Regional competition in musical literature “Musical connoisseurs. The system of creative tasks in the lessons of listening to music and musical literature - methodical page - assol

D O C L A D

ON THE TOPIC

"Development of creative abilities

in solfeggio lessons and musical literature»

Introduction

Meaning creative forms work in music school

Creative tasks at solfeggio lessons

Forms of creative work at the lessons of musical literature

Conclusion

Target:

development of forms and methodological provisions creative tasks in the courses of musical and theoretical disciplines of the Children's Music School

Tasks:

Analysis of modern textbooks on musical and theoretical disciplines in children's music schools in order to identify methodological guidelines for creative tasks;

Identification of forms of classes in solfeggio lessons that contribute to the development of children's creative skills;

Selection of creative tasks in the lessons of musical literature.

Introduction

The assertion that musicians are more hardworking, diligent, sociable, purposeful, have multidimensional thinking, know how to play the situation in advance and evaluate what has already been “played” has long been beyond dispute, in a word, they have many qualities necessary in our intensively changing life. However, such qualities are formed over the years and they are not always obvious. But the fact that there is no practical return from attending a music school is immediately puzzling. After all, in addition to exhausting and long work on the academic program, graduates of children's music schools for the most part do not know how to select popular music, harmonize a melody, arrange a song, do not have the skills of transposition, in a word, everything that would make playing music on an instrument an urgent daily need . However, there were periods in the history of music education when the ability to compose and improvise was an integral part of the profession. “In the XYI-XYIII centuries, organists and clavierists were often forced to resort to improvisation. Skillfully improvising a work on a given theme was considered the highest achievement of the performer. Accompaniment was also a peculiar form of improvisation. The improviser was regarded as a composer of the highest type. The improviser was placed infinitely higher than the performer, who is able to play only memorized notes. The ability to improvise was regarded as an art, which, of course, with certain data, could and should have been learned. Improvisation training was inseparable connection with instruction in composition and music theory. The turning point in relation to improvisation, in our opinion, was the era of classicism. Beethoven in piano concertos began to limit the performer's imagination, writing out a cadenza for an instrumental concerto, so as not to destroy the author's intention. Much more appreciated was the exact reproduction of the text by the performer. But even in the 19th century, musical-historical journalism is replete with enthusiastic responses to the improvisations of Liszt and Paganini.

Back in the last century, researchers, scientists who made a great contribution to the development of psychology and methodology musical training and education, K. Orff, B. Asafiev, L. Vygotsky, B. Teplov, E. Nazay-Kinsky in their works raised the problem of developing the creative abilities of students. So, Karl Orff pointed out the need to educate in a child creativity, creative thinking, which will then manifest itself in any area of ​​​​his future activity. Today it is confirmed by science that the development of the creative qualities of children by means of art stimulates the development of mathematical abilities, that is, the ability to act creatively (creativity) can be successfully transferred from the field of art to the field exact sciences.

The value of creative forms of work in music schools

In modern musical education, the problem of developing the creative abilities of students is becoming more and more relevant: the pace and success of social progress largely depend on the number of creatively developed individuals who are able to solve emerging social and professional problems in a non-standard, proactive, competent way. Therefore, cultivating the ability to be creative should be the leading task. modern education.

Creative forms of work at solfeggio lessons play the role of a kind of “prime mover” that starts the whole mechanism musical development student. It is assumed (and not without reason) that every child has an internal need to study the world around him, one of the forms of which is an active (creative) influence on him. In fact, creation is the most interesting and exciting "game" that mankind has "invented". It is only necessary in a natural way, without "violence" and psychological pressure, to "draw" a novice student into this amazing "game" that can completely and completely "capture" him. However, some difficulties may arise here, mostly of a psychological nature.

There is some kind of “strange”, but very stable opinion that musical creativity is something extremely complex, inaccessible to “mere mortals” and causing almost “sacred” horror. For some reason, no one is surprised by children who paint paper with paints, mold figures from plasticine, write three essays a week on the Russian language or literature, and even try the “poetic pen” for strength, but as soon as it comes to the need to compose a simple melody, there are doubts not only about the “necessity” and usefulness of this work, but also about the very possibility of its implementation. Actually none supernatural powers you don’t need to possess it, but it’s impossible to exaggerate the benefits brought by this type of activity for musical development.

The second problem is related to the fact that music school children come already having certain priorities and patterns of behavior. World musical creativity can frighten with its novelty, unusualness and apparent complexity, provoking a “rejection” reaction. Therefore, it is especially important to properly build creative work in the first lessons.

Creative tasks at solfeggio lessons

Before proceeding to the consideration of the main forms of creative work, it should be recalled that the fulfillment of these tasks in solfeggio lessons is not intended to teach the student to compose music "well". The main goal is to arouse interest in a deep and versatile study of music, musical theory, literature, and form a stable and unconditional need for the development of their musical ability. However, if the student, performing these tasks, shows outstanding creative abilities, then such a result can be considered a great pedagogical "victory" - studying in the composition class, the student will undoubtedly achieve even greater success in his creative and general musical development.

The focus of the teacher during the musical education of schoolchildren are three main types of children's musical creativity: listening, performing and composing music. However, if sufficient attention has long been given to the first two in our schools, then at least important side musical education - the identification and development of students' ability to improvise and compose - still, unfortunately, lags behind. Some teachers do not see the benefit of the composed "primitive", "inept" melodies of their students. However, for the student, this melody sometimes seems more interesting and meaningful than those offered by the teacher.

We must not forget that children's creativity is a two-way process. On the one hand, a child can show himself in creative tasks freely, without becoming confused, only by mastering a certain musical and auditory experience and sufficient theoretical material. On the other hand, involvement in creativity provides great benefits: students are involved in an active process of acquiring knowledge. Such knowledge will be strong and productive. At the same time, independence of thinking, the ability to compare, compare, draw conclusions, competently apply in practice the whole complex of the theoretical information obtained are developed. creative methods and techniques help to create an atmosphere of ease, emotional responsiveness in the lesson, which contributes to the most complete disclosure of the individual capabilities of students, increase the motivation, interest of children in the subject. Therefore, in Lately we welcome that in the programs and teaching aids in solfeggio, musical literature, music, more and more attention is paid to such forms of work as composing, improvisation, playing music on instruments, selecting accompaniment and a second voice, etc.

The atmosphere of ease in the classroom is helped to create tasks in a playful way. Students, especially lower grades very fond of such forms of work. Any, even the most difficult task can be turned into an exciting game if the teacher formulates the task accordingly. For example, the task “identify a familiar song from a rhythmic or melodic pattern” can be presented as follows: “guess the riddle - what kind of song is written on the board? ". Oral dictation (perform a melody with your voice or on an instrument, or show the movement of the melody along the “ladder”) can be represented as a game “Get out of captivity”: if the student makes a mistake, then others rush to help him. Feeling the support behind their backs, the guys are not afraid to participate in such tasks, they are not afraid to make mistakes. At the same time, from lesson to lesson, the accuracy of the performance grows, as does the acquired musical and auditory experience.

IN creative process all students must be involved, without exception, regardless of ability level. It is advisable to include elements of creativity in the lesson as early as possible. Children of six or seven have an unusually rich imagination, a less developed sense of self-criticism, and therefore they improvise more freely, even if their composition is not entirely successful. If you start introducing creative tasks from grades 5-7, then they often meet resistance among schoolchildren. The reason, in my opinion, lies in the lack of certain skills and the increased requirements that have already appeared for the results of one's own activity. At the same time, having mastered the skills of creativity at an early age, students willingly compose in the upper grades.

Creative forms of work at solfeggio lessons excite the role of a kind of “first mover” that launches the entire mechanism of the student’s musical development. It is assumed (and not without reason) that every child has an internal need to study the world around him, one of the forms of which is an active (creative) influence on him. In fact, creation is the most interesting and exciting "game" that mankind has "invented". It is only necessary in a natural way, without "violence" and psychological pressure, to "draw" a novice student into this amazing "game" that can completely and completely "capture" him. However, some difficulties may arise here, mostly of a psychological nature.

Experience suggests that one of the most effective ways introducing a child into the world of musical creativity - participation in a collective musical and theatrical action. Participation not only as a performer, but also, in part, as a co-author of a work (not necessarily on musical level- quite active participation in the organization and formulation of the action). Unfortunately, individual shape work in the classroom does not allow to fully apply this method in children's music schools. Nevertheless, there are certain "reserves" in such conditions. A good effect is the learning of songs in a dialogue form. The musical dialogue with the teacher is the first and very important stage of "pulling" the student into the creative process. It not only “forces” the student to actively listen to the “remarks” of the teacher, but also allows him to show creative initiative in the intonation “characteristic” of the performance. This, as a rule, is quite enough to “hook” the student, to arouse his interest in the active interpretation of the text. At the next stage, you can invite the child to perform his lines with various other intonations, improvise the end of the phrase, come up with rhythmic and melodic versions of lines and full melodies for a given text (orally). One more step - and you can include in the work the main forms of creative tasks.

As mentioned earlier, creative tasks can perform various functions: stimulating, developing and reinforcing. In some cases, two or three functions can be executed at once in one job. There is nothing paradoxical about this, it all depends on the attitude of the teacher. In one case, the selection of accompaniment chords can serve as an incentive to study the relevant topics of the theory, in the other case, as a method of consolidating this material. In addition, the stimulation of one task may well be accompanied by the consolidation of another, since tasks focused exclusively on one theoretical material are practically impossible or of little interest. As for the developing function, it is present to one degree or another in any creative task. Despite this, it is necessary to make some division of the forms of creative work in accordance with specific pedagogical tasks.

"Stimulating" tasks are set in such a way that their implementation is impossible or very difficult without knowledge of a certain theoretical topic or a certain practical skill. In particular, the task of “orally” composing several melodies, which is simple in itself, will sooner or later face the problem of memorizing them, and will raise the question of the need to write them down. The next task - recording a composed melody - is fundamentally impossible without knowing the basics musical literacy. In other cases, the fulfillment of a creative task is possible both at the “intuitive” level and on the basis of already acquired theoretical knowledge. Here it makes sense to divide the work into two stages. For example, the task proposed earlier to compose an "exotic" melody in the "oriental spirit" at the first stage is performed "intuitively". In case of its successful implementation, the modal features of the melody are considered and analyzed and formulated theoretical concepts harmonic modes, their structure and application features. If the student could not solve this problem on his own, similar examples are analyzed, the corresponding concepts are again formulated and the problem is solved on the basis of a certain theoretical training. It is very important not to consider the first attempt as a failure, it is important to focus the student's attention on the "special" advantages of knowing the relevant theory.

Another version of the scenario involves the analysis and analysis of the theoretical part in the classroom immediately after the “setting of the artistic task”. In any case, it is necessary that each topic studied at the theoretical level has its own “reflection” in creative practice.

All "stimulating" creative tasks in the overwhelming majority are written tasks for composing a melody or other textural elements that meet the specified conditions according to the theory of the topic under study. As practice shows, these written creative tasks are best done in the form of homework, so that the student can not only understand the very essence of the tasks in a relaxed atmosphere, but also “creatively” (in the literal sense of the word) treat them. It is important that the student understands from the very beginning that creativity does not tolerate a "fussy" attitude towards itself.

At the first stage, at the very beginning of schooling, as well as at later stages, you can give tasks in an improvisational form, so that you can understand and “try” the task in the most general terms already in the lesson, without taking this is a lot of time.

"Developing" tasks can also coincide in wording with the tasks of the other two types. As already noted, the developmental function is present to one degree or another in any creative task. Nevertheless, the program offers a number of special tasks focused on the development of musical abilities, primarily musical ear. "Developing" tasks can be performed both in the classroom and at home. As practice shows, creative forms of work contribute to the development of musical abilities much more effectively than ordinary auditory and intonational exercises. One of the most useful developmental exercises is writing melodies and other textural elements without the help of a piano or any other instrument - an exercise that allows you to develop the skill of writing dictations better than actually working on dictations. In the classroom, such an exercise can be performed together with the teacher - for example, composing a melody in turn by measure. On the one hand, this also saves valuable lesson time, and on the other hand, the student will have to not only record the melody heard with his “inner” ear, but also hear the fragment written by the teacher. In the early stages, it is highly recommended to sing the co-composed fragment at each stage of its writing. This will allow you to control the real work and activity of the student's hearing, and will not allow him to write "anything".

"Reinforcing" tasks in their form and content may coincide with stimulating ones or differ from them in greater complexity or specificity. This type of task is widely used in pedagogical practice, and therefore it makes no sense to analyze them in detail. We only note that the greatest effect from their use will be manifested if they are “paired” with stimulants, as shown in the previous example. However, the situation of applying these tasks in an “independent” form is quite possible, especially if the “stimulating” task for the topic being studied is difficult to formulate or its implementation obviously cannot bring tangible benefits to the student.

Forms of creative work at the lessons of musical literature

Musical literature is one of the fascinating and informative subjects among the musical-theoretical disciplines in the Children's Music School (DShI). At correct selection material, artistic and musical illustrations to it, the studied works almost always evoke a lively active response from students. The "key" to a teacher's success is often the encouragement of children to independent creativity. Students with interest perform creative tasks proposed by the teacher, but with even greater interest they themselves come up with games, crossword puzzles, tests, write essays, make abstracts and reports. All these forms of work are implemented both during school hours and after hours (as homework).

The ability to hear music and think about it must be educated in children from the very beginning. schoolwork music. Already at the first lesson of the first year of study, an immutable law should be established in the classroom: when music is played in the classroom, none of the children should raise their hands. At the same time, it is necessary that students immediately understand that they must comply with this law, not because discipline requires it, but because when music is playing, only carefully following its sound can one deeply perceive it and truly understand it.

Children's answers give an idea of ​​the degree of development of their musical perception. So, for example: it happened with a fragment from Grieg's "Morning". The guys called it in different ways: "Spring", "Sunrise", "Flowers bloom", "Morning in the forest". Gradually bring them to correct name you need to carefully and unobtrusively bring listeners closer to music, and not take them into a world of naive fantasies far from music. You can resort to "hints", believing that they help the perception of music.

It is necessary to practice written works, a kind of compositions on musical themes. Independent reflections of students should be carefully prepared by their thoughts. Creative perception a certain direction must be given so as not to constrain the imagination of children, not to limit their associative thinking. These are just some of the forms of children's communication with music, which are aimed at developing creative imagination, at developing the perception of a musical image, and through it - at the perception of different aspects of life.

Children's creativity is based on vivid musical impressions. Listening to music, a child always hears not only what is contained in it, what is inherent in it by the composer (and, of course, the performer), but also what is born under its influence in his soul, in his mind, that is, what which creates already his own creative imagination. Thus, the piece listened to gives rise to a complex fusion of the objective content of music and its subjective perception. The creativity of the listener joins the creativity of the composer and the creativity of the performer!

The imagination of children, especially of primary school age, as a rule, is bright, lively, and they listen to "musical pictures" with pleasure, and most often with their eyes closed, so as not to be distracted, but to see the music in their imagination.

The artistic and pedagogical value of the question lies in the ability to give different correct answers to it, in its versatility and creative basis. And then creativity is manifested in the originality of the answers of the children from the first grade. Reflecting on the nature of the song "Marmot" by L. Beethoven, the children answer: "Sad, gentle, calm, quiet, slow, affectionate, beautiful", "This is a very sad song", "I feel sorry for the poor lonely organ grinder." All children are under the influence of sounding music: they create together, recreate its image, revealing their attitude. At the same time, it is wonderful if the collective reflection will be "collected" by the children themselves. Those. not the teacher will combine what they said, but one of the students. The predominance of collective forms of work in a music lesson creates objective prerequisites for deep comprehensive personal communication of children, their mutual influence on each other. That is why it is necessary to feel, understand and preserve the individuality, uniqueness of each child.

One of the methodological provisions of the program is the definition of a single, holistic musical and creative activity as the disclosure of the vital content of music, carried out in various forms of communication with art.

If during the training students discover “for themselves” the laws that constitute the heritage of mankind, and not just receive them ready-made, then to a certain extent they join creativity, the process of discovery. The process of identifying and developing the student's creative activity is closely related to his emancipation from compulsory memorization and memorization.

Children need to create and experience in order to understand. “I hear and I forget. I see and remember for a long time. I do and understand. ”(Chinese folk wisdom). To make music yours personal experience they need to sing, play instruments, dance, invent and change themselves. The creativity of children in the classroom is understood as the ability and desire to do something in their own way, individually, perhaps even original. “Play, sing, dance as you like” - these magic words open the invisible gates for the child to the world of fantasy, resourcefulness, ingenuity, where he is not constrained by almost any restrictions.

In music classes, students meet with works not only specially written for children, but also beyond children's repertoire- with classical and modern compositions, by domestic and foreign composers, as well as with the musical folklore of different peoples. At the same time, the ability of students to emotionally direct and at the same time based on reflection, meaningful perception musical classics, indicates the degree of their musical development, musical culture. Music, performing many vital tasks, is called upon to solve the most important thing - to instill in children a sense of inner involvement in the spiritual culture of mankind, to instill life position students in the world of music.

Conclusion

Creative tasks include two components. The tasks are called creative, since children must combine, improvise, compose, that is, independently find a new expression of their knowledge. But at the same time, they are called tasks, since the children's creativity is not supposed to be completely independent, but with the participation of a teacher who organizes the conditions. Materials, encourages children to be creative. The success of this complex and exciting activity depends on the personality of the teacher, his enthusiasm, the ability to participate in the creativity of students.

Music unites the thought, will, feelings of the masses and at the same time satisfies the aesthetic needs of the people, introduces the listener to the great joys that art brings. It is through the listener that music influences life, helps to transform life.

After all, without music, life loses some meaning, there is no very edge that would make you think, make you admire it, help people live and create. Music is one of those riches that is given to people.

Bibliography:

1. Kalugina M., Khalabuzar P. “Education of creative skills in solfeggio lessons” - M., 1987.

2. Koganovich, G. P. “Musical improvisation and education creative personality"- Minsk, 1997.

3. Levi V. "The Art of Being Different" M., 1981.

4. Malakhova I. A. Personal development. Creativity, giftedness, talent" - Ch. 1. - Minsk, 2002.

5. Nikitin B.P. "Steps of creativity or educational games" - M. Enlightenment 1990.

6. Shatkovsky G. "Composition and improvisation of melodies" M., 1991.

7. Shatkovsky G. "Development of musical ear and skills in creative improvisation" - M., 1996.

MKOU DO "Korenevskaya children's art school named after A.M. Rudenko" Kursk region Korenevsky district
Methodological development on the topic:
"Development of creative abilities

literature"

Prepared and conducted
teacher of theoretical disciplines
Minasyan Gohar Zhorai2015-2016 academic year “Development of creative abilities
in solfeggio and music lessons
literature"
Content
Introduction



Conclusion
Bibliography
Target:
mastering the forms and methodological provisions of creative tasks in the courses of musical and theoretical disciplines of the Children's School of Art
Tasks:
- analysis of modern textbooks on musical and theoretical disciplines in the Children's School of Art in order to identify methodological guidelines for creative tasks;
- identification of forms of classes in solfeggio lessons that contribute to the development of children's creative skills;
- selection of creative tasks in the lessons of musical literature.
Introduction
The assertion that musicians are more hardworking, diligent, sociable, purposeful, have multidimensional thinking, know how to play the situation in advance and evaluate what has already been “played” has long been beyond dispute, in a word, they have many qualities necessary in our intensively changing life. However, such qualities are formed over the years and they are not always obvious. But the fact that there is no practical return from attending an art school is immediately puzzling. After all, in addition to exhausting and long work on the academic program, graduates of children's art schools for the most part do not know how to select popular music, harmonize a melody, arrange a song, do not possess the skills of transposition, in a word, everything that would make playing music on an instrument an urgent daily need . However, there were periods in the history of music education when the ability to compose and improvise was an integral part of the profession. “In the XYI-XYIII centuries, organists and clavierists were often forced to resort to improvisation. Skillfully improvising a work on a given theme was considered the highest achievement of the performer. Accompaniment was also a peculiar form of improvisation. The improviser was regarded as a composer of the highest type. The improviser was placed infinitely higher than the performer, who is able to play only memorized notes. The ability to improvise was regarded as an art, which, of course, with certain data, could and should have been learned. The teaching of improvisation was inextricably linked with the teaching of composition and music theory. The turning point in relation to improvisation, in our opinion, was the era of classicism. Beethoven in piano concertos began to limit the performer's imagination, writing out a cadence for an instrumental concerto, so as not to destroy the author's intention. Much more appreciated was the exact reproduction of the text by the performer. But even in the 19th century, musical-historical journalism is replete with enthusiastic responses to the improvisations of Liszt and Paganini.
Even in the last century, researchers, scientists who made a great contribution to the development of psychology and methods of musical training and education, K. Orff, B. Asafiev, L. Vygotsky, B. Teplov, E. Nazai-Kinsky raised the problem of developing creative abilities in their works students. So, Carl Orff pointed out the need to educate a child's creativity, creative thinking, which will then manifest itself in any area of ​​his future activity. Today it is confirmed by science that the development of the creative qualities of children by means of art stimulates the development of mathematical abilities, that is, the ability to act creatively (creativity) can be successfully transferred from the field of art to the field of exact sciences.
The value of creative forms of work in the Children's School of Art
In modern musical education, the problem of developing the creative abilities of students is becoming more and more relevant: the pace and success of social progress largely depend on the number of creatively developed individuals who are able to solve emerging social and professional problems in a non-standard, proactive, competent way. Therefore, the education of the ability to be creative should become the leading task of modern education.

There is some kind of “strange”, but very stable opinion that musical creativity is something extremely complex, inaccessible to “mere mortals” and causing almost “sacred” horror. For some reason, no one is surprised by children who paint paper with paints, mold figures from plasticine, write three essays a week on the Russian language or literature, and even try the “poetic pen” for strength, but as soon as it comes to the need to compose a simple melody, there are doubts not only about the “necessity” and usefulness of this work, but also about the very possibility of its implementation. In fact, one does not need to possess any supernatural abilities for this, but it is impossible to exaggerate the benefits brought by this type of activity for musical development.
The second problem is related to the fact that children come to the art school already having certain priorities and behavior patterns. The world of musical creativity can frighten with its novelty, unusualness and apparent complexity, provoking a “rejection” reaction. Therefore, it is especially important to properly build creative work in the first lessons.
Creative tasks at solfeggio lessons
Before proceeding to the consideration of the main forms of creative work, it should be recalled that the fulfillment of these tasks in solfeggio lessons is not intended to teach the student to compose music "well". The main goal is to arouse interest in a deep and versatile study of music, musical theory, literature, and form a stable and unconditional need for the development of one's musical abilities. However, if the student, performing these tasks, shows outstanding creative abilities, then such a result can be considered a great pedagogical "victory" - studying in the composition class, the student will undoubtedly achieve even greater success in his creative and general musical development.
The focus of the teacher during the musical education of schoolchildren are three main types of children's musical creativity: listening, performing and composing music. However, if sufficient attention has long been paid to the first two in our schools, then an equally important aspect of musical education - the identification and development of students' ability to improvise and compose - still, unfortunately, lags behind. Some teachers do not see the benefit of the composed "primitive", "inept" melodies of their students. However, for the student, this melody sometimes seems more interesting and meaningful than those offered by the teacher.



Creative forms of work at solfeggio lessons play the role of a kind of “first mover” that launches the entire mechanism of the student’s musical development. It is assumed (and not without reason) that every child has an internal need to study the world around him, one of the forms of which is an active (creative) influence on him. In fact, creation is the most interesting and exciting "game" that mankind has "invented". It is only necessary in a natural way, without "violence" and psychological pressure, to "draw" a novice student into this amazing "game" that can completely and completely "capture" him. However, some difficulties may arise here, mostly of a psychological nature.
As experience suggests, one of the most effective ways to introduce a child into the world of musical creativity is participation in a collective musical and theatrical action. Participation not only as a performer, but also, in part, as a co-author of the work (not necessarily at the musical level - it is quite enough to actively participate in the organization and staging of the action). Unfortunately, the individual form of work in the classroom does not allow the full application of this method in children's art school. Nevertheless, there are certain "reserves" in such conditions. A good effect is the learning of songs in a dialogue form. The musical dialogue with the teacher is the first and very important stage of "pulling" the student into the creative process. It not only “forces” the student to actively listen to the “remarks” of the teacher, but also allows him to show creative initiative in the intonation “characteristic” of the performance. This, as a rule, is quite enough to “hook” the student, to arouse his interest in the active interpretation of the text. At the next stage, you can invite the child to perform his lines with various other intonations, improvise the end of the phrase, come up with rhythmic and melodic versions of lines and full melodies for a given text (orally). One more step - and you can include in the work the main forms of creative tasks.
As mentioned earlier, creative tasks can perform various functions: stimulating, developing and reinforcing. In some cases, two or three functions can be executed at once in one job. There is nothing paradoxical about this, it all depends on the attitude of the teacher. In one case, the selection of accompaniment chords can serve as an incentive to study the relevant topics of the theory, in the other case, as a method of consolidating this material. In addition, the stimulation of one task may well be accompanied by the consolidation of another, since tasks focused exclusively on one theoretical material are practically impossible or of little interest. As for the developing function, it is present to one degree or another in any creative task. Despite this, it is necessary to make some division of the forms of creative work in accordance with specific pedagogical tasks.
"Stimulating" tasks are set in such a way that their implementation is impossible or very difficult without knowledge of a certain theoretical topic or a certain practical skill. In particular, the task of “orally” composing several melodies, which is simple in itself, will sooner or later face the problem of memorizing them, and will raise the question of the need to write them down. The next task - recording a composed melody - is fundamentally impossible without knowledge of the basics of musical literacy. In other cases, the fulfillment of a creative task is possible both at the “intuitive” level and on the basis of already acquired theoretical knowledge. Here it makes sense to divide the work into two stages. For example, the task proposed earlier to compose an "exotic" melody in the "oriental spirit" at the first stage is performed "intuitively". In the case of its successful implementation, the modal features of the melody are considered and analyzed and the theoretical concepts of harmonic modes, their structure and application features are formulated. If the student could not solve this problem on his own, similar examples are analyzed, again the corresponding concepts are formulated and the problem is solved on the basis of a certain theoretical preparation. It is very important not to consider the first attempt as a failure, it is important to focus the student's attention on the "special" advantages of knowing the relevant theory.
Another version of the scenario involves the analysis and analysis of the theoretical part in the classroom immediately after the “setting of the artistic task”. In any case, it is necessary that each topic studied at the theoretical level has its own “reflection” in creative practice.
All "stimulating" creative tasks in the overwhelming majority are written tasks for composing a melody or other textural elements that meet the specified conditions according to the theory of the topic under study. As practice shows, these written creative tasks are best done in the form of homework, so that the student can not only understand the very essence of the tasks in a relaxed atmosphere, but also “creatively” (in the literal sense of the word) treat them. It is important that the student understands from the very beginning that creativity does not tolerate a "fussy" attitude towards itself.
At the first stage, at the very beginning of schooling, as well as at later stages, you can give tasks in an improvisational form, so that you can understand and “try” the task in the most general terms already in the lesson, without taking this is a lot of time.
"Developing" tasks can also coincide in wording with the tasks of the other two types. As already noted, the developmental function is present to one degree or another in any creative task. Nevertheless, the program offers a number of special tasks focused on the development of musical abilities, primarily musical ear. "Developing" tasks can be performed both in the classroom and at home. As practice shows, creative forms of work contribute to the development of musical abilities much more effectively than ordinary auditory and intonational exercises. One of the most useful developmental exercises is writing melodies and other textural elements without the help of a piano or any other instrument - an exercise that allows you to develop the skill of writing dictations better than actually working on dictations. In the classroom, such an exercise can be performed together with the teacher - for example, composing a melody in turn by measure. On the one hand, this also saves valuable lesson time, and on the other hand, the student will have to not only record the melody heard with his “inner” ear, but also hear the fragment written by the teacher. In the early stages, it is highly recommended to sing the co-composed fragment at each stage of its writing. This will allow you to control the real work and activity of the student's hearing, and will not allow him to write "anything".
"Reinforcing" tasks in their form and content may coincide with stimulating ones or differ from them in greater complexity or specificity. This type of task is widely used in pedagogical practice, and therefore it makes no sense to analyze them in detail. We only note that the greatest effect from their use will be manifested if they are “paired” with stimulants, as shown in the previous example. However, the situation of applying these tasks in an “independent” form is quite possible, especially if the “stimulating” task for the topic being studied is difficult to formulate or its implementation obviously cannot bring tangible benefits to the student.
Forms of creative work at the lessons of musical literature
Musical literature is one of the fascinating and informative subjects among the musical-theoretical disciplines at the Children's School of Art. With the right selection of material, artistic and musical illustrations for it, the studied works almost always evoke a lively active response from students. The "key" to the success of the teacher is often the stimulation of children to independent creativity. Students with interest perform creative tasks proposed by the teacher, but with even greater interest they themselves come up with games, crossword puzzles, tests, write essays, make abstracts and reports. All these forms of work are implemented both during school hours and after hours (as homework).
The ability to hear music and think about it must be brought up in children from the very beginning of school music lessons. Already at the first lesson of the first year of study, an immutable law should be established in the classroom: when music is played in the classroom, none of the children should raise their hands. At the same time, it is necessary that students immediately understand that they must comply with this law, not because discipline requires it, but because when music is playing, only carefully following its sound can one deeply perceive it and truly understand it.
The children's answers give an idea of ​​the degree of development of their musical perception. So, for example: it happened with a fragment from Grieg's "Morning". The guys called it in different ways: "Spring", "Sunrise", "Flowers bloom", "Morning in the forest". Gradually bring them to the correct name, you need to carefully and unobtrusively bring listeners closer to music, and not take them into a world of naive fantasies far from music. You can resort to "hints", believing that they help the perception of music.
It is necessary to practice written works, a kind of compositions on musical themes. Independent reflections of students should be carefully prepared by their thoughts. Creative perception should be given a certain direction so as not to constrain the imagination of children, not to limit their associative thinking. These are just some of the forms of children's communication with music, which are aimed at developing creative imagination, at developing the perception of a musical image, and through it - at the perception of different aspects of life.
Children's creativity is based on vivid musical impressions. Listening to music, a child always hears not only what is contained in it, what is inherent in it by the composer (and, of course, the performer), but also what is born under its influence in his soul, in his mind, that is, what which creates already his own creative imagination. Thus, the piece listened to gives rise to a complex fusion of the objective content of music and its subjective perception. The creativity of the listener joins the creativity of the composer and the creativity of the performer!
The imagination of children, especially of primary school age, as a rule, is bright, lively, and they listen to "musical pictures" with pleasure, and most often with their eyes closed, so as not to be distracted, but to see the music in their imagination.
The artistic and pedagogical value of the question lies in the ability to give different correct answers to it, in its versatility and creative basis. And then creativity is manifested in the originality of the answers of the children from the first grade. Reflecting on the nature of the song "Marmot" by L. Beethoven, the children answer: "Sad, gentle, calm, quiet, slow, affectionate, beautiful", "This is a very sad song", "I feel sorry for the poor lonely organ grinder." All children are under the influence of sounding music: they create together, recreate its image, revealing their attitude. At the same time, it is wonderful if the collective reflection will be "collected" by the children themselves. Those. not the teacher will combine what they said, but one of the students. The predominance of collective forms of work in a music lesson creates objective prerequisites for deep comprehensive personal communication of children, their mutual influence on each other. That is why it is necessary to feel, understand and preserve the individuality, uniqueness of each child.
One of the methodological provisions of the program is the definition of a single, holistic musical and creative activity as the disclosure of the vital content of music, carried out in various forms of communication with art.
If during the training students discover “for themselves” the laws that constitute the heritage of mankind, and not just receive them ready-made, then to a certain extent they join creativity, the process of discovery. The process of identifying and developing the student's creative activity is closely related to his emancipation from compulsory memorization and memorization.
Children need to create and experience in order to understand. “I hear and I forget. I see and remember for a long time. I do and understand. (Chinese folk wisdom). To make music their personal experience, they need to sing, play instruments, dance, invent and change themselves. The creativity of children in the classroom is understood as the ability and desire to do something in their own way, individually, perhaps even original. “Play, sing, dance as you like” - these magic words open the invisible gates for the child to the world of fantasy, resourcefulness, ingenuity, where he is not constrained by almost any restrictions.
In music classes, students meet with works not only specially written for children, but also beyond the limits of the children's repertoire - with classical and modern compositions, by domestic and foreign composers, as well as with musical folklore of different peoples. At the same time, the ability of students to emotionally direct and at the same time based on reflection, meaningful perception of musical classics, indicates the degree of their musical development, musical culture. Music, performing many vital tasks, is called upon to solve the most important thing - to instill in children a sense of inner involvement in the spiritual culture of mankind, to instill a life position of students in the world of music.
Development of creative abilities in the lessons of solfeggio and musical literature: forms and methods
Even in the last century, researchers, scientists who made a great contribution to the development of psychology and methods of musical training and education, K. Orff, B. Asafev, L. Vygotsky, B. Teplov, E. Nazai-Kinsky, raised the problem of developing creative abilities in their works students. So, Carl Orff pointed out the need to educate a child's creativity, creative thinking, which will then manifest itself in any area of ​​his future activity. Today it is confirmed by science that the development of the creative qualities of children by means of art stimulates the development of mathematical abilities, that is, the ability to act creatively (creativity) can be successfully transferred from the field of art to the field of exact sciences. In modern musical education, the problem of developing the creative abilities of students is becoming more and more relevant: the pace and success of social progress largely depend on the number of creatively developed individuals who are able to solve emerging social and professional problems in a non-standard, proactive, competent way. Therefore, the education of the ability to be creative should become the leading task of modern education.
The focus of the teacher during the musical education of schoolchildren are three main types of children's musical creativity: listening, performing and composing music. However, if sufficient attention has long been paid to the first two in our schools, then an equally important aspect of musical education - the identification and development of students' ability to improvise and compose - still, unfortunately, lags behind. Some teachers do not see the benefit of the composed "primitive", "inept" melodies of their students. However, for the student, this melody sometimes seems more interesting and meaningful than those offered by the teacher. On this occasion, B. Asafiev’s statement seems important to me: “A person who has experienced the joy of creativity, even to the smallest degree, deepens his life experience and becomes different in psychological makeup than a person who only imitates the acts of others.”
We must not forget that children's creativity is a two-way process. On the one hand, a child can show himself in creative tasks freely, without being confused, only by mastering a certain musical and auditory experience and sufficient theoretical material. On the other hand, involvement in creativity provides great benefits: students are involved in an active process of acquiring knowledge. Such knowledge will be strong and productive. At the same time, independence of thinking, the ability to compare, compare, draw conclusions, competently apply in practice the whole complex of the theoretical information obtained are developed. Creative methods and techniques help to create an atmosphere of ease, emotional responsiveness in the classroom, which contributes to the most complete disclosure of the individual capabilities of students, increases the motivation and interest of children in the subject. Therefore, we have recently welcomed the fact that in programs and textbooks on solfeggio, musical literature, and music, more and more attention is paid to such forms of work as composing, improvisation, playing music on instruments, selecting accompaniment and a second voice, etc.
The atmosphere of ease in the classroom is helped to create tasks in a playful way. Students, especially those in the lower grades, are very fond of such forms of work. Any, even the most difficult task can be turned into an exciting game if the teacher formulates the task accordingly. For example, the task “identify a familiar song from a rhythmic or melodic pattern” can be presented as follows: “guess the riddle - what kind of song is written on the board? “Oral dictation (perform a melody with your voice or on an instrument, or show the movement of a melody along a “ladder”) can be represented as a game “Get out of captivity”: if a student makes a mistake, then others rush to help him. Feeling the support behind their backs, the guys are not afraid to participate in such tasks, they are not afraid to make mistakes. At the same time, from lesson to lesson, the accuracy of the performance grows, as does the acquired musical and auditory experience.
All students, without exception, regardless of ability level, should be involved in the creative process. It is advisable to include elements of creativity in the lesson as early as possible. Six-seven-year-old children have an unusually rich imagination, a less developed sense of self-criticism, and therefore they improvise more freely, even if their composition is not entirely successful. If you start introducing creative tasks from grades 5-7, then they often meet resistance among schoolchildren. The reason, in my opinion, lies in the lack of certain skills and the increased requirements that have already appeared for the results of one's own activity. At the same time, having mastered the skills of creativity at an early age, students willingly compose in the upper grades.
For many years of practice as a teacher of solfeggio and musical literature, various creative forms have been built by the author into a system. The small scope of the article does not allow to present it in full, so several fragments from this process are offered.
Improvisation Literally in the first lessons, first-graders get acquainted with the concepts of "register", "tempo", "dynamics", "strokes". After a short preliminary stage, which includes listening to the works and an accessible analysis of the means of expression, the corresponding themes-images for improvisations on the piano are given: "Tiger", "Bunny", "Summer Thunderstorm", etc. At the same time, no knowledge is required musical notation or mastering the technique of playing an instrument. Several students take turns improvising on the same theme. After each improvisation, it is a special pleasure for children to determine the nature of the image: one tiger is timid, another is angry, the third is thoughtfully “walking” back and forth, etc. An analysis of expressive means is carried out jointly.
Another a prime example The use of improvisation on the piano is connected with the theme "Intervals". When studying a topic, it is very important to focus students' attention on the acoustic coloring of each interval, their individual originality, and artistic and expressive possibilities. The preparatory stage for the simplest improvisation includes: demonstration of the sound of intervals in different registers, tempos, with different strokes and dynamic shades, in a harmonic and melodic position, both in ascending and descending movement; a joint characteristic of the artistic expressive possibilities intervals; showing examples from classical musical literature (for homework, students are given the task to find bright intonations of intervals in works by specialty, choir or orchestra).
Then you can get creative. Task topics for improvisations are selected according to the expressive possibilities of each interval. For example: it turns out very bright, figurative musical picture"Flickering Stars", created using the interval of a second in harmonic form. Students show interesting creative finds, improvising in a duet on the theme "Donkey and Wasp" using thirds and seconds. Improvisations are systematically included in the work at different stages of learning, and can be singing, rhythmic, motor, genre, figurative, plot, free, etc. In improvisations, compositions, the teacher gets the opportunity to control the process of assimilation of certain theoretical information, monitor the development of the student, to reveal the degree of his musicality, growth creative possibilities. Improvisation allows not only to create, but also to use the acquired skills and knowledge in the process of learning, thereby reinforcing them.
An example of creative tasks in the framework of mastering the mode. Already the initial stage of mastering the mode, built on a combination of individual steps, gradually connecting into certain revolutions, leads to the ability to compose and improvise melodies on a limited number of steps. I would like to note here important role visual aids"Buttons" and "Ladder" as an effective means that not only facilitate cognitive reality, but also organize perception, activate the memorization process. The perception of a change in the movement of a melody relies simultaneously on auditory, visual and motor sensations.
The "Buttons" manual is stave and button-notes of two colors (symbol of long and short durations). Initial (preparatory) forms of work: - laying out the melodies of new songs, chants with the help of a teacher, already familiar - from memory; - performing the laid out melodies “according to notes” with a voice or on an instrument; height); -recognition of them by the "musical text"; -melodic dictation (laying out short melodic phrases based on the mastered complex of steps).
Already the simplest intonation model (for example: V- III stage), mastered in the indicated preparatory forms of work, can lead to some “discoveries” using the example of simple creative tasks: “improvisation-prank” (based on the laid out chants at 2-3 steps, the buttons are rearranged in height within the specified steps). Result: many options that are sung along with the teacher or performed on the piano. Conclusion: two (three) sounds were used, but how many different melodies can be composed; composing a melody in 2-3 steps on a small text.
On this seemingly simple task, children are already learning to understand the expressive meaning of the movement of the melody and the nature of the rhythm. Starting from several constructive first creative experiments, the tasks of composing music gradually become more complicated.
An example of creative tasks as part of the development of genres
Studying the meter 3/4 and, already knowing how to operate with some rhythmic formulas, we turn to the most popular three-part genre - the waltz. Acquainted with the examples of world musical classics with characteristic features genre, students are happy to compose waltzes for 8-16 measures for different instruments, with and without accompaniment (the student has the right to choose the complexity of the task according to his abilities). I would like to note interesting works: “Waltz of the Frogs” by Daria Gritsuk, several waltzes (!) by Olga Kovalchuk (3rd grade students), “Dance Lesson” in the waltz genre by Alexandra Fedorova (5th grade students) and many others. Similarly, the study of rhythmic groups with sixteenth durations was consolidated by composing a polka, and through the march genre, it is easy to assimilate the expressive possibilities of 4/4 time and dotted rhythm.
Many interesting, exciting tasks are used to master the topic "Musical Forms": from individual constituent elements of the period (motive, phrase, sentence) to rondo forms, variations, fugue.
From simple to complex
Having mastered all the baggage of necessary knowledge, the most difficult tasks by composition program music. At the same time, students get the opportunity to “experiment” with various ensemble compositions, for example: Kutinova Elena (student of the 6th grade) composed “Knightly Romance” for cymbals, two violins and piano (with this and other works the girl became the winner in regional competition young composers). Many duets were created: for domra and piano, flute and guitar, flute and piano, trumpet and piano and others. The students enjoyed playing music in the ensembles created by their classmates. The most important condition for the creative development of students is consistency and systematic use of creative forms of work, and the result will not keep you waiting.
Remember - the term "creative assignments" has two components. The tasks are called creative, since children must combine, improvise, compose, that is, independently find a new expression of their knowledge. But at the same time, they are called tasks, since children's creativity is not supposed to be completely independent, but with the participation of a teacher who organizes the conditions, materials, encourages children to creative actions. The success of this complex and exciting activity depends on the personality of the teacher, his enthusiasm, the ability to participate in the creativity of students.
Conclusion
Creative tasks include two components. The tasks are called creative, since children must combine, improvise, compose, that is, independently find a new expression of their knowledge. But at the same time, they are called tasks, since the children's creativity is not supposed to be completely independent, but with the participation of a teacher who organizes the conditions. Materials, encourages children to be creative. The success of this complex and exciting activity depends on the personality of the teacher, his enthusiasm, the ability to participate in the creativity of students.
Music unites the thought, will, feelings of the masses and at the same time satisfies the aesthetic needs of the people, introduces the listener to the great joys that art brings. It is through the listener that music influences life, helps to transform life.
After all, without music, life loses some meaning, there is no very edge that would make you think, make you admire it, help people live and create. Music is one of those riches that is given to people.
Bibliography:
1. Kalugina M., Khalabuzar P. “Education of creative skills in solfeggio lessons” - M., 1987.
2. Koganovich, G. P. "Musical improvisation and education of a creative personality" - Minsk, 1997.
3. Levi V. "The Art of Being Different" M., 1981.
4. Malakhova I. A. Personal development. Creativity, giftedness, talent" - Ch. 1. - Minsk, 2002.
5. Nikitin B.P. "Steps of creativity or educational games" - M. Enlightenment 1990.
6. Shatkovsky G. "Composition and improvisation of melodies" M., 1991.
7. Shatkovsky G. "Development of musical ear and skills in creative improvisation" - M., 1996.

The system of creative tasks in the lessons of listening to music and musical literature in lower grades for the development of artistic and figurative representations

General concepts, genres, forms, program visual music

1. Which king performed solo parts in ballets _______________________________

2. What was created in Paris in 1661 _____________________________________________

3. When the minuet began to be danced in Russia _____________________________________________

4. Which country was the trendsetter of dance fashion in the 17th century _________________

5. Who became the "king of the waltz" __________________________________________________________

6. Under what king was the "Academy of Dance" created in France _____________________

7. Part of what complex genres of the 18th century did the minuet _______________________________

8. What was the name of the first ensemble of violinists of Louis 14. __________________________
__

9. Which dance was the predecessor of the waltz ____________________________________

10. What were the names of the public meetings established by the decree of Peter I in 1718.

11. In which country did the polka dance originate ____________________________________

12. The creators of the "Viennese waltz" were ... _______________________________________________ 13. What movement in the dance is a symbol of the sun ________________________________

14. Who in the 17th century in France headed the "Royal Academy of Music" _______________ 15. In which country do chardash and verbunkos dance ____________________________________

16. What does the word “genre” mean in French ____________________________

17. In which country was E. Grieg born __________________________

18. In what century did ballet separate from opera and become an independent type of musical and theatrical art _______________________

20. What country and when did it become the birthplace of opera, name the first operas _________________

21. Name the dances in 6/8 time _________________________________________________

_
22. What is a "corps de ballet" _____________________________________________________________

24. Explain the word "ballet" ____________________________________________________________ 25. What are "secondary genres" _________________________________________________

26. What "secondary" genres arose in the 18th century ____________________________________ 27. What is "pantomime" ______________________________________________________________
28. What is an overture, where does it sound and what is it intended for ____________________
___

_
29. Name an outstanding choreographer, a contemporary of Pushkin _______________________

30. What is a libretto _____________________________________________________________

31. When and where was E. Grieg born _________________________________________________

32. Who wrote the music for Goethe's play "Egmont" _____________________________________

33. What types of art are combined in a ballet performance ___________________________

_______

34. Name the first opera buffa, its author, when and where the performance took place _______________

______________________________________________________________________________
35. What works are musical stage works: _________________________

______________________________________________________________________________

36. What dramatic plays have gained popularity thanks to music _______________

37. Name the first classical Russian opera, its creator and the date of the premiere ________________________________________________________________________________________________________________________________________________________________

38. When and where was the "Royal Academy of Dance" founded __________________________

________________________________________________________

40. When and where did the first operas appear, what were they called _____________________________
_______________________________________________________________________________

41. What is opera buffa, what subjects were written for these operas ___________________________

_____________________________________________________________________________
42. When was the ballet school opened in Moscow _____________________________________

43. Who is Solveig ____________________________________________________________

______________________________________________________________________________
44. Which composer became the founder of Russian classical ballet

________________________________________________

45. What is opera seria, what plots were written for these operas _____________________________ ____________________________________________________________________________

46. ​​Which composer became the founder of Norwegian classical music

___________________________________________________

47. In what play by Grieg does the music shock the listeners with the power of grief and pain of loss

_________________________________

48. In which countries did Grieg give concerts _____________________________________________

________________________________________________________________________________

49. What images are shown in Beethoven's Egmont Overture _____________________________
______________________________________________________________________________
50. What does the word "pastoral" mean ("pastoral", "pastoral") ___________________
______________________________________________________________________________

51. What are the characteristic stable features of the march ___________________________________

_____________________________________________________________________________
52. List the pieces from the first suite "Peer Gynt": _________________________________

______________________________________________________________________________
53. What are the characteristic stable features of the march ___________________________________

_____________________________________________________________________________
54. In what play does Grieg “draw” a landscape of his native nature ______________________________

55. Which composer became the founder of Norwegian classical music ________

________________________________

56. How many suites were composed from the music for Ibsen's drama "Peer Gynt" _______________

57. What shape does the old one have french dance"Minuet" _______________________

58. Name two types of simple 2-part form. ___________________________
___________________________________________________________________________

59. Write the formula of a simple 3rd private form _________________________________

60. What can be a reprise in 3 private form. ____________________________________________________________________________

61. What is the name of the period in which 8, 16, 32 cycles ___________________________________

62. Translate the inscription "Da capo all fine" ____________________________________________

63. What does the word "Rondo" mean?

64. What is a "refrain" _______________________________________________________________

65. What is a "cadence" _______________________________________________________________
___________________________________________________________________________

66. Write the formula for a simple 2-part reprise form. _______________________________________________________________________________

67. Write the formula for a simple 2-part non-reprise form. _____________________________________________________________________________

68. Write the rondo formula ____________________________________________________

69. What is the variational form _____________________________________
____________________________________________________________________________
____________________________________________________________________________
70. How does a complex 3-part form differ from a simple _____________________________

____________________________________________________________________________

71. What are the names of the musical themes in the rondo that sound between the refrains ______________

72. What is the name of the period in which 7, 9, 10 cycles ___________________________________

73. What are the main expressive means for depicting movement. _____________________________________________________________________________

74. What is "program visual music". _________________________________
____________________________________________________________________________

75. What can music represent. __________________________________________________

____________________________________________________________________________

76. What can be depicted in music with the help of rhythm and tempo _________________________

77. What expressive means can depict the space _____________________________________________________________________________

78. Name a few examples of programmatic visual music _________________
_______________________________________________________________________________
______________________________________________________________________________
79. List the types of marches ____________________________________________________

______________________________________________________________________________
80. What songs real events intertwined with the fairy tale _______________________

Preview:

Questions on Russian musical literature

1. Introduced the principle of continuous musical development into Russian opera music.

Who?_____________________Example______________________________________________

2. What was the name of Dargomyzhsky's first opera based on the plot of Victor's novel

Hugo "Notre Dame Cathedral" ____________________________________________

3. Which fragment of the opera "Eugene Onegin" was Tchaikovsky's favorite?

It was with him that he began to create opera music? ___________________________________

_____________________________________________________________________________

4. Refused his inheritance in favor of the peasants? __________________________________

5. He sang heroic and heroic traits of the Russian character in music _________________ 6. Captured ancient Russian rituals in his operas? _______________________________

7. In what genre was the opera "Eugene Onegin" written? _________________________________

8. Composed an opera about the patriotic deed of a Russian peasant? ________________________

9. The name of the work of R.-Korsakov, which has a pronounced oriental character?

____________________________________________________________________________

10. Who discovered the socially accusatory theme in Russian music? ______________________

11. This cycle of piano pieces was written under the influence of the works of a friend of the composer, famous artist. Name:

A) names of the artist and composer ______________________________________________

B). name of the cycle of plays _______________________________________________________________

12. Who suggested to Borodin the idea and plot of the opera "Prince Igor"? _______________________

13. What play by Glinka was the beginning of the birth of the Russian symphony school?

____________________________________________________________________________

14. How many symphonies did Tchaikovsky write? What is the name of the last one?

15. What operas by other composers did R.-Korsakov finish? ___________________________

_____________________________________________________________________________

_____________________________________________________________________________

16. What is the name of the first Russian fabulous-epic opera?

____________________________________________________________________________

17. Name of the 2nd symphony of Borodin _______________________________________________

18. The first of the Russian composers, depicting the Russian people, divided it into 2 classes

____________________________________________________________________________

19. What choral reception Mussorgsky used for the first time in one of his operas? The name of this opera? _________________________________________________________________________

20. "Orchestral sorcerer" ________________________________________________________

21. Introduces something new into music means of expression- recitative? ________________________

22. Which of the Russian composers lived his short life in loneliness, poverty, illness and misunderstanding of his work? ______________________________________________

23. Have you been fond of chemistry, natural science, music since childhood? ____________________________

24. Initially had a legal profession? ___________________________________________

25. Who has the basis of music - a wide, songlike plastic melody? ____________________

26. To whom a serf nanny instilled a love for Russian folk songs, and for an orchestra

Music - the musicians of the fortress orchestra? _______________________________________

27. Was he the first to compose string quartets (in Russian music)? ______________________ 28. Did you have an ear for color and music? ____________________________________________

29. About whom it is said: “He recreated in his music the whole ocean of Russian people, life, character -

Terov, relationships, misfortune, unbearable burden, humiliation ”(V. Stasov)

___________________________________________________________________________

30. What is the name of the first Russian opera in the nature of a psychological everyday musical

31. What is the literary basis of the opera "Prince Igor"

_______________________________________________________________________

32. Who said these words: “Music is my soul!” or “The people create music, and we, the com-

Positors, we only record and arrange it”? __________________________________

33. How many operas did R.-Korsakov write? Which? _______________________________________

____________________________________________________________________________

____________________________________________________________________________

____________________________________________________________________________

34. Was he the first to write romances and songs of a satirical nature (for the Iskra magazine)?

__________________________________________________________________________

35. "Singers" of the heavy share of the Russian people (3 people: composer, poet, artist):

___________________________________________________________________________

36. Founder of the genre of Russian lyrical opera? _______________________________

37. Founder of Russian classical music ___________________________________

38. Was an officer of the Preobrazhensky Regiment? __________________________________________

39. Did you study with A.G. Rubinshtein? ____________________________________________________

40. Who was friends with Sechenov, Botkin, Mendeleev? _______________________________

41. Founder of the symphonic fairy tale genre? ___________________________________

42. Who (Russian composer) music has a lyrical-dramatic character?

____________________________________________________________________________

43. What is the main idea of ​​the opera "Boris Godunov"? ___________________________

_____________________________________________________________________________

44. Founder of the genre of Russian historical and everyday opera? _____________________________

45. Was friends with Pushkin. Delvig, Zhukovsky. Puppeteer? _______________________

46. ​​Composer, doctor, chemist, major public figure ___________________

47. "Great teacher of musical truth." Who? ___________________________

48. What is Glinka's romance dedicated to the opening of the first railway in Russia?

_____________________________________________________________________________

49. How many operas did Tchaikovsky write? Which? _______________________________________

_____________________________________________________________________________

_____________________________________________________________________________

_____________________________________________________________________________

50. Guilty soldiers were taken to the performance of what opera by a Russian composer?

51. In what operas by R.-Korsakov does the image of Ivan the Terrible appear? _____________________

_____________________________________________________________________________

52. Traveled a lot foreign countries, was familiar with Brahms. Grieg, Saint-Saens (rus.

Composer) __________________________________________________________________

53. What was the original name of Glinka's opera "Ivan Susanin"?

_______________________________________________

54. Who wrote accusatory romances, gloomy and tragic in sound?

___________________________________________________________________________

55. Under the influence of what events R. Korsakov arranged for a symphony orchestra

Burlatskaya song "Dubinushka"? _______________________________________________

56. He loved the waltz very much and introduced it into all genres of his work _______________________

57. To whom are the works "Waltz-Fantasy" and the romance "I remember a wonderful moment" dedicated?

58. What is the name of the big, culminating scene of the 2nd act of the opera "Prince Igor"?

_____________________________________________________________________________

59. Composer, doctor, chemist, major public figure ___________________.

60. "Great teacher of musical truth." Who? ___________________________

Preview:

Questions on foreign musical literature

1. Having passed a serious exam, he received the title of honorary member of the Bologna Philharmonic Academy, professor, and he was then 14 years old? ________________________________________________________________________
2. Is it possible to dance to the music of Chopin's waltzes? _______________________ Why? ________________________________________________________________
3. What is the difference between a sonata and a symphony (structure, performance)? ________________________________________________________________________________________________________________________________________________
4. . His work was recognized during his lifetime. Accompanied him on his last journey

20 thousandth crowd of fans? _______________________________________

1. What distinguishes the hero of Schubert's songs from the hero of Beethoven's works? What caused this difference? _______________________________________________________________

_________________________________________________________________________

1. What Mozart's music is based on the development of second intonation?

Where else can you find this intonation in Mozart? ___________________________

__________________________________________________________________________

1. Served as bandmaster for thirty years for the wealthy Hungarian prince Esterhazy? ____________________________
2. He had a multifaceted talent: brilliant composer, organist, harpsichordist and virtuoso violinist, unsurpassed improviser?________________________
3. The German composer decided to embody the grandiose idea of ​​the universal brotherhood of mankind. To realize this extremely difficult task, he used means of expression unusual for the chosen genre. This symphony is performed by an enlarged symphony orchestra and a choir singing lines from Schiller's ode at the end.

"For joy" call:

A). This work _________________________________________________

10. The first representative of romanticism in music? ________________________________

11. At the age of 19 he went on a concert tour and could no longer return to his homeland -

Poland? _______________________________________________________________

12. What is a suite? What are the components of a dance suite?

_________________________________________________________________________

_________________________________________________________________________

_________________________________________________________________________

1. One Austrian composer of the 18th century, a major operatic reformer, wrote a comic opera in which he sang of a man of the third estate, showed his lively mind, love of life, readiness to fight for his rights. The composer managed musical means create bright, lively characters of the heroes, convey their state of mind.

Name:

A). name of the opera

IN). literary source_________________________________

1. What founder artistic style was Haydn in music?

____________________________________________________________________

1. In 1822 one Viennese composer composed a symphony that heralded the beginning new era V symphonic music. It is considered to be the first Western European lyric-romantic symphony. It has a lot of unusual: a new form of structure

(only 2 parts), intimate poetic character, sad thoughtfulness and inner

Niy psychological drama.

Name:

A). name of the symphony

B). its tonality

1. The composer said: “I will grab fate by the throat and not let it crush me!” ________________________________________________________________________
2. "The Piano Poet". Who is this?_______________________________________________
3. J.S. Bach was a representative of what artistic style in music?

__________________________________________________________________

1. Musical thoughts visited him day and night. He even slept with glasses so he could wake up quickly and record his musical dreams. _____________________________
2. As a child, he had a beautiful voice, so he sang in the church choir of St. Stephen's Cathedral in Vienna? ________________________
3. He was buried in a common grave at the Vienna cemetery, among other human rabble: criminals, beggars, homeless people. The exact place of burial is unknown ______________________________________________________________
4. According to the last wish of the composer, after his death, his heart was sent to his homeland in a special vessel, where is it kept to this day? ____________________
5. The young pianist at first frightened, and then conquered Vienna with an unusual manner of playing: very stormy, loud, expressive __________________________________
6. What is polyphony? What are the polyphonic genres? _______________________

_________________________________________________________________________

1. Nothing could break this musician: lack of money, illness, loneliness and even complete deafness Who is this!
2. One composer of the 19th century wrote 9 symphonies, but did not hear a single one during his lifetime, wrote 22 sonatas for piano, but only 3 were published, composed 604 songs, but only 174 were published, and none of his operas was accepted for production. Who is this unfortunate composer?___________ _________________________
3. In Paris, in the artistic salon, he was considered a "star" of the first magnitude among no less bright "stars": writers - Balzac, Musset, Heine, Mickiewicz, composers - Liszt, Bellini, etc. _____________________________________
4. He entered the history of music as the "father" of the symphony and quartet genres _______________
5. At the age of 6 he was already a virtuoso and began concert activity at home and abroad? ________________________
6. Was he a representative of an ancient and very musical family? ___________________
7. What is a chapel? ___________________________________________________________

________________________________________________________________________

1. Which composers worked as bandmasters? _____________________________

_______________________________________________________________________

1. Living in a foreign land, he was very homesick for his homeland, so he often turned to national melodies. This is how his polonaises and mazurkas were born. Who is this? ________________________________________________________________________
2. The father demanded that his son follow in his footsteps, i.e. Became a school teacher
3. Born in the Austrian city of Salzburg, lived a short but very bright life? _________________________________
4. When (in what centuries) and where did L. Beethoven live ____________________________________

________________________________________________________________________

1. Which composer piano music is distinguished by a pronounced everyday character, simplicity and intelligibility for perception and performance, melodiousness and expressiveness? __________________________________________________
2. Did you lay the foundation for the composition of a symphony orchestra? ______________________

How many groups? __________________

What tools are included? ______________________________________________

________________________________________________________________________

________________________________________________________________________

1. had a large, friendly musical family. Playing music in free time

Together? ____________________________

1. Which Beethoven symphony has a main theme that dominates throughout the entire 1st movement? ________________________________________________
2. What is a nocturne? Who wrote them? __________________________________________

________________________________________________________________________

1. .Acquainted with a new musical instrument - "pianoforte", the composer and brilliant performer immediately appreciated its merits and was the first to play it. Who is this man?_____________________________________________________
2. Blind at the end of life? _____________________________
3. During a trip to Italy, he attended a church service, and then from memory he wrote down the most difficult polyphonic work, which was considered the property of the church and was performed only once a year, name:

A). where did it happen?

B). what was performed in the church once a year

C). who wrote down this work from memory ___________________

1. . Who wrote 11 symphonic program overtures? ("Egmont", "Coriolanus", "Leonora") ____________________________
2. Founder of Austrian classical opera?_____________________________

a) the name of the opera

B). its genre affiliation

IN). what language was it sung in?

1. Whose three sons became composers?________________
2. In what two of his compositions does Schubert tell a peculiar musical story about love, betrayal, social inequality and tragic loneliness? ________________________________________________________________________
3. In what genre did Mozart's reforming talent manifest itself most clearly? ___________________________________________
4. Which musical genres Did Chopin really transform them, turning them into virtuoso concert pieces? _______________________________________________________________
5. Sometimes he took a very loose attitude to the traditional forms of the sonata and symphonic cycles, breaking the sequence of parts, musical themes, introducing new themes. For example: he called the 3rd part of the symphony “scherzo”, not “minuet”.

A). Who is this composer?

B). why did he do this?

53 What new form was born in the era of classicism? Her features?

_________________________________________________________________________

_________________________________________________________________________

__________________________________________________________________________

__________________________________________________________________________

54 What is "HTK"? How is this work built? _____________________________
__________________________________________________________________________
__________________________________________________________________________

55 What musical instruments did Schubert play?____________________________
__________________________________________________________________________
56. What is cavatina ____________________________________________________________

57. She was born in the south of Europe. Her name means "in the open air". Now with one, then

From the other street in the evenings her sounds are heard. Who is she? ________________________

58. What work was called "symphony with candles" __________________
____________________________________________

59. Say in Latin the word "fiction" _______________________________________

60. What is the pseudonym of Emanuele Conegliano, the author of the libretto of the most popular operas

Mozart. ________________________________________________________

Preview:

Music material for the quiz

1. Agapkin. March "Farewell of the Slav"

2. Albinoni. Adagio in G minor

3. Anonymous. Gregorian chant, 9th century

4. Bach. Toccata and Fugue in D Minor

5. Beethoven. Symphony No. 5, intro. and ch.p. 1 hour

6. Beethoven. Symphony No. 5, vib. p. 1h.

7. Beethoven. Sonata No. 8, intro. 1 hour

8. Beethoven. Sonata No. 8, Ch.p. 1 hour

9. Beethoven. Sonata No. 8, 3h.

10. Beethoven. Egmont Overture

11. Borodin. Opera "Prince Igor" - choir "Glory to the Red Sun"

12. Borodin. Opera "Prince Igor" - Prince Igor's aria "Oh give me, give me freedom"

13. Wagner. Ride of the Valkyries

14. Haydn. Symphony No. 103, 1 hour, intro.

15. Haydn. Symphony No. 103, 1 hour, ch. P.

16. Glinka. Opera "Ivan Susanin" - polonaise, 2d.

17. Glinka. Opera "Ivan Susanin" - Krakowiak, 2d.

18. Glinka. Opera "Ivan Susanin" - mazurka, 2d.

19. Glinka. Opera "Ivan Susanin" - Vanya's song "How Mother Was Killed..."

20. Glinka. Opera "Ivan Susanin" - Susanin's aria, 4d.

21. Glinka. Opera "Ivan Susanin" - choir "Glory"

22. Glinka. Op. "Ruslan and Lyudmila" - overture

23. Glinka. Op. "Ruslan and Ludmila" - Ludmila's cavatina

24. Glinka. Op. "Ruslan and Lyudmila" - Farlaf's rondo

25. Glinka. Op. "Ruslan and Lyudmila" - the march of Chernomor

26. Glinka. passing song

27. Glinka. lark

28. Glinka. I remember a wonderful moment

29. Glinka. Kamarinskaya

30. Glinka. waltz fantasy

31. Glitch. Op. "Orpheus and Eurydice" - flute melody

32. Glitch. Op. "Orpheus and Eurydice" - choir of the Furies

33. Grieg. "Peer Gynt" - "Morning"

34. Grieg. "Peer Gynt" - "The Death of Oze"

35. Grieg. "Peer Gynt" - "Anitra's Dance"

36. Grieg. "Peer Gynt" - "In the Hall of the Mountain King"

37. Grieg. "Peer Gynt" - "Solveig's Song"

38. Gregorian chants (2)

39. Debussy. "Puppet Cakewalk"

40. Pity. Round dance tune

41. Janequin. "Birdsong"

42. Lyadov. "Baba Yaga"

43. Lyadov. "Kikimora"

44.Macho. Mass - "Sanctus"

45. Mendelssohn. Wedding March

46. ​​Mozart. Symphony No. 40 - 1 hour, Ch.p.

47. Mozart. Symphony No. 40 - 4 hours, Ch.p.

48. Mozart. Op. "The Marriage of Figaro" - Overture

49. Mozart. Op. "The Wedding of Figaro" - Figaro's aria "The frisky boy ..."

50.Mozart. Requiem - No. 7 "Lacrimoso"

51. Mussorgsky. "Pictures at an Exhibition" - "Walk"

52. Mussorgsky. "Pictures at an Exhibition" - "The Limoges Market"

53. Mussorgsky. "Pictures at an Exhibition" - "Hut on Chicken Legs"

54. Mussorgsky. Op. "Sorochinsky fair" - hopak

55. Mussorgsky. Op. "Boris Godunov" - chorus "Oh, how glory to the red sun in the sky"

56. Mussorgsky. Op. "Boris Godunov" - Varlaam's song "Like in the city ..."

57. Mussorgsky. Op. "Boris Godunov" - Boris' monologue "I have reached the highest power ..."

58. Organum (old form of chants)

59. Purcell. Op. "Dido and Aeneas" - Dido's aria

60. Prokofiev. "Peter and the Wolf" - final march

61. R-Korsakov. Op. "Snow Maiden" - introduction

62. R-Korsakov. Op. "Snegurochka" - songs and dances of birds

63. R-Korsakov. Op. "Snegurochka" - 3rd song by Lel

64. R-Korsakov. Op. "The Tale of Tsar Saltan" - "Three Miracles" (squirrel)

65. R-Korsakov. Op. "The Tale of Tsar Saltan" - "Flight of the Bumblebee"

66. R-Korsakov. "Scheherazade" - 1 hour.

67. Saint-Saens. "Carnival of the Animals" - "Kangaroo"

68. Saint-Saens. "Carnival of the Animals" - "Elephant"

69. Saint-Saens. "Carnival of the Animals" - "Swan"

70. Vogelweide. knight's song

71. Khachaturian. Lezginka from the ballet Gayane

72. Tchaikovsky. "Children's Album" - "Kamarinskaya"

73. Tchaikovsky. Ballet "The Nutcracker" - March

74. Tchaikovsky. Ballet "The Nutcracker" - Chinese dance "Tea"

75. Tchaikovsky. Ballet "The Nutcracker" - Dance of the Shepherds

76. Tchaikovsky. Ballet "The Nutcracker" - Russian dance "Trepak"

77. Tchaikovsky. Ballet "The Nutcracker" - Dance of the Dragee Fairy

78. Tchaikovsky. Ballet "The Nutcracker" - Waltz of the Flowers

79. Tchaikovsky. Op. "Eugene Onegin" - Lensky's arioso "I love you ..."

80. Tchaikovsky. Op. "Eugene Onegin" - Onegin's aria "If only life ..."

81. Tchaikovsky. Op. "Eugene Onegin" - Lensky's aria "Where, where have you gone ..."

82. Chopin. Waltz cis-moll

83. Chopin. Etude No. 12 c-moll "Revolutionary"build and sing with resolution:

B6/4, D7, umVII7, M6, uv4

3. Sing from sight and analyze No. 292

4. What chord is called a seventh chord?

What are the introductory seventh chords?

B I L E T No. 2

1. In the key of D-dur build and sing:

A). harmonic scale;

B). newts with resolution;

T6 - S5/3 - D2 - T6 - D4/3 - T5/3 - VII7 - D6/5 - T5/3

2. From the sound "mi"

D2, М6/4, umVII7, uv2, uv4

3. Analyze and sing from sheet No. 283

4. Characteristic intervals

B I L E T No. 3

1. In the key of h-moll build and sing:

A). natural range;

B). all reduced intervals;

IN). harmonic sequence:

T6 - D4/3 - t5/3 ​​- umVII7 - D6/5 - t5/3 ​​- s6/4 - D6 - t5/3

2. From the sound "fa" build, determine the key, resolve and sing:

Um5/3, D4/3, VII7, ch4, um5

3. Analyze and sing from sheet No. 296

4. What is "chromatism", "modulation", "deviation"?

B I L E T No. 4

1. In the key of Es-dur build and sing:

A). harmonic scale;

IN). harmonic sequence:

T6 - D4/3 - T5/3 - VII7 - D6/5 - T5/3 - S6/4 - D6 - T5/3

2. From the sound "re" build, determine the key, resolve and sing:

SW5/3, M6, umVII7, B6, SW4

3. Analyze and sing from sheet No. 323

4. Tell all about newts.

B I L E T No. 5

1. In the key of E-dur build and sing:

A). harmonic scale;

B). newts;

IN). harmonic sequence:

T6 - S5/3 - D2 - T6 - T5/3 - VII7 - D6/5 - T5/3

2. From the sound "re" build, determine the key, resolve and sing:

B6, umVII7, D2, SW4, Ch5.

3. Analyze and sing from sheet No. 316

4. Frets of the folk muse

B I L E T No. 6

1. In the key of c-moll build and sing:

A). natural range;

B). all extended intervals;

IN). harmonic sequence:

T6 - s5/3 - D2 - t6 - D4/3 - t5/3 ​​- umVII7 - D6/5 - t5/3

2. From the sound "mi" build, determine the key, resolve and sing:

М6/4, D4/3, VII7, um5, m3

3. Analyze and sing from sheet No. 294

4. Related keys

B I L E T No. 7

1. In the key of f-moll build and sing:

A). melodic scale;

B). characteristic intervals;

IN). harmonic sequence:

T5/3 - mindVII7 - D6/5 - t5/3 ​​- t6 - s5/3 - D2 - t6

2. From the sound "fa" build, determine the key, resolve and sing:

D4/3, um5/3, M6/4, ch4, uv2

3. Analyze and sing from sheet No. 289

size 4. Types of sizes.

B I L E T No. 8

1. In the key of E-dur build and sing:

A). harmonic scale;

B). characteristic intervals;

IN). harmonic sequence:

T5/3 – VII7 – D6/5 – T5/3 – T6 – S5/3 – D2 – T6

2. From the sound "mi" build, determine the key, resolve and sing:

B6, D4/3, umVII7, b3, sv4

3. Analyze and sing from sheet No. 317

4. Intervals. Name all diminished and enlarged intervals.

B I L E T No. 9

1. In the key of fis-moll build and sing:

A). natural range;

B). newts with resolution;

IN). harmonic sequence:

T5/3 - s6 - t6/4 - D7 - t5/3 ​​- umVII7 - D6/5 - t5/3

2. From the sound "to" build, determine the key, resolve and sing:

VII7, М6/4, D2, М6, b2

3. Analyze and sing from sheet No. 325

4. Anharmonism. List all enharmonic equal keys.

B I L E T No. 10

1. In the key of Des-dur build and sing:

A). harmonic scale;

B). all extended intervals;

IN). harmonic sequence:

T5/3 - S6 - T6/4 - D7 - T5/3 - VII7 - D6/5 - T5/3

2. From the sound "si" build, determine the key, resolve and sing:

D7, М6/4, SW5/3, CH5, SW4

3. Analyze and sing from sheet No. 281

4. Fret. Key. Gamma. List all major scales in fifth

OK.

Developed by: head of the theoretical MO T.V. Volkova

Music quiz. Recognize a friend musical theme from the works of W. A. ​​Mozart: title of the work part, action part, theme, section key tempo 1 Symphony 40 IV h. GP g-moll Allegro assai 2 Sonata 11 I h. A-durAndante grazioso 3 "The Marriage of Figaro" I d.I d. Cherubino Aria Es-durAllegro vivace 4 Symphony 40 I ch.I PP B-durAllegro molto 5 Sonata 11 III ch. ch. SE Es-durAndante 7 "The Marriage of Figaro" I d.I d. Aria of Figaro C-durVivace 8 "Requiem" VII ch. "The Marriage of Figaro" OvertureZP A-durPresto

Through the pages of the biography of W. A. ​​Mozart. Choose and write down the dates corresponding to the events of the composer’s life of 1756 1756 G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G G Yl: The Wedding of Figaro In Vienna Birth with a Hydan family of a court musician Rupture with the Archbishop Collusu, Moving to Vienna Symphony 40 in Vienna Appointment as court composer of Emperor Joseph II in Vienna Acquaintance with Beethoven in Vienna Marriage to Constance Weber Composing the opera "The Magic Flute", "Requiem", death of the composer Rewarding with the Order of the Golden Spur Concert tour of Europe with his father and sister for 3 years

Through the pages of the opera "The Marriage of Figaro" Recognize the aria of the hero of the opera from the notes, sign the initial words in Russian, put key signs, fill in the table: hero of the opera act number voice tone tempo

Countries and languages ​​according to the pages of "The Marriage of Figaro" question answer What is the name of Beaumarchais's comedy, which formed the basis of the plot of the opera? What language is this comedy written in? What language is the opera's libretto in? In which country does the opera take place? In what country was the creator of the opera, Mozart, born and lived? Which native language composer? Who translated the text of the opera into Russian in 1875?

Complete the titles of W. A. ​​Mozart's operas Abduction from ……………………………………. Don …………………………………………………..…. All of them …………………………………………….… Imaginary …………………………………………..….. Director ……………… …………………………… Mercy ……………………………………….. Magic ………………………………………… Bastien and …… ……………………………………..

Write in what classical musical forms the studied compositions of W. A. ​​Mozart are written? musical forms of a work by W. A. ​​Mozart Simple two-part form Simple three-part form Complex three-part form Rondo form Variation form Sonata form

Determine by ear the musical form of one of the parts of W. A. ​​Mozart’s sonata …………………………………………………….. (the rondo of the sonatina in C major performed by the teacher sounds twice) * * * Answer the questions: 1) In what key does the side part of the exposition sound? sonata form, if in the reprise it is written in A major?) In what key does the final part of the exposition of the D minor sonata sound? ………

Give short answers to the questions: What composition did Mozart dedicate to Haydn? In what compositions studied is the meter 6/8? What countries did Mozart visit? What languages ​​did you speak? What instruments did he play? Who is the author of the little tragedy "Mozart and Salieri"? Who composed opera of the same name? What is the name of the affair with Mozart by D. Weiss?

Give brief answers to the questions: Who composed the orchestral suite "Mozartiana" in 1887? Name the genre of comic opera in the 18th century. in Austria and Germany? Name the genres Italian operas XVII-XVIII centuries. V. (serious and comical) What does the "pair composition" of a symphony orchestra mean? What instrument (string - bowed) is not in string quartet? What Italian dance do the themes of the sonata A-dur I part and Susanna's aria from the IV act of the opera remind of?