Musical image in different genres. Message about the musical image

Every beginner or professional choirmaster always faces the problem of correct reading of the choral score, adequate comprehension of what the author wanted to express. This is a deep, very painstaking and rather lengthy independent work on the score. But the most difficult thing in this process is the creation of the future artistic image of the work: it is to be able to connect all the elements into a single artistic picture and embody it through expressive performance. In a certain sense, each choral work is a certain “sound plot”, which has a sound personality and requires special creative solutions from the performers.

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The essence of the concept of musical - artistic image

An artistic image is a generalized artistic reflection of reality, clothed in the form of a specific individual phenomenon.

Artistic image, the universal category of artistic creativity inherent inarta form of reproduction, interpretation and development of life by creating aesthetically affecting objects. An image is often understood as an element or part of an artistic whole, usually a fragment that has, as it were, an independent life and content. But in a general sense artistic image- the way of existence of the work, taken from the side of its expressiveness, impressive energy and significance.

Any artistic image is not completely concrete, clearly fixed setpoints are invested in it with the element of incomplete certainty, semi-appearance.

An image is a subjective phenomenon that arises as a result of subject-practical, sensory-perceptual, mental activity, which is a holistic integral reflection of reality, in which the main categories (space, movement, color, shape, texture, etc.) are simultaneously represented.

Figurative thinking is one of the main types of thinking, distinguished along with visual-effective and verbal-logical thinking. It is not only a genetically early stage in development in relation to verbal-logical thinking, but also constitutes an independent type of thinking in an adult, receiving special development in technical and artistic creativity. In psychology, imaginative thinking is sometimes described as a special function - imagination.

Imagination is a psychological process that consists in creating new images (representations) by processing the material of perceptions and representations obtained in previous experience. Imagination is unique to man. Imagination is necessary in any kind of human activity, especially in the perception of music and the "musical image".

The musical image is characterized by the absence of concrete life objectivity. Music does not depict anything, it creates a special objective world, a world of musical sounds, the perception of which is accompanied by deep feelings.

Music like living art is born and lives as a result of the unity of all types of activity. Communication between them occurs through musical images, because. music (as an art form) does not exist outside of images. In the composer's mind, under the influence of musical impressions and creative imagination, musical image, which is then embodied in a piece of music.

“As a special type of spiritual activity, aesthetics and philosophers single out the so-called artistic activity, understood by them as the practical-spiritual activity of a person in the process of creating, reproducing and perceiving works of art.”

Musical art, despite all its unique specificity, cannot be fruitfully mastered without support from other types of art, because. only in their organic unity can one cognize the integrity and unity of the world, the universality of the laws of its development in all the richness of sensory sensations, the variety of sounds, colors, movements.

The study of musical content is one of the "eternal" problems of musicology, performance, and pedagogy. Music is a procedural art; without performance, a piece of music cannot live a full life. A musical text is always a message (author - performer - listener), which naturally implies a performing interpretation. The problem of "text - performer", being resolved through interpretation, inevitably leads each musician to understanding the text as a complex formation in the unity of its two sides: a symbolic fixation of the author's intention (musical text) and a certain message filled with figurative and semantic content (musical text).

"Musical art, like any other, requires that those who practice it sacrifice all their thoughts, all feelings, all the time, all their being to it," wrote Lev Aronovich Barenboim.

A piece of music that exists in a musical notation receives a real sound embodiment only in the process of musical performance, therefore the performer is a necessary intermediary between the composer and the listener. Musical performance can be vocal, instrumental and mixed. Opera art also belongs to the latter variety; however, in the opera, soloist singers are at the same time actors, important role performing decorative arts. Depending on the number of performers, musical performance is divided into solo and collective. Collective performance can be chamber-ensemble with several relatively equal performers (for example, a trio, quartet, etc.) and symphonic, choral, as a rule, under the guidance of a conductor (choirmaster), who, with the help of other musicians, realizes his performing plan. Many performance designations in sheet music (tempo, dynamics, etc.) are relative and, within certain limits, can be implemented in different ways. Therefore, the task of musical performance is not just the exact reproduction of the musical text, but also the most complete embodiment of the author's intentions. Of great importance for the performer is the study of the era in which the composer lived, his aesthetic views, etc. All this helps to better understand the content of the work. Each performer, revealing the author's concept of the composition, inevitably introduces individual features into the performance, determined both by his personal qualities and by the aesthetic views prevailing at the time. Thus, any performance of a work is also its interpretation, interpretation.

L.V. Zhivov writes: “The performance artistic image, which is largely associated with the evaluation of the work by listeners, often acquires an independent meaning in our minds, since it can reveal such values ​​that were not in the primary image. Nevertheless, the fundamental basis of any musical performance is the musical text of the work, without which performing activity is impossible. Recorded in musical notation, it requires not just a competent reading, but guessing, deciphering the author's intentions, as well as those aspects of his music that he could not suspect. The fact is that musical notation is just a sketch compared to the real sound of music. . Therefore, a special role in creating the image is played by the search for intonational meaning in the process of studying the work.According to the concept of B.V. Asafiev, intonation is the main conductor of musical content, musical thought, as well as the bearer of artistic information, emotional charge, spiritual movement. However, an emotional reaction to intonation, penetration into its emotional essence is the starting point of the process of musical thinking, but not yet thinking itself. It is only a primary sensation, a perceptual response. Since thinking starts, as a rule, from an external or internal "push", the sensation of musical intonation is a kind of signal, an impulse to any musical and mental actions.

Modeling an artistic musical image is one of the most complex psychological processes, which is based on the processes of musical perception, imagination, memory and musical thinking.

Perception - the mental process of reflecting objects and phenomena of reality in the aggregate of their various properties and parts with a direct impact on the senses. This distinguishes perception from sensation, which is also a direct sensory reflection, but only of individual properties of objects and phenomena that affect the analyzers. The very concept of "perception" scientists (E.V. Nazaikinsky) bred into the concepts of "perception of music" (the process of communicating with music) and "musical perception". In pedagogy, musical perception is understood as a process of reflection, formation of a musical image in the human mind. Musical perception is a complex process, which is based on the ability to hear, experience musical content as an artistic and figurative reflection of reality. Music acts as a complex of expressive means. This is a harmonic warehouse, timbre, tempo, dynamics, metro-rhythm, they convey the mood, the main idea of ​​the work, evoke associations with life phenomena, with human experiences.

Imagination - the activity of consciousness, as a result of which a person creates new ideas, mental situations, ideas, based on images that have been preserved in his memory from past sensory experience, transforming them. Imagination is necessary in any human activity, especially in the perception of music and the "musical image". Distinguish between voluntary imagination (active) and involuntary (passive), as well as recreative and creative imagination. Recreating imagination is the process of creating an image of an object according to its description, drawing or drawing. Creative imagination is the independent creation of new images in the process of creative activity. It requires the selection of materials, the combination of various elements in accordance with the task and creative intent.

Musical thinkinghow the process of purposeful and meaningful processing of musical and sound material is expressed in the ability to understand and analyze what is heard, mentally represent the elements of musical speech and operate with them, evaluating music. In the process of forming an artistic musical image, various types of musical thinking are involved: figurative, logical, creative and associative.

The performing musician and the listener must operate in the process of musical perception with certain systems of ideas about intonations, the simplest expressively - visual means- everything that evokes certain moods, poetic memories, images, sensations, etc. At this level, musical-figurative thinking manifests itself, the measure and degree of development of which depend on the place this aspect occupies in the preparation of a musician.

Further forms of reflection of musical reality in the human mind are associated with understanding the logical organization of sound material. The transformation of intonations into the language of musical art is possible only after a certain processing, bringing them into one or another structure. Outside of musical logic, outside of the diverse integrative connections that reveal themselves through form, mode, harmony, metrorhythm, etc. music will remain a chaotic set of sounds and will not rise to the level of art. Understanding the logic of organizing various sound structures, the ability to find similarities and differences in musical material, analyze and synthesize, establish relationships is the next function of musical thinking. This function is more complex in nature, since it is conditioned not only and not so much by perceptual, emotional-sensory, but mainly by intellectual manifestations on the part of the individual, it implies a certain formation of his musical consciousness. It must be emphasized that with a certain autonomy of these two functions, the processes of musical and mental activity become full-fledged only when they are organically combined and interacted.

Creative thinking is a special stage of musical thinking. Musical and intellectual processes at this level are characterized by a transition from reproductive to productive actions, from reproducing to creative ones. In this regard, the question of finding productive methods that form creative thinking is very relevant. One of the most effective methods that form the creative qualities of a person is the method of problem-based learning (M.I. Makhmutov, A.M. Matyushkin, M.M. Levina, V.I. Zagvyazinsky, etc.). It is widely used in general education schools and university practice. However, in music pedagogy it is used on an intuitive level, without specific methodological developments.

The development of musical thinking is inextricably linked with the ability to comprehend the logic of the musical language, the understanding of which is “based on a figurative comparison of the expressive means of music, which serve to convey its artistic content, with the means of verbal language, which serve to convey thoughts” (L.A. Mazel, 1979).

Without the development of creative abilities, it is impossible to prepare a high-class professional in any type of activity, especially in the field of art, since musical activity, both performing and pedagogical, requires non-standard, original thinking from a specialist. There are many ways to develop creative abilities, one of which is problem-based learning, since it is the mental difficulties that arise in a problem situation that encourage the student to actively search for thinking.

The meaning of the musical image is a generalization, which is based on the experience of the expressive function of the image. Musical images designate insofar as they express.

An image in musical art, if, of course, it is artistically sound, is always filled with a certain emotional content, reflecting a person's sensual reaction to certain phenomena of reality.

To create the image of a choral work, pedagogical tasks are also required (teaching certain singing skills, correct intonation; expanding ideas about choral musical culture), psychological tasks (development of creative thinking, creative imagination of choir singers on the material choral music, the formation of artistic and emotional activity of students) and aesthetic tasks (the formation of ideas about the enduring value of domestic and foreign choral art, acquaintance with which is carried out in the process of learning choral singing, the development of aesthetic taste, aesthetic emotions).

In general, a conductor is a rather complex and multifaceted profession. Conductor (French diriger - to manage) - a person who has received a special musical education, orchestra director, chorus, operatic performance, uniting the whole mass of performers in a single rhythm, giving the work its own interpretation.

Vl. Sokolov writes: “A choir is such a collective that is sufficiently skilled in the technical and artistic and expressive means of choral performance necessary to convey those thoughts and feelings, the ideological content that is inherent in the work.”

P.G. Chesnokov in his book "The Choir and Its Management" writes that "the choir is such a collection of singers, in the sonority of which there is a strictly balanced ensemble, a precisely calibrated system and distinctly developed artistic nuances."

“The leader of the choir is the conductor. He ensures ensemble harmony and technical perfection of performance, strives to convey to the team of performers his artistic intentions, his understanding of the work. For 50 years of successful work, A. Anisimov was convinced that the art of choral singing depends entirely on the creative initiative, the special inclination of the choirmaster-conductor to choral work, from persistent systematic work, pedagogical, organizational, volitional qualities and, of course, the talent of a musician-interpreter.

The emergence of a musical work, learning and performance is inextricably linked with the perception of its integrity. The conductor presents the work as if instantly, in the form of a certain integral image. W. A. ​​Mozart said that as a result of tense inner work he begins to survey the work "... spiritually with one glance, like a beautiful picture or a beautiful person ...", and hear the music "... in the imagination not at all one after another, as it will sound later, but as if all at once." The ability for a holistic presentation is not only a property of very talented people, each musician possesses it with varying degrees of accuracy and strength.

Zhivov V.L. Choral performance: Theory.Methodology.Practice: Uch.posob. for stud. top manager M., Vlados. 2003. page 9.

Introduction

The subject of "Listening to Music" is a kind of introduction to the art of music. Understanding music is a very complex skill that develops in the learning process.

Listening to music helps to actively perceive music and listen carefully to its various features. In addition, listening to music makes it possible to acquaint children with much more complex music compared to the one they themselves perform in the specialty class. Children get the opportunity to hear great vocal, instrumental, orchestral works in good performance. Listening gives you the opportunity to hear music of different genres, forms, styles, eras performed by famous performers and composers.

My observations show that teaching children to actively listen to music is difficult, but doable. The task is precisely to ensure that the perception process is active, creative, so in our work we use various creative tasks, for example, to reflect our attitude to music through a drawing, compose our own story, fairy tale, and much more. After all, how much more meaningful will the performance of musical works by children be if they have a good enough command of the means musical expressiveness, know how to listen to music, hear themselves, correctly imagine musical images and much more that a competent musician needs to master.

The introduction of the method of "musical graphics" has a special pedagogical effectiveness as a method of polyaesthetic, polyartistic education and upbringing. Drawing music is a creative act that requires independent thinking and action, which creates conditions for maximum concentration, increased attention, and interest.

Children's drawings with the content and form of the work reflected in them serve as a kind of visually fixed "document" that allows, on the one hand, to judge the depth of perception of music, and on the other, about the typological characteristics of the personality of the students themselves. This is a kind of "feedback" that is unattainable by other means (survey, conversation, questioning), and at each lesson and in relation to each child.

For half a year we studied the originality of the musical language in comparison with literature and fine arts. After all, the word in literature, color and drawing in painting are the specific material of these types of arts, in music this material is sound, which creates a complex world of musical intonations. They learned to perceive unfamiliar works from the point of view of an emotionally figurative structure, to penetrate into the content of music, relying on elements of musical speech and the logic of dynamic development. Learned the ability to memorize a piece of music and analyze it; learned the ability to determine the general character and figurative structure of the work; the ability to identify the expressive means of music, they learned to convey their observations and impressions in drawings.

Today we will present you the final lesson on the topic "Musical Image and Features of Musical Speech".

Lesson stages

1. Organizational moment. The emotional mood of students, the message of the topic of the lesson.

2. Introduction to the topic. A conversation about the features of music, painting and poetry, what means of expression a poet, artist, composer uses in creating images of his works.

3. The main part. The definition of the concept of "musical image", the definition of expressive means that create one or another musical image. Conducting a music quiz, analyzing students' drawings from homework. Explanation of new material.

4. Summing up the lesson.

During the classes

teacher - The great artist and scientist of the Renaissance said: “Music is the sister of painting”, what do these sisters have in common, let's look further “Painting is poetry that is seen, And music is painting that is heard” (Slides 3, 4). So - these types of art are very close to each other? The difference is only in the means of expression.

With what help do artists create their paintings (Slide 5)? Poet - ? Composer - ?

Answer - with the help of paints and brushes, pencils or special art crayons. Poets - with the help of words, composers - with the help of sounds.

teacher - Can a composer paint musical pictures?

Let's remember Kushnir's poem: “If you see a river in the picture ...”, “If you see that one of us is looking from the picture ... (students read Kushnir's poems).

teacher - Can music draw? - How does music draw? What or who can the music represent?

Is it possible to draw a landscape, a portrait, animals in music (Slide 6)? Is it possible to create musical images in music? But first of all, let's define what a musical image is? This is ... (Slide 7)

Answer - A musical image is a conditional character of a musical work.

teacher - How are musical images created?

Answer - They are created using different means of expression.

teacher - What means of musical expression do you know? Let's look at the screen (Slide 8). Choose from the proposed concepts those that relate to the means of expression.

Answer - Melody, harmony, registers, dynamics, tempo, rhythm, mode, strokes, texture and much more (Each of the students who answers gives a definition of the means of musical expression).

teacher - Each of these elements of the musical language help us in the perception of the musical image. And now the music quiz (Slide 9). Let's now remember what pieces of music we are already familiar with (It sounds like "Royal March of the Lions").

Answer - This is the "Royal March of the Lions" from the "Carnival of the Animals" by the composer Saint-Saens.

teacher - The Carnival Suite opens with the Royal March of the Lions. What is the nature of the music?

Answer - There was a march. Music - solemn, calm, majestic, proud - draws the image of a strong and intelligent predator.

teacher - Animal carnival. Which animal should open this carnival, stand at the head?

Answer - A lion.

teacher - Why?

Answer - He is the king of beasts. He's in charge.

teacher - Right. What kind of lion did the composer portray? What means of expression did he use for this? It is important for him that they pay attention to him, to his gait. What musical means of expression conveyed this Saint-Saens? (Re-listening, Slide 10).

Answer - The gait (steps) of the lion depicts the whole ensemble, and the growl represents the piano, so the lion is not terrible, but important.

teacher - What register is the music in? What instruments play it?

Answer - Music sounds in a low register, its musical instruments - cellos and double basses perform.

teacher - What texture does the composer use to show this majestic king of beasts? Let's follow the notes.

Answer - The texture is also majestic and powerful. First - chordal, since it is a march, and then unison: it is performed by cellos and double basses in a low register.

teacher - Why do we say "conditional character"?

Answer - I think that the composer, composing the work, wanted to reflect his attitude to life, to embody some of his thoughts, and we, listening to this music, can only guess what he wanted to tell us in this work. Sometimes the composer gives us hints. For example, we listened to the "Royal March of the Lions" from "Carnival of the Animals" by Saint-Saens. Of course, we imagined lions, but each in his own way.

teacher - Of course, in the gamma-shaped passages, some of you heard the “roar” of a lion, and some of you heard how he runs across the savannah, which is why we say “conditional character”, everyone imagines the image in their own way.

teacher - And again the question (Slide 11). Let's look at one more piece. What is the name of this work? Who wrote it? Is music good or bad? In what register did the music sound, With what dynamics? What invoice?

Answer - Santa Claus, composer Schumann.

teacher - Yes - this is Santa Claus - How do you imagine him? By what means of expression did the composer describe this image?

Answer - The music is harsh, even ominous, the dynamics are very loud, the melody sounds in a low register. Minor fret.

teacher - Has the music always been the same, or has it changed? Let's listen again and follow the texture of the work by the notes (Slide 12). What has changed in comparison with 1 part.

Answer - The music stopped in the middle as if frozen, because the dynamics became very quiet, mysterious, the fret was major, the register was medium, and then Santa Claus got angry again. The texture in part 1 is unison and at the end of the phrases is chordal, as if someone is knocking very loudly with a staff. And in the second - homophonic-harmonic, the melody sounds like a background, against this background a very ominous melody appears in a low register. Santa Claus is not kind at all.

teacher - Let's see your drawings. Describe Santa Claus who comes to you for the New Year.

teacher - What other musical images do you know?

Answer - There are a lot of different images in music. For example, “image-portrait”, “image-landscape”, “image-mood” and many others.

teacher - Literally everything can be conveyed in music: feelings, experiences, thoughts, reflections, actions of one or more people; any manifestation of nature, an event in the life of a person, a people, an image of animals, birds, and a lot of other things. In other words, the language of music is inexhaustible.

Today we will get acquainted with the "image-mood". Each person can have this or that mood: cheerful or sad, calm or anxious. The sun smiled at you, and I want to smile back at him. Mom scolded for some wrongdoing or her favorite toy broke, and the mood becomes sad, sad. Music has a magical property - it can convey any mood of a person, express different feelings, experiences - tenderness, excitement, sadness and joy (Slide 13).

Determine what feelings of mood are expressed in this music?

· Define the nature of the music?

· Listen, the mood of the music will change or not?

· Think about the means of expression used by the composer?

(Sounds play Slides 14, 15).

The play that you just heard is called "Merry - Sad." This piece was written by the wonderful German composer Ludwig van Beethoven (Slide 16).

The story is this: part 1 - "Veselo" - this is the so-called drinking song. Friends gathered all together at the table, and perhaps one of the friends, or perhaps Beethoven himself, sets off on the road. They're all having fun, and the lyrics are:

Sing friends, spring has come.

We were all waiting for a warm day.

Well, Mary, together with dreams,

We will all sing and dance.

Part 2 - "Sad". Beethoven is on the road. He says goodbye to the house, he wants to move to Vienna to meet with the already world-famous Mozart. Beethoven is young and wants to present his compositions to Mozart. He is worried, he leaves his home for the first time and travels to unknown lands. The way to Vienna is very long - that's why he is sad.

Goodbye family, goodbye mother,

I will write to you.

I don't know if I'll see you again.

I'm leaving the house where I was born

Where I grew up dreaming, where I grew up suffering.

I don't know what will become of me.

With such sad thoughts, Beethoven goes to meet Mozart. He does not yet know how the great Mozart will meet him.

Let's listen again, open the notes, and trace the changes in the music and the texture of the piece of music.

teacher - Listen to the melody in the first part of the piece (which is called "Merry") , smooth or jerky? (Performs a fragment). What stroke?

Answer - Broken, staccato stroke.

teacher - Yes, the cheerful, playful melody of this part sounds abruptly, lightly and gently. And the melody of the second part of the play, which is called "Sad"? (Performs a fragment.)

Answer - Melody - smooth. Legato stroke. Slow pace, everything expresses a mood of sadness.

teacher - Right. The sad, melancholy mood of this movement is created by a smooth, "smooth" melody.

In conclusion of the lesson, I would like to ask you, do you like the music that we listened to? What new did you learn in the lesson? What interesting things did you learn in the lesson? Is it true that the language of music is inexhaustible? What is the purpose of our lesson?

We have achieved it, I think that we have fully succeeded.

Maybe you yourself want to compose a play, or a story, or a fairy tale called "Merry and Sad"? And as homework, you have pictures with clowns on your desk (Slide 17). What is missing in their faces? Therefore, their faces are faceless, color them and finish them so that it is clear where the sad clown is and where the cheerful one is. Outcome of the lesson: assessment of the work in the class of each student.

Guys! Thank you for the lesson. You gave me great pleasure to communicate with you, your deep understanding of such a topic as "Musical Image".

lesson musical image student

Bibliography

1. Asafiev B.D. On musical and creative skills in children // B.V. Asafiev. Selected Articles on Musical Enlightenment and Education / Ed. ed. E. M. Orlova. - M.; L., 1965.

2. Geylig M. Essays on the methodology of teaching musical literature. M. 1986.

3. Goryunova L.V. The development of artistic and figurative thinking of children in music lessons. // Music at school. 1991. No. 1.

4. Kritskaya E.D. Intonation analysis - creativity of the teacher and student / Art at school. 1993. No. 1.

5. Mikhailova M.A. Development of children's musical abilities. - Yaroslavl: Academy of Development, 1996.

6. Osovitskaya Z.E., Kazarinova A.S. Musical Literature: Textbook for Children's Music School: The first year of teaching the subject. - M.: Music. - 2001. - 224 p.

7. Ostrovskaya Ya., Frolova L. Musical literature in definitions and musical examples: 1st year of study. Tutorial. - St. Petersburg: Publishing house "Composer - St. Petersburg", 2010. - 208 p., ill.

8. Pervozvanskaya T.E. The World of Music: A complete course of theoretical disciplines: A complete course of theoretical disciplines: Textbook "Listening to music", grade 1 - Publishing house "Composer - St. Petersburg", 2004. - 85 p.

9. Terentyeva N.A. Artistic and creative development of junior schoolchildren in music lessons in the process holistic perception various types of art. - M.: Prometheus, 1990.

10. Shornikova M. Musical literature: music, its forms and genres: the first year of study: textbook - Rostov n / D: "Phoenix", 2008. - 186 p.

musical image

Music classes under the new program are aimed at developing the musical culture of students. The most important component of musical culture is the perception of music. There is no music outside of perception. it is the main link and necessary condition study and knowledge of music. Composing, performing, listening, pedagogical and musicological activities are based on it.

Music as a living art is born and lives as a result of the unity of all activities. Communication between them occurs through musical images, because. music (as an art form) does not exist outside of images. In the composer's mind, under the influence of musical impressions and creative imagination, a musical image is born, which is then embodied in a piece of music.

Listening to a musical image, i.e. life content embodied in musical sounds, determines all other facets of musical perception.

Perception is a subjective image of an object, phenomenon or process that directly affects the analyzer or system of analyzers.

Sometimes the term perception also denotes a system of actions aimed at getting acquainted with an object that affects the senses, i.e. sensory-exploratory activity of observation. As an image, perception is a direct reflection of an object in the totality of its properties, in objective integrity. This distinguishes perception from sensation, which is also a direct sensory reflection, but only individual properties of objects and phenomena that affect the analyzers.

An image is a subjective phenomenon that arises as a result of subject-practical, sensory-perceptual, mental activity, which is a holistic integral reflection of reality, in which the main categories (space, movement, color, shape, texture, etc.) are simultaneously represented. In terms of information, the image is an unusually capacious form of representation of the surrounding reality.

Figurative thinking is one of the main types of thinking, distinguished along with visual-effective and verbal-logical thinking. Images-representations act as an important product of figurative thinking and as one of its functioning.

Figurative thinking is both involuntary and arbitrary. Reception 1st are dreams, daydreams. “-2nd is widely represented in the creative activity of man.

The functions of figurative thinking are associated with the presentation of situations and changes in them that a person wants to cause as a result of his activity, transforming the situation, with the specification of general provisions.

With the help of figurative thinking, the whole variety of various actual characteristics of an object is more fully recreated. In the image, the simultaneous vision of an object from several points of view can be fixed. A very important feature of figurative thinking is the establishment of unusual, "incredible" combinations of objects and their properties.

In figurative thinking, various techniques are used. These include: an increase or decrease in an object or its parts, agglutination (creation of new representations by attaching parts or properties of one object in a figurative plan, etc.), inclusion of existing images in a new abstract, generalization.

Figurative thinking is not only a genetically early stage in development in relation to verbal-logical thinking, but also constitutes an independent type of thinking in an adult, receiving special development in technical and artistic creativity.

Individual differences in figurative thinking are associated with the dominant type of representations and the degree of development of methods for representing situations and their transformations.

In psychology, imaginative thinking is sometimes described as a special function - imagination.

Imagination is a psychological process that consists in creating new images (representations) by processing the material of perceptions and representations obtained in previous experience. Imagination is unique to man. Imagination is necessary in any kind of human activity, especially in the perception of music and the "musical image".

A distinction is made between voluntary (active) and involuntary (passive) imagination, as well as recreative and creative imagination. Recreating imagination is the process of creating an image of an object according to its description, drawing or drawing. Creative imagination is the independent creation of new images. It requires the selection of materials necessary to build an image in accordance with one's own design.

A special form of imagination is a dream. This is also the independent creation of images, but a dream is the creation of an image that is desired and more or less distant, i.e. does not provide an immediate and immediate objective product.

Thus, the active perception of the musical image suggests the unity of two principles - objective and subjective, i.e. what is embedded in work of art, and those interpretations, ideas, associations that are born in the mind of the listener in connection with him. Obviously, the wider the range of such subjective ideas, the richer and fuller the perception.

In practice, especially among children who do not have sufficient experience in communicating with music, subjective ideas are not always adequate to the music itself. Therefore, it is so important to teach students to understand what is objectively contained in music, and what is introduced by them; what in this "one's own" is conditioned by the musical work, and what is arbitrary, far-fetched. If in the fading instrumental conclusion of "Sunset" by E. Grieg, the guys not only hear, but also see the picture of the sunset, then only the visual association should be welcomed, because. it comes from the music itself. But if Lel's Third Song from the opera "The Snow Maiden" by N.A. Rimsky-Korsakov’s student noticed “raindrops”, then in this and in similar cases it is important not only to say that this answer is wrong, unreasonably invented, but also, together with the whole class, to figure out why it is wrong, why unreasonable, confirming your thoughts evidence available to children at this stage of development of their perception.

The nature of fantasizing to music, apparently, is rooted in the contradiction between the natural desire of a person to hear its vital content in music and the inability to do this. Therefore, the development of the perception of the musical image should be based on an ever more complete disclosure of the vital content of music in unity with the activation of associative thinking of students. The wider, more multifaceted the connection between music and life is revealed in the lesson, the deeper the students will penetrate into the author's intention, the more likely it becomes for them to have legitimate personal life associations. As a result, the process of interaction between the author's intention and the listener's perception will be more full-blooded and effective.

What does music mean in human life?

From the most ancient times, the beginning of which even the most meticulous human sciences are not able to establish, primitive man first tried purely sensually to adapt, adapt, adapt to the rhythms and modes of the rhythmically changing, developing and sounding world. This is recorded in the most ancient objects, myths, legends, tales. The same can be observed today, if you carefully observe how the child behaves, how the child feels literally from the first hours of life. It is interesting when we suddenly notice that a child from some sounds comes into a restless, abnormal, agitated state to screaming and crying, while others bring him into a state of peace, calmness and satisfaction. Now, science has proven that the musically rhythmic, calm, measured, spiritually rich and versatile life of a future mother during pregnancy has a beneficial effect on the development of the embryo, on its aesthetic future.

A person "growing" very slowly and gradually into the world of sounds, colors, movements, plastics, comprehending the whole multifaceted and infinitely diverse world in order to create a figurative form of reflection of this world by his consciousness through art.

Music, in itself, as a phenomenon is so strong that it simply cannot pass by a person unnoticed. Even if in childhood she was for him closed door, then in adolescence he still throws open this door and throws himself into rock or pop culture, where he greedily feeds on what he was deprived of: the possibility of wild, barbaric, but genuine self-expression. But after all, the shock that he experiences at the same time might not have been - in the case of a "prosperous musical past."

Thus the music conceals itself huge opportunities impact on a person, and this impact can be controlled, which was the case for all past centuries. When a person treated music as a miracle given to communicate with the higher spiritual world. And he could communicate with this miracle all the time. Divine service accompanied a person all his life, nourished him spiritually and at the same time educated and educated him. But worship is basically a word and music. A huge song and dance culture is associated with calendar agricultural holidays. The wedding ceremony in artistic interpretation is a whole science of life. Folk dances are the teaching of geometry, the education of spatial thinking, not to mention the culture of acquaintance, communication, courtship, etc. The epic - and this is history - was presented musically.

Let's look at the subjects in the school of Ancient Greece: logic, music, mathematics, gymnastics, rhetoric. Perhaps this was enough to raise a harmonious person. What remains of this today, when in our programs there are words about a harmonious personality everywhere. Only mathematics. Nobody knows what logic and rhetoric are at school. Physical education is nothing like gymnastics. What to do with the music is also not clear. Now music lessons after the 5th grade are no longer obligatory; at the discretion of the school administration, they can be replaced with any subject of the “art history” plan. Most of the time it depends on the availability. right teacher and where he has music is taught. But in school curriculum many other items were added, but harmony, mental and physical health disappeared.

But still, what could music as a phenomenon give a person throughout his life - starting from a very early age.

The monster from which the modern child must be saved is the "stamping" environment mass culture. The standard of beauty - "Barbie", the standard blood-chilling "horrors", the standard way of life ... - what can music oppose to this? It is senseless, hopeless to simply “give” the pupil, as an alternative, samples of high beauty and spiritual image life. Not educating in him a free man capable of resisting cultural violence. No spiritual purification, deep knowledge of music and its complex, contradictory images will not happen if children simply read information about music (who understands it as they understand it), about composers, “hang on their ears” a set of musical works that obviously strongly affect the emotions of children, memorize something from the biography of musicians, the names of popular works, etc. get a "computer" to solve questions on the "field of miracles".

Thus, the subject "music" in a general education school (if it exists at all) is conducted by analogy with other humanitarian subjects - to provide more information, classify phenomena, give names to everything ...

So how can you make high wonderful classical music, its best samples, touch the deepest strings of the soul and heart of a person, become accessible and understandable, helping, being a reflection of the surrounding reality, to understand this reality and oneself in complex life relationships.

To solve this problem, the teacher has, in essence, only two channels for addressing the pupil: visual and auditory. Relying on vision, one can educate a freely and independently, clearly and clearly thinking person (for example, when perceiving paintings by artists, sculptures, tables, visual aids, etc.). Hearing, however, appears to us as the main door to the subconscious world of a person, to his moving world - like music! - souls. It is in the revival of sounds, in their short life, its course, death, birth. And is it not music to educate a person deeply and subtly, who feels freely?

Joint music-playing - playing in an orchestra, in an ensemble, singing in a choir, musical performances - perfectly solves many psychological problems of communication: a shy child can, participating in such a musical act, feel himself at the center of life; A creative child- show your imagination in practice. Children feel the value of everyone in a common cause.

The orchestra is the artistic model of society. The different instruments in an orchestra are different people, with mutual understanding achieving peace and harmony. Through the artistic image lies the path to understanding social relations. Different instruments mean different nations in the world. These are different voices of natural phenomena, merging into a whole orchestra.

The therapeutic effect of playing music is striking, musical instruments in the hands of a person are a personal psychotherapist. Playing instruments treats breathing disorders, up to now common asthma, coordination disorders, hearing impairments, teaches the ability to concentrate and relax, which is so necessary in our time.

So, in music lessons, children should constantly experience joy, which, of course, is the subject of careful care of the teacher. Then gradually comes a feeling of satisfaction from the achieved goal, from interesting communication with music, the joy of the very process of labor. And as a result of personal success, a “way out into society” opens up: the opportunity to be a teacher - to teach simple music to parents, sisters, brothers, thereby uniting family relationships through joint activities. The strength of family relationships in the past was largely based on joint activities, whether it was work or leisure; it was the same in peasant and artisan and landowner families.

Is there any other subject now that, to the same extent as music, could take on the solution of the problems of modern society?

And probably not by chance, after all, paradise is always depicted musically: angel choirs, trombones and harps. And they talk about the ideal social structure in musical language: harmony, harmony, structure.

The ideal situation is when all the possibilities of music will be demanded and accepted by the society. It is important that people realize that music is an ideal in order to take steps in the direction of the ideal.

You have to live with music, not study it. The sounding, musical environment itself begins to educate and educate. And the person in the end will not be able to agree that he is "musical".

Head The Music Laboratory of the Research Institute of Schools of the Moscow Region Golovina believes that in a music lesson it becomes fundamentally important: whether the teacher realizes the main goal of education - the discovery of life, the discovery of oneself in this world. Is the music lesson just the mastering of another type of activity, or is it a lesson that forms the moral core of the personality, which is based on the desire for beauty, goodness, truth - that elevates a person. Therefore, a student in a lesson is a person who is constantly looking for and acquiring the meaning of life on earth.

A variety of musical activities in the classroom is by no means an indicator of the depth of spiritual life. Moreover, musical activity may turn out to be completely unrelated to spiritual activity in the sense that art can act for children as an object, only as a kind of creative result that spreads outwards without returning to itself. Therefore, it is absolutely necessary that musical activity should not become an end in itself, but that the content of art should become the “content” of the child, spiritual work should become an open activity of his thoughts and feelings. Only in this case, the teacher and the child will be able to find personal meaning in art lessons, and it will really become fertile "soil" for cultivating the spiritual world, for finding the best ways of moral self-expression. It follows from this that music is not the education of a musician, but of a person. Music is the source and subject of spiritual communication. It is necessary to strive to expand and deepen the students' holistic musical perception, as a spiritual mastery of works of art, as communication with spiritual values; to form an interest in life through passion for music. Music should not be a lesson in art, but a lesson in Art, a lesson in human studies.

Artistic and figurative thinking in the classroom must be developed so that the child can look in his own way at the phenomena and processes of the world around him as a whole and through this deeply feel his spiritual world. Artistry is, first of all, such an organization of means of expression that acts directly on feelings and changes these feelings. Artistic material in the lesson provides a real way out of music in fine arts, literature, life and beyond, through reflection on the world and the return of the child to himself, to his inner sense of values, relationships, etc.

Musical art, despite all its unique specificity, cannot be fruitfully mastered without support from other types of art, because. only in their organic unity can one cognize the integrity and unity of the world, the universality of the laws of its development in all the richness of sensory sensations, the variety of sounds, colors, movements.

Integrity, figurativeness, associativity, intonation, improvisation - these are the foundations on which the process of introducing schoolchildren to music can be built.

The organization of musical education on the basis of the principles outlined above has a beneficial effect on the development of the basic ability of a growing person - the development of artistic and figurative thinking. This is especially important for elementary school student, who has a great predisposition to the knowledge of the world through images.

What are the techniques for the development of artistic-figurative thinking?

First of all, the system of questions and tasks that help to reveal the figurative content of musical art to children should be essentially a dialogue and give children options for creative readings of musical compositions. The question in a music lesson exists not only and not so much in a vertical (verbal) form, but in a gesture, in one's own performance, in the reaction of the teacher and children to the quality of performing, creative activity. The question can also be expressed through a comparison of musical works with each other and through a comparison of musical works with works of other types of art. The direction of the question is important: it is necessary that he draw the attention of the child not to isolating individual means of expression (loudly, quietly, slowly, quickly - it seems that every normal child hears this in music), but would turn him to his inner world, moreover, to his conscious and unconscious feelings, thoughts, reactions, impressions, which are fed into his soul under the influence of music.

In this regard, the following types of questions are possible:

Do you remember your impressions of this music in the last lesson?

What is more important in a song, the music or the lyrics?

And in a person, what is more important mind or heart?

How did you feel when this music was played?

Where could it sound in life, with whom would you like to listen to it?

What was the composer going through when he wrote this music? What feelings did he want to convey?

Have you heard similar music in your soul? When?

What events in your life could you associate with this music?

It is important not only to ask children a question, but also to hear an answer, often original, non-stereotypical, because there is nothing richer than a child's statements.

And let there be sometimes inconsistency and understatement in it, but on the other hand it will have individuality, personal coloring - this is what the teacher should hear and appreciate.

The next pedagogical technique is connected with the organization of the musical activity of children in the classroom, as a polyphonic process. Its essence is to create conditions for each child to read the same musical image at the same time, based on their individual vision, hearing, feeling the sound of music. In one child, it evokes a motor response, and he expresses his state in the plasticity of the hand, body, in some dance move; the other expresses his understanding of the images of music in drawing, in color, in line; the third sings along, plays along with a musical instrument, improvises; and someone else “does nothing”, but simply listens thoughtfully, attentively (and in fact, this may be the most serious creative activity). The whole wisdom of the pedagogical strategy in this case does not consist in assessing who is better or worse, but in the ability to preserve this diversity of creative manifestations, to encourage this diversity. We see the result not in the fact that all children feel, hear, and perform music in the same way, but in the fact that the perception of music by children in the lesson takes the form of an artistic “score”, in which the child has his own voice, individual, unique, brings his own voice into it. unique original.

We build knowledge of musical art through the modeling of the creative process. Children are put as if in the position of the author (poet, composer), trying to create works of art for themselves and others. It is clear that there are many variants of such an organization of comprehension of music. The most optimal is the musical-semantic dialogue, when, going from meaning to meaning, tracing the development of the figurativeness of the work, the children, as it were, “find” the necessary intonations that can express the musical thought most clearly. With this approach, a piece of music is not given to the child in finished form, when it remains just to remember, listen, and repeat it. For the artistic and figurative development of a child, it is much more valuable to come to a work as a result of one's own creativity. Then the entire figurative content of music, the entire organization and sequence of the musical fabric become "lived through", selected by the children themselves.

It is necessary to highlight one more point: those intonations that children find in the process of their creativity should not necessarily be “customized” as close as possible to the author's original. It is important to get into the mood, into the emotional-figurative sphere of the work. Then, against the background of what the children lived, created by themselves, the author's original becomes one of the possibilities for embodying one or another life content expressed in this musical imagery. Thus, schoolchildren are approaching an understanding of the philosophical and aesthetic position about the possibility of art to provide spiritual communication with precisely its unique ability, when, in the presence of a common life content, it is expressed in a plurality of interpretations, performing and listening readings.

Any teacher knows how important and at the same time how difficult it is to prepare children for the perception of music. Practice shows that the best results are achieved when the preparatory stage for the perception of music meets the most important requirements of the perception itself, when it passes just as vividly, figuratively, creatively.

Music lessons, as they are taught by the honored school teacher Margarita Fedorovna Golovina, are life lessons. Her lessons are distinguished by the desire to reach out to everyone at all costs; make you think about the complexities of life, look into yourself. Music is a special art - to find in any topic of the program the moral core that is embedded in it, and to do this at a level accessible to schoolchildren, without complicating the problem, but, more importantly, without simplifying it. Golovina M.F. strives to ensure that all the necessary knowledge, skills and abilities are focused on relevant moral and aesthetic issues in accordance with the age and musical experience of children, so that reflections on music would really be reflections (as in L.A. Barenboim: "... in the ancient Greek language, the word to reflect means: always carry in the heart...”).

At Golovina's lessons, you are convinced of the relevance of the main idea of ​​the new program - any form of teaching children with music should be aimed at developing the perception of the musical image, and through it - the perception of different aspects of life. At the same time, it is important that the children as early as possible become imbued with a sense and awareness of the specifics of musical art, as an art of expressive nature. Golovina almost never uses the question: "What does this music represent?" She finds the annoying question, "What does the music represent?" - suggests that music must necessarily depict something, accustoms them to a specific "plot" thinking, fantasizing to the accompaniment of music.

From these positions, Golovina pays great attention to the word about music, it should be bright, figurative, but extremely precise and subtle, so as not to impose on the child his interpretation of the work, skillfully direct his perception, his imagination, his creative fantasy to music, and not from it: “I confess,” says T. Venderova, “more than once during Golovina’s lessons I had a thought - is it worth spending so much time to find out what the students heard in music. Wouldn’t it be easier to tell the program of the work yourself and direct the guys to musical thinking along a strictly defined channel? Yes, - answered Golovina, - without a doubt, I would make my life much easier by surrounding the perception of music with all the rich information related to the content and history of the creation of music. And, I think, I would make it bright, exciting, so that the guys would be heard. All this, of course, will be necessary, but not now. Because now I have another task before me - to see how capable the guys themselves are without any explanation in the music itself to hear the main content. I need them to come to this on their own. They heard in the music itself, and did not squeeze into the plot what they knew from history, saw on television, read in books.

Also, from the first steps, one must teach meaningful, soulful singing. Watching those moments of the lessons when the song was being learned or worked on, - T. Venderovaa writes, - one involuntarily recalls more typical lessons, when the idea of ​​the expressiveness of music, of the connection of music with life with the beginning of a specific vocal and choral work somehow imperceptibly evaporates , seems to be becoming unnecessary, superfluous. Golovina has the quality of a real musician, they achieved organic unity, artistic and technical in the performance of music. Moreover, the methods and techniques vary depending on the work, the age of the children, and the specific topic. “I moved away from the syllabic designations of rhythm a long time ago,” says Golovina, “I think that they are more mechanical, because designed to perform rhythmic patterns, which either do not contain any musical image, or the most elementary, because the entire initial relative is built on the elementary.

Golovina strives for children to “pass through themselves” any song. We must look for songs that reveal contemporary problems to us, we must teach children and adolescents to think and reflect in singing.

“I try,” says Margarita Fedorovna, “to reveal to the children how life itself is, endlessly changing, capable of transformation, of mystery. If this is a real work of art, it is impossible to know it to the end. Golovina is trying to do everything in her power: a person, a music teacher, in order to force the children to join the lofty ideals, to serious problems life, to masterpieces of art. Margarita Fedorovna's students see how she searches for a deep spiritual meaning in a work of art of any genre. M.F. Golovina herself absorbs vividly everything that is happening around and does not allow the children to become isolated within the framework of the lesson. He brings them to comparisons, parallels, comparisons, without which there can be no understanding of the world around and oneself in it. It awakens the thought, stirs the soul. She herself seems to personify those amazing lessons in music and life that she gives to children.

L. Vinogradov believes that "a music teacher must be a unique specialist in order to reveal music to the child in its entirety." What needs to be done in order for a child to really form a holistic view of music?

Music has general laws: movement, rhythm, melody, harmony, form, orchestration and more related to common understanding of what music is. Mastering these laws baby goes from general to particular, to specific works and their authors. And the reader of music leads him along the milestone path. So, it is necessary to build the educational process not from the specific to the general, but vice versa. And not to talk about music, but to make, to build it, not to learn, but to create your own on a separate element. Here it is appropriate to fulfill the testament of great musicians - first the child must be made a musician, and only then press the instrument. But can every child become a musician? Yes, it can and should. V. Hugo spoke about three "languages" of culture - about the language of letters, numbers and notes. Now everyone is convinced that everyone can read and count. The time has come, - says Lev Vyacheslavovich Vinogradov, - to make sure that everyone can become musicians. For music, as an aesthetic subject, was formed not for the elite, but for everyone; however, in order to really become musical, something special is needed, which is called a musical feeling.

The famous Russian pianist A. Rubinshtein played with great success at all his concerts, even when blots were found in his playing, and very noticeable ones. Another pianist also gave concerts, but not so successfully, although he played without blots. The success of A. Rubinshtein did not give him rest: "Maybe it's all about the mistakes of the great master?" the pianist said. And at one concert I decided to play with mistakes. He was booed. Rubinstein had mistakes, but there was also music.

A positive emotion is very important when perceiving music. In Kirov, in the workshops of smoky toys, you pay attention to the fact that all the craftswomen have pleasant, bright faces (although their working conditions are much to be desired). They answer that, already approaching the workshops, they set themselves up for positive emotions, because you can’t deceive the clay, you will crush it with bad mood- the toy will turn out to be nasty, flawed, evil. The same with a child. A stern look, a displeased physiognomy of an adult does not make his mood good.

A child, tormented by parents, educators and other adults, comes to class in a bad mood. To do this, he needs to "discharge". And only when discharged calm down and do the real thing. But children have a way out of this situation. And this exit should be organized by an adult. “In the classroom, I play all these situations with the children,” writes L. Vinogradov. For example, spitting is indecent, and the child knows it. But in our lesson, I need to do this as an exercise for breathing. (We spit, of course, "dry"). In the lesson, he can afford it without fear. He can shout, and whistle as much as he likes, and chew, and bark, and howl, and much more. And L. Vinogradov uses all this purposefully, with benefit for the lesson, for full communication with music, for its holistic perception.

L. Vinogradov also considers the rhythmic organization very important human body. Rhythmic organization is dexterity, coordination, convenience. Under these conditions, it is easier to learn. L. Vinogradov offers children, for example, also tasks: to depict with their body how the leaves fall. “Or,” says Vinogradov, “my floor, observing what happens to the rag, how it bends, how it is squeezed out, how water drips from it, etc., and then we depict ... a floor rag.” In classes with children, pantomime is widely used, i.e. children are given the task to portray some life situation(take a thread and a needle and sew on a button, etc.). Many children are very good at it. And this will be shown by the child who turned out to have meager life experience, limited in objective actions? If his body moves a little, then his thinking is lazy. Pantomime is interesting and useful for children of any age, especially those who have poor imagination. Vinogradov's teaching system helps children to penetrate deeper into the "caches" of music.

Preparation for the perception of music can be carried out in different forms. Let us dwell in more detail on the preparation of the perception of a musical image as an image of another art.

The tendency of figurative preparation for the perception of music manifests itself most clearly when this preparation is based on the image of another art. Such parallels as the story of K. Paustovsky "The Old Chef" and the second part of the symphony "Jupiter" by W. Mozart, the painting by V. Vasnetsov "The Heroes" and "The Heroic Symphony" by A. Borodin, the painting by Perov "Troika" and Mussorgsky's romance "The Orphan" .

Preparing the perception of a musical image with the image of another art has a number of undeniable advantages: it sets the children up for a lively, figurative perception of music, forms artistic associations, which is very important in the perception of any art, including music. The preparation of the perception of a musical image by the image of another art should not be in the nature of a program for the subsequent perception of music. A story read before listening to music does not retell it, just as music played after a story does not follow the reenactments of the story. A picture shown before listening to music does not paint music, just like music played after viewing a picture does not depict a picture. Remember the brilliant "Trinity" by A. Rublev. Three people sit on three sides of the throne with a sacrificial meal. The fourth side of the throne is empty, it is facing us. "... And I will go in to the one who made me, and I will dine with him, and he with me." The same should be the nature of the child’s entry into music in a general education school: from the intonation of the word (“In the beginning was the word”) into the intonation structure of music, into its core, into main image image. And there, inside it, try to open your soul. Not a professional, musicological study, not a decomposition of a musical work into terms, lines of a title, but its holistic perception. Comprehension of music and awareness of how you, exactly you, can decide eternal problems human existence: good and evil, love and betrayal. Because it is turned to you, and a place is left for you in it. "And I will go in to him who made me."

Experience shows that a rather serious cultural gap for children in grades 5-7 is the lack of the foundations of musical-historical thinking. Schoolchildren do not always have a clear enough idea of ​​the historical sequence of the birth of certain musical masterpieces, there is often no sense of historicism in the compilation of related phenomena in music, literature, painting, although the modern program allows the teacher to make interdisciplinary connections more deeply than in other humanitarian disciplines. , to show the internal relationship of music and other arts.

In this regard, I would like to recall that music as an art form has historically evolved in a number of other types of artistic activity, including dance, theater, literature, in our days - cinema, etc. All relationships with other types of arts are genetic, and the role in the system artistic culture- synthesizing, as evidenced by numerous musical genres, first of all - opera, romance, program symphony, musical, etc. These features of music provide ample opportunities for studying it by epochs, styles, various national schools in the context of the entire artistic culture, its historical formation.

It seems important that through the perception, comprehension, and analysis of musical images proper, schoolchildren develop associations with other types of art, based on the historical development of artistic culture. The way to this, - considers L. Shevchuk, music teacher of school. No. 622 gyu of Moscow, - in specially organized extracurricular activities.

It is necessary that extra-curricular work be structured in such a way that the pictures of the artistic culture of the past are perceived by the children not “flat-photographically”, but in volume, in their internal logic. I would like the children to feel the peculiarities of the artistic thinking of a particular era, in the context of which works of musical art, poetry, painting, theater were created.

There were two main methodical methods of such "Journeys". Firstly, it is necessary to “immerse yourself in the era, in history, in the spiritual atmosphere conducive to the birth of great works of art. Secondly, it is also necessary to return to modernity, to our days, i.e. a well-known actualization of the content of the works of past eras in modern, universal culture.

For example, you can organize a trip to "Ancient Kyiv". Epics, reproductions of ancient Kyiv churches, bell ringing, recordings of fragments of monophonic banner singing served as artistic material. The scenario of the lesson included 3 parts: first, a story about early medieval Russian culture, about Christian temple and its unique architecture, about the bell ringing and choral singing, about the significance of the city square, where storytellers - guslars performed their epics and folk games, bearing the imprint of a pagan cult. At this part of the lesson, carols are heard, which the guys then sing in chorus. The second part is devoted to epics. It is said that these are songs about antiquity (popularly - antiquities), appeared a very long time ago and were passed from mouth to mouth. Many formed in Kievan Rus. The guys read out excerpts from their favorite epics and Svyatogora, Dobrynya, Ilya Muromets and others. The last fragment of the "Journey" is called "Ancient Rus' through the eyes of artists of other eras." Here you can hear excerpts from S. Rakhmaninov's Vespers, A. Gavrilin's Chimes, V. Vasnetsov's and N. Roerich's reproductions.

Art originated at the dawn of civilization as a reflection of human feelings and thoughts. Life itself was its source. Man was surrounded by a vast and diverse world. The events that took place around him influenced his character and way of life. Art has never existed separately from life, it has never been something illusory, it is merged with people's language, customs, temperament.

From the first lesson of the 1st grade, we have been thinking about the place of music in people's lives, its ability to reflect the most elusive states of the human soul. Every year children perceive the world of music more deeply, full of feelings and images. And what feelings does a person experience when he sews a suit for himself, decorates it with embroidery, builds a dwelling, composes a fairy tale? Can these feelings of joy or deep sadness and sadness, expressed in lace, clay products? Can music, as a reflection of life in all its manifestations, express these same feelings and turn some historical event into an epic, song, opera, cantata?

Russian people have always loved making wooden toys. The origins of any craft go back to ancient times, and we do not know who was the first to create a toy that gave life to the Bogorodskaya carving craft. In Rus', all the boys cut wood, it is all around - the hand itself stretches. Perhaps the craftsman served in the army for a long time and, returning as an elderly man, began to make funny toys to the delight of the neighboring children, and, of course, life was reflected in them. So the song "Soldiers" with wide, sweeping moves in the melody, a bright strong beat echoes the rough, sharp manner of carving wooden soldier. This comparison helps to better understand the strength, ingenuity, firmness of the Russian character, the origins of music.

Accurate, bright, concise characteristics in the lesson, interesting visual material will help show children that Russian music and the music of other peoples is closely connected with life. Music reflects life, nature, customs, historical events, feelings and moods.

According to tradition, each of the arts is given to schoolchildren separately, weakly bonded with their general knowledge, ideas and activities. The general theory of artistic education and the formation of a child's personality under the influence of the arts, including in the process of their interaction, is also poorly developed.

The developed methodological techniques are more designed for artistic professionalism than for the development of figurative thinking and sensory perception of the surrounding world. But research experience and my own practice, - writes Y.Antonov, teacher of the laboratory school of the Lithuanian children's creative association "Muse", - confirm that the focus on narrow professionalism does not contribute to the development of children's creative thoughts, especially at the beginning of education.

In this regard, the idea arose to create a structure where art interacts, led by music and visual arts. Classes were conducted in such a way that the core of all work was music, its content, emotional coloring, the range of its images. It was the music that gave impetus to ingenuity and plasticity, it conveyed the state of the characters. The classes included different types artistic creativity, from graphics and painting to choreography and theatricalization.

As the guys themselves later said, - Y.Antonov writes, - the focus on expressing the content in lines and color mobilized them for a different listening, and later the same music in movement was expressed more easily and freely.

L. Bural, a music school teacher, thought about the community of arts, writes: “I realized that it is very important to think about the presentation of the material. Sometimes it is appropriate to insert a poetic word instead of a conversation or analysis, but this word must be very accurate, consonant with the theme, not distracting or leading away from the music.

K. Ushinsky argued that a teacher who wants to firmly imprint something in the minds of children should take care that as many feelings as possible take part in the act of remembering.

Many teachers use photographs, reproductions of works of fine art in the music lesson at school. But at the same time, they all remember that the perception of the image, the emotional response in the soul of each child depends on how the teacher presents the reproduction or portrait of the composer, in what format, color, and in what aesthetic form. An untidy, worn reproduction, with bent, frayed edges, translucent text on the reverse side, greasy spots will not cause a proper response.

The combination of music, poetry, visual arts gives the teacher endless opportunities to make the lesson exciting and interesting for students.

You can use, for example, when studying the work of A. Beethoven, the lines of the poem Vs. Christmas:

Where did he get these gloomy sounds

Through the dense veil of deafness?

Combination of tenderness and torment,

Lying down in musical sheets!

Touching the right keys with a lion's paw

And shaking his thick mane,

Played without hearing a single note

In the dead of night in an empty room.

Hours flowed and candles swam,

Courage went against fate

And he is the whole conscience of human torment

I only told myself!

And he convinced himself and believed imperiously,

As for those who are alone in the world,

There is a certain light, born not in vain,

Music is immortality!

Big heart rustles and squeaks

Carry on your conversation through a half-sleep,

And heard in the open window lindens

All the things he didn't hear.

The moon rises above the city

And it is not he who is deaf, but this world around,

Who does not hear the things of music,

Born in happiness and the crucible of torment!

S. V. Rakhmaninov is the owner of a remarkable talent as a composer and a powerful talent as an artist-performer: pianist and conductor.

The creative image of Rachmaninov is multifaceted. His music carries a rich vital content. There are images of deep peace of mind in it, Illuminated by a light and affectionate feeling, full of gentle and crystal clear lyricism. And at the same time, a number of Rachmaninov's works are saturated with sharp drama; here one hears a deaf, painful longing, one feels the inevitability of tragic and formidable events.

Such sharp contrasts are not accidental. Rachmaninoff was a spokesman for romantic tendencies, largely characteristic of Russian art of the late 19th and early 20th centuries. The art of Rachmaninov is characterized by emotional elation, which Blok defined as "the greedy desire to live a tenfold life ..." The features of Rachmaninoff's work are rooted in the complexity and tension of Russian public life, in the huge upheavals that the country has experienced over the past 20 years before October Revolution. The composer's attitude was determined by: on the one hand, a passionate thirst for spiritual renewal, hope for future changes, a joyful foreboding of them (which was associated with the mighty rise of all the democratic forces of society on the eve of the years of the first Russian revolution), and on the other hand, - a presentiment of the approaching formidable element, the element of the proletarian revolution, in its essence and historical meaning, incomprehensible to the majority of the Russian intelligentsia of that time. It was during the period between 1905 and 1917 that moods of tragic doom began to become more frequent in Rachmaninov's works ... I think that in the hearts of people of recent generations there has been an unrelenting sense of catastrophe; Blok wrote about this time.

An exceptionally important place in the work of Rachmaninov belongs to the images of Russia, the motherland. national character music manifests itself in a deep connection with the Russian folk song, with the urban romance - everyday culture of the end of the 19th and early 20th centuries, with the work of Tchaikovsky and the composers of the Mighty Handful. Rachmaninoff's music reflects the poetry of folk song lyrics, images of the folk epic, the oriental element, and pictures of Russian nature. However, he almost did not use genuine folk themes, but only extremely freely, creatively developed them.

Rachmaninoff's talent is lyrical in nature. The lyrical beginning finds expression primarily in the dominant role of a wide, drawn-out melody in its nature. “Melody is music, the main foundation of all music. Melodic inventiveness, in the highest sense of the word, - the main objective composer," Rachmaninoff argued.

The art of Rachmaninov - the performer - is a true creativity. He inevitably introduced something new, his own, Rachmaninov's into the music of other authors. Melody, power and fullness of "singing" - these are the first impressions of his pianism. A melody reigns over all. We are struck not by his memory, not by his fingers, which do not miss a single detail of the whole, but by the whole, by those inspired images that he restores before us. His gigantic technique, his virtuosity serve only to refine these images,” his friend, composer N.K.

Piano and vocal works of the composer were recognized and gained fame first of all, much later - symphonic works.

Rachmaninoff's romances rival his piano works in popularity. Rachmaninov wrote about 80 romances to the texts of Russian poets - lyricists of the second half of the 19th and the turn of the 20th centuries, and only a little more than a dozen to the words of poets of the first half of the 19th century (Pushkin, Koltsov, Shevchenko in Russian translation).

"Lilac" (words by E. Beketova) is one of the most precious pearls of Rachmaninoff's lyrics. The music of this romance is marked by exceptional naturalness and simplicity, a wonderful fusion of lyrical feelings and images of nature, expressed through subtle musical and pictorial elements. The whole musical fabric of the romance is melodious, melodic, vocal phrases flow naturally one after another.

“In the silence of a secret night” (words by A.A. Fet) - a very characteristic image love lyrics. The dominant sensually-passionate tone is already determined in the instrumental introduction. The melody is melodious, declamatory and expressive.

“I fell in love with my sadness” (poems by T. Shevchenko, translated by A.N. Pleshcheev). The content of the song is a romance

associated with the theme of recruitment, and in style and genre - with lamentations. The melody is characterized by mournful turns in the endings of melodic phrases, dramatic, somewhat hysterical chants in the culminations. This enhances the closeness of the vocal part to lamentation - crying. "Gusel" arpeggiated chords at the beginning of the song emphasize its folk style

Franz Liszt (1811 - 1866) - genius Hungarian composer and pianist, the greatest artist-musician of the Hungarian people. The progressive, democratic orientation of List's creative activity is connected to a large extent with the liberation struggle of the Hungarian people. The national liberation struggle of the people against the yoke of the Austrian monarchy. Merged with the struggle against the feudal - landlord system in Hungary itself. But the revolution of 1848-1849 was defeated, and Hungary again found itself under the yoke of Austria.

A significant part of the works of Franz Liszt used Hungarian musical folklore, characterized by great wealth and originality. Characterized by rhythms, modal and melodic turns, and even genuine melodies of the Hungarian folk music(mainly urban, such as "verbunkosh") received creative implementation and processing in numerous works of Liszt, in their musical images. In Hungary itself, List did not have to live long. His activities mainly proceeded outside his homeland - in France, Germany, Italy, where he played an outstanding role in the development of an advanced musical culture.

Liszt's close connection with Hungary is also evidenced by his book on the music of the Hungarian gypsies, as well as by the fact that Liszt was appointed the first president of the national music academy in Budapest.

The inconsistency of Liszt's work developed in the desire for programmatic, concrete imagery of music, on the one hand, and sometimes in the abstractness of solving this task, on the other hand. In other words, the programming in some of List's works was abstract and philosophical in nature ( symphonic poem"Ideals").

Striking versatility characterizes Liszt's creative and musical-social activities: brilliant pianist, who belonged to the greatest performers of the nineteenth century; great composer; social and musical figure and organizer, who headed the progressive movement in the art of music, fought for program music against unprincipled art; teacher - educator of a whole galaxy of wonderful musicians - pianists; a writer, music critic and publicist who boldly spoke out against the humiliating position of artists in bourgeois society; the conductor is Liszt, a man and artist whose creative image and intense artistic activity represent one of the most outstanding phenomena in the musical art of the 19th century.

Among the huge number of piano works by Liszt, one of the most important places is occupied by his 19 rhapsodies, which are virtuoso arrangements and fantasies on the themes of Hungarian and gypsy folk songs and dances. Liszt's Hungarian Rhapsodies objectively responded to growth national consciousness of the Hungarian people during their struggle for national independence. This is their democracy, this is the reason for their popularity both in Hungary and abroad.

In most cases, each Liszt rhapsody contains two contrasting themes, often developing in variations. Many rhapsodies are characterized by a gradual increase in dynamics and tempo: a liver-recitative theme of a significant character turns into a dance, gradually accelerating and ending in a violent, impetuous, fiery dance. These are, in particular, the 2nd and 6th rhapsodies. In many techniques of piano texture (rehearsals, jumps, various types of arpeggios and figurations), Liszt reproduces the characteristic sonorities of Hungarian folk instruments.

The second rhapsody belongs to the most characteristic and the best works of such kind. A short recitative-improvisational introduction introduces the world of bright, colorful paintings folk life that make up the content of the rhapsody. Grace notes, sounds characteristic of Hungarian folk music and reminiscent of the singing of singers - storytellers. Accompanying chords with grace notes reproduce the rattling on the strings of folk instruments. The intro turns into a liver with dance elements, which then turns into light dance with variable development.

The sixth rhapsody consists of four clearly demarcated sections. The first section is a Hungarian march and has the character of a solemn procession. The second section of the rhapsody is a fast-flying dance, enlivened by syncones in every fourth measure. The third section - song-recitative improvisation, reproducing the singing of singers - storytellers, equipped with grace notes and richly ornamented, is distinguished by free rhythm, an abundance of fermatas, and virtuoso passages. Fourth section - fast dance painting a picture of folk fun.

A.D. Shostakovich is one of major composers modernity.

Shostakovich's music is notable for its depth and richness of figurative content. The big inner world of a person with his thoughts and aspirations, doubts, a person fighting against violence and evil - this is the main theme of Shostakovich, embodied in a variety of ways both in generalized lyrical and philosophical works, and in writings of a specific historical content.

The genre range of Shostakovich's work is great. He is the author of symphonies and instrumental ensembles, large and chamber vocal forms, musical stage works, music for films and theatrical productions.

No matter how great Shostakovich's skill in the vocal sphere, the basis of the composer's work is instrumental music, and above all the symphony. The enormous scale of content, the generalization of thinking, the severity of conflicts (social or psychological), the dynamism and strict logic of the development of musical thought - all this determines the image of Shostakovich as a composer-symphonist.

Shostakovich has an exceptional artistic originality. Big role means of polyphonic style play in his thinking. But just as important for the composer is the expressiveness of constructively clear constructions of a homophonic-harmonic warehouse. Shostakovich's symphonism, with its deep philosophical and psychological content and intense drama, continues the line of Tchaikovsky's symphonism; vocal genres, with their scenic relief, develop the principles of Mussorgsky.

The ideological scope of creativity, the activity of the author's thought, no matter what topic he touches - in all this the composer resembled the precepts of Russian classics.

His music is characterized by open publicism, topical subject matter. Shostakovich relied on the best traditions of Russian and foreign culture of the past. So the images of the heroic struggle in him go back to Beethoven, the images of sublime meditation, moral beauty and stamina - J.-S. Bach, from Tchaikovsky sincere, lyrical images. With Mussorgsky, he was brought together by the method of creating realistic folk characters and mass scenes, tragic scope.

Symphony No. 5 (1937) occupies a special place in the composer's work. It marked the beginning of a mature period. The symphony is distinguished by the depth and completeness of the philosophical concept and mature craftsmanship. In the center of the symphony is a man, with all his experiences. Complexity inner world The hero was also evoked by the huge range of the content of the symphony: from philosophical reflection to genre sketches, from tragic pathos to the grotesque. In general, the symphony shows the hero's path from a tragic worldview through struggle to the joy of life-affirmation through struggle to the joy of life-affirmation. In parts I and III, lyrical - psychological images that reveal the drama of inner experiences. Part II switches to another sphere - it's a joke, a game. Part IV is perceived as a triumph of light and joy.

I part. The main part conveys a deep, concentrated thought. The theme is carried out canonically, each intonation acquires special significance and expressiveness. The side part is the serene content and the expression of a dream. Thus, there is no contrasting comparison between the main and side parts in the exposition. The main conflict of Part I is presented for comparison of exposition and development, which reflects the image of the struggle.

Part II - playful, playful scherzo. The role of the second part is in opposition to the complex drama of the first part. It is based on everyday, quickly fading images and is perceived as a carnival of masks.

Part III expresses lyrical and psychological images. There is no conflict between a person and a hostile force. The main part expresses concentrated expanse - this is the embodiment of the theme of the Motherland in music, sings the poetic vision of native nature. Side party draw beauty human environment life.

The final. It is perceived as the development of the whole symphony, as a result of which the triumph of light and joy is achieved. The main part has a march-like character and sounds powerful and swift. The side part sounds like an anthem of wide breathing. Koda is a solemn majestic apatheosis.

“Exploring the process of cognition of music as a pedagogical problem, we came to the conclusion,” writes A.Pilichiaus, as in his article “Knowledge of Music as a Pedagogical Problem,” that the stated goal - to educate a person - should correspond to a special kind of cognition of a musical work, which we called artistic cognition ". Its features are more clearly highlighted in comparison with other, more familiar types of communication with music.

Traditionally, there have been several types of knowledge of music. Proponents of a scientific, musical-theoretical approach to music see the main task in enlightening a person with knowledge related to the structural side of the work, musical form in the broad sense of the word (construction, expressive means) and the development of relevant skills. At the same time, in practice, the meaning of the form is often absolute, it actually becomes the main object of knowledge, an object that is also difficult to perceive by ear. This approach is typical for professional educational institutions and children's music schools, but its "echoes" are also felt in the methodological recommendations for general education schools.

Another kind of knowledge is considered more suitable for non-professionals - just listen to music and enjoy its beauty. Indeed, this is exactly what often happens when communicating with music in a concert hall, if the “intonation dictionary” of the listener corresponds to the intonational structure of the work. Most often, this kind of cognition is typical for an audience that already loves serious music (of a particular style, era or region). Let's call it conditionally passive amateur cognition.

At music lessons in general education schools, active amateur cognition is most often practiced, when the main task is to determine the “mood” of music, its character, along with a modest attempt to understand expressive means. As practice shows, stencil statements about the “mood” of music soon bother schoolchildren, and often they use standard characteristics without even listening to the piece.

The main thing is that all these types of cognition are not capable of directly influencing the student's personality, either in aesthetic or in moral attitude. In fact, what kind of purposeful educational impact of music can we talk about in the case when awareness of the form of a work or a characteristic of its mood comes to the fore?

In the artistic cognition of music, the task of the student (listener or performer) lies elsewhere: in the cognition of those emotions and thoughts that sympathize with them, which arise in him in the process of communicating with music. In other words, in the knowledge of the personal meaning of the work.

Such an approach to music activates the activity of students and reinforces the value-significant motive of this activity.

The process of perception of the musical image is facilitated not only by the connection with other types of art, but also by the living poetic word of the teacher.

“The word can never fully explain the entire depth of music,” wrote V.A. Sukhomlinsky, “but without a word one cannot approach this subtlest sphere of cognition of feelings.”

Not every word helps the listener. One of the most important requirements for an introductory speech can be formulated as follows: an artistic word helps - bright, emotional, figurative.

It is very important for the teacher to find the right intonation for each particular conversation. It is impossible to speak with the same intonation about the heroism of L. Beethoven and the lyrics of P. Tchaikovsky, about the dance element of A. Khachaturian's music and the cheerful marching of I. Dunaevsky. In creating a certain mood, expressive mimics, gestures, even the teacher's posture have. Thus, the teacher's introductory word should be precisely the introductory word leading to the main perception of music.

In the book "How to teach children about music?" D.B.Kabalevsky writes that before listening, one should not touch in detail the work that will be performed. It is more important to tune the listener to a certain wave with a story about the era, about the composer or the history of the work, about what Dmitry Borisovich calls the “biography of the work”. Such a conversation immediately creates a mood for the perception of the whole, and not individual moments. There will be expectations, hypotheses. These hypotheses will guide subsequent perception. They can be confirmed, partially changed, even rejected, but in any of these cases, the perception will be holistic, emotional and semantic.

At one of the conferences dedicated to the generalization of experience in music, a proposal was made: before listening to new music to acquaint students (middle and senior classes) with the main musical material, to analyze the means of musical expression.

It was also proposed to give students specific tasks before listening: to follow the development of a particular topic, to follow the development of a separate means of expression. Do the mentioned techniques withstand criticism from the point of view of developing a creative perception of the musical image?

Showing individual themes before the initial perception, as well as specific tasks aimed at snatching one of the sides of the work, deprives the subsequent perception of integrity, which either drastically reduces or completely eliminates the aesthetic impact of music.

By showing individual topics before the initial holistic perception, the teacher establishes a kind of "towers" that help students orient themselves in an unfamiliar essay. However, this form of assistance to the student only at first glance seems justified. When used systematically, it gives rise to a kind of "auditory dependency" in schoolchildren. Preliminary clarification of music before listening seems to arm the student when listening this work, but does not teach him to understand unfamiliar music himself, does not prepare him for the perception of music outside the classroom. Therefore, does not prepare him for creative perception music.

In case of anticipation of a holistic perception of music by the analytical instructions of the teacher, the danger of analyzing the means of musical expressiveness as a technological model becomes real. It is necessary to strive to ensure that all analytical problems that are touched upon in the lesson would arise from the vital content of music perceived by the students. The analysis that the children will do in the lesson with the help of a teacher should be based on a holistic perception, on a holistic understanding of one or another work.

Is it even right to refuse the preliminary acquaintance of students with the musical material of the work? Relying on initial perception of the musical material shown by the teacher immediately before listening, the new program contrasts the reliance on years of accumulated experience of a holistic perception of music. A preliminary acquaintance with the musical material always takes place in the form of more or less independent musical images.

Listening and performing many songs, fairly complete melodies and more detailed constructions prepares students for the perception of large compositions or their individual parts, where musical images that sounded earlier become part of a more multifaceted musical image, begin to interact with other musical images.

As for the legitimacy of the perception of music with a special task, this technique should also not be abandoned, because. listening to music with a special task sometimes allows the children to hear something that without such a task could simply pass by their attention. But, as stated in the program, this technique should be used only when it is impossible to do without it: for a deeper disclosure of certain facets of the content of a musical work perceived by schoolchildren. The use of this technique only in the name of "exercising" hearing (nothing more) is excluded.

So the perception of the musical image by schoolchildren should be pedagogically organized. At the same time, the most important guideline for the teacher is the emotional-figurative sphere of music, taking into account the originality of which he must build outside the links of his work to develop adequate, subtle and deep perception of music in children.

Particular attention should be paid by the teacher to preparing children for the perception of a new musical composition. Appeal to art forms related to music, the teacher's lively poetic word about music are the means to help solve the central problem of musical education at school - the formation of a culture of musical perception among schoolchildren.

“Through the pages of the works of S.V. Rachmaninov”

In order to understand any artistic work of an artist or a school of artists, it is necessary to accurately peruse the general state of the mental and moral development the time to which it belongs. Here lies the primary cause that determined everything else.

Hippolyte I.

(The lesson used the story of Yu. Nagibin "Rakhmaninov", because a poetic word can cause a certain visual range, will allow children to discover for themselves the secret of the magical power of Rachmaninov's work, as the main principle of his creative thinking.

Class design: a portrait of S. Rachmaninov, books with literary heritage and letters, notes and a lilac branch.

Today we are waiting for an amazing meeting with the music of Sergei Vasilyevich Rachmaninoff, a Russian composer. People close to him who knew him well recalled that he said almost nothing about himself and his works, believing that he said everything with his works. And therefore, in order to understand the composer's work, one must listen to his music. (Sounds like Peludia in G-dioz minor, op. 32, No. 12 performed by S. Richter).

The brightest page of Russian music was considered the work of Rachmaninov both in Russia and in the West. But the year 1917 turned out to be fatal in the fate of the composer.

From book: " Early autumn 1917. Rachmaninoff was driving to Ivanovka. On the sides of the road - unharvested bread, weed-dried potato fields, buckwheat, millet. Lonely poles stick out at the place of the pulled covered current. The car pulled up to the estate. And here are noticeable traces of destruction. Some peasants were waving their arms near the house, and other peasants were carrying out vases, armchairs, rolled-up carpets, various utensils. But this was not what shocked Rachmaninoff: the wide windows on the second floor flew open, something large, black, sparkling appeared there, moved onto the window sill, bulged out and suddenly crashed down. And only when it hit the ground and howled with torn strings, did it reveal its essence as a stenway cabinet grand piano.

Dragging his legs like a decrepit old man, Rachmaninoff wandered towards the house. The peasants noticed him when he was next to the corpse of the piano, and were numb. They did not have a personal hatred for Rachmaninov, and if in the absence he became a “master”, “landowner”, then his vivid image reminded that he was not just a master, not a master at all, but something else, far from being so hostile to them.

Never mind, go on,” Rachmaninov said absently and stopped over the black, shiny boards, whose mortal howl still continued to sound in his ears.

He looked at ... still trembling strings, at the keys scattered around ... and understood that he would never forget this moment.

What is this passage talking about?

The fact that the restless and tense situation in Russia in 1917 led to the conflict between Rakhmaninoav and the organs of the poor peasantry in the dear composer named after Ivanovka.

That's right, and in general everything that happens in Russia, and not just in Ivanovka, was perceived by Rachmaninov negatively, as a nationwide disaster.

Rachmaninov writes about his trip to Tambov as follows: “... for almost a hundred miles I had to overtake carts with some kind of brutal, wild snouts that met the passage of the car with whooping, whistling, throwing hats into the car.” Unable to understand what is happening, Rachmaninov decides to temporarily leave Russia. And he leaves with a heavy feeling, not yet knowing that he is leaving forever, and that he will regret many times that he took this step. Ahead of him was waiting and excited by homesickness. (An excerpt from the Prelude in G-sharp minor sounds).

After leaving Russia, Rachmaninoff seems to have lost his roots and did not compose anything for a long time, being engaged only in concert activities. The doors of the best were opened for him. concert halls New York, Philadelphia, Petersburg, Detroit, Cleveland, Chicago. And only one place was closed to Rachmaninov - his homeland, where the best musicians were asked to boycott his works. The Pravda newspaper wrote: “Sergei Rachmaninov, former singer the Russian merchant class and the bourgeoisie, a written composer, imitator and reactionary, a former landowner - a sworn and active enemy of the government. “Down with Rachmaninoff! Down with the worship of Rachmaninov!” - Izvestia called.

(From book):

The Swiss villa reminded me of old Ivanovka with only one thing: a lilac bush, once brought from Russia.

For God's sake, don't damage the roots! he begged the old gardener.

Don't worry, Herr Rachmaninoff.

I have no doubt that everything will be all right. But lilac is a tender and hardy plant. If you damage the roots - all is lost.

Rachmaninoff loved Russia, and Russia loved Rachmaninoff. And therefore, contrary to all prohibitions, Rachmaninov's music continued to sound, because. it was impossible to ban it. In the meantime, an incurable disease was quietly creeping up on Rachmaninov - cancer of the lungs and liver.

(From book:)

As usual, strict, smart; in an impeccable tailcoat, he appeared on the stage, made a short bow, straightened his tails, sat down, tried the pedal with his foot - everything, as always, and only the closest people knew that every movement costs him, how difficult his tread is, and with what inhuman effort of will he hides he is from the public his torment. (Prelude in C-sharp minor performed by S. Rachmaninov).

(From the book:) ... Rachmaninoff completes the prelude with brilliance. Ovation of the hall. Rachmaninov tries to get up and cannot. He pushes his hands away from the seat of the stool - in vain. His spine twisted with unbearable pain does not allow him to straighten.

A curtain! A curtain! - distributed backstage

Stretcher! the doctor demanded

Wait! I have to thank the audience... And say goodbye.

Rachmaninov stepped up to the ramp and bowed... Flying through the orchestra pit, a luxurious bouquet of white lilacs fell at his feet. The curtain was lowered before he collapsed onto the platform.

At the end of March 1943, shortly after the completion Battle of Stalingrad, the outcome of which Sergei Vasilievich managed to rejoice at, who closely perceived the hardships and sufferings of the war in Russia, 8 initial chords of the introduction of the Second Piano Concerto (performed on the piano) grew out of black loudspeakers without the usual announcer announcement. After that, it was said that Sergei Vasilievich Rachmaninov had died in the USA. (A fragment of the second part of the concerto No. 2 for piano and orchestra sounds).

Rachmaninoff died, and his music continued to warm the souls of compatriots who suffered from the war:

And each note screams: - Forgive me!

And the cross above the mound shouts: - Forgive me!

He was so sad in a foreign land!

He only stayed in a foreign land ...

The writer should

be like a smuggler

convey to the reader

I. Turgeniev.

There is a satirical drawing on the board.

U: To create a deep satirical work, one must see society as if from the outside, its life in all facets, and only great creators can do this. These people, as a rule, possessed the gift of providence. Who would you name among these people? (Answers).

They, like chroniclers, reflect time, its pulse and metamorphoses in their work. Such was D. Shostakovich. You all know the composer from his Leningrad Symphony. This is a giant who reflected the era in his work. If in the Seventh Symphony the destructive theme of fascism sounds powerfully, the theme of the struggle against it, then the Eighth, created in the post-war period, suddenly ends not with an apotheosis, but with a deep philosophical reflection. Is this why this symphony is criticized and persecuted by its author. And the Ninth Symphony, it would seem, is radiant, carefree, joyful ... But this is only at first glance. Listen to the first part of the symphony and try to answer:

Does Shostakovich write in the first person or does he look at the world as if from a distance? (Sounds the 1st part of the Ninth Symphony)

D: The composer, as it were, observes the world from the side.

W: How does he appear to him?

D: There are, as it were, two images here: one is bright, joyful, and the other is foolish, similar to children's war games. These images are not real, but toy. (Sometimes children compare this part with I. Stravinsky's suite, in which the characters "jump" like puppets, but unlike the suite, the symphony is not a caricature, but some kind of observation).

D: The music is gradually distorted, at first the composer smiles, and then seems to think. By the end, these images are no longer so spoiled, but a little ugly.

W: Let's listen to the second part (continuation sounds) what intonations are heard here?

D: Heavy sighs. The music is sad and even painful. These are the experiences of the composer himself.

W: Why, after such a relaxed 1st part, there is such sadness, heavy thinking? How do you explain it?

D: It seems to me that the composer, looking at these pranks, asks himself the question: are they so harmless? Because at the end of the toy military signals become like real ones.

U: We have a very interesting observation, maybe the composer asks himself the question: “I have already seen this somewhere, has it already been, was it ...?” Do these intonations remind you of something from other music?

D: I need Prince Lemon from Cipollino. And I get a little invasion, only in a comic form.

U: But such pranks touch us at first, but sometimes they are reborn into their opposite. Was it not from such pranks that the Hitler Youth was born? I remember the movie Come and See. Before us are shots: atrocities, teenagers from the Hitler Youth and, finally, a child in the arms of his mother. And that child is Hitler. Who knew what childish pranks would result in. (It can be compared with the soldiers from "Joaquina Murieta", with facts from modern history). What happens next? (Listen to parts 3, 4, 5).

The 3rd part appears as a nervous tense rhythm of life, although its external swiftness initially evokes a feeling of fun. With careful listening, it is not the brilliant traditional scherzo that comes to the fore, but painful, intense drama.

4th and 5th parts - a kind of conclusion: at first the sound of the trumpet resembles the tragic monologue of the speaker - the tribune, the harbinger of the prophet. In his prophecy - renunciation and a lump of pain. Time is stopped, like a film frame, echoes of military events are heard, continuity with the intonation of the seventh symphony (“The theme of the invasion”) is clearly felt.

The 5th part is tuned to the intonations of the 1st part, but how they have changed! It swept like a soulless whirlwind in the whirlwind of days, without causing us either smiles or sympathy. Only once do the features of the original image appear in them, as if for comparison, for memory.

W: Does this symphony have a historical meaning? How do you feel about Shostakovich's prophecy?

D: In the fact that he saw the cruelty of that time earlier than others and reflected it in his music. It was a difficult period in the life of the country, when evil triumphed, and he seemed to warn in music.

Q: And how did he feel about what was happening?

D: He is aging, suffering. And he expresses his feelings in music.

We read the epigraph of the lesson again, reflect on it, compare Shostakovich's work with a drawing - a satire on a society of people-cogs who do not reflect, blindly obey the will of one.

The 7th, 8th, 9th symphonies are a triptych connected by one logic, a single dramaturgy, and the 9th symphony is not a step back, not a digression from a serious topic, but a culmination, a logical conclusion of the triptych.

Then the song of B. Okudzhava is performed, the words of which “Let's join hands, friends, so that we don’t disappear alone” will sound like the semantic end of the lesson. (The proposed material can become the basis of 2 lessons).

Bibliography

Antonov Y. "Art in school" 1996 No. 3

Baranovskaya R. Soviet musical literature - Moscow "Music", 1981

Buraya L. "Art in School", 1991

Vendrova T. "Music at school", 1988 No. 3

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Zubachevskaya N. "Art in school" 1994

Klyashchenko N. "Art at school" 1991 No. 1

Krasilnikova T. Toolkit for teachers - Vladimir, 1988

Levik B. "Musical Literature of Foreign Countries" - Moscow: State Musical Publishing House, 1958

Maslova L. "Music at school" 1989 No. 3

Mikhailova M. "Russian musical literature" - Leningrad: "Music" 1985

Osenneva M. "Art at school" 1998 No. 2

Piliciauskas A. "Art in School" 1994, No. 2

Psychological Dictionary - Moscow: Pedagogy, 1983

Rokityanskaya T. "Art at school" 1996 No. 3

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Encyclopedic Dictionary of a Young Musician - Moscow: "Pedagogy" 1985

Yakutina O. "Music at school" 1996 No. 4

The purpose of the lesson: comprehend the meaning and content of musical images in the works sounding at the lesson.

Lesson objectives.

Educational:

• expand the child's auditory understanding of expressive means music;
• to form the ability to analyze, compare, make generalizations in the process of comparing musical images;
• compare the nature and content of musical works that sound in the lesson.

Developing:

• achieve in performance a vivid embodiment of the musical image in the work “Elegy” by Yu. Dolzhikov;
• develop pitch, timbre and dynamic hearing;
• to update the child's knowledge of the expressive means of music in the process of analyzing N. Rimsky-Korsakov's Aria of the Shemakhan Queen from the opera The Golden Cockerel.

Educational

• to form an emotional and value attitude to the music that sounds in the lesson;
• cultivate musical taste;
• to promote the development of emotional responsiveness to music.

Lesson type: combined.

Teaching methods:

• comparison method;
• visual-auditory method;
• method of observing music.
• way of thinking about music
• method of emotional dramaturgy;
• verbal methods: conversation (hermeneutic, heuristic), dialogue, explanation, clarification;
• method of musical generalization;
• plastic modeling method.

Basic concepts and terms: “Elegy”, melody, musical image, intonation, character, Jota, Mudeira, Kachucha, Spanish dances, aria.

Tasks for the student in the lesson:

• describe the musical image;
• compare musical intonations;
• name the means of musical expression that dominate in the process of revealing the musical image;
• follow the development of the musical image in the genre “Elegy of various composers;
• formulate the conclusions of the lesson;
• perform the play “Elegy” by Y. Dolzhikov, thinking about the meaning of musical intonations;
• perform a fragment (first period) of “Spanish Dance” by M. Moshkovsky

Works studied in the lesson:

• Dolzhikov Yu. "Elegy";
• G. Fauré "Elegy";
• J. Massenet "Elegy";
• S. Rachmaninov” “Elegy”;
• Moshkovsky M. “Spanish Dance”;
• Rimsky-Korsakov N. “Aria of the Queen of Shemakhan” from the opera “The Golden Cockerel.

Lesson equipment: musical instruments: bells, xylophone, vibraphone, piano; computer with speakers.

Structured lesson plan.

1. Introduction - introduction to the topic of the lesson - 3 min.
2. Work on “Aria” by Y. Dolzhikov – 15 min.
3. Parsing and analysis of the "Spanish Dance" by M. Moshkovsky - 10 min.
4. Listening and analysis of “Queen of Shemakhan's Aria” from N. Rimsky-Korsakov's opera – 12 min.
5. Conclusion of the lesson - 5 min.

Abbreviations used: P - teacher, U - student.

P: Hello Stepan. Today we will fill our lesson with different musical images. Do you know what a musical image is?

U: Such a phenomenon, thought or content that we embody in sounds.

P: Yes, you correctly listed several options. All of them are aimed at creating the content of a musical work. What is included in the concept of “content of a musical work”. Look at the notes, for example, the works of Yu. Dolzhikov “Elegy”.

U: Notes, dynamics, tempo.

P: Yes, you emphasized the “visible” part of the piece. But today we will “open the invisible curtain” of a piece of music and get into the magical world of your emotions, your mood, your attitude to a piece of music. And the key to understanding and comprehending this mystery for us will be: the musical text is the visible part of the work - everything that you saw and listed.

What is the invisible part, what do you think?

U: What is not in the notes, the way the performer plays the notes.

P: Great, so this is the side connected and heard only in direct performance. What do you feel when you perform any piece?

T: It depends on the nature of the work. I listen to music and kind of follow it.

P: Let me help you decide - these are emotions, feelings, experiences. Right?

W: Yes. If the work is sad, I don’t feel sad, but certain memories come to me and I try to convey in sounds what mood I have from these memories.

P: I suggest you fill out a small plate, after filling which we will immediately see: where is the visible and invisible part of the work.

The teacher takes out a pre-prepared tablet and fills it out with the child, summing up the introductory part of the lesson.

P: Great. This tablet will stay with you, and when you feel that you have mastered the entire “visible side”, try to think about each “invisible side!” Because it is much more difficult, but also more interesting.

Let's go back to Y. Dolzhikov's "Elegy", the work that we learned, we have already heard it together with the accompanist's part. Tell me about his character?

W: It is sad, unhurried, thoughtful, penetrating.

P: What visible side did you think about when you thought about character?

W: About melody, tempo, rhythm.

P: Now I want you to perform the work “Elegy” by Y. Dolzhikov.

A child performs on the bells the work "Elegy" by Yu. Dolzhikov with an accompanist.

P: Well done. You feel this music well, but to make your performance more heartfelt, I suggest referring to the title of this work - “Elegy”.

“Elegy is a genre of ancient Greek poetry. When composers turned to this genre, they left its original meaning - a work with the character of thoughtfulness, which contains features: unhappy love, the motive of disappointment, loneliness, the frailty of earthly existence.

I have selected for you the works of composers who turned to this genre. There will be three of them. The first work to which we turn is the “Elegy” by the French composer Gabriel Fauré. We'll listen to the snippet.

When listening, please compare the melody with the “Elegy” that you perform. (Listening Assignment)

We listen to a fragment (2 min.) G. Fauré "Elegy".

Q: What was the tune?

U: It is similar in character to the melody of Yu. Dolzhikov's Elegy. Thoughtful, doomed.

P: Did you hear any differences?

U: Yes, there are differences - the melody that I perform is divided, as it were, into waves, or into steps that lead to the top - the culmination - the main phrase of the work. And the melody that we listened to is indivisible, it moves as if in one stream, it seems to “breathe”.

P: Your incredibly subtle remarks refer to the structure of the phrases of the melody. Having singled out the common and the different, we can conclude that the nature of the work is in tune with the Elegy genre and the performer needs to be in the same emotional state in order to convey it, but how the composers achieved this state is different. Let's listen to the next fragment "Elegy" also by the French composer Jules Masset. Listening, pay attention to the melody and find the similarities and differences ( Listening Assignment).

We listen to a fragment (1 min.) J. Massenet "Elegy".

P: Let's turn to the melody. What is she like in this “Elegy”

U: It is also consonant with the image of the "Elegy" - the same doom is heard. Here the composer made the melody memorable, there were also waves - but they were not the main ones, the main thing was that I wanted to sing this melody.

P: Yes, that's right. This melody easily fits under the vocal line.

And the last fragment is "Elegy" by the Russian composer Sergei Rachmaninov. And listen to the features of the melody ( Listening Assignment).

We listen to a fragment (1:40.) S. Rachmaninov "Elegy".

P: Tell us about the features of the melody in this “Elegy”

P: Right. See what a “kaleidoscope” of melodies we listened to, but they all lead us to the same state. This is the content, invisible side of music.

Let's turn to a new work for you, which we have just begun to learn - M. Moshkovsky "Spanish Dance".

It is completely different in figurative content and character.

I propose to remember the melody.

The student plays the melody at a slow pace. The teacher stops him after the first period.

P: You already play the melody well, learned the notes, but I don't hear the nature of this music. This is Spanish music. look at the screen, I have prepared for you some pictures related to this country. Look and say what is typical for this country ( Assignment for the slides)?

slide show

U: The weather is hot there, red, aggressive color prevails. It seems to me that people there have the will, perseverance and purposefulness.

P: Yes, it is. And in order to embody the Spanish character in music, it is necessary to emphasize the first beat in the measure and the second third is easier to play, but with development back to the first. Let's try.

We play twice and the second time we get the task.

P: Now let's turn to the word "dance". The dances are very different. But we are interested in Spanish dances. I have prepared for you a table with existing dances in Spain. And we need to determine which of these dances is similar to the one you perform. While you are reading the tablet, fragments of Jota, Muneira and Kachucha will be played.

The student reads the tablet, listens and finds that our dance is similar in features to “Kachucha”.

P: Now, knowing the peculiarities of Spanish culture, when learning the “Spanish Dance” by M. Moshkovsky, you will be able to meaningfully intonate the melody to enter the image of the work.

Today I would like to perform for you N. Rimsky-Korsakov's “Queen of Shemakhan's Aria” from the opera “The Golden Cockerel”. You see the picture of the Queen of Shemakhan on the screen. Take the notes and a picture of the Queen of Shemakhan. Carefully follow the melody, and I will describe the musical image for me ( Listening Assignment).

Performance of N. Rimsky-Korsakov's "Aria of the Shemakhan Queen" from the opera "The Golden Cockerel" on vibraphone, accompanied by piano.

P: What is the musical image in this work?

W: Wayward, oriental, rich, opulent.

You were rightly advised. If you paid attention, then "Aria" sounds in the opera - a vocal-instrumental genre. So aria has words. Read the words of the first verse and listen again to the fragment of the aria.

And tell me the words help us in understanding the musical image or not?

Performance of N. Rimsky-Korsakov's “Aria of the Queen of Shemakhan” from the opera “The Golden Cockerel” on vibraphone of the first verse, accompanied by piano.

W: Yes, they just paint a picture of the east.

P: Summing up our lesson, I would like you to tell us how music reveals the musical image to us?

U: It’s always different: sometimes you need to look at the name, sometimes you need to turn to the country from where this music came to us, and sometimes, in vocal music, you need to carefully think about its content and the musical image will come by itself.

P: That's right, Stepan. Each time, referring to this or that work, it is necessary that it “overgrown” with invisible content, as it were, but it is this content that will tell you what sound to play, what character the work has, what emotions and memories will help you to embody the musical image. You take all the lesson materials with you, put them in a folder with notes. Thank you for the lesson.

The teacher writes homework and finishes the lesson.

A musical image is a combination of character, musical and expressive means, socio-historical conditions of creation, construction features, and the composer's style. Musical images are:

Lyrical images of feelings, sensations;

epic-description;

Dramatic-images-conflicts, clashes;

Fabulous-images-fairy tales, unreal;

Comic-funny, etc. Using the richest possibilities of the musical language, the composer creates a musical image in which

embodies certain creative ideas, this or that life content.

Lyrical images

The word lyric comes from the word "lyre" - this is an ancient instrument played by singers (rhapsodes), telling about various events and emotions experienced.

Lyrics - a monologue of the hero, in which he tells about his experiences.

The lyrical image reveals the individual spiritual world of the creator. There are no events in a lyrical work, unlike drama and epic - only the confession of a lyrical hero, his personal perception of various phenomena. Here are the main properties of lyrics:

Mood

Lack of action Dramatic/..images

Drama (Greek Δρα´μα - action) is one of the types of literature (along with lyrics, epic, as well as lyrepic), which conveys events through the dialogues of characters. Since ancient times, it has existed in folklore or literary form among various peoples.

Drama is a work that depicts the process of action.

The main subject of dramatic art became human passions in their most striking manifestations.

The main features of the drama:

A person is in a difficult, difficult situation that seems hopeless to him

He/is looking for/a way/out/of/this/situation

He enters into a struggle - either with his enemies, or with the situation itself. Thus, the dramatic hero, unlike the lyrical one, acts, fights, as a result of this struggle he either wins or dies - most often ... most of all.

In the drama, in the foreground are not feelings, but actions. But these actions can be caused precisely by feelings, and very strong feelings- passions. The hero, who is under the power of these feelings, performs active actions.

Almost all Shakespearean characters are dramatic characters: Hamlet, Othello, Macbeth.

They are all being overwhelmed strong passions they are all in a difficult situation.

Hamlet is tormented by hatred for the murderers of his father and a desire for revenge;

Othello suffers from jealousy;

Macbeth is very ambitious, his main problem is the thirst for power, because of which he decides to kill the king.

Drama is unthinkable without a dramatic hero: he is its nerve, focus, source. Life swirls around him, like water seething under the action of a ship's propeller. Even if the hero is inactive (like Hamlet), then this is explosive inactivity. "The hero is looking for a catastrophe. Without a catastrophe, a hero is impossible." Who is the dramatic hero? Slave of passion. He is not looking, but she is dragging him to disaster.

Works that embody dramatic images: 1. Tchaikovsky "The Queen of Spades"

The Queen of Spades is an opera based on the story of the same name by A. S. Pushkin. epic images

EPOS, [Greek. epos - word]

epic work- This is usually a poem that tells about the heroic. deeds.

The origins of epic poetry are rooted in prehistoric stories of gods and other supernatural beings.

The epic is the past, because tells about past events in the life of the people, about their history and exploits;

The lyrics are real, because its object is feelings and moods;

Drama is the future the main thing in it is the action, with the help of which the characters are trying to decide their fate, their future.

The first and simple scheme for the division of the arts associated with the word was proposed by Aristotle, according to which the epic is a story about an event, the drama presents it in faces, the lyrics respond with the song of the soul.

The place and time of the action of epic heroes resemble real history and geography (in what way the epic is radically different from fairy tales and myths, which are completely unrealistic). However, the epic is not entirely realistic, although it is based on real events. Much of it is idealized, mythologized.

This is the property of our memory: we always embellish our past a little, especially when it comes to our great past, our history, our heroes. And sometimes it’s the other way around: some historical events and characters seem worse to us than they actually were. Epic properties: -Heroism

The unity of the hero with his people, in whose name he performs feats

Historicity

Fairy tale (sometimes an epic hero fights not only with real enemies, but also with mythical creatures)

Appraisal (heroes of the epic are either good or bad, for example, heroes in epics - and their enemies, all sorts of monsters)

Relative objectivity (the epic describes real historical events, and the hero may have his weaknesses)

Epic images in music are images not only of heroes, but also of events, history, they can also be images of nature, depicting the Motherland in a certain historical era.

This is the difference between the epic and the lyrics and drama: in the first place is not the hero with his personal problems, but history.

Epic works:

1.Borodin "Bogatyr // symphony"

2. Borodin "Prince//Igor"

Borodin Alexander Porfiryevich (1833-1887), one of the composers of the "Mighty Handful". All his work is permeated with the theme of the greatness of the Russian people, love for the motherland, love of freedom.

The "Bogatyr Symphony", which captures the image of a mighty heroic Motherland, and the opera "Prince Igor", created based on the Russian epic "The Tale of Igor's Campaign", are about this.

“The Tale of Igor’s Campaign” (“The Tale of Igor’s Campaign, Igor, Svyatoslav’s Son, Oleg’s Grandson) is the most famous (considered the greatest) monument of medieval Russian literature. The plot is based on the unsuccessful campaign of the Russian princes against the Polovtsy in 1185, led by Prince Igor Svyatoslavich ..images The name itself suggests storyline these works. These images are most clearly embodied in the work of N.A. Rimsky-Korsakov. This is the symphonic suite "Scheherazade" based on the fairy tales "1001 Nights", and his famous operas - fairy tales "The Snow Maiden", "The Tale of Tsar Saltan", "The Golden Cockerel", etc. In close unity with nature, fabulous, fantastic images appear in Rimsky-Korsakov's music. Most often they personify, as in the works folk art, certain elemental forces and natural phenomena (Moroz, Goblin, Sea Princess, etc.). Fantastic images include, along with musical-pictorial, fairy-tale-fantastic elements, also features of appearance and character. real people. Such versatility (it will be discussed in more detail when analyzing the works) gives Korsakov's musical fantasy a special originality and poetic depth. Rimsky-Korsakov's melodies of an instrumental type, complex in melodic-rhythmic structure, mobile and virtuoso, which are used by the composer in musical description, are very original. fantastic characters. Here you can also mention fantastic images in music. fantastic//music//some//reflections

No one now has any doubts that fantastic works, published in huge circulations every year, and fantastic films, which are also made in large numbers, especially in the United States, are very popular. What about "fantastic music" (or, if you prefer, "musical fantasy")?

First of all, if you think about it, "fantastic music" has been around for a long time. Isn’t it possible to refer to this direction ancient songs and ballads (folklore), which were composed by different peoples all over the Earth in order to praise legendary heroes and various events (including fabulous - mythological)? And around the 17th century, operas, ballets and various symphonic works created based on various fairy tales and legends have already appeared. The penetration of fantasy into musical culture began in the era of romanticism. But we can easily find elements of its "invasion" in the works of musical romantics, such as Mozart, Gluck, Beethoven. However, fantastic motifs sound most clearly in music. German composers R. Wagner, E. T. A. Hoffmann, K. Weber, F. Mendelssohn. Their works are filled with gothic intonations, motifs of a fairy-tale-fantastic element, closely intertwined with the theme of confrontation between man and the surrounding reality. One cannot help but recall the Norwegian composer Edvard Grieg, famous for his musical canvases, which are based on folk epic, and the works of Henrik Ibsen "The Procession of the Dwarves", "In the Cave of the Mountain King", the Dance of the Elves, also by the Frenchman Hector Berlioz, in whose work the theme of the elements of the forces of nature is clearly expressed. Romanticism also manifested itself in Russian musical culture. Mussorgsky's works "Pictures at an Exhibition" and "Night on Bald Mountain" are filled with fantastic figurativeness, which depict a witches' sabbath on the night of Ivan Kupala, which had a tremendous impact on modern rock culture. Mussorgsky also owns a musical interpretation of the story by N.V. Gogol " Sorochinskaya Fair"By the way, the penetration of literary fiction into musical culture is most clearly seen in the works of Russian composers: Tchaikovsky's Queen of Spades, Dargomyzhsky's Mermaid and Stone Guest, Glinka's Ruslan and Lyudmila, Rimsky-Korsakov's The Golden Cockerel, "Demon" by Rubinstein and others. At the beginning of the twentieth century, a real revolution in music was made bold experimenter Scriabin, apologist synthetic art, who stood at the origins of light music. In the symphonic score, he entered the part for the light in a separate line. Fantastic imagery is filled with his works such as " divine poem"(3rd Symphony, 1904), "Poem of Fire" ("Prometheus", 1910), "Poem of Ecstasy" (1907). And even such recognized "realists" as Shostakovich and Kabalevsky used the technique of fantasy in their musical works But, perhaps, the real flowering of "fantastic music" (music in science fiction) begins in the 70s of our century, with the development of computer technology and the appearance of the famous films "Space Odyssey 2001" by S. Kubrick (where, by the way, they were very successfully used classical works R. Strauss and I. Strauss) and "Solaris" by A. Tarkovsky (who, in his film, together with the composer E. Artemyev, one of the first Russian "synthesizers", created a simply wonderful sound "background", combining mysterious cosmic sounds with brilliant music J.-S. Bach). Is it possible to imagine the famous "trilogy" by J. Lucas "Star Wars" and even "Indiana Jones" (which was filmed by Steven Spielberg - but the idea was Lucas!) Without the incendiary and romantic music of J. Williams, performed by a symphony orchestra.

In the meantime (by the beginning of the 70s), the development of computer technology reaches a certain level - musical synthesizers appear. This new technique opens up brilliant prospects for musicians: it has finally become possible to give free rein to imagination and model, create amazing, downright magical sounds, weave them into music, “sculpt” the sound, like a sculptor!.. Perhaps this is already a real fantasy in music. So, from this moment a new era begins, a galaxy of the first master synthesizers, authors-performers of their works appears. Comic images The fate of the comic in music has developed dramatically. Many art historians do not mention the comic in music at all. The rest either deny the existence of musical comedy, or consider its possibilities to be minimal. The most common point of view was well formulated by M. Kagan: “The possibilities of creating a comic image in music are minimal. (...) Perhaps only in the 20th century did music begin to actively seek its own, purely musical means for creating comic images. (...) And yet, despite the important artistic discoveries made by musicians of the 20th century, in musical creativity the comic has not won and, apparently, never will win such a place as it has long occupied in literature, drama theater, fine arts, cinema.” So, the comic is funny, having a wide significance. The task is “correction with laughter” Smile and laughter become “companions” of the comic only when they express the feeling of satisfaction that a person has a spiritual victory over what is contrary to his ideals, what is incompatible with them, what is hostile to him, because to expose what what contradicts the ideal, to realize its contradiction means to overcome the bad, to get rid of it. Consequently, as the leading Russian esthetician M. S. Kagan wrote, the clash of the real and the ideal underlies the comic. At the same time, it should be remembered that the comic, unlike the tragic, occurs under the condition that it does not cause suffering for others and is not dangerous for a person.

Shades of the comic - humor and satire. Humor is a good-natured, gentle mockery of individual shortcomings, weaknesses of a generally positive phenomenon. Humor is friendly, harmless laughter, although not toothless. Satire is the second type of comic. Unlike humor, satirical laughter is menacing, cruel, sizzling laughter. In order to hurt evil, social ugliness, vulgarity, immorality, and the like as much as possible, the phenomenon is often deliberately exaggerated and exaggerated. All forms of art are capable of creating comedic images. There is no need to talk about literature, theater, cinema, painting - it is so obvious. Scherzo, some images in operas (for example, Farlaf, Dodon) - carry out the comic in music. Or let us recall the finale of the first part of Tchaikovsky's Second Symphony, written on the theme of the humorous Ukrainian song "Crane". This is music that makes the listener smile. Humor is full of Mussorgsky's "Pictures at an Exhibition" (for example, "Ballet of the Unhatched Chicks"). The Golden Cockerel by Rimsky-Korsakov and many musical images of the second movement of Shostakovich's Tenth Symphony are sharply satirical.

11.Concepts

A song or song is the simplest but most common form of vocal music that combines poetic text with a melody. Sometimes accompanied by orchestika (also facial expressions). The song in a broad sense includes everything that is sung, provided that the word and the tune are simultaneously combined; in a narrow sense - a small poetic lyrical genre that exists among all peoples and is characterized by the simplicity of musical and verbal construction. Songs differ in genres, warehouse, forms of performance and other features. The song can be performed by one singer or by a choir. Songs are sung both with instrumental accompaniment and without it (a cappella).