this is its great cognitive significance.
Non-programmed instrumental works include, for example, sonata, quartet, trio, prelude, etc. The content of non-program music is made up of emotions. Saturated with lively intonations expressing certain human experiences, it reflects real life, which is the source of these experiences, but reflects through emotions. So, non-program music expresses only emotional content. But the content is there. It defines the special cognitive possibilities of musical art. Music does not provide new specific factual knowledge, but it can deepen existing ones by emotionally saturating them.
Features of music as an art, according to N. Vetlugina:
The ability to display the experiences of people in different moments of life. The people rejoice - this translates into solemn and joyful sounds of music; a soldier sings on a campaign - the song gives a special cheerful mood, organizes a step; mother mourns for her dead son - sad sounds help to express grief.
Another feature of music is to unite people in a single experience, to become a means of communication between them.
The third feature of music, in the words of D. Shostakovich, is "a wonderful original language." Combining an expressive bright melody, harmony, a peculiar rhythm, the composer expresses his worldview, his attitude to the environment. All those who perceive them are enriched by such works.
Another feature of her. Each person in his own way shows interest and passion for music, prefers any musical genre, favorite composer, individual work, having a certain listening experience.
Another feature of music is to influence a person from the very first days of his life. Hearing the gentle melody of a lullaby, the child concentrates, calms down. But then a vigorous march is heard, and the expression of the child's face immediately changes, the movements come to life! An early emotional reaction makes it possible to introduce children to music from the first months of life, to make it an active assistant in aesthetic education.
Music is the most difficult of the arts. The features of music as the art of reflecting not only simple, but also very complex emotions, as the art of expressing a person's multifaceted relationship to the world and to himself, make the content and language of music closed to a person at the early stages of his development. The child must be gradually introduced into the world of music, to help him understand the content of musical artistic images, and therefore, to give him the opportunity to experience them.
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Music is not in vain compared with human voice, human speech. Just like speech, music is made up of notes (letters), motifs (words), phrases (sentences) and periods (complete text). If we pronounce individual letters or words, no one will understand the meaning of what was said and, moreover, will not feel the nature and emotional coloring of the transmitted information.
Also in musical speech - it is necessary to group individual notes into phrases and periods, use the means of dynamics (increase or decrease in sound volume) and sound extraction (legato, staccato) in order to create integrity, convey the character and image of a musical work.
Phrasing is a means of musical expressiveness, semantic and artistic division of a musical work into phrases and sentences.
You have probably noticed that the same piece of music by one performer can sound boring and monotonous, while by another it can acquire brightness of colors, emotions and images.
In order to learn the art of phrasing, try to listen to more music, and not only piano music, and pay attention to how the performer combines sounds into musical suggestions.
Especially clearly one can feel the peculiarities of phrasing in vocal works: songs and romances. The vocalist takes a breath, as a rule, between semantic phrases. Therefore, when learning a new piece, try to sing a melody and you will line up logical phrases.
And now let's practice the art of phrasing using the example of a romance. First sing this tune and then play it on the piano along with your voice. Try to combine phrases, logically linking them to the text of the romance.
In the famous piano piece L. van Beethoven's "Fur Elise" is very clearly divided into motifs and phrases. In this example, motives are marked with leagues. Play each motive first, and then combine them into phrases. In that musical passage the phrases are built in 4 measures (the upbeats from which the work begins and all subsequent phrases do not count).
Remember, not 7 banal notes convey the sound of the surf or the ringing of bells, fun party or deep grief, heart-to-heart conversation or military battle. The brightness of images is achieved with the help of phrasing, and the ability to use it distinguishes a professional talented musician, reflects it artistic taste and creative imagination.
