musical portraits. Musical portrait - every person sounds! Message on the subject of musical portrait

Lesson summary

TeacherArkhipovaNS

Item Music

Class 5

Theme: Musical portrait. Can music express a person's character?

Lesson Objectives: To be able to compare works of painting and music; respond emotionally to a piece of music and be able to address the inner world of a person through musical and visual images.

Lesson objectives:

Cultivate interest and love for musical and visual arts.

To introduce the genre of musical portrait.

Compare works of music and painting.

Show how different types of art - literature, music and painting - in their own way and independently of each other embodied the same life content.

Expected Results (PLE)

subject

The development of inner hearing and inner vision as the basis for the development of creative imagination;

Deepening students' ideas about the visual properties of music with the help of a comparative analysis of a piece of music - "The Song of Varlaam" by M. Mussorgsky and fine art - Repin's painting "Prototyakon";

Metasubject

Regulatory

. own the ability to set goals in setting learning objectives in the process of perception, performance and evaluation of musical compositions.

.to plan own actions in the process of perception, performance of music.

cognitive

. reveal expressive possibilities of music.

. find

. assimilate dictionary of musical terms and concepts in the process of musical

activities

communicative

transmit own impressions of music, other art didas in speech and writing

.perform songs with a group of classmates

Personal

. to express their emotional attitude to musical images in singing, while listening to musical works.

. be able to comprehend the interaction of arts as a means of expanding ideas about the content of musical images, their influence on the spiritual and moral development of the individual;

understand life content of a piece of music.

subject

Developing the ability to reveal the properties of "picturesque music" through the masterful use by composers and performers of the colors of musical speech(register, timbre, dynamic, tempo-rhythmic, modal)

Metasubject

. find community of music and other arts

Personal

.be able to comprehend interaction of arts as a means of expanding ideas about the content of musical images, their influence on the spiritual and moral development of the individual

Lesson type: combined - learning a new topic using ICT.

Lesson Form: dialogue.

Music material of the lesson:

M. Mussorgsky. Song of Varlaam. From the opera "Boris Godunov" (hearing).

M. Mussorgsky. Dwarf. From the piano cycle "Pictures at an Exhibition" (listening).

G. Gladkov, poetry Y. Entina. Song about pictures (singing).

Additional material: portraits of composers, reproductions of paintings, textbook 5th grade "Art. Music" T.I. Naumenko, V.V. Aleev

During the classes:

Organizing time.

The goal to be achieved by the student:

Prepare for productive work in the classroom.

The goal the teacher wants to achieve is:

Help prepare students for productive work.

Tasks

Create a positive emotional mood;

Help to take the correct working posture;

Sit properly. Well done! Let's start the lesson!

Entering the topic of the lesson and creating conditions for the conscious perception of new material

Communicative UUD:

Ability to listen and reflect.

Personal UUD:

Formation of interest in music lessons.

- Read the epigraph to the lesson. How do you understand it?

Board writing:

"Let the moods remain the main essence of musical impressions, but they are also full of thoughts and images."

(N.A. Rimsky-Korsakov)

Determining the topic of the lesson and setting the learning task.

Purpose: readiness and awareness of the need to build a new way of doing things

What do you think the lesson will be about today?

- What do you guys think, can music express a person's character, can it do it? This is the question we will try to answer today.

– Today you will get acquainted with the genre - the genre of musical portrait (Slide).

Stage of primary fixation

Cognitive UUD:

Introduction to new music:

Regular UUD:

Ability to listen and analyze the nature of a piece of music;

The ability to compare, see the common and difference;

The ability to see the problem and the desire to find answers to the questions posed.

Communicative UUD:

The ability to listen to the opinion of comrades and express their own opinions.

Personal UUD:

Recognize and respond emotionally to the expressive features of music;

Looking at the picture, we include all our senses, and not just vision. And we hear, not only see what is happening on the canvas.

A portrait in literature is one of the means of artistic characterization, consisting in the fact that the writer reveals the typical character of his heroes and expresses his ideological attitude towards them through the image of the appearance of the heroes: their figures, faces, clothes, movements, gestures and manners.

In the visual arts, a portrait is a genre in which someone's appearance is recreated. Together with the external similarity, the portrait captures the spiritual world of the depicted person.

Do you think music can paint a portrait and express the character of a person, his spiritual world, his experiences? (Composers, creating a musical portrait, convey the thoughts and feelings of their characters with the help of musical intonation, melody, and the nature of the music.).

Musical portrait - This is a portrait of the character of the hero. It inextricably merges the expressiveness and pictorial power of the intonations of the musical language. (Slide).

Pushkin's work was also to the liking of the 19th century Russian composer Modest Petrovich Mussorgsky

Biography of the composer

Modest Mussorgsky was born on March 21, 1839 in the village of Karevo, Toropetsky district, on the estate of his father, a poor landowner Peter Alekseevich. Mom, Yulia Ivanovna, was the first to teach him to play the piano. At the age of ten, he, along with his older brother, came to St. Petersburg: to enter the School of Guards Ensigns. After graduating from the School, Mussorgsky was assigned to the Preobrazhensky Guards Regiment. Modest was seventeen years old. One of the comrades-transformers, who knew Dargomyzhsky, brought Mussorgsky to him. The young man immediately captivated the musician not only with his piano playing, but also with free improvisations, where he met Balakirev and Cui. Thus began a new life for the young musician, in which Balakirev and the Mighty Handful circle occupied the main place. Soon, the period of accumulation of knowledge was replaced by a period of active creative activity. The composer decided to write an opera in which his passion for large folk scenes and for depicting a strong-willed personality would be embodied.

While visiting Lyudmila Ivanovna Shestakova, Glinka's sister, Mussorgsky met Vladimir Vasilyevich Nikolsky from her. He was a philologist, literary critic, specialist in the history of Russian literature. It was he who drew Mussorgsky's attention to the tragedy Boris Godunov. Nikolsky expressed the idea that this tragedy could become a wonderful material for an opera libretto. These words made Mussorgsky think deeply. He plunged into reading Boris Godunov. The composer felt that an opera based on "Boris Godunov" could become a surprisingly multifaceted work.

By the end of 1869 the opera was completed. Mussorgsky dedicated his brainchild to his circle comrades. In the dedication, he expressed the main idea of ​​the opera in an unusually vivid way: "I understand the people as a great personality, animated by a single idea. This is my task. I tried to solve it in the opera."

Then there were many more works that are worthy of attention. On March 28, 1881, Mussorgsky died. He was barely 42 years old. World fame came to him posthumously.

The opera "Boris Godunov" turned out to be the first work in the history of world opera, in which the fate of the people is shown with such depth, insight and truthfulness.

The opera tells about the reign of Boris Godunov, a boyar who was accused of murdering the rightful heir to the throne, the little prince Dmitry.

Our attention in today's lesson will be riveted to the most interesting character of the opera - Varlaam.

Varlaam sings a song about the siege of Kazan by the troops of Ivan the Terrible.

Now let's see how the composer described this person in music. Listen to the musical speech of the hero in such a way as to imagine his appearance and his character.

- Let's listen to how Varlaam sings his famous song "How it was in Kazan in the city."

Listening to Varlaam's song from the opera Boris Godunov by MP Mussorgsky. (Slide).

The sound of the Song of Varlaam recorded by F. I. Chaliapin (in passing we perform the task: listen to the musical speech of the hero so as to imagine both his appearance and his character, pay attention to the voice of the actor).

– How do you imagine Varlaam singing such a song?

How does the character of the performance and the character of the musical language betray the character and even the appearance of this person? (violent, loud music...)

Now open the textbook, paragraph 23, p. 133 and look at Ilya Repin's painting "Protodeacon"

Guys, look carefully at the picture of Ilya Repin "Protodeacon", who you see in front of you, describe. ( Before us is a portrait of the protodeacon - this is such a spiritual rank in the Orthodox Church. We see an elderly man, with a long gray beard, overweight, he has an angry expression / which is given to him by arched eyebrows. He has a large nose, large hands - in general, a gloomy portrait. He probably has a low voice, maybe even a bass.)

You correctly saw everything and even heard his low voice. So, guys, when this picture appeared at the exhibition of the Wanderers, the famous music critic V. Stasov saw on it a character from Pushkin's poem "Boris Godunov" - Varlaam. Modest Petrovich Mussorgsky reacted in the same way, when he saw the "Protodeacon" he exclaimed: "So this is my Varlaamishche!"

What is common between Varlaam and Protodeacon? (These are images of imperious, tough people, monks and priests, typical of Ancient Rus').

Comparative table of expressive means.

I. Repin painting "Protodeacon"

M. P. Mussorgsky "The Song of Varlaam"

A huge figure, holding a hand on his stomach, a gray beard, eyebrows shifted, a red face. Dark colors. The character is haughty and domineering.

Dynamics: loud music, melody - jumps up, timbre - brass. Singing voice - bass. The nature of the performance - cries at the end, a rough manner of performance.

One important feature is inherent in the painting and opera: it is the ability to show the character of a person with a word, music, image.

What do a painting and a song have in common?

D - What is common between the picture and the song is that they show unbridled temper, rudeness, a tendency to gluttony and revelry.

You are right, because this is a collective image. There was such a type of people in Rus' at that time. Common is not only external similarity, but also certain character traits. The main thing between them is the unbridled temper, the rudeness of nature, the tendency to gluttony and revelry.

What helped the composer and artist, independently of each other, to create such similar images? (Such people were in Rus'.)

In the portrait of the “Protodeacon”, I. E. Repin immortalized the image of deacon Ivan Ulanov, from his native village of Chuguevo, about whom he wrote: “... nothing spiritual - he is all flesh and blood, pop-eyed, yawning and roaring ...”.

With what colors did the artist paint this portrait? (An artist using saturated colors, where darker colors predominate.)

Despite the different means of expression, in fine arts - these are colors, in literature - the word, in music - sounds. All of them told, showed about one person. But all the same, the music emphasized and prompted those aspects that would not have been immediately paid attention to.

Vocal choral work

Cognitive UUD

Acquaintance with the melody and words of the new song

Communicative UUD

Interaction with the teacher in the process of musical and creative activity;

Participation in the choral performance of a piece of music.

Personal UUD:

Formation of performing skills;

The embodiment of the nature of the song in his performance through singing, word, intonation.

chanting.

Phrase learning

Singing difficult melodic turns.

Work on the text.

The song that will help us remember the names of the genres of art is called "Song of Pictures" by composer Gennady Gladkov.

Listening to a song.

What genres of painting are sung about in the song?

In music, what are the genres?

Singing in chorus.

Think and say, each of you could become the hero of a portrait?

Many of you acted as artists and drew portraits of your friends

What form is the song in?

What way?

What pace?

Give the name of this song. (children's answers)

Why does the song have this title?

3. Musical images

- We got acquainted with two completely different vocal portraits, and the next musical image will sound without words. This is the work "Gnome" from the piano cycle of M.P. Mussorgsky's "Pictures at an Exhibition" is a musical portrait of a small fairy-tale creature, executed with extraordinary artistic power. It was written under the impression of a painting by V. Hartmann, a close friend of the composer.

Mussorgsky remembered a sketch of a Christmas decoration - a gnome, a small clumsy freak with crooked legs. This is how the artist depicted the nutcracker. ---Listen to this play and think about the mood of the gnome, what is his character, what do you imagine to this music?

Sounds like "Gnome" by MP Mussorgsky. (children's answers)

- Guys, how did the gnome appear to you? ( In the music one can hear both a limping gait and some sharp, angular jumps. It is felt that this dwarf is lonely, he suffers.)

· The play by MP Mussorgsky is very picturesque. Listening to her, we clearly imagine how a little man, waddling, ran a little and stopped - it's hard to run on such short and thin legs. Then he got tired, walked more slowly and still as diligently and clumsily. It looks like he's even angry with himself for it. The music broke off. Fell, probably.

Guys, if you were artists, then after listening to this music, what colors would you depict this gnome with?

That's right, it moves really angularly, in jumps. The funny gnome is turned by the composer into a deeply suffering person. You could hear him moaning, complaining about fate. He was pulled out of his native fairy-tale element and given to people for fun. The dwarf tries to protest, fight, but a desperate cry is heard ... Guys, how does the music end? ( It does not end as usual, it kind of breaks off.)

You see, guys, "Gnome" is not just an illustration of the picture, it is a deeper image created by the composer.

Independent work

Cognitive UUD

Developing the ability to comprehend the information received.

Regular UUD:

Awareness of what has already been learned and what needs to be further learned

Evaluation of the quality of assimilation.

Communicative oud:

Interaction in the process of checking the results of work.

Personal UUD

Formation of a positive attitude and interest in musical activities

And now you have to take the test, and then evaluate your work yourself

Who evaluates their work on "5" and "4"?

Homework

CognitiveUUD

Music Search

Regulatory UUD

Goal setting.

What musical genres are most capable of conveying the portrait features of the hero?

Listen to homework.

"Diary of Musical Observations" - pp. 26-27.

LIST OF USED LITERATURE 1. Abyzova E.N. "Pictures at an Exhibition". Mussorgsky - M.: Music, 1987. 47s. 2. Abyzova E.N. "Modest Petrovich Mussorgsky" - 2nd edition M .: Muzyka, 1986. 157 p. 3. Vershinina G.B. "... Free to talk about music" - M .: "New School" 1996 p.192 4. Frid E.L. "Modest Petrovich Mussorgsky": Popular monograph - 4th ed.-L.: Music, 1987. p.110 5. Feinberg S.E. "Pianism as an art" - M.: Music, 1965 p.185 6. Shlifshtein S.I. "Mussorgsky. Artist. Time. Fate". M.: Music. 1975

Preview:

Methodological development of a lesson on the subject of Music

Grade 3, lesson No. 7 (“Music” by G. P. Sergeeva, E. D. Kritskaya)

Subject: Portrait in music

Goals:

Educational

• formation of an emotional attitude to music, understanding of music;
• development of speech culture;
• comparison of musical images and evaluation of characters.

Educational

• perception of musical images;
• the ability to distinguish musical fragments;
• the ability to compare facts, analyze and express one's point of view.

educational

• deepen knowledge about the means of musical expression - dynamic shades, strokes, timbre, intonation;
• the use of the acquired knowledge in the preparation of a musical portrait.

Lesson objectives:

• to form a culture of the listener;
• give the concept of expressive and pictorial intonations;
• introduce the means of musical expressiveness (timbre, dynamics, strokes), their role in creating a character, image;
• instill positive character traits in children.

Lesson type: use and consolidation of acquired knowledge

Planned results

Subject:

• the formation of the ability to conduct an intonational-figurative analysis of the work.

Personal:

• be tolerant of other people's mistakes and other opinions;
• not be afraid of your own mistakes;
• understand the algorithm of its action.

Metasubject:

Regulatory

• independently recognize the expressive and visual features of music;
• accept and retain learning tasks;
• be involved in the problem solving process.

cognitive

• with the help of a teacher, navigate in their system of knowledge and realize the need for new knowledge;
• understand the artistic and figurative content of a musical work;

Communicative

• the ability to hear, listen and understand others, to participate in a collective performance.
• to distinguish in musical portraits figurativeness and expressiveness;
• independently reveal the means of musically figurative embodiment of the characters.

Concepts and terms that will be introduced or consolidated during the lesson:

portrait in music, intonation, expressiveness, figurativeness.

Forms of work in the lesson:

listening, intonational-figurative analysis, choral singing.

Educational Resources:

• Textbook “Music. Grade 3 "authors E.D. Kritskaya, G.P. Sergeeva; 2017
• CD-ROM “Complex of lessons in music. Grade 3"
• Phonochrestomathy. Grade 3;
• piano.

Technological map of the lesson

During the classes

1. Organizing time.

Teacher: Hello guys!

To see a smile and a joyful look -

Here it is happiness, so they say!

Check if everyone is ready for the lesson.

1. Statement of the educational task.

Teacher: In the last lesson, we talked about how music describes the morning in nature.

One of the works depicted the beauty of morning nature, and the other expressed the feelings of a person in the morning. Do you remember what these pieces of music were called?

Children's answers: P. Tchaikovsky "Morning Prayer", E. Grieg "Morning"

Teacher: If music speaks about the feelings of a person, then it has ....

Children's answers: expressiveness.

Teacher : And if, while listening to music, we "see" pictures of nature, "hear" her voices, then it has ....

Children's answers: figurativeness.

Teacher: Can music portray the person himself?

Children's answers...

Teacher: What is the name of the person in the artist's painting? In music?

Children's answers: Portrait.

Teacher: Right. The topic of our lesson is Musical Portrait.

1. Knowledge update

Teacher: Look at the picturesque portrait, what can he tell us?

(Work with a portrait of the composer S. Prokofiev)

Children's answers: about a person's appearance, age, clothes, mood ...

Teacher: Can music describe a person's appearance, age, clothing?

Children's answers: No, just the mood.

Teacher: The epigraph or introduction to our lesson says: "A person is hidden in every intonation." How can music represent a person?

Children's answers: With intonation.

Teacher: But they must be very expressive so that we can understand them.

Singing "Different guys" (performed by groups)

1. Assimilation of new knowledge and ways of action

Teacher: Today we will get acquainted with two musical portraits, they were created by the composer S. Prokofiev (notebook entry). Let's read the poem that became the basis for one of them.

Reading Agnia Barto's poem "Chatterbox"

That chatterbox Lida, they say,
This Vovka invented.
And when should I talk?
I don't have time to talk!

Drama circle, photo circle,
Horkruzhok - I want to sing,
For the drawing circle
Everyone voted too.

And Marya Markovna said,
When I walked yesterday from the hall:
Drama circle, photo circle
It's too much of something.

Take your pick, friend
Just one circle."

Well, I chose from the photo...
But I still want to sing
And for the drawing circle
Everyone voted too.

And what about the talker Lida, they say,
This Vovka invented.
And when should I talk?
I don't have time to talk!

Teacher: Describe the heroine of the poem!

Children's answers: A little girl, a schoolgirl, pretty, cheerful, but too talkative, her name is Lida.

Teacher: What musical intonations can express Lida's character?

Children's answers: light, bright, fast ...

Teacher: What musical intonations can represent her movements or voice?

Children's answers: very fast, hasty, like a tongue twister.

Teacher: Let's listen to the song that the composer turned out.

Listening to a song.

Teacher: How did the music create Lida's portrait? What character does she have?

Children's answers: Kind, cheerful mood and very fast speech.

Teacher: What is the name of this song?

Children's answers: Cheerful talker ...

Teacher: Let's note in the notebook (notebook entry: "Chatterbox Lida", the girl's speech is shown)

1. Actualization of acquired knowledge

Teacher: And if there are no words in music, it is performed only by musical instruments, can it create an image of a person?

Children's answers...

Teacher: Now we will listen to another musical portrait, and you guess whose it is. And the music will tell us - if she talks about a man, marching will appear in it, if about a woman - dancing, if the hero is an adult, the music will sound serious and heavy, if a child - playfully and easily.

Listening to a musical fragment by S. Prokofiev "Juliet - a girl"

Children's answers: Music speaks of a woman, there is danceability in it, the heroine is a young or little girl, the music sounds fast, easy, fun.

Teacher: What can you do with music?

Children's answers: dance, play, jump or run.

Teacher: All right. This heroine's name is Juliet, and we listened to a fragment of the ballet "Romeo and Juliet", which tells the love story of very young heroes. And Juliet is depicted at the moment of waiting for a meeting with her lover, so she does not sit still, and she really runs, and jumps, and dances with impatience. Do you hear?

Repeated listening to a fragment

Teacher: What did the music depict more: the movements or the speech of the heroine?

Children's answers: Movement

Teacher: Let's write down: "Juliet", movements are shown (notebook entry)

1. Homework

The drawing is a mystery. Draw one item that belongs to either Chatterbox Lida or Juliet.

1. Vocal and choral work

Teacher: And in chorus, can we create someone's portrait?

Children's answers...

Teacher: Let's sing a song about a little puppy who went for a walk.

Repetition of the words of the song in groups:

1st verse - 1st row, 2nd verse - 2nd row, 3rd verse -3rd row, 4th verse - all.

Work on cantilena performance of the melody in verses and jerky sound in the chorus.

Performance of the song.

1. Summarizing. Reflection

Teacher. What was unusual/interesting in the lesson?

Children's responses...

Teacher. Have we completed all the tasks?

Children's responses...

Teacher. What did you like or dislike the most?

Children's responses...

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learning goals(goals of the LE of students):

To master the knowledge of the concept of “portrait” in a piece of music;

To master the knowledge of the concept of "expressiveness" and "figurativeness";

To develop the ability to determine by ear what kind of musical “portrait” the composer created using the example of S. S. Prokofiev’s work;

The student correctly reproduces the definition of the concept of “portrait” in music;

The student correctly reproduces the definition of the concept of “expressiveness” and “pictoriality”;

He will be able to determine by ear what kind of portrait, image the music has drawn for us.

Pedagogical goals:

learning:

1. Organize the UD of students:

By mastering the concept of “portrait” in music;

By mastering the concepts of “expressiveness” and “pictoriality”;

By mastering various expressive means used by composers to create “portraits” in music;

By developing the skills to hear various musical images of heroes in specific musical works;

2. Development: to promote the development of the imagination and fantasy of students when they realize “portraits” in music;

3. Education: to create conditions for the formation of an emotional and value attitude to works of art based on the perception and analysis of musical and literary images.

Pedagogical tasks.

Organize:

• familiarization of students with the definition of the concept of “portrait” in music;
• understanding the features of the musical image;
• the activity of students in developing the ability to identify a musical image by ear;
• discussion with students about what feelings, emotions, impressions they have when listening to certain pieces of music;
• reflective assessment of the results of students' learning activities

Lesson type: combined

Lesson equipment: a audio and video equipment; presentation.

During the classes

Children enter the office to the music “Morning” from the suite “Peer Gynt” by E. Grieg (slide No. 1 - background)

Portrait in literature and music

A good painter must paint two main things: a person and a representation of his soul.

Leonardo da Vinci

We know from experience in the fine arts how important the appearance of the model is to a portrait. Of course, the portrait painter is interested in the latter not in itself, not as an end, but as a means - an opportunity to look into the depths of the personality. It has long been known that the appearance of a person is connected with his psyche, his inner world. Based on these relationships, psychologists, doctors, and just people with developed powers of observation and the necessary knowledge “read” information about a person’s mental properties from the iris of the eye (the eyes are the “mirror of the soul”, “window of the soul”, “gate of the soul”), features face, hand, gait, mannerisms, favorite posture, etc.

Most of all, a person's face can tell. not without reason believed that the face is the "soul of man"; as the Russian philosopher said, "it's like a navigator's map." Lido is the "plot" of the book "Personality". It is no coincidence that changing a face sometimes means turning into a different person. This interdependence of the external and internal gave impetus to the artistic imagination of writers - V. Hugo in "The Man Who Laughs", M. Frisch in "I Will Call Myself Gantenbein". It is the disfigurement of the face that seems to the hero of D. Oruzll's novel "1984" to be the final destruction of his personality. The hero of Kobo Abe's novel Alien Lido, forced by circumstances to make himself a mask, begins to live a double life under its influence. The mask that hides the face is the right to a different “image”, a different character, a different value system, a different behavior (remember Souvestre and M. Allen and film versions of their books, the plot of The Bat by I. Strauss ...).

Given how much physical description can tell, writers often use it to characterize a character. A masterfully made description makes the appearance of the character almost “alive”, visible. We seem to see individually unique provincials of "Dead Souls". The heroes of L. Tolstoy are embossed.

Not only how a person looks, but also the environment around him, the circumstances in which he exists, also carry information about the character. This was well understood, for example, by Pushkin, introducing Onegin to the reader in the first chapter of his novel, in verse. The author has few expressive touches of the character’s personal “I” (“a young rake”, “dressed like a London dandy”), and it is supplemented by many details of Onegin’s upbringing, his social life with balls, theaters, flirting, fashion, salons, dinners.

Obviously, the ability of the "circumstances of action" to testify about people found its extreme expression in the short story of the modern German writer Hermann Hesse "The Last Summer of Klingsor". The artist Klingsor, in order to write a self-portrait, refers to photographs of himself, parents, friends and lovers, for successful work he needs even stones and mosses - in a word, the whole history of the Earth. However, art has also tried another extreme - the complete cutting off of the environment from the person, which we see on the canvases of the great painters of the Renaissance: in Leonardo da Vinci, Raphael, the pictures of nature are deliberately distant from the large faces that attract the attention of the viewer. Or we hear in operas: the central aria-portrait of Onegin “You wrote to me, don’t deny it” is in no way connected with the everyday sketches surrounding it - the song of the girls “Girls, beauties, darlings, girlfriends”; confessing his feelings to Lisa Yeletsky in Tchaikovsky's The Queen of Spades, as if he does not notice the bustle of the noisy ceremonial St. Petersburg ball. Contrast organizes the attention of the viewer or listener, directing it to the “close-up” and relaxing it in the “background”.

Describing the color of hair and eyes, height, clothing, gait, habits, circumstances of the hero's life, the writer does not at all seek to create a "visual range" of a work of art. His true goal in this case (and completely conscious) lies much further: to consider the human soul in external signs. Here is how the great French portrait painter of the 18th century, Quentin de Latour, said about this: “They think that I capture only the features of their faces, but without their knowledge I plunge into the depths of their soul and take it entirely.”

How does music portray a person? Does it embody the visible? To understand this, let's compare three portraits of the same person - the outstanding German composer of the late XIX - early XX centuries, Richard Strauss.

This is how (by no means an angel, but a living person) Romain Rolland saw him: “He still looks like an adult distracted child with pouted lips. Tall, slender, rather elegant, arrogant, he seems to belong to a finer race than the other German musicians among whom he is found. Contemptuous, satiated with success, very demanding, he is far from being with the rest of the musicians in peace-loving modest relations, like Mahler. Strauss is no less nervous than he is... But he has a great advantage over Mahler: he knows how to rest. it has features of Bavarian looseness. I am sure that after the expiration of those hours when he lives an intense life and when his energy is expended extremely, he has hours, as it were, of non-existence. Then you notice his wandering and half-asleep eyes.

Two other portraits of the composer - sound ones - were "painted" by him in the symphonic poem "The Life of a Hero" and in the "Home Symphony". Musical self-portraits are in many ways similar to the description of R. Rolland. However, let's think about which aspects of the personality are "voiced". It is unlikely that, listening to music, we would have guessed that the prototype is “tall, slender, rather elegant”, that he has “the appearance of an adult sensible child with pouted lips” and “wandering and sleepy eyes”. But here are other features of Strauss-man, revealing his emotional world (nervousness, slight excitability and drowsiness) and important character traits (arrogance, narcissism) are convincingly conveyed by music.

Comparison of the portraits of R. Strauss illustrates a more general pattern. The language of music is not particularly conducive to visual associations, but it would be reckless to completely discard such a possibility. Most likely, the external, physical parameters of the personality can only partially be reflected in the portrait, but only indirectly, indirectly, and to the extent that they are in harmony with the mental properties of the personality.

It is easy to make one more observation. A picturesque portrait seeks to capture the deepest personality traits through appearance, while a musical portrait has the opposite possibility - “grasping the essence” of a person (his emotional nature and character), allows enrichment with visual associations. The literary portrait, occupying an intermediate place between them, contains an informative description of both the appearance and the emotional-characteristic "core" of the personality.

So, any portrait contains emotion, but it is especially significant in a musical portrait. We are convinced of this by a noticeable phenomenon in the world musical culture - miniatures by the French composer of the late 17th - early 18th centuries Francois Couperin, composed for the forerunner of the modern pianoforte, the harpsichord. Many of them depict people well known to the composer: the wife of one of the organists of the royal church, Gabriel Garnier ("La Garnier"), the wife of the composer Antoine Forcret ("Magnificent, or Forcret"), the bride of Louis XV Maria Leszczynska ("Princess Marie") , the young daughter of the Prince of Monaco, Antoine I Grimaldi ("Princess de Chabay, or the Muse of Monaco"). Among the “models” there are people who obviously surrounded the composer (“Manon”, “Angelica”, “Nanette”), and even relatives. In any case, the method of recreating a human personality is the same: through individual emotion. His Manon is cheerful and carefree, solemnly majestic appears in the ceremonial portrait of Antonin, Mimi's appearance is painted in more lyrical tones. And all of them are like a continuation of the portrait gallery collected in the book of the great writer and philosopher Jacques de La Bruyère "Characters, or Morals of the present century."

An opera aria is also located to a detailed description of the emotional world of a person. It is curious that in the Italian opera of the 17th - early 18th centuries, a tradition developed to single out the main emotion of the character in the aria, the main affect. The main emotions gave life to the types of arias: arias of sorrow, arias of anger, arias of horror, arias-elegies, bravura arias and others. Later, composers try to convey not one all-encompassing state of a person, but a complex of emotions inherent in him, and thereby achieve a more individual and deep characterization. Such as in the cavatina (that is, the exit aria) of Lyudmila from the opera Ruslan and Lyudmila by Glinka. The composer is clearly inspired by Pushkin's image:

She is sensitive, modest,

Faithful conjugal love,

A little windy ... so what?

She is even cuter.

Ludmila's aria consists of two sections. The first, introductory, - an appeal to the father - is imbued with light sadness, lyricism. The wide melody, sounding at a slow pace, is interrupted, however, by flirtatious phrases.

In the second, main section, we learn the main features of the heroine: cheerfulness, carelessness. Accompanied by "dancing" polka chords, the melody quickly overcomes complex leaps and rhythmic "slips" (syncopes). Ringing, shimmering high coloratura soprano Lyudmila.

Here is another musical portrait, "written" already without the participation of the voice - the play "Mercutio" by Sergei Prokofiev from the piano cycle "Romeo and Juliet". Music radiates overflowing energy. Fast tempo, elastic rhythms, free transfers from the lower register to the upper register and vice versa, bold intonation breaks in the melody “revive” the image of a merry fellow, a “daring young man” who “talks more in one minute than he listens to in a month”, a joker, a joker, not able to remain idle.

Thus, it turns out that a person in music is not simply endowed with some emotion invented by the author, but certainly with one that is especially indicative of the original (literary prototype, if such, of course, exists). And one more important conclusion: realizing that “one, but fiery passion” nevertheless schematizes the personality, “drives” it into a two-dimensional planar space, the composer tries to come to a certain set of emotional touches; the multi-colored "palette" of emotions allows us to describe not only the emotional world of the character, but, in fact, something much more - the character.

Municipal educational institution

Bolshevskaya secondary school №6

with in-depth study of subjects

artistic and aesthetic cycle

__________________________________________________________

"Musical Portrait"

Open lesson in 6th grade

Seminar

"Creative development of the individual at the lessons of the KhEC"

Music teacher

Shpineva V.I.,

Korolev

2007

TOPIC of the lesson: Musical portrait (grade 6).

The purpose of the lesson : the formation of students' concept of a musical portrait and artistic means of creating a portrait in various types of art.

Tasks:

expanding the general cultural horizons of students;

formation of a culture of singing;

the formation of a deep, conscious perception of works of art;

development of artistic taste;

education of creative activity.

Lesson Form : integrated lesson.

Equipment : piano, music center, art reproductions, projector, screen.

DURING THE CLASSES.

Organizing time. Musical greeting.

Teacher. Guys! We have seen more than once how diverse the world of art is. Today we will talk about one of the genres of art - a portrait.

What are the features of this genre?

What types of art can be used to create a portrait?

Give examples.

Students answer questions and give their own examples.

Teacher. An outstanding Italian painter, sculptor, architect, scientist, engineer Leonardo da Vinci said that "painting and music are like sisters, they are desired by everyone and understandable." After all, you can not know the language spoken by Beethoven or Raphael, you just need to look, listen and think ...

Continuing this thought, I now want to offer you to consider a reproduction of the painting by the Russian artist M.A. Vrubel "The Swan Princess".On the screen is the slide "The Swan Princess" by M. A. Vrubel.

Questions for the painting :

Describe the Swan Princess by Mikhail Vrubel.

What artistic medium does the artist use?

What impression does this picture make on you?

Students answer questions emphasize the mystery, the proud beauty of the fabulous bird girl, note the extraordinary gift of the painter who created the portrait of a fantastic creature. This is a fabulous bird girl, whose majestic beauty is characteristic of folk tales. Her eyes are wide open, as if she sees everything today and tomorrow. Her lips are closed: it seems she wants to say something, but is silent. The kokoshnik crown is studded with emerald semi-precious stones. An airy white veil frames delicate features. Huge snow-white wings, the sea is worried behind. A fabulous atmosphere, everything seems to be enchanted, but we hear the beating of a living Russian fairy tale.

Teacher. In what literary work do we meet the Swan Princess? How does the author describe it?

Students answer questions by saying "The Tale of Tsar Saltan" by A.S. Pushkin. The teacher recalls the lines from this work, in which the portrait of the Swan Princess is given.

Teacher. We looked at a picturesque portrait, read a description of the appearance of a character in a literary work. But many composers turned to this plot. I will now play you a fragment of a work by a Russian composer of the 19th century. What is this work?

The teacher plays a fragment from the opera "The Tale of Tsar Saltan" by N.A. Rimsky-Korsakov on the piano.

Students recognize this work and say that a portrait of the Swan Princess was also created in it.

Teacher. The French composer C. Saint-Saens wrote the Great Zoological Fantasy "Carnival of the Animals", in which the theme of the Swan also sounds.

Listen to "The Swan" by Saint-Saens and describe the nature of the music.

The teacher plays the piano.

Student responses : Calm pace, accompaniment draws a slight swaying of the waves, against which an unusually beautiful melody sounds. It is very expressive and therefore easy to remember. At first it sounds quiet, and then gradually the dynamics intensifies, and the melody sounds like a hymn to beauty. It sounds wide, like a splash of a wave, and then it seems to gradually calm down, and everything freezes.

Teacher. Pay attention to another point: in music, as in the visual arts, it is important not only the image, the transfer of the external appearance, but also the penetration into the deep, spiritual essence of the character. This play is a prime example of that.

Students are shown a slide with two portraits: V.L. Borovikovsky “Portrait of M. Lopukhina” and A.P. Ryabushkin “Portrait of a Moscow girl XVII century."

Teacher. And now, guys, look at these two portraits, listen to a piece of music and think about which portrait this music suits best and why.

Questions :

What is the nature of the music, its tempo, expressive means, what is the mood?

What are the characters of the girls depicted by the artists?

Which portrait does this music suit best and why?

Answers: The music is romantic, "lace", conveys a feeling of calm and thoughtfulness. The same feelings are evoked by the portrait of Lopukhina.

Teacher. We looked at a pictorial portrait and listened to a musical portrait consonant with it. And now we will sing in chorus the song that we taught you: “Teacher's Waltz” by A. Zaruba.

Students get up from the tables, line up in a choir and sing the song they learned in previous lessons.

Teacher. What kind of portrait does this music paint for us?

Answers: Before us is a portrait of a teacher. The nature of the music is smooth, measured, calm, like the character of a teacher.

The students take their seats.

Teacher. Now listen to one piece and try to answer the question: is it possible to see a portrait in this music. If so, whose?

The phonogram "Song of a Soldier" by A. Petrov sounds .

Answers: The playful nature of the music paints an expressive portrait of a brave soldier who went through the battle and remained alive.

Homework : draw a portrait of this soldier.

Teacher. In conclusion, we will use musical means to create the image of our homeland, performing the Anthem of Russia.

The guys get up.

Teacher. A hymn is a solemn song, majestic and proud. It is spacious, like the vast expanses of our Motherland; unhurried, like the course of our full-flowing rivers; sublime like our hills and mountains; deep, like our protected forests. We sing the Anthem of Russia and see Red Square, St. Basil's Cathedral, the Kremlin, our hometown, our street, our home...

Students sing the National Anthem.

The teacher offers to sum up the lesson.

What did you learn in this lesson?

What piece of music did you like the most?

Which picture made the strongest impression on you?

In what form of art would you like to create a portrait and who and how would you portray?

At the end of the lesson, students are invited to mark the most interesting answers of their comrades, marks are given taking into account the opinions of students.