Lesson type: Lesson to improve knowledge, skills and abilities.
Type of lesson: Lesson with in-depth study of educational material.
The purpose of the lesson: Practical study of the methods of work that are used to create a musical image in S. S. Prokofiev's play "Rain and Rainbow".
Lesson objectives:
- educational: formation and improvement of professional skills necessary for mastering the culture of musical performance;
- developing: development of emotional responsiveness, sensitivity to figurative understanding of the world, development of creative and cognitive activity;
- educating: fostering a steady interest in classes, the formation of an artistic and aesthetic taste.
Lesson structure:
- Organization of the beginning of the lesson.
- Lesson motivation. Goal setting.
- Checking homework.
- Assimilation of new knowledge.
- Initial test of understanding.
- Generalization and systematization of knowledge.
- Control and self-control of knowledge.
- Summing up the lesson.
- Information about homework.
Lesson plan.
- Organizing time.
- Message topics, goals and objectives of the lesson. Main part. Mastering in practice the methods of work that are used to create a musical image in the play by S. S. Prokofiev “Rain and Rainbow”.
2.1 Listening to homework.
2.2 The concept of “musical image”. Program music.
2.3 Musical expressive means as the main condition for creating a musical image.
2.4 Basic methods of working on sound. - Summing up the lesson.
- Homework.
- Watching the animated film "Walk". Directed by I. Kovalevskaya. Music by S. S. Prokofiev.
Teacher: In the course of the previous lessons, we worked on S. S. Prokofiev’s play “Rain and Rainbow”. We have successfully passed the first stage of work on the work. You, Nastya, were given homework: work on the text, play by heart. Let's hear the results of your homework.
A student performs a play she has been working on at home.
Teacher: Homework is done. The play is memorized. The quality of work can be assessed as good. For independent homework, a creative task was given: to choose a literary work that, in your opinion, is consonant with the content and mood that is present in the musical play “Rain and Rainbow”.
Student: Yes, with the help of my mother, I found two poems that, in my opinion, correspond to the mood of the play. Now I will read them.
| F. I. Tyutchev Reluctantly and timidly |
I. Bunin There is no sun, but bright ponds |
Teacher: You have become acquainted with poetic compositions, and now let's compare the verses with the musical content of the play. What do you feel when you read poetry?
Student: I feel fresh and warm. I close my eyes and imagine the rain that rustles on the leaves. Joy from the appearance of the sun and rainbow.
Teacher:
In a piece of music, just like in a novel, a story, a fairy tale, a picture written by an artist, there is its own content, it reflects the world around us. This happens through the musical images that are created by the composer. A musical image is a complex of musical and expressive means that are used by the composer in a composition and are aimed at evoking in the listener a certain range of associations with the phenomena of reality. The content of the play is revealed through the alternation and interaction between various musical images. A musical image is a way of life of a work.
Depending on the content, a piece of music may contain one or more images.
How many musical images do you think are in the piece we are studying?
Student: Two images, because in the title we hear rain and see a rainbow.
Teacher: Well done! Indeed, the piece contains two musical images, which are embedded in the very title "Rain and Rainbow". Such plays are called program plays. The title, pointing to some phenomenon of reality, which the composer had in mind, can serve as a program. Rain is usually depicted as a steady movement of sixteenths or eighths. In the miniature “Rain and Rainbow” this is not the case.
Student: Yes, I played the play “Summer Rain”. In it, the rain is different from the rain in the play we are learning.
Teacher: Visually tangible musical means reveal pictures of nature in the play “Rain” by V. Kosenko .
Listen, I will play you a play by V. Kosenko “Rain” (teacher's show). Comparing the plays “Rain and Rainbow” and “Rain”, you understand now, Nastya, how one and the same natural phenomenon can be depicted in music. Now tell me, does the play we are working on have such rain as in V. Kosenko's play “Rain”?
Student: No, the rain is different here.
Teacher: Please play me the beginning of the piece (the student plays the first two lines). Do you hear the difference?
Teacher: Beginners of the play “raindrops” are, of course, not an exact sound-picture sketch, but there is a feeling of summer rain, its freshness, this is a poetic musical reflection of a well-known real picture. In the second section of the piece, the composer draws a rainbow. At the end we hear the rain that falls under the sun, mushroom rain.
Teacher: Let's repeat the first section (the student is playing). Pay attention to the fact that next to the intonations that draw the rain, we hear the intonations of the rainbow. In the solfeggio lessons, you already got acquainted with the concept of alteration.
Student: Yes, this is an increase or decrease in tone. Sharps and flats.
Teacher: Well done, you have mastered this material well, but let's pay attention to consonances with many signs, altered consonances. Please play these chords (the student is playing) Try to play them using the weight of your hand, resting on the keyboard. “The position of the fingers should be slightly extended, the fingertip is in contact with the key”, - E. Lieberman. Try to hear how these chords create emotional tension. Please play me this section of the piece, paying attention to my recommendations (the student is playing)
Teacher: And now let's try to evaluate how convincingly you managed to convey the image we were talking about.
Teacher: You told me that the second section is a rainbow. Indeed, this is a miracle of a multi-colored rainbow. It appears as a descending C major scale, bringing enlightenment and calmness.
Teacher: I prepared two artistic illustrations of the natural phenomenon of the rainbow for the lesson: B. Kuznetsov “Rainbow. Jasmine”, N. Dubovskoy “Rainbow”. Let's look closely and feel each of them. Color, horizon, air, mood, without which the performance of the play would be impossible. Like an arc of a rainbow covering the sky, a widely spreading, typically Prokofiev melody appears in the piece. G. Neuhaus said that "the sound perspective is as real in music for the ear as in painting for the eye." In the future, altered consonances are again heard, but they do not sound as intense as before. Gradually, the color of the music brightens more and more. Color is a combination of colors. The coloristic play “Rain and Rainbow” reflected Prokofiev's childishly enthusiastic attitude to nature.
According to contemporaries, Prokofiev was an outstanding pianist, his playing style was free and bright, and despite the innovative style of his music, his playing was incredibly tender.
Let's remember the topic of the lesson. Tell me, please, musical and expressive means that help to reveal the image.
Student: Harmony and melody.
Teacher: Let's pay attention to harmony again. Harmony is chords and their progression. Harmony is a polyphonic musical color that chords create. . Please play the first part of the play (the student is playing).
Teacher's comment: During the performance, the teacher draws attention to the expressive possibilities of harmony, the need to listen to individual harmonies and their combinations, the need to strive to understand their expressive meaning. The role of harmony in creating a state of instability (dissonant harmonies) and peace (their bright resolutions) is clear. Dissonant harmonies can sound softer or sharper, but in this case, the student and I achieve a less harsh sound.
Diagnostics.
Teacher: We have just talked about the meaning and possibility of harmony as one of the musical means of expression. Please tell me how you understood the meaning of the word harmony.
Student: Harmony is chords and their sequence.
Teacher: In the words of the great Russian pianist and teacher G. Neuhaus: "Music is the art of sound."
Sound expressiveness is the most important performing means for the realization of musical and artistic design. Please play the middle part of the piece (the student is playing the middle part of the piece).
Teacher's comment: Prokofiev's melody is the widest register range. A transparent, sonorous sound implies clarity of attack and accuracy of completion of each tone. The coloring of the sound suggests the finest watercolor sound painting. The return to illustrations and work on the second part is dictated by the need to work on sound extraction techniques. Sound expressiveness is the most important performing means for the realization of musical and artistic design. The work uses practical techniques and methods that help to develop melodic ear and, accordingly, the colorfulness of the sound of the student.
Melodic ear is the representation and hearing of the melody as a whole and each of its notes, each interval separately. It is necessary to hear a melody not only in pitch, but also expressively, dynamically and rhythmically. Working on melodic ear is working on intonation. Intonation gives volume to music, makes it alive, gives it color. Melodic ear is intensively formed in the process of emotional experience of the melody and then the reproduction of what was heard. The deeper the experience of the melody, the more flexible and expressive its drawing will be.
Working methods:
- Playing a melodic pattern on an instrument separately from accompaniment.
- Reproduction of a melody with accompaniment by a student and a teacher.
- Performance on the piano separately of the accompaniment part with singing the melody “to oneself”.
- The most detailed work on the phrasing of a piece of music.
Teacher: An important component in working on a melody is working on a phrase. Demonstration by the teacher of two versions of the performance of the episode in order to develop the ability to hear and select the necessary sound to create the right musical image. (Teacher performs) The student actively listens and makes the right choice. This method of work activates the perception of the student and helps to create an image to strive for.
When working on phrasing, which is one of the means of expressing the artistic image of a musical work, the student and I discussed the structure of phrases, intonation peaks and culmination points, paid attention to breathing in a musical phrase, and determined the moments of breathing. “Living breath plays a leading role in music”, - A. Goldenweiser.
Teacher: Now, let's remember what cantilena is?
Student: Cantilena is a melodious wide melody.
Teacher: Please play a long melodic line that starts the middle of the piece. The student is playing.
Tarasova Dina Vyacheslavovna
Job title: teacher
Educational institution: MBU DO "Children's Art School No. 19"
Locality: Astrakhan region, with. Sasykoli
Material name: Methodical development
Topic:"Work on the artistic image in software piano works"
Publication date: 12.05.2016
Chapter: additional education
Open lesson in the piano class
Topic: “Working on an artistic image in software piano
works"
Teacher of the music department Tarasova D.V.
uch. Kunasheva Amina - 4th grade
Lesson topic:
"Work on the artistic image in piano works".
Target
lesson:
To reveal and express in performance the figurative content of a musical work.
Lesson objectives:
To form pianistic skills and abilities by integrating figurative impressions; Work on the expressiveness of the musical language, overcoming performance difficulties. To form the ability to perform analysis and synthesis of a musical work. To work on achieving the level of figurative completeness of interpretation.
Lesson type:
traditional.
Type of lesson:
lesson of generalization and systematization of the studied.
References:
1. Collection of Jazz pieces for piano. N. Mordasov. Second edition. Rostov n / a: Phoenix, 2001 2. Patter for piano. 50 exercises for developing finger fluency. T.Simonova. St. Petersburg: "Composer", 2004. 3. Internet resources. one
During the classes:
This lesson will show the work on the artistic image in the program piano works. The scope of the lesson allows you to demonstrate all the material in a concise, generalized, but systematized way. Amina, today in the lesson we will talk about the artistic image of the work. What is this concept of "artistic image"? - It's a composer's idea. This is what is shown in the music ... these are the author's thoughts, feelings, attitude towards his composition. The artistic image in music is revealed through the means of musical expression. Work on the creation of an artistic image is a complex process. The birth of the artistic image of a work is the disclosure of its characteristic features, its “face”. And the image is revealed, as we have already said, with the help of expressive means. Well, today in the lesson we will trace the formation and expression of the musical image using the example of your works.
Let's start with the bright, imaginative play "Dance of the Savages".
Before starting work, Amina will play preparatory exercises to warm up her hands and get ready for the lesson. Exercise 6 from the collection "Patters for Piano" For alternating hands, practicing staccato and wide intervals. Exercise 10 is useful for developing coordination of movements, for quick rhythmic alternation of hands. We work out dynamic shades, gradual rise and fall (crescendo and diminuendo) of sonority. The same shades will be found in the play "Dance of the Savages" Exercise 49 is aimed at working out double notes and chords. It is necessary to monitor the simultaneous taking of two and three sounds. The work “Dance of the Savages” was written by Yoshinao Nakada, a well-known composer of modern Japan, who few people know about in our country. The basis of his composing creativity is vocal music, his favorite musical instrument is the piano. Nakada gave a lot of strength and energy to piano pedagogy. A number of collections of piano pieces for children - 1955, 1977 - He specifically composes for pedagogical purposes. At present, these works are successfully used in the pedagogical repertoire of musical educational institutions. 2
The creative heritage of the composer is great. He wrote piano, chamber and instrumental works, music for radio and television, children's songs. A significant section of Y. Nakada's work is choral and vocal works. The Japanese genre DOYO (doyo) had a special meaning and significance in this activity of the composer. These were songs that anyone could sing. Many of these songs have become an integral part of Japanese culture today. Let's play this piece right away, and then we'll talk. Tell me, please, what artistic image did the author show in his essay?
Answer:
- Music accurately depicts the images of savages, or rather their dance. Let's take a closer look at what means of musical expression are used to achieve the artistic image in our play. First, let's look at the form of the work. It has 3 parts, and 1 and 3 parts are almost the same. What happens in
1 parts
? What means of expression does the author use? (jerky melody, minor key, but thanks to a large number of random sharps, it sounds major, sharp rhythm, the presence of many accents, diverse dynamics.
2
part
- climax, dynamics intensifies (FF), the presence of syncopation, quarts, giving sharpness and sharpness to the sound. Rapid tempo, rapid alternation and transfer of hands, elastic, active staccato, clear rhythmic pulsation. Such music is performed with very active, elastic fingers. Our stroke is staccato, elastic, rebounding. The sound is strong and bright.
part 3
- character repeats
1 part
, ending: having danced their dance, the savages are gradually moving away. Here we have examined the means of expression that help to reveal the artistic image. And now you, Amina, play a play and try to convey to us, the listeners, the images that we just talked about. This is such an interesting play. Amina, you are great. It's obvious that you like the play. You play it confidently, brightly, colorfully. At home, be sure to play at different tempos, alternating fast-slow, watch for evenness (play on “ta-ta”)
The next piece is called "Old Motif"
3
Amina, the play is still a little unfinished, so look at the notes. Try to remember and do everything we talked about in class. Nikolai Mordasov - Russian teacher, composer of the 20th century; the author of many children's jazz plays, a theorist by education, the author of jazz arrangements-stylizations and a huge number of compositions, the authorship of which is irretrievably lost: suffering from pathological shyness, the teacher considered his plays a "production necessity" and did not put a signature. Musical educational institutions still use the methodological recommendations of N.V. Mordasov on rhythm, development of creative skills in music-making and functional hearing. And in 1999, Nikolai Vasilievich Mordasov finally published two collections of children's jazz pieces for piano and "four hands" ensemble. Jazz began to write "a lot" only because it was required by pedagogical work. N. Mordasov is not only a jazz musician, but, above all, a teacher, and all his creative achievements are updated in teaching practice. Amina plays a play
"Old
motive
”from the collection “Jazz Pieces for Piano” by N. Mordasov. . This collection also includes interesting plays "A long time ago", "Blue distance", "Road home", "See you tomorrow", etc. That is, all the plays have names in which the artistic image is hidden.
"Old
motive"
- a bright, interesting play. Let's look at our work, deal with the means of expression to reveal the image. How many parts and who does the author portray in them? (one-part) Let's fantasize. (Summer evening, city park. A familiar old tune sounds somewhere in the distance. An elderly couple sitting on a bench near a pond, looking at the youth, recalls their young years). The tempo is moderate. Major mode betrays clarity and lightness. The chord accompaniment in the left hand is elastic, Accents and syncopations in the melody make it look like a tango (
Ta
ngo
(Spanish)
tango
) - Argentine folk dance; pair dance of free composition, characterized by an energetic and clear rhythm). The dynamics of Mf, which is preserved throughout the whole work, give the sound a certain evenness. four
The melody consists of short motifs, each of which has different types of accents (performed differently). Many tied notes form syncopations. This requires increased rhythmic attention. In this regard, we will play very expressively, but at the same time - gently. In the right hand - a melody, in the left - an accompaniment. We will play the melodic line in short phrases. The touch to the keys is deep, we cling to every sound. Work on the expressiveness of motives and short phrases: Ask to sing to yourself (interval, move), and then, the same thing, “sing” on the instrument. At home, teach the play as in a lesson. Do exercises to work on the sound. Learn the play. The highest goal of a performing musician is a reliable, convincing embodiment of the composer's intention, i.e. creation of an artistic image of the work. Today we have seen that the nature of a musical work, its image is most directly influenced by the means of musical expression. At the end of the lesson, I would like to thank Amina for her work, for her attention and responsiveness. I think you imagine, live, musical images and play these works with joy. 5
MUNICIPAL EDUCATIONAL INSTITUTION
ADDITIONAL EDUCATION FOR CHILDREN
"UNECH CHILDREN'S ART SCHOOL"
on the topic: "Creation and development of an artistic image
in the process of working on a piece of music"
Designed by:
Skoda T.G.
Discussed and approved by Unechsky
zonal methodical association
Protocol No. _____
Unecha 2014
MUSICAL LANGUAGE OF COMMUNICATION 3
CREATIVE IMAGINATION AND CREATIVE ATTENTION………………………………………………………………….4
THE CONCEPT OF “CONTENT OF A MUSICAL WORK”…………………………………………………………..5
ANALYSIS OF A MUSIC WORK IS THE FIRST STEP TO CREATING AN ARTISTIC IMAGE………………………………………………………………………………………………………… ……………………………………5
THE PROCESS OF LISTENING TO MUSIC……………………………………………………………………………………………………………8
THE LEVEL OF EMOTIONAL RESPONSIBILITY OF THE STUDENT………………………………………………………………………………………………9
MUSICAL-FIGULATORY THINKING………………………………………………………………………………………………..9
CONCLUSION………………………………………………………………………………………………………………………………… …….eleven
Annex №1…………………………………………………………………………………………………………………………… …….13
Annex №2…………………………………………………………………………………………………………………………… …….16
Annex №3…………………………………………………………………………………………………………………………… …….eighteen
Annex №4…………………………………………………………………………………………………………………………… …….twenty
Appendix No. 5…………………………………………………………………………………………………………………………… …….22
INTRODUCTION
At present, musical education is an integral part of the formation of the spiritual culture of the individual based on the development of his musical literacy and the ability to master universal cultural values. The goal of the musical education of schoolchildren today is to introduce students to the world of great art, to teach them to love music in all the richness of its forms and genres, in other words, to educate students in musical culture as part of their entire spiritual culture, to grow up a competent listener, a connoisseur of music in particular and art in general, a creatively educated, intellectually developed person.
In this regard, the question arises: what do we, teachers - musicians, teach our students? What is the expected result of teaching children in a music school? What needs to be done so that art is not alienated from the child, but becomes part of his soul? How to make a specialty lesson a lesson in knowing yourself and the world around you, a lesson in creativity? We will be able to answer this question when we teach to love music, when children begin to feel and understand its deep meaning. And to the teacher, guided by the motto “Penetrate the soul through music! Through music to understand oneself and the world around!”, it is necessary to create all the conditions for children to want to know the mystery of this art form.
The general task of teaching at a music school can be defined as the development of students' love for music, the ability for emotional responsiveness to musical works, the brightness of their perception and the provision of comprehensive musical training that would allow them to perform compositions of various styles and genres, revealing their artistic content to the listener. . The development of an artistic image in a student when playing musical works is one of the most important tasks for a teacher-musician.
MUSICAL LANGUAGE OF COMMUNICATION
The concept that music is a special language of communication, a musical language, is indisputable, similar to the language of communication between people. I try to convey this point of view to my students, to form an associative link between musical and artistic works, comparing plays with poems, fairy tales, stories, events and moods of the surrounding life. Of course, one should not understand the language of music in the literal sense as a literary language. Expressive means and images in music are not as clear and concrete as the images of literature, theater, and painting. Music operates by means of a purely emotional impact, refers mainly to the feelings and moods of people. “If everything that happens in a person’s soul could be conveyed in words,” wrote the Russian music critic and composer A.N. Serov, - there would be no music in the world! One should not put an equal sign between the language of music and the usual literary language, and because different musicians - performers perceive and perform the same musical text in different ways, introducing their artistic images, feelings, thoughts into the musical text.
Instrumental music is not capable of expressing exact concepts as concretely as spoken language, but sometimes it reaches such a captivating power that it is difficult or impossible to achieve with the help of spoken language. “You say that words are needed here. Oh no! It is precisely here that words are not needed, and where they are powerless, the “language of music” appears fully armed, said the great P. I. Tchaikovsky.
The world of musical images is extremely vast: each artistically full-fledged work has a unique content, reveals its own range of images - from the simplest to those that amaze with their depth and significance. Whatever the student plays - folk songs, dances, plays by modern composers or classical music - he needs to understand this work, realizing the expressive meaning of every detail, and be able to perform it, i.e. convey artistic content in your game. A teacher will be able to develop in a student the ability to understand music in this way only if, throughout all the years of classes, he will seriously work in this direction, and will never allow a meaningless performance.
CREATIVE IMAGINATION AND CREATIVE ATTENTION
When working on the artistic image of a musical work, the main task of the teacher is to develop a number of abilities in the student that contribute to his "enthusiasm" when playing. These include creative imagination and creative attention. Education of creative imagination aims to develop its clarity, flexibility, initiative. At the first lessons, having performed the “Lullaby” to the student, I ask him to explain the purpose of the song, to describe its character. Or, on the contrary, having performed a cheerful dance song for him, I propose to tell what it can display, I ask you to draw some moments of its performance. The next step in the work is to determine the emotional characteristics of the major (light, joyful, optimistic) and minor (muffled, sad, sad), which further contributes to a more accurate perception of the nature of the piece of music. I ask you to make illustrations for musical works - drawings in which the child displays his perception of the music being performed.
Musical fantasy needs to be developed with successful metaphors, poetic images, analogues with the phenomena of nature and life, so that figurative associations arise in the imagination of the player, more sensual and concrete sound images, diverse timbres and colors live.
Let me give you a few examples from my practice.
Appendix #1 - 3
The ability to vividly and vividly imagine an artistic image is characteristic not only for performers, but also for writers, composers, and artists. But they get material from everyday life, and the musician does not have ready-made musical material for imagination. He needs constant acquisition of special experience, he must be able to hear and make selection. Therefore, a necessary condition for cultivating the creative imagination of a musician is a high level of auditory culture.
Example (Appendix No. 4) - B. Samoilenko "One, two - left!"
Since we are talking about the creation and development of an artistic image, it is necessary to define what is meant by the concept of "content of a musical work". The generally accepted concept is that the content in music is an artistic reflection by musical means of human feelings, experiences, ideas, attitudes of a person to the reality around him. Any piece of music evokes certain emotions, thoughts, certain moods, experiences, ideas. This is the artistic component of a musical composition. But, of course, when performing it, one should not lose sight of the technical side of music-making, since the careless performance of a piece of music does not contribute to the creation of the desired image in the listener. This means that the teacher and the student face a rather difficult task - to combine these two areas when working on a piece of music, to synthesize them into a single systematic, holistic approach, a method where the disclosure of artistic content is inextricably linked with the successful overcoming of possible technical difficulties.
ANALYSIS OF A MUSIC WORK IS THE FIRST STEP TO CREATING AN ARTISTIC IMAGE
Undoubtedly, the most interesting activity for students in the lessons of the specialty is work on an artistic piece of music.
Starting to work on a play, analyzing the content of the work with the student, many teachers often make mistakes of two opposite directions. For the first one, it is characteristic that the teacher seeks to teach children to “see” the work being analyzed in detail, tries to retell its content in words, to create a “literary plot”. As a result, the student actively fantasizes, draws colorful pictures, paying little attention to the technical side of the performance, as a result of which he cannot convey his images to the listener due to the technical imperfection of the performance. The second direction is joined by teachers who, guided by the fact that music is the art of sounds and acts directly on our feelings, generally neglect figurative representations, consider it unnecessary to talk about music and limit themselves to “pure sound”, technically perfect and not needing any associations performance. Which of these directions is most acceptable in the musical development of a student? Probably - the truth, as always, is somewhere in the middle, and whether the performer finds the “golden section point” depends on whether he will be successful with the audience.
When analyzing a piece of music, I try to immerse the child’s mind in the atmosphere in which this piece was written, analyze its structure in detail, make a tonal plan, determine the culmination, determine with what means of expression and techniques the main theme, variations will be shown. It should be noted that most of the information about a piece of music communicated to schoolchildren by a teacher takes the form of verbal descriptions, pictures, and certain associations. On their basis, students recreate for themselves a meaningful image of the analyzed musical composition (the appearance of the hero of a musical work, past events, unprecedented landscapes, fairy-tale paintings, nature, etc.). And here it is very important - whether the teacher will be able to awaken and develop interest in music with his expressive and emotional story. It is at this stage that the further path of development of the novice performer is determined: whether he will follow the path of creative thinking or the strict execution of the musical text. At the same time, one should only pay attention to the following: often, wanting to explain the meaning of music to the student as fully as possible, even experienced musician teachers follow the path of excessive specification of the image, voluntarily or involuntarily replacing music with a story about it. At the same time, it is not the mood of the music that comes to the fore, not the psychological state that it contains, but all sorts of details, probably interesting, but leading away from the music.
For a quality game, it is necessary to study the work “from the inside”, therefore, analysis plays a significant role in my work on the work. It is necessary to understand everything, because to understand is to take the first step towards falling in love. The perception of music is inseparable from the form. Hot emotional responsiveness to music is not only not in conflict, but, on the contrary, gets ground through clever logical analysis. Far-fetchedness extinguishes the creative flame, deliberation - excites emotional creative forces.
There can be no particular schema in analysis. Each work has unique features that give it individuality and charm. Finding them and presenting them is the task of the teacher. Proper use of methods and techniques by the student is the key to a professional and emotional game. The task of the teacher is to help reveal the work, direct it in the “right direction”, but at the same time give him the opportunity to present the content of the work himself, to find out his thoughts and desires.
Many practicing teachers pay insufficient attention to the development of thought processes when working on musical material. The analysis of a piece of music is often simply omitted, focusing on the pure performance of the musical text. As a result, students have poorly developed musical and artistic thinking, which is necessary for the intellectual and intuitive perception of music. Meanwhile, how the formation of an artistic image is based on a comprehensive understanding of the work, which is impossible in the absence of an emotional and intellectual beginning. A thorough artistic and theoretical analysis of the studied composition stimulates increased interest, activates an emotional attitude towards it. At this stage, the originally created artistic image gets its development, acquires clearer colors, becomes voluminous, alive.
The recreating (reproductive) imagination, which is “responsible” for the creation and development of artistic images, develops in schoolchildren in the process of learning to play musical instruments by forming the ability to identify and depict the implied states of musical images, the ability to understand their certain conventionality, sometimes understatement, the ability to bring their own emotions into experiences given to us by the composer.
Already at the stage of acquaintance with the work, I outline the first touches to a possible artistic image, telling the student about the composer, his work, the time of creation of a particular play. The teacher must have not only deep musical and theoretical knowledge, but also a very high technique of pedagogical work: be able to properly approach each student, taking into account his individual abilities, in order to provide the necessary assistance in working on the musical content and possible technical difficulties. Thus, the teacher is required to have a constant high emotional responsiveness to the artistic content of the musical works on which his student is working, a creative approach to their interpretation and ways to master their specific difficulties. It is important to be able to look at a musical composition with fresh eyes every time, even in those cases when it is difficult to find a new detail of interpretation in a long-familiar work. It is almost always possible, based on previous experience, to make certain improvements in the process of mastering this work by the student, to speed up the mastery of its difficulties, and thereby make the work interesting both for oneself and for the student.
The teacher must master the instrument and be able to show the work being analyzed in his artistic interpretation. Of course, the performance in the classroom, for the student, must be as bright, exciting, emotional as on the big stage.
The principle: "First play as I do, and then as you see fit" should in no way affect the student's creative independence. Each of the participants in the educational process, both the teacher and the student, has the right to his own vision of the musical and artistic image.
THE PROCESS OF LISTENING TO MUSIC
When working on a piece of music, I try to teach a child to listen to himself, because the ability to hear, understand, comprehend what is inherent in a piece of music is the basis of performing skills. Often we are faced with the fact that the student simply entertains himself with the general sound, without listening and not focusing on what is the main task at this stage. While work on a work should force the student to listen to himself from the outside. It is necessary to strive, firstly, for a full, soft, and secondly, for the most melodious sound. Not without reason, one of the highest praises for the performer is “his instrument sings”. Singing, melodiousness is the main law of musical performance, the lifeblood of music.
The process of listening to music is very important. It should be specified by certain tasks: listen to the rhythmic pattern, melodic moves, melismas, change of strokes, sound extraction techniques, silence, stops, pauses. And even pauses must be listened to! This is also music, and listening to music does not stop for a single minute. It is very useful to play with your eyes closed. This helps focus the ear. Game quality analysis will be sharper. All existing "errors" will be heard better, since with such training, auditory perception is aggravated. Watching a student play, we often hear such shortcomings as not listening to long sounds, the inability to single out the main voice and soften others, the inability to choose the right tempo, make phrasing, draw an emotionally correct dynamic line. This is especially true when playing the cantilena.
LEVEL OF EMOTIONAL RESPONSIBILITY OF THE STUDENT
I try to direct the student's thoughts in the right direction of reasoning, help to understand the content of the work, I can almost always determine the level of emotional responsiveness of my student. If it is not sufficient to embody the artistic image, then I am looking for ways to awaken it in him.
It happens that a student is emotional, but he does not understand, does not feel this particular music. Just as it is sometimes difficult to express tranquility in all its depths in music, it is so difficult to display joy. Most often, “pressure” is successful and its reverse side is lethargy and indifference. It often happens that a student has a complete absence of any semblance of mood. The teacher “glues” all the “mood” with careful work, and during public speaking they quickly “fly off”, exposing the essence of the student.
How to help the student in overcoming low emotionality? Explaining to the student what to do, I immediately show how it is done again, and again I return to the action, a certain movement.
It often happens when by showing the movement and, of course, by playing it yourself, you can “wake up” the student. The teacher requires maximum endurance and patience in order to achieve a meaningful action from the student. After all, the student should not turn into a "puppet". Each of his movements should be filled with feeling, as well as the realization that he himself wants this.
MUSICAL-FIGULATORY THINKING
Due to a good knowledge of the text, one can completely surrender to the power of musical and figurative thinking, the expression of one's imagination, temperament, character, in other words - all personal integrity. The artistic image has access not to the structure of the musical text, but to the personal sphere of the performer, when the person himself becomes, as it were, a continuation of the musical work. When it comes to high motives for turning to music, then the emotional and aesthetic activity of the performer is evident. This is musical-figurative thinking.
The imaginative thinking of a student is a new formation of his consciousness, which implies a fundamentally new attitude to the musical game.
The musical image of the performer-artist is that generalized "picture" of his imagination, which "guides" direct performance through its universal components. Both in composition and in performance, the decisive link is intuition. Of course, technique and reason are extremely essential. The more subtle spiritual experiences the performer must reveal, the more responsive and developed his technical apparatus must be. But the fingers will be silent if the soul is silent. Reason is needed to thoroughly identify every facet of the work. However, in the end, the main role belongs to intuition, the determining condition in creativity is a musical feeling, a musical flair.
CONCLUSION
So, having seen the musical building of the work as a whole, defining its components, outlining the development, climax, finale, decomposing each component into phrases, we understand that the largest, most beautiful, majestic building consists of small bricks (literally - bars). And each of these bricks is beautiful both in itself and as a whole. The performer distinguishes between individual motives-characters, their mutual development, contrast and similarity of images. It should be noted that work on artistic content necessarily takes place through understanding the structure, logic of the tonal plan, harmony, voice leading, texture of the work being studied, i.e. the whole complex of artistic, expressive and technical means used by the composer. At the same time, the development of the image includes not only the analysis of its structure, but also the identification of the role of each element of the musical structure in revealing the ideas and emotions inherent in this work in accordance with the composer's intention. Taking this into account, we are aware that in developing artistic and figurative thinking, one should in no way lose sight of its intellectual component.
Thus, having carefully studied the work from the point of view of musical form, we again, brick by brick, put it together, fully comprehending the purpose of each brick-measure, each note-letter in the word, their role in the overall construction of the musical presentation. At the same time, there is practically no problem of memorization by heart. The student beats every measure, interval, even one note (especially in a cantilena piece), without memorizing the text, but "getting used" to it, developing and improving his musical and artistic image.
In this report, I do not consider the technological side of working on the text of a musical work. We are talking about the emotional and artistic understanding of musical material, which includes:
1. the general impression of the first playing of the work,
2. dividing it into parts, which are a meaningful, logically completed element of the studied work,
3. a meaningful combination of parts, episodes through the establishment of similarities and differences in emotional and technical terms between them, a comparison of tonal and harmonic language, accompaniment, features of voice leading, texture, etc., and as a result - a combination of various artistic images, the development of associative links .
Of course, such work requires a lot of time. Many teachers, in pursuit of the curriculum, do not allow themselves and the student to delve into the artistic component of a musical work, they build their work on the strict performance of a musical text, its multiple, monotonous repetitions. As a result of such work, the musical material is gradually learned by heart, “enters the fingers”. Indeed, the entire load during such activities falls on the motor-motor memory (finger memory). Memorization is mechanical, unconscious. The performance of a work learned in this way by heart is devoid of meaningfulness, the students play “one note”, not understanding the meaning of the music. Perhaps the young musician performs the work quite cleanly, but is there any sense in such work?
The main task in working on the figurative structure of musical works is to create conditions for the artistic performance by the student of the pieces he has learned, to enable the child to feel like a musician-artist. Ideally, inspiration should show up whenever a child turns to music. A successful, bright, emotionally filled and at the same time deeply thought-out performance that completes work on a work will always be important for the student, and sometimes it can turn out to be a major achievement, a kind of creative milestone at a certain stage of his education.
Thus, work on the artistic image of a musical work should be multifaceted. The student and the teacher are full of enthusiasm and love for their work. This, in turn, is complemented by the individuality of the student and the great charm of the personality of the teacher. In this eternal union, a great variety of forms and methods of working on the artistic images of musical works is born.
Application No. 5
Attachment 1.
Here is a themed children's song "Merry Geese".
I play this song to the student and ask what kind of character it is, what it represents, what kind of picture can be drawn. Since the play is cheerful, comical, bright (major), then it must be performed in such a way that the listener feels the mood of this song. Bass and chord in the left hand are played short and easy. The first two phrases (a connected melody) are a story about the life and tricks of geese, and the next two are clumsy geese, depicted in the song with eighth notes tied in two, the first of which is the supporting one.
Application №2
Another children's song - M. Kachurbina "A bear with a doll is dancing a field"
The words of this song immediately reveal the whole character: cheerful, dancing, we perform easily and naturally.
Application No. 3
Another children's song - G. Krylova "Our cockerel got sick"
A sad song, plaintive, written in a minor key. The sounds tell us about a sick cockerel who has lost his voice...
Application No. 4
The first sentence is a march of children, a clear rhythm of the accompaniment and individual sounds in the melody convey the clatter of the marching formation.
The second sentence is to rehearse the fingers on one sound (fa) in the appropriate rhythm, imitating drumming.
The third sentence - the little trumpeter calls the guys together to do good deeds.
Application No. 5
R. n.p. arr. A. Sudarikova "Like under a hill, under a mountain"
Alexander Fyodorovich Sudarikov is a well-known Moscow teacher, composer, for 30 years he was the music editor of the Composer publishing house, he is the author and compiler of musical and methodological literature for bayan and accordion.
Often work on a work begins with the words of a song. Here it is: “As under a hill, under a mountain, an old man traded ash ...” And why ash? You could say that ash is a good fertilizer for potatoes, but a more accurate explanation is that at the time this song was written, ash was an excellent detergent and bleach, and therefore the old man traded in a rather "trading" product. The form of the piece is a theme with variations, written in the key of C-dur.
So, the old man and his grandson go to the fair to sell ashes. The introduction is a cart ride. The chords in the left hand sound coherently, depicting the creak of wheels ... The theme is the descent from the mountain to the fair, then - a booth, buffoons sing and dance. The rhythmic pattern of the melody emphasizes the festive mood. The jester plays the harmonica - tremolo fur. The bear is dancing - the bass move. The next variation is universal joy and dance. But a holiday is a holiday, and you have to return home. The tempo slows down, fermata... And then the lingering melody tells of the sadness of an old man who was forced to leave the fair, despite the general festivities. It's a pity, of course, that everything ends ... Fermata again. And the last variation in the Allegro tempo - "But it was still great!"
Like under a hill, under a mountain...
Like under a hill, under a mountain
The old man traded in ashes!
My potatoes, all fried!
The girl came
"Sell the ash, grandfather!" -
"How mad, girl?" -
"On a penny, grandfather!" -
"What are you mad about, girl?" -
"Whiten the canvas, grandfather!" -
“What to whitewash, girl?” -
“You need to sell, grandfather!” -
"For what to sell, girl?" -
"We need money, grandfather!" -
"What's the money for, girl?" -
“Buy a ring, grandfather!” -
"What's the ring for, girl?" -
“Give guys, grandfather!” -
“For what to give, girl?” -
“It hurts, grandfather!” -
Before the boys
I'll go with my fingers!
Before old people
I'll go with white breasts!
Move aside, people
Dance takes me!
Piano lesson
Topic:
The purpose of the lesson: To reveal the artistic image through the means of musical expression.
Lesson objective:
1.Educational:
- to teach the techniques of sound production that contribute to the disclosure of a musical work.
2.Developing:
- development of musical and artistic thinking, creative activity, emotional and volitional spheres of personality, creation of motivation to acquire knowledge and skills to achieve the goal.
Develop musical imagination and performance.
3.Educational:
Raising a steady interest in classes, love for art in all forms, the formation of an artistic and aesthetic taste.
Lesson methods:
Explanation
Questions to the student and answers to them
Student playing an instrument
Lesson type:
- consolidation of acquired skills
Equipment:
piano
Notes
Lesson Plan
Stages of work:
1. ORGANIZATIONAL TIME
Presentation and psychological moment of the student's adjustment, checking the correct fit behind the instrument.
2. CHECK OF KNOWLEDGE
Listening to the work and dialogue with the student.
3. COMMUNICATION OF NEW KNOWLEDGE
Dialogue with the student: analysis of the form, analysis of the tonal plan, analysis of the interval composition of the melody, vocalization of instrumental music, timbre color of the melody, work on the cantilena, work on the accompaniment, work on the pedal, finding the musical image and the corresponding sound extraction in the piece. Listening to a recorded piece.
Illustration of a teacher at the instrument.
Tempo-rhythm: determination of the tempo corresponding to the technical capabilities of the student and the nature of the work.
4. FIXING
Generalization of the acquired knowledge, fragmentary performance of the work using new knowledge.
5. HOMEWORK
Consolidation of acquired skills and abilities mental representation of each task before its completion. Implementation of all planned tasks in preparation for the lesson.
6. SUMMARY
Lesson summary and grading.
During the classes:
Today we have a 4th grade student. piano department Abdikarim Madina generalizing lesson on the topic:"Artistic image in a piece of music"
For example, we took the play by M. Partskhaladze "In the old style"
I would like to start today's lesson with the words of Neuhaus: “Music is the art of sound”, and since this is the art of sound, our main task is to work on it. Music itself, as we know, does not speak with words and concepts, but with musical sounds.
And so the work on the sound is inseparable from the work on the artistic image. And it is with the help of musical sounds that the student must reveal the poetic content of the work.
Our work on the artistic image will consist of several stages:
1.mold parsing
2.analysis of the tonal plan
3. analysis of the interval composition of the melody
4.vocalization of an instrumental melody
5.timbral color of the melody
6. work on cantelena, technological. performance techniques
7. work on maintenance
8. work on the pedal
9.conclusion stage - generalizing, when the performance as a whole is already being improved.
And here an important role is played by the artistry and emotionality of the student.
Now Madina and I are just at the final stage and the purpose of our lesson is to repeat and consolidate all the stages. And a house. the task was also dedicated to this very goal, i.e. repetition and consolidation of the material covered.
It is all these stages that we want to briefly show in our lesson today.
Madinochka, please play the whole piece now, but before you start to perform it, please remind us what is the name of your work and who is the composer? What do you know about him?
Yes, Merab Alekseevich Partskhaladze is a Soviet and Georgian composer, graduated from the Moscow Conservatory. Known as a composer of children's songs and piano pieces.
Please…
Briefly, we will go through all our stages.
Stage 1 This is a parsing of the form. What is the form of the piece?
Student: One-part form with code
Okay, how many offers are there?
Student: Two
Tell me, what are they? Same, different, similar?
In the second sentence, a new motive appears, which was not in the first sentence, but in general the basis of the melody is the same.
This motive in the second sentence, what does it give us at all?
Leads to the main place, to the climax.
By the way, what is the climax?
Student: This is the main place in the work.
Those. this motif does not appear by chance. What is he first? He duplicates the theme (the game of the teacher)
Gradually, this motive becomes active, decisive and brings us to the climax.
That is, this analysis of the form gives us a meaningful performance, and this is 1 step to a meaningful performance, which means to the expressiveness of the thin. Image.
Stage 2 - This is a tonal analysis. What is the tone in our work?
Student: A minor.
Correctly. According to Neuhaus, you and I analyzed each tonality and its coloring. By the way, who is Neuhaus, I already mention him for the second time.
Heinrich Stanislavovich Neuhaus is, first of all, a personality. The personality is deep and multifaceted. Pianist, music center organizerNeuhaus , writer, - he is a peculiar phenomenon of modern culture.
Now, please tell me, A minor is what key?
Student: tender, fragile.
This is exactly what gives us an impetus so that we understand how to start performing a piece.
If A minor is fragile, tender., then it should sound like this
(teacher show)
Yes, 2 signs - this is a flat key, it gives a darker color, therefore the performance should already be more saturated (show), then we go to D minor, and even further to C minor, even darker, passionate tonality. What does it give us? It gives us drama. Thus, this is already our 2nd step to expressive performance.
Stage 3- analysis of the interval structure of the melody
Our whole melody is divided into motives. Here is the first motive, how is it built?
(teacher's game)
Yes, progressive movement.
So good, second motive? Approximately the same, only at the end there is a jump, a wide interval of the sixth, it must also be heard.
The third motif is with a seventh.
What is the seventh interval in character?
Yes, formidable, tense, and since he is tense, we must pronounce it, right?
Mentally hear, and this is also a step towards expressive performance, this is another part of which our image is formed.
Yes, seconds, what are these intonations?
Interrogative, crying, complaints, i.e. here you need to hear, ask the sound, but what will happen next?
Stage 4- melody vocalization
What is it for and what is it?
That is, the student tries to sing the melody with notes. What does it give us?
This gives us hearing each sound and anticipating the next. The student tries to lead the melody thanks to the vocalization of this melody.
Now let's try with conducting. Conducting gives us rhythmic organization.
What size do we have here? Yes, 4 quarters, and I'll play along with you.
Tune in A minor, I'll give you the tuning.
So let's stop, you pull the "do" note and then take a breath before the "re", do you think that's right?
No, why not? Because the melodic line broke, that is, these two sounds must be connected. (show)
(student sings to climax)
Try to draw sounds, sing.
Well done! But only all 16 need to be sung.
Here, try to play now separately only with the right handle, do not rush 16, more melodious. (teacher display, then student)
The brush takes breath, well done!
Those. once again referring to this stage of work, which is very important, this is singing a melody from notes.
Thus, the main principle in the work on cantilena appears - this is fluidity. And when a student mentally sings a melody, the game becomes not mechanical, but more expressive.
Stage 5- This is the timbre of the melody.
Those. Before that, you and I painted the keys in different colors. Now think about it and tell which instrument you would instruct to sing our melody.
Violin, what else? What is the old style? Dance, song? Aria.
What is an aria? That's right, this is a vocal work, and even with orchestral accompaniment. Okay, who sings the aria?
Yes, woman, why do you think so? Because the high voice.
Thus, we will now try to imagine the warmth of the voice, expressiveness.
Please play 1 offer.
(show the teacher, then the student)
Well done, now this is better!
(teacher show)
But in the second sentence, the final motives can be entrusted to be performed by a singer or violinists, who will lead us to a climax.
Stage 6- work on cantilena.
And now we must remember the basic techniques that are used in the work on cantilena.
1 technique - is that the sound is taken without an accent (show), otherwise the phrase is immediately lost, from the air, and then we lead and be sure to breathe.
In this work, our motives begin with pauses, and it is precisely these pauses that give the hand an opportunity to breathe.
Let's try with the right hand (the student is playing) - the fingers are definitely important in the cantilena, you play relaxed. The pen breathes, not frozen, it lives. The plasticity of the hand, as wide as possible the movement, then the melody becomes not frozen, but more expressive.
Good enough!
Here are the basic principles, and here there is also a rule-the law of a long note (show) to - a long sound, the subsequent re cannot be deleted, it follows from there, listen with your ears, try it yourself (student)
Enough, here are the basic principles for working on cantilena.
Stage 7- support work. Please play separately lion. hand with pedal. Stop, tell me, how do you interpret the left hand, what is it?
She's too flat and static. Make her a little excited, because with such an accompaniment, it's hard to sing.
(student plays)
Connect more, and all the time feel the pulsation, the beating of the heart, with forward movement, remember the color, help the melody.
These eighths are already tense fingers, and this si bridge, and then our dominant.
Okay, now you play a melody, and I'll play a melody for you. (play together).
Remove the brush movement.
Enough, well done!
That is, in accompaniment, the main thing is to transfer the weight of the hand to 5.3 fingers, and remove 1 so that it does not crawl out to the fore, because we have it big and strong.
Let's move on to the next step
Stage 8 - pedal work.
Please start playing, and here the pedal should be a little dry, because, firstly, the piece is in the old style, it can be interpreted as a performance on the harpsichord, right? (student plays)
Therefore, we will not get carried away with the deep romantic pedal here, but with the delayed one, on second moves, we went in twos as often as possible, because the second itself is a dirty interval, and if it is still with the pedal, there will be a rumble. In general, the pedal also depends largely on hearing, so that the ear should always be active.
Okay, that's enough, your pedal was not bad now.
Stage 9 - The very last stage, the execution as a whole, taking into account all these stages that we just went through.
The goal of the teacher is to set the student up, to push him to a more expressive performance of a particular program.
Suppose that we have a dreamy subtle beginning, then it is appropriate to recall the paintings of natural artists, for example, early spring. Yes, it is when the green awakens, and we paint not with bright, thick colors, but with pale, warm tones.
At the beginning of our work, a subtle sound, delicate, fragile, and later the colors become more saturated.
Those. such associations give the student a clearer setting of what sound to perform this piece.
(the teacher gives 2 drawings of nature and asks them to arrange them in the same color sequence as our work is built).
Next sentence 2 should not sound monotonous. It will be more excited and naturally the dynamics here are more intense. And then these motives will sound on the piano in contrast. It is necessary to build a climax and necessarily a general movement.
Therefore, now you tune in, remember everything that we talked about, draw a picture for yourself and perform your play with feeling, expressively.
Thank you smart girl!
That's basically everything we wanted to talk about and show in our today's lesson. To work out all the stages that help the student to achieve a more emotional performance and disclosure of the artistic content of the work.
Homework will also consist in fixing all these stages again and thinking again about the image, maybe the student imagines the picture in some other way, and not as the teacher advises. Perhaps something of your own.
At the end of our today's lesson, I want to thank you, dear colleagues, for taking the time to visit our lesson. Thank you!
Thank you so much, Madinochka, for your active work at the lesson.
