Date of publication or update 08.08.2017
Russian music creator
February 14, 2013 marked the 200th anniversary of the birth of the composer A.S. Dargomyzhsky (1813-1869).
That is why, together with M.I. Glinka Dargomyzhsky is considered to be the founder of Russian classical music.
At that time in Russia, Western music (mainly Italian) was revered as a model of musical art.
Dargomyzhsky, being an ardent patriot of his homeland and Russian art, began to turn in his work precisely to Russian intonations and traditions.
Theatrical reviewers, however, constantly bypassed Dargomyzhsky, often mentioning his name only among the mediocre figures of the musical world, and then completely stopped writing about his works.
Being in a state of strong emotions, Dargomyzhsky decided to take a trip abroad. And it was here that he felt with particular acuteness his belonging to the original Russian roots. “There is no better people in the world than the Russian,” he wrote in a letter to a friend, “and ... if there are elements of poetry in Europe, then it is in Russia.”
Alexander Sergeevich returned to his homeland cheerful, restored his moral strength, capable of new creative feats.
One of his major works, the opera Rusalka, was called a great opera "in the Slavonic style with a Russian plot".
Thus, thanks to the work of Glinka and Dargomyzhsky, the first Russian operas, symphonies, romances appeared, as well as communities of composers and educational institutions where they began to educate professional musicians.
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Our site experts welcome you to the information and educational service and we hope that we can answer all your questions. You have visited our site with the task of finding out Who is the founder of Russian pedagogical psychology? Justify your answer.
It is worth noting first of all that in this lesson the operating concepts will be: PSYCHOLOGY, SCIENCE, DEFINITION, PERCEPTION, FOUNDER, PEDAGOGY, TERM, DEVELOPMENT. To begin with, let's look at the most important concepts that I will operate in today's lesson. PSYCHOLOGY is a complex and multilevel science that studies the patterns of emergence, as well as the development and functioning of the psyche of a person and a group of people (society, society).
And now let's figure it out together, who is the founder of Russian educational psychology? Ushinsky Konstantin Dmitrievich was born in 1824 in Tula. He grew up in a noble family. When his mother died, then he was 11 years old, and he carried trembling memories of life with her through his whole life. Later, he handed over to women and mothers the responsible and honorable position of raising children. Konstantin studied at the Tula gymnasium. From a young age, he stood out among his peers. clear mind and strong will, steady faith in their own strength and perseverance to cope with obstacles.
So, in 1840 he entered Moscow University. During his studies, he showed himself well, he was considered a great friend by many students. In addition, he began to give private lessons. After graduating from the university in 1844 with honors, he was invited as a professor at the Demidov Lyceum in the city of Yaroslavl. There he gained great popularity among students and teachers. Ushinsky was courteous to everyone, conveying complex information very simply. After six years, he decides to leave his professorship from the Lyceum for personal reasons. Later, Konstantin Dmitrievich began to devote his time to the study foreign languages and literature.
It is worth adding that his lectures received great acclaim, all students, their parents, officials and teachers came to the lectures to hear the new view of the professor. So, since that time, K. D. Ushinsky became popular in all cities of Russia, he was perceived as a gifted teacher - an innovator. Then he was even offered to express in writing his idea of the upbringing and development of the heir to the throne.
Exactly at that time his book "Children's World" was born. It quickly began to be used in many educational institutions, its popularity grew, and in the same year the book was published three times. So, on this our lesson has already come to an end. I hope that this lesson has passed for you informative and productive, and you learned something new for yourself. If something remained difficult for the perception of this topic, you can always ask your exciting question on our website.
We wish you success and good luck in all your endeavors!
short biography
Ushinsky Konstantin Dmitrievich was born in 1824 in Tula. He grew up in a noble family. When his mother died, then he was eleven years old, and he carried tremulous memories of life with her through his whole life. Later, he handed over to women and mothers the responsible and honorable position of raising children.
Konstantin studied at the Tula gymnasium. From a young age, he stood out among his peers with a clear mind and strong will, steady faith in his own strength and perseverance to cope with obstacles.
In 1840 he entered Moscow University. During his studies, he showed himself well, he was considered a great friend by many students. In addition, he began to give private lessons.
After graduating from the university in 1844 with honors, he was invited as a professor at the Demidov Lyceum in the city of Yaroslavl. There he gained great popularity among students and teachers. Ushinsky was courteous to everyone, easily and simply conveyed complex information. After six years, he decides to leave his professorship from the Lyceum for personal reasons.
Since 1852, Konstantin Dmitrievich began to devote his time to the study of foreign languages and literature.
In 1855, he was offered to be a teacher of the subject "Literature and jurisprudence" at the Gatchina Institute. After working there for several months, he becomes an inspector in this institution. Once Ushinsky discovered 2 huge cabinets, which contained a complete collection of all editions of pedagogical literature. This collection changed Ushinsky's principles related to education and training.
In 1859, Konstantin Dmitrievich received the post of inspector at the Smolny Institute. At that time, education was considered useless for women, however, he supported the opposite position, understanding the significant role of women in the family and society. His lectures received great recognition, all students, their parents and relatives, officials and teachers came to the lectures to hear the new view of the professor.
Remark 1
Since that time, K. D. Ushinsky became popular in all cities of Russia, he was perceived as a gifted teacher - an innovator. Then he was even offered to express in writing his idea of the upbringing and development of the heir to the throne.
It was then that his book "Children's World" was born. It quickly began to be used in many educational institutions, its popularity grew, and in the same year the book was published three times.
Despite the fact that Ushinsky's fame grew, at the same time, ill-wishers began to compose denunciations with false accusations. Konstantin Dmitrievich wrote answers to these denunciations for several days, he was very worried about these insults and became very seriously ill.
Soon a trip to Heidelberg took place, he met the famous doctor Pirogov. He restores his health and strengthens his spirit, continuing his scientific work. At that time, he did not hold any official positions.
In 1870, he began to feel not very well and decided to go to the Crimea to restore his failing health. There, at school, he accidentally met the practical application of his textbook, which was called "Native Word".
During the last years of his life, Ushinsky endured very difficult times - the death of his son and a complex illness that crippled his health. At the end of 1870 he dies.
Contribution to the education system
The influence of K. D. Ushinsky extends far beyond the framework of pedagogy and the school curriculum.
In that era, heartlessness and cramming were often present in Russian schools, so the school years were a very difficult period for most children. Actually, thanks to the ideas of Ushinsky, the Russian school has changed - a humane attitude towards all students, as well as respect for every child, began to appear in it.
Merits
- Nowadays, literary readings dedicated to the name of Ushinsky are held annually;
- In 1946, the K. D. Ushinsky medal was established for distinguished teachers and educators;
- The complete works of Ushinsky in 11 volumes have been published;
- In the city of Yaroslavl, a street is named after him;
- Also in Yaroslavl, the Pedagogical University is named after him.
Remark 2
Konstantin Dmitrievich Ushinsky is considered a people's teacher, just as Lomonosov is called a people's scientist, Suvorov - a people's commander, Pushkin - a people's poet, and Glinka - a people's composer.
M.I. Glinka is often called the "Pushkin of Russian music". Just as Pushkin opened the classical era of Russian literature with his work. Glinka became the founder of Russian classical music. He summed up the best achievements of his predecessors and at the same time rose to a new, higher level. Since that time, Russian music has firmly taken one of the leading places in world musical culture.
Glinka's music captivates with extraordinary beauty and poetry, delights with grandeur and clarity of expression. His music sings of life. Glinka's work was influenced by the era of the Patriotic War of 1812. and the Decembrist movement. The rise of patriotic feelings and national consciousness played a huge role in his formation as a citizen and artist. Here are the origins of the patriotic heroism of Ivan Susanin and Ruslan and Lyudmila. The people became the main character of his work, and the folk song became the basis of his music. Before Glinka in Russian music, the "people" - peasants and townspeople - almost never appeared as heroes of important historical events. Glinka, on the other hand, brought the people to the opera stage as an active character in history. For the first time, he appears as a symbol of the entire nation, the bearer of its best spiritual qualities. In accordance with this, the composer approaches the Russian folk song in a new way.
The ancestor of Russian musical classics, Glinka defined a new understanding of nationality in music. He generalized the characteristic features of Russian folk music, he discovered in his operas the world of folk heroics, epic epics, folk tales. Glinka paid attention not only to folklore (like his older contemporaries A. A. Alyabyev, A. N. Verstovsky, A. L. Gurilev, etc.), but also to the old peasant song, using in his compositions old modes, features of voice leading and rhythm of folk music. At the same time, his work is closely connected with the advanced Western European musical culture. Glinka absorbed the traditions of the Viennese classical school, especially the traditions of W. A. Mozart and L. Beethoven, was aware of the achievements of the romantics of various European schools.
Almost all major musical genres are represented in Glinka's work, and above all, opera. "Life for the Tsar" and "Ruslan and Lyudmila" opened the classical period in Russian opera and laid the foundation for its main directions: folk musical drama and opera-fairy tale, opera-epic. Glinka's innovation also manifested itself in the field of musical dramaturgy: for the first time in Russian music, he found a method for the integral symphonic development of the operatic form, completely abandoning spoken dialogue. Common to both operas are their heroic-patriotic orientation, broad epic warehouse, monumentality of choral scenes. The leading role in the dramaturgy of A Life for the Tsar belongs to the people. In the image of Susanin, Glinka embodied the best qualities of the Russian character, gave him realistic life features. In the vocal part of Susanin, he created a new type of Russian ariose-singing recitative, which was subsequently developed in the operas of Russian composers. In the opera "Ruslan and Lyudmila", having rethought the content of Pushkin's playful ironic poem, which was taken as the basis of the libretto, Glinka strengthened the epic features, brought to the fore the majestic images of the legendary Kievan Rus. Stage action is subject to the principles of epic narrations.
For the first time, Glinka embodied the world of the East (hence the origin of Orientalism in Russian classical opera), shown in close connection with Russian, Slavic themes.
Glinka's symphonic works determined the further development of Russian symphonic music. In "Kamarinskaya" Glinka revealed the specific features of national musical thinking, synthesized the richness of folk music and high professional skill.
The Russian classical composers continued with the traditions of "Spanish overtures" (from them - the path to the genre symphonism of the "Kuchkists"), "Waltz-Fantasy" (its lyrical images are related to ballet music and Tchaikovsky's waltzes).
Glinka's contribution to the romance genre is great. In vocal lyrics, for the first time, he reached the level of Pushkin's poetry, achieved complete harmony of music and poetic text.
He was the first to raise the folk melody to tragedy. And there he revealed in music his understanding of the folk as the highest and most beautiful. Folklore "quotes" (accurately reproduced authentic folk melodies) in Glinka's music are much rarer than those of most Russian composers of the 18th and early 19th centuries. But on the other hand, many of his own musical themes cannot be distinguished from folk ones. The intonation warehouse and the musical language of folk songs became Glinka's native language, with which he expresses a wide variety of thoughts and feelings.
Glinka was the first Russian composer to achieve the highest level of professional skill for his time in the field of form, harmony, polyphony, and orchestration. He mastered the most complex, developed genres of world musical art of his era. All this helped him to “elevate” and, as he himself said, “decorate a simple folk song”, introduce it into large musical forms.
Relying in his work on the fundamental peculiar features of Russian folk songs, he combined them with all the richness of expressive means and created an original national musical style, which became the basis of all Russian music of subsequent eras.
Realistic aspirations were characteristic of Russian music even before Glinka. Glinka was the first of the Russian composers to rise to great generalizations of life, to a realistic reflection of reality as a whole. His work opened the era of realism in Russian music.
MOZART AS A SYMPHONIST
Mozart's symphonies are an important stage in the history of world symphony. Of the 52 symphonies written by Mozart, only 4 are finally mature, 2 are transitional (“Hafner” and “Linz”), and most are very early. Mozart's symphonies of the pre-Viennese period are close to everyday, entertaining music of that time. "Hafner" and "Linzskaya", full of brilliance and depth, carry out a whole revolution in the field of symphony and show the metamorphosis of Mozart's style. In his mature years, the symphony acquires the meaning of a conceptual genre from Mozart, develops as a work with an individualized dramaturgy (symphonies in D-dur, Es-dur, g-moll, C-dur). A whole abyss separates his early symphonies - and the entire 18th century - from the last four.
The absolutely classical symphonies of Mozart meet all the epithets of Viennese classicism: harmony, harmony, proportion, impeccable logic and sequence of development.
The Mozart symphony is completely devoid of even a hint of divertissement, which is still quite characteristic of Haydn, not to mention the Mainnheimers. The absolute originality of Mozart lies in the seething vitality, the aesthetic full-bloodedness of the created artistic cosmos, which was not inherent even in such a major musical playwright as Gluck.
Seriously influenced Mozart's symphonic work, especially the early ones, Jan Stamitz and Christian Cannabich.
With a solid and clear Austrian basis, which is multinational in itself, Mozart creatively used what he heard, saw, observed in other countries. So, in the music of Mozart (especially in the field of melody) there are many Italian influences. There are also subtle connections with French music in it.
In Mozart's orchestra, a remarkable balance of groups was achieved (four parts of groups of string instruments with an undifferentiated bass part and mostly a pair of wind instruments with timpani). Brass timbres are used individually. Flutes are often presented in the orchestra not in two, but in one part (for example, in the last three symphonies); in the symphony Es-dur there are no oboes, in Jupiter there are no clarinets, and in the lyrical g-moll there are no pipes and timpani. The clarinet - one of the most ancient instruments - for some reason penetrated into the symphony orchestra for a very long time. For the first time he was involved in the Mannheim symphonies, then Haydn and Mozart “adopted” him, but only in their last works.
In the symphonic work of Mozart, the importance of the lyrical principle noticeably increases, and in the center of his artistic world is the human personality (an anticipation of romanticism), which he reveals as a lyricist and at the same time as a playwright, striving for an artistic recreation of the objective essence of the human character.
Mozart composed his first symphony in London, and they performed it there. In 1773, the g-moll symphony was written. Not that famous one, but a small, uncomplicated symphony No. 25, designed for a small orchestra (for example, from wind instruments - only oboes and horns). In 1778, after a trip to Mannheim, the Paris Symphony in D-dur (K. 297) was written. Symphonies in D-dur (Haffner-Sinfonie, K. 375, 1782) and C-dur (K. 425, 1783), written for the city of Linz, were created during Mozart's "stylistic revolution" and marked the transition to the new. "Hafner" (specially for the Salzburg Hafner family) still bears the features of a divertissement style. It arose from a multi-part serenade, from which the opening march and one of the two minuets were removed. The Prague symphony in D-dur (symphony without a minuet, K. 506, 1786) is marked by boldness and novelty, and undoubtedly belongs to the best things.
During the summer of 1788, Mozart wrote his last three symphonies, his greatest creations in the field of symphonic music, the pinnacle of his work: Symphony in E flat major No. 39, in which great dramatic expression is achieved on the basis of dance genres (mainly in the first movement); symphony in G minor No. 40 - the most lyrical among these three symphonies; monumental symphony in C major No. 41, called "Jupiter". Sometimes these three symphonies make up a trilogy into a cycle, or into a triptych, they talk about “high three-part unity”, to the point of absurdity: Es-dur is the first part, g-moll is the second, Jupiter is the third.
Each of these symphonies is an individual, integral, complete artistic organism, possessing its own, inherent features of expressiveness; and all three symphonies taken together characterize the richness and diversity of the composer's ideological, emotional and figurative world, and also give a vivid and complete picture of the ideas and feelings of his era.
The Es-dur symphony is usually called that - "romantic symphony"; it was especially dear to the romantics, they called it the “swan song”. Symphony in G minor - a poem of sorrow - has gained great popularity due to its unusually sincere music, understandable to the widest range of listeners.
Symphony No. 41 (K. 551), the largest in scale, is called "Jupiter" due to the grandiose finale. (Jupiter in ancient Roman mythology is the god of thunder, the lord of the gods, people and nature, the lord of all things.) The symphony consists of 4 parts: Allegro vivace, Andante cantabile, the Allegretto minuet and the Molto allegro finale, and the sonata form is used in all parts, except third. The evolution of the minuet is indicative - everyday dance becomes lyrical and courageous at the same time. The form of the finale is the height of constructive mastery: a combination of sonata and fugue, the most thoughtful and organic forms created by European culture.
