Introduction. 3
1. Music in the art system 6
1.1. 6
1.2. Music and painting 18
1.3. Music and literature 26

2. Features of teaching music to children of primary school age ________________________________________________________34
2.1. General characteristics of the system additional education schoolchildren 34
2.2. Perception of music by children of primary school age 36
2.3. Methodological recommendations for teaching music in elementary grades 46

Conclusion. 54
Bibliography. 58
Attachment 1. 59
Appendix 2 60

1. Music in the art system

1.1. The specifics of musical art

Like other types of human spiritual activity, music is a means of knowing the world, given to a person so that he learns to understand himself, 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 flourished 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 Tchaikovsky's 6th symphony, which, according to the composer himself, existed in his imagination, very few know the fragmentary statements of Tchaikovsky, concretizing the figurative and ideological content of the work. 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. Kabalevsky D. Education of the mind and heart Moscow, Enlightenment, 1981

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 have, what regularities are its basis, 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 music yet, but a set of musical sounds that can be likened to an artist's palette or a set of words that a poet has at his disposal.

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 about this: “Music is the art of intoned meaning (my italics. - L.A.)”. Recall that one of the meanings of the word "tone" is sound, the nature of the sound. Hence some musical terms- tonic, tonality, intonation, intonation. The progenitors of many musical intonations were the intonations of human speech, 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. Dido's lament from G. Purcell's opera "Dido and Aeneas", the lament of the Holy Fool from M. Mussorgsky's opera "Boris Godunov" express mournful emotion as clearly as the fourth part of Tchaikovsky's 6th Symphony or the Funeral March from F. Chopin. The ascending sixth - the so-called motive of the question - indeed perfectly reflects the interrogative intonation of human speech. It is no coincidence that it was so often used by romantic composers and found wide application in works of an emotional and lyrical nature, such as Schumann's famous miniature "Why?" from the piano cycle "Fantastic Pieces". An obligatory attribute of the heroic principle in music is imperative, invocative intonations - in particular, an ascending quart, on the last sound of which a metrical stress falls. True, its origin is connected not only with speech, but also with military and signal urban music (which was written mainly for wind instruments). Having entered professional musical creativity and having lost their applied function, these intonational elements have undergone significant changes, but the very essence of their expressiveness has remained the same - it is energetic quarter and trisonic motifs that determine the nature of the main image (affect) in the heroic arias of the Italian opera seria, in revolutionary songs and solemn hymns, in Beethoven's Eroica Symphony and Richard Strauss' symphonic poem Don Giovanni.

Not all music reveals a direct connection with speech intonations. Be it so - the spectrum of her expressive possibilities would not be so wide. For example, in the themes of a song warehouse, speech elements turn out to be as if dissolved, smoothed out, and often they are not present at all - in such cases, the listener's attention is attracted primarily by the melodic line itself, the beauty of its pattern, the flexible, and sometimes bizarre plasticity of sound forms. Such is the Italian opera cantilena (a classic example is Norma's cavatina from the opera of the same name by V. Bellini), the lyrical themes of Tchaikovsky or Rachmaninoff (recall the slow part of his 2nd piano concerto).

Intonation in music has a certain expressive meaning, but it does not reveal all the facets of the artistic image and cannot play a constructive, formative role. These functions are taken over musical theme- the main semantic and constructive unit of any musical work, not identified with the melody. The melody, however important it may be, is only one side of the theme. Moreover, there are works without a melody in the usual sense of the word: preludes and toccatas of the Baroque era, an introduction to Wagner's opera "Gold of the Rhine", Lyadov's symphonic picture "Magic Lake", Debussy's preludes or works by modern composers - O. Messiaen, K. Stockhausen , A. Schnittke and many others. However, there is no music without a theme. The theme in the deepest and most universal sense is a kind of musical unity in which all means interact. musical expressiveness: melody, mode and harmony, meter and rhythm, texture, timbre, register and formative components. Each of these elements has specific properties inherent only to it and has its own field of activity, that is, it performs certain figurative and compositional tasks. Kabalevsky D. Education of the mind and heart Moscow, Enlightenment, 1981

Melody. It is no coincidence that she was at the top of our list. “A monophonic sequence of sounds, a monophonic musical thought” - these are theoretical definitions melodies. But there are other interpretations as well. “Melody is a thought, it is a movement, it is the soul of a piece of music,” said Shostakovich. Asafiev perfectly complemented his words: “Melody has been and remains the most predominant manifestation of music and its most understandable and expressive element.” Indeed, at all times nothing has been valued among musicians as highly as the talent to compose melodies; of all the elements of the musical language, nothing is remembered as well as the melody (as Rossini's melodies were whistled in the streets by cab drivers and small merchants the very next day after the premieres of his operas); nothing affects the aesthetic sense of a person so directly, and nothing can more fully than a melody restore in our minds a holistic image of a musical work. But the melody cannot exist by itself. The sounds that make up a melody must be organized into a certain system, which is called a mode (recall other meanings of the Russian word "lad" - order, agreement, reasonable, correct arrangement).

The actions of all the elements of the mode are coordinated, each of them is functionally connected with the others: there is a central element - the tonic and elements subordinate to it. Thanks to this, gravity arises in music - a certain field of attraction and repulsion, which makes us hear some sounds as stable, calm, balanced, and others as unstable, dynamically striving and requiring resolution (we will not find analogues to this property of music in any other art). , it can be compared only to the force of universal gravitation). Musical sounds have another peculiarity. They can be combined with each other not only sequentially, but also simultaneously and form all sorts of combinations - intervals, chords. This does not create a sense of dissonance or meaninglessness, which will inevitably appear if two people suddenly start talking together. On the contrary, sound combinations and the ability of our ear to capture them as something integral give rise to additional expressive properties of music, the most important of which is harmony. Combinations of sounds are perceived by us in different ways: sometimes as euphonious - consonances (from Latin - agreement, consonance, harmony), then as dissonant, internally contradictory - dissonances. A vivid example of a harmonic organization is the classical major or minor, which became the basis for the music of many eras and styles. In these seven-step modes, the center of attraction and the main stable element that subjugates unstable steps, intervals and chords is the tonic triad (the chord on the first step of the mode). Any amateur who knows how to play three "signature" chords on the guitar - tonic (T), subdominant (S) and dominant (D) triads is familiar with the basics of the classical tonal system. In addition to major and minor, there are many other modes - we find them in musical systems. ancient world, in early music, in folklore, their spectrum was significantly expanded by the work of composers of the 20th century. Kabalevsky D. Education of the mind and heart Moscow, Enlightenment, 1981

Harmony arises in the conditions of harmony, that is, in a certain way organized sound space. Harmony in the usual sense of this term was born only in the Baroque era, acquired clear forms in the works of the Viennese classics and was brought to the utmost complexity, refinement and diversity in romantic music, which shook the leading positions of the melody. In the music of the 20th century, many new systems of harmonic organization arose (for example, among the impressionists Debussy and Ravel, Messiaen or Stravinsky). Some composers - among them Rachmaninoff and Myaskovsky - remained true to the classical-romantic principles, and artists such as Prokofiev or Shostakovich, in the field of harmonic means, managed to organically combine tradition and innovation. The functions of harmony are very diverse and responsible. Firstly, it provides a "horizontal" connection of consonances in a piece of music, that is, it is one of the main conductors of musical time. Due to the change of stable and unstable, consonant and dissonant harmonies, we feel the moments of accumulation of tension, rises and falls - this is how the expressive and dynamic properties of harmony are manifested. Secondly, harmony gives rise to a sense of sound color, as it is able to bring subtle light and color gradations into music, create the effect of matching colorful spots and a smooth change of subtle color nuances. In different eras, different composers manifested certain properties of harmony differently: the classics valued in it, first of all, the ability to logically connect consonances, activate the process of musical development and build a composition (which was 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. Each of the 24 keys is perceived by us in completely different ways. Even in the Baroque era, they were endowed with a special symbolic meaning, which has been preserved for them up to the present day. So, C major is associated with light, purity, the radiance of the divine mind; D major is best suited to express feelings of jubilation and triumph - this is the tone of Beethoven's Solemn Mass, the joyful, laudatory choirs of Bach's High Mass - such as "Gloria" ("Glory") or "Et resurrexit" ("And rose again"); B minor is the sphere of mournful and tragic images, it was not for nothing that Bach used this key in those numbers of the Mass, where the speech is about the sacrifice and suffering of Jesus.

So, harmony and harmony ensure the existence of music in the sound space. But music is also unthinkable outside the second "axis of coordinates" - musical time, the expressions of which are meter, rhythm and tempo. Meter breaks music time into equal segments - metric shares, which turn out to be unequal in their meaning: there are shares of support (strong) and non-support (weak). In such an organization it is easy to see an analogy with poetry - this once again confirms the deep kinship of both arts. As in poetry, in music there are two-part and three-part meters, which largely determine the nature of the movement and even genre features one work or another. Thus, a three-beat meter, in which the first beat is accented, allows us to recognize a waltz, and a uniform alternation of durations under two-beat conditions helps to catch the marching beginning. However, for all its significance, the meter is only the basis, it is only a grid, or canvas, on which a rhythmic pattern is applied. It is the rhythm that concretizes this or that genre in music and gives individuality to any melody. The meaning of rhythm is especially evident in various dance genres, each of which has a special rhythmic formula. Thanks to the rhythm, even without hearing the melody, one can accurately distinguish the waltz from the mazurka, the march from the polka, the bolero from the polonaise.

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 a funeral march from a drill march or a scherzo march, and 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 majestic - an 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, a decisive influence on the character lyrical image it has a 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 iambic motifs striving for a strong beat of the beat, in Pamina's aria it has a three-part pulsation, softened and more fluid.

The means of musical expressiveness - melody, metrorhythm, mode and harmony - must be coordinated and organized in a certain way, must find some kind of "material" embodiment. Texture is responsible for this in music, which can be defined as a type of presentation of musical material, a way of constructing musical fabric. There are many types of textures. We will single out only two most important principles in the organization of the musical fabric - polyphonic and homophonic. The first arises as a result of a combination of several independent melodic voices. If the same thematic material is used in all voices alternately or with some overlap, then imitation polyphony arises - this type of texture prevails in secular and church music. choral music of the Renaissance, it is widely represented in the works of the polyphonic masters of the Baroque era, in particular in the fugues of Bach and Handel. If different melodies are combined vertically, then we are dealing with contrasting polyphony. It is not as widespread in music as imitation, but is found in works of various eras and styles - from the Middle Ages to the present day. So, in the trio of the Commander, Don Giovanni and Leporello from Mozart's opera Don Giovanni, each of the participants is embraced by his own feeling, therefore the vocal parts of the heroes, merging in a polyphonic ensemble, are in bright contrast with each other: pain and suffering are expressed in the lamentose phrases of the Commander , pity and a chilling fear of death are embodied in the penetrating cantilena melody of Don Giovanni, and the cowardly Leporello mutters his patter in an undertone. The second type of texture - homophony - implies the presence of a leading melodic voice and accompaniment. A variety of options are also possible here - from a simple chord warehouse, where the upper voice of the chord plays a melodic role (Bach chorales), to a melody with a developed, individualized accompaniment (Chopin's nocturnes, Rachmaninov's preludes). Kabalevsky D. Education of the mind and heart Moscow, Enlightenment, 1981

Everything that has been discussed so far is of fundamental importance for music, but exists only on music paper until it is embodied in sounds, because sound is an indispensable condition for the existence of musical art. How does sound materialize, how does music convey its meaning to the listener? This secret lies in a special sphere of expressive means - the whole world of timbres. human voices and instruments - woodwinds, brass, strings and percussion - give the music a lively breath and an amazing variety of colors. They perform both individually and in countless combinations, each of which has very special expressive qualities and color. The vocal solo reveals the finest emotional nuances, and the monumental, “fresco” sonority of the mixed choir is capable of shaking the vaults of cathedrals and concert halls; the sound of a string quartet, amazing in terms of warmth and unity of timbres, at the same time creates the impression of plasticity and graphic clarity of lines; discordant woodwinds captivate with watercolor transparency and clarity of colors.

The individuality of voices and instruments has been noticed by composers for a very long time. Soulful solos, like the theme of the slow movement of Tchaikovsky's 4th symphony, are often assigned to the oboe; the flute's brilliant and chilly-transparent graces are perfect for the flute - it is not in vain that Rimsky-Korsakov uses it, characterizing the beautiful, but devoid of human warmth, the Snow Maiden; the voice of nature traditionally becomes the call of the horn (recall that in German this word means “forest horn” - it is he who performs pastoral themes in Weber's overtures to the operas Oberon and Free Shooter); fatal, ominously menacing images are invariably associated with brass instruments, while the strings give off a feeling of warmth and emotional immediacy of the statement (recall the famous side theme of the first part of Tchaikovsky's 6th symphony).

It is important to remember that all means of musical expression are closely related. Most of them do not exist on their own at all: for example, a melody is unthinkable outside of rhythm and harmony, without harmony and texture harmony cannot arise, and rhythm, although more independent than all other elements, is “one-dimensional” and devoid of the primary essence of music. - sound. The interconnection of all means of musical expression is found literally at every step. Indeed, from the mere sequence of sounds reproduced at an arbitrary pace and rhythm, it is difficult to recognize even a very familiar melody. Let's compare a few examples - let it be the theme of Chernomor from Glinka's "Ruslan and Lyudmila", the leitmotif of Wotan's spear from Wagner's "Ring of the Nibelung" and the pas de deux theme from the ballet "The Nutcracker". Their melodies are practically the same - they all represent the simplest descending scale. But what makes these themes so different - to the extent that one of them embodies the forces of evil, the other symbolizes the victory of love and goodness, and the third expresses a completely abstract idea? The thing is that the same melodies are placed in completely different meter-rhythmic, harmonic, texture and timbre conditions: an unusual, otherworldly-sounding whole-tone mode, a rhythm that is primitive in its uniformity, and a formidable orchestral tutti with a predominance of copper form the essence of the theme. evil wizard; the harsh coloring of the natural minor key, the dotted marching rhythm, the ascetic unison presentation and the deaf timbre colors of low string and brass instruments determine the nature of the Wagnerian leitmotif; the enlightened major coloring, the colorfulness and flightiness of the unstable harmony on the strong beat, the rhythmic plasticity and the warm, full sound of the strings make the simple scale one of Tchaikovsky's most beautiful lyrical themes. Kabalevsky D. Education of the mind and heart Moscow, Enlightenment, 1981

Now that we have examined the various elements of the musical language, we have seen the complexity and diversity of their connections, it is necessary to remember that all of them are only means of expressing an artistic image. But after all, in temporary art, the image never remains unchanged, even for its display it takes time. If there are several images, then both they and the listener's perception are all the more in need of some kind of force that organizes the entire set of means of expression in the temporal stream. This task is performed in music by a form, the complexity of understanding of which is aggravated by the fact that it is comprehensible only at the moment of performance of a musical work. On the one hand, form is a composition, or the structure of a work, linking all its parts together. By the harmony and balance of the composition, by the harmony of the ratio of parts and the whole, the merits of a musical work are often judged, it was not in vain that Glinka said: "Form means beauty." At the same time, form is one of the highest manifestations of the procedural nature of music. It reflects the change of musical images, reveals their contrast or connection, development or transformation. Only by embracing the musical form as a whole, we can understand the logic of the development of the artistic image and the course of the composer's creative thought.

Speaking about the means and forms of expression in music, it should be remembered that, with a significant degree of conventionality, we can consider their totality as a single artistic language. In reality, each composer speaks his own language, or rather, is guided by the laws of his own musical speech. And this allows music to remain eternally alive, direct and infinitely diverse art, as if absorbing all the currents of life and reflecting and remelting the experience of other spheres of spiritual activity in a sensually comprehended form. It is probably no coincidence that some believe that music is elitist and requires for its perception special training and even certain natural data, while others see in it a force that can influence us beyond consciousness and experience. Probably both of them are right. And the remarkable musicologist and writer Romain Rolland is certainly right when he said: “Music, this intimate art, can also be a public art; it may be the fruit of inner concentration and sorrow, but it may be the product of joy and even frivolity ... One calls it moving architecture, the other - poetic psychology; one sees in it a purely plastic and formal art, the other - the art of direct ethical influence. For one theorist the essence of music is in melody, for another it is in harmony... Music does not fit into any formula. This is the song of the ages and the flower of history, which can nurture both human sorrows and joys.” Aristarkhova L. About what and how does music speak?.. // Art. - September 1st.: 1999 No. 7

1.2. Music and painting

Music has constantly influenced and continues to influence other forms of art, and itself, in turn, is influenced by them. Music is able not only to express - it imitates and depicts, that is, it recreates in sounds the phenomena of the surrounding world, for example, the rustle of the forest, the sound of running water, thunderclaps, the ringing of bells and the singing of birds; she manages to reflect not only the audible, but also the visible: flashes of lightning, the effects of chiaroscuro, changing contours of the relief, the depth of space and play of colors. Thus, "the most abstract of all arts" refers to a very specific - subject - area, which is considered the prerogative of the "visual", visual arts. Therefore, the parallels between music and painting, which arise, for example, in the field of genres, are far from accidental: a painting, a portrait, a sketch, a miniature, an engraving, an arabesque - all these are concepts that came to music from the visual arts and naturally took root here. G.F. Handel’s oratorio “Israel in Egypt”, J. Haydn’s oratorios “The Creation of the World” and “The Seasons”, Beethoven’s 6th (“Pastoral”) Symphony, musical pictures by N.A. Rimsky-Korsakov or preludes K. Debussy - these are just a few samples " musical painting” (this term was used to refer to this kind of music in the 18th century). Of course, musical paintings are much inferior to painting or sculpture in clarity and detail, but they have the subtlest, elusive poetry that is characteristic only of music, they leave room for the imagination, which gives the perception liveliness and emotional immediacy. Introduction to theory artistic culture Tutorial. St. Petersburg: 1993

The specificity of music, its "individuality" is precisely the most prominent and can be characterized precisely through these mutual influences, which sometimes reached the extreme degree of convergence of one art with another. And it is precisely these extremes that produce the most interesting, renewing and enriching results for art. Let's see how it was in cases of mutual influences of music and painting.

The impact of music and painting as independent art forms on each other begins with the Renaissance. Since that time, two main types of musical "painting" of the outside world have developed. The first is the imitation of various sounds of the real world - birdsong, echoes, the buzzing of a bumblebee, thunder, the ringing of a bell, the rustling of the forest, etc. (say, a nightingale, a cuckoo and a quail in " Pastoral symphony"Beethoven, echo imitation in the work of O. Lasso "Echo", symphonic episode "Flight of the Bumblebee" from the opera "The Tale of Tsar Saltan" by N. A. Rimsky-Korsakov, etc.). Introduction to the theory of artistic culture Textbook. St. Petersburg: 1993

The second type is based on the use of associative links between sound and non-sound phenomena. So, the fast and slow tempo of music corresponds to the fast or slow tempo of real movement, high or low sound corresponds to the spatial position of an object or person, as well as its weight, mass. The movement of the scale from bottom to top or from top to bottom is associated with a similar real movement: "i" smbra "voices and instruments evoke light associations: "light" (violins and flutes in a high register, soprano) or "dark" (bass clarinet, bassoon, double bass ), "brilliant" (trumpet) or "matte" (clarinet). In some cases, sound can also be associated with color (the phenomenon of "color hearing", about which - "a little later). “Associations of these types are widely used in various musical scenes of dawn (“Dawn on the Moscow River” by M.P. Mussorgsky, the end of the second painting “Eugene Onegin” by P. “I. Tchaikovsky), images of a flaring flame (“Proms-tey” and poem "To the Flame" by A. N. Scriabin) Sometimes composers, with the help of subtle associative connections, try to reproduce the appearance of a person ("Girl with flax-colored hair" by C. Debussy), smells ("Fragrances in the "evening air hover" by C. Debussy ) (1). Musical descriptiveness of the aSelective type underlies - musical; pictorial program music. Very widely musical and visual "programming is represented in the work" of all romantic and impressionist composers.

Let us examine as an example one of the works of romantic music - the piano piece by F. Liszt "The Thinker" from the cycle "Years of Wanderings". For a romantic artist, as we remember, a work of art : is a lyrical diary, a "portrait" of his soul, which captures the complex world of conflicting feelings. Therefore, the composer “does not tend, as a rule, to external pictorial analogies. His task is to convey the impressions of a sculptural or pictorial work and the experiences they give birth to; such is the “Thinker” by F. Liszt.

The composer conveys the impression of the statue of Michelangelo, located in the Medici Chapel of the Church of San Lorenzo, depicting Lorenzo Medici, Duke of Urbsch. The Duke is depicted sitting in a thoughtful pose with his head bowed. He is wearing knightly armor and a ducal mantle. The posture of the statue expresses thoughtfulness, concentration, self-absorption. Liszt conveys this state in music.

To this it should be added that another sculpture by Michelangelo also influenced the formation of the composer's idea - the allegorical figure of "Night", located (together with the figures "Dawn", "Day", "Twilight") in the same chapel. This is evidenced by the fact that Liszt, some time later, created an orchestral version of the play The Thinker, but called it Night. In addition, on title page the first edition of the play "The Thinker" contains an epigraph: Michelangelo's poems dedicated to the sculpture "Night" Introduction to the theory of artistic culture Textbook. St. Petersburg: 1993

A dream is sweet to me, and it is sweeter to be a stone! In times of shame and fall Do not hear, do not look - one salvation. Shut up so you don't wake me up.

So, the circle of images that determined the ideological concept of the play is soy, thoughtfulness, immersion in reflection. The quintessence of these states is death, as a complete, absolute renunciation of the outside world (after all, both sculptures are part of the tombstone complex). In the poem, these states are opposed to unsightly reality.

How is this very romantic idea embodied in music?

The general mournful character of the image is conveyed by a minor key (C sharp minor) and a muffled, quiet sound. The state of stiffness and immersion in reflection is conveyed by the static nature of the melody: out of the 17 sounds of the theme, fourteen repeat the same sound “mi”. The music creates an emotional analogue of the figurative content of the sculpture, complementing, deepening and developing it.

A new page in the interaction of music and fine arts was opened by musical impressionism. Developing further pictorial programming, poetic composers (C. Debussy, M. Ravel, P. Dukas, F. Schmnt. J. Roger-Ducas, etc.) achieved the transfer of subtle psychological states caused by the contemplation of the external world. The fluctuation and subtlety of moods, their symbolically indefinite nature is complemented in the music of the Impressionists by the finest sound recording. The embodiment of ideas so new and common for musical art also required new forms. “Symphonic sketches-dawn-scoops are born, combining the watercolor softness of sound painting with the symbolist mystery of moods; in piano music - equally compressed program miniatures based on a special technique of sound "resonance" and pictorial landscape ... "

An example piano music M. Ravel's play "The Play of Water" (1902) can serve as an impressionist. As the composer himself wrote, the piece was inspired by "the sound of water and other musical sounds heard in fountains, waterfalls and streams." Using the techniques of virtuoso pianism of the Lisztov tradition, updated in the spirit of impressionism, the composer creates “the image of calmly playing water, indifferent to the world.” human feelings, but capable of influencing them - to lull and caress the ear. Music either flows in the sound of passages and overflows of arpeggios, like murmuring cascades of water, then falls, like drops, with the sounds of a beautiful pentatonic (i.e., consisting of five sounds) melody.

The influence of music on fine arts has enriched the world artistic culture with no less interesting results. This impact was carried out in three main directions.

The first, the most general and broadest, uses music as the theme of a painting and sculpture. .Images musical instruments and people playing musical instruments have been found since ancient times. Some of these works are genuine. masterpieces, for example, “Country Concert” by Giorgione, “Guitarist” and “Savoyar with a Marmot” by Watteau, “Apollo, Hyacinth and Cypress Making Music and Singing” by A. Ivanov and others. images of instruments and musicians can have both historical and cultural, as well as documentary significance, because often this is an additional, and sometimes the only source of information about music.

The second direction of the influence of music on the visual arts embodies attempts to convey in the pictorial or sculptural work impressions of a particular piece of music. In the vast majority of cases, these are illustrations for music associated with the text. These are the graphic cycles German artist A. Richter and Czech M. Alyosha, embodying the images folk songs, illustrations by F. Hass for the songs of F. Schubert, M. Klinger - for the songs of I. Brahms, etc. The influence of music in such works is manifested in rhythm, compositional and coloristic solution Images. Thus, in M. Schwindt's painting "The Forest King", written under the impression of the ballad of the same name by F. Schubert, both the rhythm of the wild night race and the horror of night vision are convincingly conveyed.

A special place among the illustrations of music is occupied by the graphic cycle "Fantasy on the Themes of Brahms" (1894) by the German artist M. Klinger. The uniqueness of the cycle is determined by the fact that it is not only an attempt to embody music in graphic images, but also an attempt to create a kind of synthesis of artistic graphics and notography as an equivalent sounding music. The graphic cycle is included in the collection of notes with the works of Brahms and forms a single whole with it. Musical and graphic works complement and mutually illustrate each other, outlining a common circle of images and ideas.

The third direction of the impact of music on the visual arts is associated with the desire of artists to use the rhythmic, compositional and formative, timbre-color characteristics of music when creating a painting. At the same time, the mutual influence of the two arts is already at a deeper, essential level.

For the first time, this manifested itself most clearly and effectively in the era of romanticism with its desire for a synthesis of the arts. Romantic painting becomes more "musical": drawing and color begin to serve not so much the task of an accurate representation of objects, animals, people, but the embodiment of their inner, emotional and spiritual Essence. In a painting, its color and compositional solution, its ability to impress with color and lines, as if by themselves, relatively independently of the image or in addition to it, comes to the fore. The ornamental-rhythmic and colorful-coloristic principles of painting are intensifying.

Such, in particular, are the paintings of one of the leading representatives of romanticism in painting - E. Delacroix. Take, for example, his portrait of Chopin. We see that “Chopin's face is shaded. His expression is such that it seems as if the composer is completely absorbed in experiences, plunged into himself, went into his subjective world. Perhaps music sounds or is born in his soul. The coloring of the portrait is gloomy, almost monochrome. But on a dark background, like an expression of intense spiritual life, white, red, ocher strokes flicker. Modesty, muted color make you focus exclusively on facial expressions. The shading and vagueness of the outlines of the face emphasizes the meaning internal state hero, give an idea of ​​the richness, richness and intensity of his spiritual life.

Further development of the principles of musical painting leads to the rejection of objectivity. In the work of V. Kandinsky, lines, paints, spots on canvas become means of conveying emotional and musical content. The artist created a dictionary of colorful and musical correspondences. Colors were understood by Kandinsky as the musical sounds of certain musical instruments and associated with them. In the treatise "On the Spiritual" (1911), the founder of lyrical abstractionism gives the following description of the color spectrum:

Yellow is the sound of a trumpet at high notes; Orange - middle bell or viola (violin, voice); Red - fanfare, obsessive, strong tone; Purple - cor anglais, bassoon; Light blue - cello; Deepening of the blue - double bass, organ; Green - violins in the middle register; White - silence, pause, the sound of the earth when it was covered with ice; Black - a pause, but of a different nature - "a corpse that lies beyond all events."

The painting of Kandinsky, as well as the music of Scriabin", which was created in the same years, served as the basis for the creation of a new light-color-musical synthesis, which has been developed thanks to technical achievements in our time.

The most interesting experience of anticipating the compositional and formal features of music when creating paintings belongs to the Lithuanian artist and composer M. Čiurlionis (1875-1911). Čiurlionis' painting is a kind of visible music. Some of his cycles paintings called by I.M. “sonatas” (“Sonata of the Sea”, “Sonata of the Sun”, “Sonata of Spring”, etc.) and built by analogy with the structure of the sonata-symphony cycle. They consist of three or four parts: Allegro, Andante, Scherco? Finale. The composition, rhythm, emotional-figurative structure of each of the parts corresponds to the pace and character of the parts of the "Nat-symphonic" cycle.

So, for example, "Sonata of the Sea" consists of three parts. The first part - Allegro and the final - Finale - depict the sea - stormy, restless, swift. We see the rising waves and, as it were, hear their roar and howl of the wind. In the finale, “a giant wave that shot up diagonally of the picture, like a powerful sound explosion of an orchestra, shaking with its energy and strength. Its crest crosses the row of waves spreading behind it. And below, at its foot, in sharp, steep, oppositely directed movements, small boats seem to be dancing. The water foam on the wall of the wave forms the translucent initials of Čiurlionis. A moment - and they will disappear along with the boats swallowed up by the wave ”(2). The middle part is Andante. Calm and serene. The sea rests mysteriously. On the horizon spotlights burn like eyes fabulous monster, in the underwater kingdom of which ruins and the remains of sunken ships lie. Introduction to the theory of artistic culture Textbook. - St. Petersburg: 1993

1.3. Music and literature

Music and literature had a great influence on each other. Music is also characterized by processuality, which makes it related to other arts that are temporary in nature - theater and cinema. Descent and ascent, approach and removal, movement and rest, pulse beat and sensation of rotation, oscillation, aspiration - all this is manifested to one degree or another in any piece of music. Here the ship of Sinbad the Sailor (Scheherazade by Rimsky-Korsakov) is swaying on the waves, a boat is smoothly sliding along the waters of the canal (songs of the Venetian gondoliers by Mendelssohn), a rider is galloping at full speed on a hot horse (Schubert’s song The Forest King), but here it is rushing high-speed locomotive "Pacific 231" (Honegger's symphonic piece of the same name). Sometimes the procedural properties of music are emphasized by the characteristic genre subtitle of the work, for example "perpetuum mobile" - "perpetual motion". Each era leaves not only a stylistic or genre imprint on musical art, but also gives it its own type of musical movement and its own sense of musical time. Is it possible to compare the smooth, unhurried development of a medieval Gregorian chant with the frantic pace and nervous rhythms of the music of the 20th century?

Sounds - construction material, from which the musical space is composed - can only be realized in time (after all, even one sound, in order to arise and be perceived, must last for an instant). In the “sound-time” system, all the most important elements of music arise and operate: melody, mode and harmony, metrorhythm, texture, and some of them, for example, melody, can arise only at the intersection of both “coordinates” - sound and time. The elements of the musical language act together, in a certain system, where each of them plays its own expressive, semantic and constructive role. The system of musical expressive means is called the musical language. However, this name does not seem to be entirely accurate - it would be more accurate to draw an analogy not with language, but with speech, which more directly reflects the temporal and communicative nature of music. Like speech, music is based on the interaction of two factors - continuity and dismemberment; it is a flow of information organized according to the laws of syntax. The role of punctuation marks in music is played by caesuras, pauses, stops at long sounds, cadences that separate semantic and structural constructions from each other - motives, phrases, sentences, periods. They, like phrases, phrases, sentences, paragraphs in verbal speech, line up in a certain hierarchy and contain certain meaning- but the meaning is not conceptual, but musical, covering many aspects of perception, including emotional. Introduction to the theory of artistic culture Textbook. - St. Petersburg: 1993

Sound and word continued to enrich each other in religious chants, masses and liturgies, cantatas and oratorios, songs and romances. Even instrumental music, having separated from the word and gesture, often carried the burden of speech intonations, oratorical pathos, periodically turned to literature, to literary plots and images. This appeal led to the creation of a special branch of musical art - the so-called program music. Programming is especially indicative of the music of the era of romanticism. Kabalevsky D. Music in grades 4-7 Moscow, Education, 1986.

Many works of romantic music have literary basis or in the form of a detailed plot, narration (as in G. Berlioz's "Fantastic Symphony"), "soil" from which musical images grow. Such are many of the works of F. Liszt: the symphony "Faust", the piano pieces "Petrarch's Sonnet No. 104", "After reading Dante"; B. Smetana: symphonic poems "Richard III", "Wallenstein's Camp"; P. Tchaikovsky: “Manfred”, overture-fantasy “Romeo and Juliet”, etc. In this case, the composer, as it were, talks about his impressions of a literary work in the language of instrumental music.

It is also possible to convey complex, philosophical ideas in music. An attempt to put such ideas into the program of a musical work, given in the form of author's remarks-notations musical themes. ("the theme of dreams", "the theme of creations", "the theme of self-affirmation", "the theme of will", "the theme of disturbing rhythms", "the theme of longing"), to show the development of these themes-ideas, their collision, interaction, confrontation was undertaken by A. N Scriabin in the famous "Poem of Ecstasy". In addition to these designations given by the composer, after the score of the poem has been completed and submitted for printing, there is also a poetic text of the poem composed by the composer.

"The results of influence t literature on music, as we see even from this brief and far from complete presentation, are interesting and fruitful. No less impressive was the impact of music on literature. Such an impact is most indicative of romantic and symbolist art, as well as literature of the 20th century.

Romantic literature, focusing on music as the most romantic of the arts, becomes a mirror of the artist's soul (recall the Hearty Outpourings of a Hermit - - an art lover"), his lyrical "Diary, confession. Prose becomes lyrical, turns into a" Biography of feelings ".

The poetry of the romantics becomes musical, - the rhythmic and intonation-melodic beginning intensifies in it. Heine wrote: rhyme corresponds to poetic “feeling, musical significance which is especially important. Extraordinary, vivid rhymes, as it were, contribute to "a richer instrumentation, which is designed to especially highlight this or that feeling in a lulling melody, just like the gentle tones of a forest horn are suddenly interrupted by trumpet sounds." This is how the term "instrumentation of a verse" appears, later included in literary criticism Kabalevsky D. Music in grades 4-7 Moscow, Enlightenment, 1986.

Finally, music as an element of feelings, an object of description and reflection, becomes a constant theme of romantic literature and poetry. Very indicative in this regard is the work of E. T. A. Hoffmann, a universally gifted person, writer, composer, conductor and painter. The theme of music in all its various variations and nuances becomes pervasive in his literary works (short stories: "Cavalier Gluck", "Musical Sufferings of Johannl Kreisler, Kapellmeister", dialogue "Poet and Composer", "Fragments of the Biography of Johannes Kreisler" as part of the novel "Everyday views of the cat Murr.

The desire to imitate music also affects the formal and constructive basis of romantic literature. The literary works of some romantic writers, especially Hoffmann, are often built according to the laws of musical form. As V. V. Vanslov notes, “it can be said that the Hoffmann’s Serapion Brothers are built according to the suite principle, in “ worldly views Cat Murr” features of the sonata scheme can be traced, and the stories “Adventures on the Eve of the New Year” and “Robbers” are, as it were, variations or paraphrases on the themes of Chamisso and Sh, etc............ ...