Program music , genus instrumental music; musical works that have a verbal, often poetic program and reveal the content imprinted in it. The title can serve as a program, indicating, for example, the phenomenon of reality that the composer had in mind (“Morning” by Grieg from the music for Ibsen’s drama “Peer Gynt”), or to the literary work that inspired him (“Macbeth” by R. Strauss - a symphonic poem based on Shakespeare's play). More detailed programs are usually compiled from literary works ( symphonic suite"Antar" by Rimsky-Korsakov based on the fairy tale of the same name by Senkovsky), less often - without connection with the literary prototype ("Fantastic Symphony" by Berlioz). The program reveals something inaccessible to musical embodiment and therefore not revealed by the music itself; in this it is fundamentally different from any analysis or description of music; only its author can give it to a piece of music. Musical figurativeness, sound writing, and concretization through the genre are widely used in musical composition.
The simplest form of P. m. is picture programming ( musical picture nature, folk festivals, battles, etc.). In plot-program works, development musical images to one degree or another corresponds to the contours of the plot, as a rule, borrowed from fiction. Sometimes they give only the musical characteristics of the main images, general direction plot development, initial and final ratio active forces(generalized plot programming), sometimes the entire sequence of events is displayed (sequential plot programming).
Musical music uses developmental methods that make it possible to "follow" the plot without violating proper musical patterns. Among them: variation and the associated principle monothematism, put forward by F. Liszt; principle of leitmotif characteristic (cf. keynote ), which was one of the first to be applied by G. Berlioz; the combination in a one-part form of the features of the sonata allegro and the sonata-symphony cycle, which is characteristic of the genre of symphonic poem created by F. Liszt.
Programming was a great conquest of musical art, stimulated the search for new means of expression, contributed to the enrichment of the range of images musical works. Musical music is equal in rights with non-programmed music and develops in close interaction with it.
P. m. has been known since ancient times ( ancient greece). Among program works 18th century - harpsichord miniatures by F. Couperin and J. F. Rameau, "Capriccio for the Departure of a Beloved Brother" by J. S. Bach. A number of program compositions were created by L. Beethoven - “ Pastoral symphony”, overtures “Egmont”, “Coriolanus”, etc. The heyday of P. m. in the 19th century. largely associated with the romantic direction in musical art(cm. Romanticism ), who proclaimed the slogan of renewing music by uniting it with poetry. Among the program works of romantic composers are Berlioz's "Fantastic Symphony" and the symphony "Harold in Italy", the symphonies "Faust", "K" Divine Comedy"Dante", symphonic poems"Tasso", "Preludes" and others. Liszt. Russian classical composers also made a major contribution to classical music. The symphonic painting "Midsummer Night on Bald Mountain" and the piano cycle "Pictures at an Exhibition" by Mussorgsky, the symphonic suite "Antar" by Rimsky-Korsakov, the symphony "Manfred", the fantasy overture "Romeo and Juliet", the fantasy for orchestra "Francesca da Rimini” by Tchaikovsky and others. Program compositions were also written by A. K. Glazunov, A. K. Lyadov, A. I. Skryabin, S. V. Rakhmaninov and others. National traditions in the field of musical composition, they continue and develop in the work of Soviet composers such as N. Ia. Myaskovsky, D. D. Shostakovich, and others.
Lit.: Tchaikovsky, P.I., About program music, Izbr. excerpts from letters and articles, M., 1952; Stasov V.V., Art XIX century, fav. cit. (composition), v. 3, M., 1952; List F., Selected. articles, M., 1959, p. 271-349; Khokhlov Yu., O music software, M., 1963; KIauwell O., Geschichte der Programmusik, Lpz., 1910; Sychra A., Die Einheit von absoluter Musik und Programmusik, "Beiträge zur Misik-wissenschaft", 1, 1959; Niecks Fr., Program music in the last four centuries, N. Y., 1969.
What do you think is different piano concert Tchaikovsky from his own symphonic fantasy "Francesca da Rimini"? Of course, you will say that in the concerto the piano is the soloist, but in fantasy it is not at all.
Perhaps you already know that a concerto is a work of many parts, as the musicians say, it is cyclic, but in fantasy there is only one part. But now we are not interested in this. You are listening to a piano or violin concerto, a Mozart symphony or a Beethoven sonata. Enjoying beautiful music, you can follow its development, how different musical themes replace one another, how they change, develop. Or you can reproduce in your imagination some pictures, images that sound music evokes. At the same time, your fantasies will certainly be different from what another person who listens to music with you imagines.
Of course, it does not happen that you feel the noise of battle in the sounds of music, and someone else - an affectionate lullaby. But stormy, formidable music can evoke associations with the rampant elements, and with a storm of feelings in a person’s soul, and with a formidable roar of battle...
And in Francesca da Rimini, Tchaikovsky, by the very title, indicated exactly what his music depicts: one of the episodes of Dante's Divine Comedy. This episode tells how among the hellish whirlwinds, in the underworld, the souls of sinners rush about. Dante, who descended into hell, accompanied by the shadow of the ancient Roman poet Virgil, meets among these spirits carried by a whirlwind the beautiful Francesca, who tells him sad story his unfortunate love. The music of the extreme sections of Tchaikovsky's fantasy draws hellish whirlwinds, the middle section of the work is Francesca's sorrowful story.
There are many pieces of music in which the composer in one form or another explains their content to the listeners. So, Tchaikovsky called his first symphony "Winter Dreams". He prefaced the first part of it with the heading "Dreams on a winter road", and the second - "A gloomy land, a misty land".
P. I. Tchaikovsky. Symphony No. 1 in G minor, Op. 13. "Winter dreams".
Part 1. "Dreams on a winter road"
P. I. Tchaikovsky. Symphony No. 1 G-mol, Op.13. "Winter Dreams".
Part 2. "Gloomy land, foggy land"
Berlioz, in addition to the subtitle "Episode from the Life of an Artist", which he gave to his Fantastic Symphony, also set out in great detail the content of each of its five parts. This story is reminiscent of a romantic novel.
And "Francesca da Rimini", and the symphony "Winter Dreams" by Tchaikovsky, and Berlioz's Fantastic Symphony are examples of so-called program music.
You probably already understood that program music is such instrumental music, which is based on a "program", that is, some very specific plot or image. Programs are of different types. Sometimes the composer retells in detail the content of each episode of his work. So, for example, did Rimsky-Korsakov in his symphonic picture "Sadko" or Lyadov in "Kikimora".
It happens that, referring to well-known literary works, the composer considers it sufficient only to indicate this literary
MBU DO "Simferopol District Children's Art School"
Kolchugino branch
Report
on the topic: "Programming and musical form in contemporary music”
Performed by: accompanist
Firsova Natalya Alexandrovna
2016
Programming and musical form in contemporary music
Programming in the works of classical composers
The essence of the program idea, which fundamentally distinguishes it from the idea of a non-program instrumental work, lies in the composer's desire to embody any phenomena that lie outside the music, to give an idea of them as extra-musical objective givens. Along with images of nature, historical events, literary plots here include the conceptual sphere. In the composer's mind, all such objects acquire sufficient certainty and can be verbally designated. Hence the role of verbally fixed plans, all kinds of "program" notes, messages in letters about what will be "depicted" in music - up to the development of a detailed scenario.
Both the composer's idea and the ways of its implementation are mobile, changeable phenomena, difficult to predict, and even not at all amenable to strict scientific analysis.
The rest of the program design is subject to the laws musical concept at all. That, in turn, is associated with patterns artistic intent, different from scientific, technical, etc. .
The difficulties in studying the creative process of a composer are obvious. If for a writer a word that is clear in its meaning is the material of creativity, then the meaning of sounds, that is, the corresponding musical signs that appear in the composer's sketches and sketches, must be deciphered, which does not always promise success. The more important are all verbal notes and remarks, which are nevertheless sometimes found in musical preparatory materials, the more important are the composer's statements about his work (in letters, conversations, memoirs, etc.).
At one time, R. Gruber strongly emphasized the importance of such "self-statements" for studying the work of composers, especially for penetrating into the psychology of creativity. Of course, different types of musical works imply far from the same approach to the organization of preparatory materials on the part of the composer: at one extreme are stage, primarily operatic works, which, due to their proximity to both the theater and literature, provide the researcher with rich evidence of the composer's intentions (script, libretto, nature of situations, requirements for performing artists, decoration, etc.); at the other extreme - works of pure instrumentalism, the creation of which is rarely accompanied by verbal indications of intentions. Program music occupies an intermediate position in this respect, since the extra-musical moments of the content usually require their preliminary formulation during the period of composing the music.
Moreover, the history of program symphonism knows most interesting cases when music arose on the basis of a program that was created by the composer's contemporaries, acting as if librettists of symphonic music (A. Daudet's program for Jules Massenet's Alsatian Scenes). Such a role in the program-symphonic work of P. Tchaikovsky was performed by V. Stasov ("The Tempest") and M. Balakirev ("Romeo and Juliet", "Manfred"). At the same time, we recall that the script for Manfred was originally intended for G. Berlioz and took into account the peculiarities of the latter's programmatic creativity. However, in the creative process of most composers of program music, only general contours program content, fixed as a preliminary plan (listing the main points, their sequence). In other cases, there is no plan as such, but the most important musical images are accompanied by program-concretizing remarks.
The word may not be in the text, but in the subtext. Inscribed or not inscribed in the score, it can form a parallel series, connected or not connected with the music - in any case, not affecting its intonational or rhythmic structure in any way.
It should be recognized that literary criticism has indeed accumulated and theoretically comprehended a wealth of material relating to the creative process of the artist. But literary critics were helped not only by the very essence of literature as the art of the word, but also by individual writers who willingly engage in self-observation in this area (Edgar Allan Poe's “Philosophy of Creativity” stands out here. Composers in this respect were much more stingy with explanations.
In general terms, the composer's creative process is characterized by the composer d "Andy in his book on Cesar Franck, and the author's conclusions are based not so much on self-observation as on observations of the teacher's work for about 20 years. In working on a work, d Andy distinguishes three stages: the concept , disposition and execution. The concept distinguishes between the synthetic and analytical sides. The first in the work of the symphonist suggests, according to d'Andy, the general plan of the composition and the distribution of the main lines of development, the second is connected with the development of specific musical ideas, which are the artistic realization of the most important points general plan. The author emphasizes the interdependence of both sides of the concept (concrete musical ideas can correct the plan, the latter, in turn, can dictate the choice of new musical images to replace the original ones). The stage of disposition is associated with development - on the basis of all the previous most important elements of the complete structure of a musical piece, down to the details. Performance, including instrumentation (and, obviously, all performance instructions), ends with the creation of musical text of the completed musical work
The novelty of the content of the music of the 19th century and the versatility of the problems prompted composers of the XIX century to the renewal of all means of musical language and expression in general. Romantic inspiration and realistic tendencies of musical art, strengthening of ties with poetry, philosophy and fine arts, a new attitude to nature, an appeal to national and historical color, increased emotionality and colorfulness, an attraction to the characteristic and overcoming old traditions by searching for new ones - all this led to enrichment in the 19th century of musical speech, genres, forms, and methods of dramaturgy.
In the era of romanticism, which replaced the Bach baroque and Mozart classicism, the constructive essence and noble spirit of the old masters disappear. Forms are discarded, and the artist's soul rejoices and trembles in sounds, eager to be heard - this music has become self-expression. For each era, direction, style, creativity of various composers, certain features of musical speech are characteristic.
Program music and the opera genre required a special expression of the psychological principle, a new type of creative thinking. The lyrics of the miniatures, the philosophical generalization of the symphony, the sound representation, the confession of the soul in the "vocal diaries" gave birth to a new imagery. Artistic outlook composers of the 19th century gave rise to the silhouettes of new structures of musical forms. Throughout the century, they were continuously updated. In the romance genre, a cross-cutting development was born, thanks to the cyclical repetition of couplets. Song-like vocal lyrics penetrated into instrumental music. The mastery of the variation of the image, motive or rhythmic-harmonic formula associated with it came to the fore. The most striking examples in foreign music there will remain the "tristan chord" from R. Wagner's operas "Tristan and Isolde" and the "question motif" from Schumann's romance "Why", the motif "Glory" from Glinka's "Life for the Tsar" in national music etc. These and similar elements have become independent, symbolic or "common" in the romantic music of the 19th century, and even today.
Composers successfully used the form-creative role of the program in instrumental music - it eliminated the vagueness of showing the idea and concentrated the action. The symphony began to approach the opera, because. vocal and choral scenes were introduced into it, as in "Romeo and Juliet" by G. Berlioz. The number of parts in the symphony either increased dramatically, or it turned, thanks to the program, into a one-movement symphonic poem. End-to-End Development musical material assumed a change in the appearance of the theme, and often its meaning, the transformation of the genre of the theme. Often, in order to maximize the concentration of content in the musical form, a certain theme was chosen as the main melody, which undergoes some changes throughout the entire poem. This phenomenon is called monothematism. In the arsenal of means of musical and artistic expression, it marked new stage in the history of music of the nineteenth century. The creation of images of different character on the basis of one theme, which internally holds together all sections of the form, contributed to the flexible development of the plot, musical idea. Thus arose the genre of the symphonic poem, the one-movement sonata and the one-movement concerto.
The most important technique of the compositional technique of the Romantics was variation. Variations as an independent part began to be included in larger compositions since J. Haydn and his contemporaries (Mozart's sonata with the "Turkish rondo" or part of the sonata of L. van Beethoven with " funeral march to the death of a hero). Variation invades the sonata and quartet, symphony and overture as a principle of development and as a genre, penetrating into all genres and forms of music, up to rhapsodies and transcriptions. Variation increased the intensity of development or introduced an element of static, weakened the dramatic tension, as R. Schumann spoke of "divine lengths" in F. Schubert's symphonies. Logical certainty and clarity in any genre with through dramaturgy was introduced by software, bringing music closer to literature and fine arts, increasing concrete pictoriality and psychological expressiveness.
Programming is designed to concretize the author's intention - this is how F. Liszt defined its task in 1837. He predicted a great future for her in the field of symphonic creativity in the article of the early 1850s "G. Berlioz and his" Harold Symphony ". F. Liszt was afraid that the explanation would not go too far, debunking the secrets of the content of art.
The principle of programming manifests itself in many ways - by types, types, forms. There are several types of programming - pictorial, sequential-plot and generalized. The picture is a complex of images of reality that does not change throughout the entire process of perception, it is static and is intended for certain types of musical portrait, for pictures of nature. Generalized programming characterizes the main images and the general direction of the development of the plot, the outcome and result of the correlation of the active forces of the conflict. It only connects literary and musical works through the program. Sequential programming is more detailed, because it closely retells the plot step by step, describing events in direct sequence. It's over complex type by his virtuosity and ability to comment on events / taking into account the advice of Franz Liszt /.
F. Liszt was replaced by a German "programmer" - R. Schumann. F. Liszt wrote about him that he "achieved the greatest miracle, he is able to evoke in us with his music the very impressions that would give rise to the very subject, whose image is refreshed in our memory thanks to the title of the play." A series of his piano miniatures are a kind of "musical notebooks" where Schumann entered everything that he observed in nature or what he experienced and thought about, reading poetry and prose, enjoying the monuments of art. This is how the "Rhine" symphony with views of the Cologne Cathedral and the piano cycle "Carnival" appeared based on the materials of his own articles, memoirs and Jean Paul's novel "The Mischievous Years", "Kreislerian" - Hoffmann's fantasy...
“Music has access to all the richness and variety of real life experiences,” R. Schumann argued, and the pieces that made up “Album Leaves”, “Novelettes”, “Ballroom Scenes”, “ Oriental paintings”, “Album for Youth” by R. Schumann, when he entered the sketches into his musical “notebook”, he was worried about the specific idea expressed in the title. But sometimes he hid his intention under common name genre, under a mysterious semi-hint-epigraph, the cipher "Sphinxes" in "Carnival", giving a transcript by translation with Latin letters notes of the name "Schumann" and the city "Ash", where the beloved of the young composer lived. Being a staunch supporter of programming, R. Schumann sometimes refused to declare the program according to which the work was written. He was afraid to narrow down the content and range of associations. Searches in the field of programming in music, following R. Schumann, were continued by J. Bizet, B. Smetana and A. Dvorak, E. Grieg and others.
With the development of program principles, certain changes occurred in the field of musical forms. G. Berlioz combined opera, ballet and symphony (the synthetic genre was called "dramatic legend" and best to that example - his "Condemnation of Faust"), brought elements of an opera performance into the symphony and the synthetic piece "Romeo and Juliet" was born. M. Glinka wrote the first opera in Russia without the traditional plug-in conversational dialogues "Life for the Tsar, or Ivan Susanin" and the first national epic opera "Ruslan and Lyudmila", using in both cases new for the Russian musical theater methods of operatic dramaturgy aimed at the close connection of characters, ideas and situations. This connection was carried out at the level of musical thematics. A decade later, the reform of operatic dramaturgy, composition and the role of the orchestra was carried out in the West by P. Bagner. He, like M. Glinka, brought development methods from the symphony - symphonism into the genre of opera - like Berlioz. But R. Wagner, unlike G. Berlioz, managed to solve several problems at once. Programming is inherent exclusively in "absolute" or "pure" music - instrumental. Among the French harpsichordists of the 18th century - F. Couperin or L. - F. Rameau - the pieces were program headings "Knitters", "Little windmills» F. Couperin "Bird Call" by L. Rameau, "Cuckoo" by Louis Daken, "Pipes" by J. Dandrieu, etc.
In 1700 Johann Kunau published six clavier sonatas under the general heading "Musical representation of several bible stories". Antonio Vivaldi brought programming to orchestral music by composing four string concertos "The Seasons". I.-S. Bach wrote "Capriccio on the Departure of a Beloved Brother" for clavier. Joseph Haydn also left a lot of symphonies under the brief headings "Morning", "Noon", "Evening", "Hours", "Farewell", and his contemporary W.A. Mozart, unlike him, avoided giving instrumental works titles. The work of L. van Beethoven was a milestone in the development of software. He almost did not decipher the content of his works under rare headings, and only thanks to diaries, biographers and musicologists do we know that Symphony No. 3 was formerly dedicated to Consul Bonaparte, and then, after the coronation, was called "Heroic", piano sonata N 24 is called "Appasionata", N 8 - "Pathetic", N 21 "Aurora", N 26 - "Farewell, separation and return", etc. The content of the symphony N 6 "Pastoral" is more specifically defined - each part of it has its own title: "Awakening of joyful feelings upon arrival in the village", "Scene by the stream", "Merry gathering of villagers", "Storm", "Singing shepherds. Joyful, grateful feelings after a thunderstorm. So L. van Beethoven prepared the program symphony of the 19th century. He composed an overture for the opera Fidelio, giving it the name main character opera Leonora. Soon two more versions of the overture appeared - "Leonora No. 2" and "Leonora No. 3". They were also intended for concert performance. So the overture became an independent genre, which in the work of romantics will become commonplace. D. Rossini composed this type of overture to the opera "William Tell" - he did not give her a name, but the plot in it looks extremely clear. Such is the "Wanderer" F. Schubert - piano fantasy.
In the work of F. Chopin, the role of program ideas was quite large, but no matter how complex the program of individual instrumental pieces, F. Chopin kept it a secret, giving neither names nor poetic epigraphs. He limited himself only to the designation of the genre - a ballad, a polonaise, an etude, and preferred a hidden form of programming. Although at the same time he pointed out that “a well-chosen name enhances the impact of music” and the listener then without fear plunges into a sea of associations, without distorting the nature of the thing. In his articles and letters, F. Chopin repeatedly spoke out against excessive detail - "music should not be a translator or a servant." In his unfinished work, F. Chopin wrote about the expression of thought through sounds, a word that has not been definitely and finally formed is a sound ... a thought expressed by sounds ... Emotion is expressed by sound, then by a word - F. Chopin and G. Flaubert understood this, judging by the scene of the martyrdom of Mato and the orgy of the crowd in "Salambo".
F. Chopin brought the literary ballad closer to instrumental music, being strongly impressed by the poetic talent of his compatriot Adam Mickiewicz. romantic type ballads with a pronounced patriotic beginning was especially close and in tune with F. Chopin the emigrant. It is known that F. Chopin created his ballads for piano following the meeting with A. Mickiewicz and acquaintance with his poetry. But it is almost impossible to clearly and unambiguously identify any of the composer's 4 ballads with one or another balladA. Mitskevich. There are a number of versions about the relationship between the plots of Ballade No. 1 in G minor opus 23 with “Konrad Wallenrod”, Ballade No. 2 in F major opus 38 with “Svitezyanka”, Ballade No. 3 in A-flat major opus 47 with either “Svitezyanka” by A. Mickiewicz , or with the "Lorelei" G. Heine. All this hypotheticality already speaks of how free the music of Chopin's ballads is from specific program-literary associations. From a conversation between F. Chopin and A. Mickiewicz, it is known that the first two ballads were definitely inspired by the works of A. Mitskevich. Not without interest is the fact that outstanding pianist, the writer and even more talented graphic artist Aubrey Beardsley in his drawing “The Third Ballad of Chopin” depicted a girl riding a horse through the forest and accompanied this drawing with a musical line, outlining the motive of the second theme of the ballad. And this is an image from the Svitezyanka.
Unlike F. Chopin, who preferred hidden programming, F. Mendelssohn, at least in symphonic genre, clearly gravitated towards the picture type, as evidenced by his overtures “Dream in midsummer night”, “Fingal’s Cave, or the Hebrides”, “Sea Quiet and Happy Swimming” and two symphonies - Italian and Scottish. He was also the creator of the first romantic concert program overture in the history of music (1825).
The name of G. Berlioz is associated with the appearance of the first romantic program symphony in 1830 "Fantastic". His works raised French music to the level of the advanced literature of its time, and it was precisely the latest, modern literature. D. Byron, Alfred Musset, F. Chateaubriand, V. Hugo, George Sand and W. Shakespeare, rediscovered by the romantics... But with H. Berlioz, the laws of musical form often took precedence over literary elements. His programs were distinguished by certainty, and often verbal detail, as in "Fantastic". He gravitated toward a naturalistic understanding of programming, not limiting himself to the headings of the whole and parts, but also prefaced each part with a detailed annotation, thus setting out the content of his own invented plot. But the music almost never slavishly followed the details of the fictitious plot. The second main feature of his work is theatricalization with all its techniques.
The plot of "Fantastic" is complex - demonic scenes from Goethe's "Faust", the image of Octave from "Confessions of the son of the century" by A. de Musset, the poem by V. Hugo "The Sabbath of Witches" and the plot of "Dreams of an Opium Smoker" by De Quincey, images of Chateaubriand and Georges Sand novels and, first of all, autobiographical features...
The subtitle of "Fantastic" read: "An episode from the life of an artist." The music aesthetically exalted the extravagances of the “exalted musician” who plunged into an opium dream, and the narrative consistently develops from the languor of the introduction through the dreams and passions of the waltz and pastoral to a fantastic, gloomy deafening march and to a wild diabolical pandemonium. The musical core of this dramatic chain is the so-called. "an obsession" that develops and transforms in all 6 parts.
Plot narrative-dramatic symphonism is represented in the work of G. Berlioz by three other symphonies - "Romeo and Juliet" symphony-drama, "Harold in Italy" and partly - Funeral-triumphal symphony. All development is subject to the plot plot.
The banner of programming from F. Chopin and G. Berlioz passed to F. Liszt. He preferred a different type of symphonism - a problematic-psychological one, suggesting the maximum generalization of ideas. The composer wrote that it is much more important to show how the hero thinks than what his actions are. Therefore, in many of his symphonic poems, philosophical abstraction, a concentrate of ideas and emotions, as in the Faust Symphony, comes to the fore. The main task F. Liszt in terms of software was updating music through its intercom with poetry. Because of the declaration philosophical ideas F. List introduced the announced program in order to avoid arbitrary interpretation of the idea. F. Liszt believed that poetry and music originated from the same root and they again need to be combined. Special programs to poems, F. Liszt called "spiritual sketches" a poem by V. Hugo - to the poem "What is heard on the mountain", from the tragedy by I. Goethe - to "Torquato Tasso", a poem by A. Lamartine - to "Preludes", fragments from scenes .Herder - to "Prometheus", and F. Schiller's poem "Adoration of the Arts" - to the poem "Festive Sounds". More specifically, the author's intention is presented in the poem "Ideals", where each section is accompanied by a quote from F. Schiller. Sometimes the program was not compiled by the composer himself, and his friends and relatives Caroline von Wittgenstein - to "Lament for the Heroes", but some programs generally appeared after composing the music: so the text of A. Lamartine replaced F. Liszt's original poem by Autrans "The Four Elements in the Preludes". music is special cultural phenomenon. It is a kind of synthesis of forms of spiritual culture and various kinds arts - music on the one hand, literature, architecture, painting on the other.
Lesson Objectives:
- Methodical: attraction of interactive teaching methods (use of literary and works of art, compositions of students on the studied musical works) as a factor in increasing the motivation and intellectual activity of students.
- Educational: generalization of knowledge gained during the study of the topic “Tools symphony orchestra”, an explanation of the new material.
- Educational: develop emotional responsiveness to music.
Lesson objectives:
- Continue to work on developing skills in the analysis of musical works.
- Enrich the auditory baggage of students with works that are not studied in the course of musical literature.
- Develop the ability to "actively" listen to music.
Lesson type: familiarity with new material.
Teaching materials: handouts (lotto), reproductions of paintings by foreign and Russian artists, CD-ROMs, music center.
Expected result:
- Students' awareness of the concepts of "program music", "generalized and specific programming".
- Memorization of new musical compositions by children.
- Memorization by students of expressive means that composers need to create sound imaging techniques.
During the classes
I. Repetition.
Our lesson is devoted to the topic "Software - visual music”, and since we have just finished studying the topic “Voices of Symphony Orchestra Instruments”, let's repeat everything that you remember.
Let's play loto (children are given cards with questions, concepts are called, students must correctly arrange them on the cards):
- Acceptance of the game stringed instruments by plucking the string - (pizzicato).
- "Coloring" of sound - (timbre).
- Tall children's voice- (treble).
- Ensemble of five performers - (quintet).
- Sliding brass instrument - (trombone).
- work about nature, rural life- (pastoral).
- Ensemble of four performers - (quartet).
- Short female voice- (alto).
- Recording all parts orchestral instruments- (score).
- A string instrument that is not part of a quartet - (double bass).
- Arrangement of orchestral music for piano – (clavier).
- One-voice performance - (solo).
- Orchestra leader (conductor).
- Tall male voice- (tenor).
- Ensemble of two performers - (duet).
- High female voice - (soprano).
Now look at the board and determine which instruments are not part of the symphony orchestra. (On the board are reproductions of paintings by E. Monet "Flutist", V. Tropinin "Guitarist", F. Hals "Fisherman playing the violin", D. Levitsky "Harpist".)(Annex 2)
Listen to the poem by Yakov Khaletsky, and list all the instruments that you will meet in it, as well as the groups to which they belong:
Oh if you knew
How gentle the bassoon
What a soul the piano has!
And the flute, sighing in love,
Sings -
Perhaps you have heard too?
Like a harp
Listening to the sound of the horn,
He answers willingly
And the violins
Breathing harmony of colors
Collected magic notes.
Where there are so many beauties
Unusual at times
Lead their parts in chorus.
And bass again
Veteran conrabas
In agreement with the conductor himself.
And the notes
Flying from the stretched strings,
There are smiles all around.
And they echo
Full of happy thoughts
Guitars and trumpets and violins!
II. Explanation of new material.
Now let's think about what program music is.
What kind of work can be called software? (Children's answers are summarized, it is concluded that all works that have titles, headings of individual parts, epigraphs or detailed literary program are called software.)
In vocal, as well as musical and theatrical works, the program is always clear - they have text. But how to understand what is happening in instrumental music?
Composers took care of this when giving names to their instrumental compositions, especially those in which the music depicts something or someone.
The ability to turn the visible into the audible is not within the power of every composer. However, some composers had a unique gift. For example, Nikolai Andreevich Rimsky-Korsakov was better than others in depicting the sea - people who depict the sea in art are called "marine painters". Another Russian composer, Modest Petrovich Mussorgsky, was a master of depicting bells in music.
Pyotr Ilyich Tchaikovsky drew amazing pictures of nature in his works - for example, in the piano cycle "The Seasons" he depicted all 12 months, and, moreover, accompanied them not only with names, but also with epigraphs from the works of Russian poets. This is an example specific programming - in which, in addition to the title of the work, there is also a clarification - an epigraph, a detailed program. Generic Programming expressed in a specific capacious title of the work.
Today we are going to talk about visual symphonic music, since it is in it that the timbre ingenuity of composers is especially clearly manifested.
What is easiest to portray in music? Of course, the sounds of nature.
We have already said that N. Rimsky-Korsakov painted amazing pictures of the sea in his music. At one of the first lessons devoted to the topic “Legends of Music”, we listened to his work, which shows the sea. (Children call the symphonic picture "Sadko".) What sea was depicted in it? (Students' answers are summarized, a conclusion is made about the majestic, stern and somewhat gloomy mood of this work; a comparison is made with the mood of I. Aivazovsky's painting "Among the Waves" (1898).) (Showing a picture.)
Another picture of the sea was drawn by N. Rimsky-Korsakov in the opera "The Tale of Tsar Saltan" - in the second "miracle of 33 heroes." Let's remember how Pushkin describes them (poem read by one of the students):
The sea rages violently
Boil, raise a howl,
Will rush to the empty shore,
Will spill in a noisy run,
And find themselves on the shore.
In scales, like heat, grief,
Thirty-three heroes
All beauties are gone
young giants,
Everyone is equal, as for selection,
Uncle Chernomor is with them.
Now let's listen to this piece. What is heard in music? The roar of the waves, howling and whistling of the wind - passages of stringed and woodwind instruments. Isn't it true that I. Aivazovsky's painting "The Black Sea" (1881) (Appendix 3) suits the mood of this musical picture? It seems that mighty knights are about to emerge from the raging waves. It is no coincidence that this work can be called a “picture” - the fact is that later Rimsky-Krosakov, based on the music for the opera, created the symphonic picture “Three Miracles” about the three miracles of the Swan Princess. (Showing the painting by M. Vrubel "The Swan Princess".)(Annex 4)
And now let's remember what is the name of a work about the nature of a calm, idyllic character? (Pastoral.) Amazing pictures of nature are drawn by the Austrian composer Ludwig van Beethoven (showing a portrait of V. Dumanyan) in the sixth symphony, which is called “Pastoral”.
In the 2nd part - "Scene by the brook" you can hear the witty trio of cuckoo, nightingale and quail. (After listening, the children name the instruments that represent these birds - flute, piccolo and clarinet.)
Remember the play "Morning" by Edvard Grieg. What work is it a part of? Is it similar in mood to the second movement of L. Beethoven's symphony? What methods of sound representation did E. Grieg use? (Voices of birds represent woodwind instruments.)
Is it possible to depict the sound of the forest in music? German composer In the second half of the 19th century, Richard Wagner in his opera Siegfried depicted a light breeze walking in the crowns of trees. Listen to the poem "Sunny Day" by American poet Henry Longfellow:
Oh, a perfectly clear day!
I'm lazy,
And I'm completely full
One bliss of being!
And I hear the sighs of the wind
wonderful music are full.
In branches bent to the ground
Trees found strings.
And now listen to the music of R. Wagner. Isn't it very similar in mood to Longfellow's poem? You can also draw a parallel with the painting by V. Vasnetsov “ Oak Grove in Abramtsevo" (Appendix 5), written in 1883, at the same time when Wagner's opera was created. How is the movement of the foliage conveyed? (Passages of woodwinds.)
How can space be represented in music? The impression of spaciousness, volumetric sounding helps to create intervals that sound transparent, empty (fifths and octaves). In the first part of the eleventh symphony of D. Shostakovich - the greatest symphonist of the XX. (Showing the image of the sculpture by V. Dumanyan.) The huge expanse of the Palace Square is depicted. This part is called “Palace Square”. What registers does the music play in? (Extreme registers, timbres of muffled strings and harp.)
So, in these works the main means of expression was the timbre of the instruments. Other techniques exist for depicting the movements of people, animals, birds. If movement is depicted, what means of expression should come to the fore? (Children's answers are summarized, a conclusion is made: rhythm and tempo.)
We are already familiar with one symphonic work, which depicts many characters - this is "Peter and the Wolf" by S. Prokofiev. Remember whose characteristic movements S. Prokofiev portrayed? (Birds, Cats, Ducks. Wolf. Grandfather and Petya himself.) In each hero, S. Prokofiev emphasized his characteristic feature - Petya's ease of walking (dotted rhythm), grandpa's grouchiness, etc.
We also wrote an essay based on the work of M. Mussorgsky "The Ballet of the Unhatched Chicks." What suite does this piece belong to? ("Pictures at an Exhibition.")
There are many musical plays imitating the buzzing of insects. The most famous among them is "The Flight of the Bumblebee" from the opera "The Tale of Tsar Saltan" by N. Rimsky-Korsakov. How did Tsarevich Gvidon secretly get into the “kingdom of the glorious Saltan”)? (With the help of the Swan, he turned into a mosquito, then a fly, then a bumblebee):
Here he is greatly reduced.
The prince turned like a bumblebee,
It flew and buzzed;
The ship overtook the sea,
Slowly went down
To the stern - and huddled in the gap.
After listening, please answer the question: how is the buzzing of a bumblebee transmitted? (Chromatic chanting of stable steps in light passages, using flute solo timbres and string instruments pizzicato.) In music, depicts how he gains height and takes off
The French composer Camille Saint-Saens wrote an entire zoological fantasy called Carnival of the Animals. Listen to a biographical note about this composer (read by one of the students) for a small ensemble of instruments: 2 pianos, string quintet, flute and piccolo, harmonium, xylophone and celesta. In form it is a suite of 14 miniatures.
In these plays one can recognize kangaroos, chickens and elephant roosters, dancing waltz. We listened to one number from this suite (“The Swan”) while talking about the cantilena melody and writing the composition. (The best essay is read.)
And now we will listen to the introduction - "Royal March of the Lion" - the king of animals and therefore C. Saint-Saens chose the genre of the march here. (Perform the piano piece and the string quintet.) The work uses a special mode - Dorian (minor, in which the VI degree is raised). The melody sounds first at the string fifth (at this time, passages are heard in the piano part that enhance the solemn impression), then at the piano.
Fairy-tale images occupy a special place in music. What works by Edvard Grieg dedicated to gnomes and trolls did we listen to? ("In the Hall of the Mountain King" and "Procession of the Dwarves.")
And now we turn to the symphonic scherzo of the French composer Paul Dukas "The Sorcerer's Apprentice". (Curriculum vitae one of the students reads about the composer.) What is a scherzo? (This piece is fast-paced, with whimsical imagery.)
The symphonic scherzo "The Sorcerer's Apprentice" was written after the ballad of Goethe (an excerpt from the ballad is read by one of the students):
Finally left home
White-haired warlock!
So to business! I am familiar
All his words and passes.
Looks like him
I'll speak,
Feel free to work wonders too!
Well, old broom,
Cover nakedness with a rag;
Trouble, balabolka,
Double up - and shuffle your foot!
With a head - a pan, why are you spinning circles?
Stop - and run from the water like a bullet! ..Well! Panicle subdued
And like a man
Lively ran to the river
And set off on the way back
He looked: and the water fills at once ...
Three large tubs, a vat, a bucket, and a basin...I forgot the words of the password so that the water does not flow,
To return to the original role
Broomstick!
Stop doing that! Or it will be bad
Or wait for trouble! -
And the broom carries everything from the pond
Buckets full of water...Oh salvation! Master enters!
- Halves. Merge together
And, with a broom, climb into the corner!
This is the master's order!
Only a master in old glory
For magical works in the right
Again from hell to call you!
What tools can be entrusted with a whimsical-fiction theme? (It is performed by three bassoons in unison.) Comic-clumsy main topic the piece is accompanied by a pizzicato of stringed instruments. (Listening to the scherzo "The Sorcerer's Apprentice".)
III. Consolidation of new material.
Please answer the questions:
- What is program music?
- What are the two types of software you know?
- What songs did we listen to today?
- What piece do you remember the most?
- What means of expression are most important for composers who use the techniques of sound representation?
IV. Homework.
- Find in the works of the specialty methods of sound representation.
- Write down from memory the works that were discussed in the lesson, and their authors.
Program music kind of instrumental music; musical works that have a verbal, often poetic program and reveal the content imprinted in it. The title can serve as a program, indicating, for example, the phenomenon of reality that the composer had in mind (“Morning” by Grieg from the music for Ibsen’s drama “Peer Gynt”), or to the literary work that inspired him (“Macbeth” by R. Strauss - a symphonic poem based on Shakespeare's play). More detailed programs are usually drawn up based on literary works (Rimsky-Korsakov's symphonic suite "Antar" based on Senkovsky's fairy tale of the same name), less often - without connection with the literary prototype ("Fantastic Symphony" by Berlioz). The program reveals something that is inaccessible to musical embodiment and therefore not revealed by music itself; in this it is fundamentally different from any analysis or description of music; only its author can give it to a piece of music. Musical figurativeness, sound writing, and concretization through the genre are widely used in musical composition. The simplest form of P. m. is picture programming (a musical picture of nature, folk festivals, battles, etc.). In plot-program works, the development of musical images to one degree or another corresponds to the contours of the plot, as a rule, borrowed from fiction. Sometimes they only give a musical description of the main images, the general direction of the development of the plot, the initial and final correlation of the acting forces (generalized plot programming), sometimes the entire sequence of events is displayed (sequential plot programming). Musical music uses developmental methods that make it possible to "follow" the plot without violating proper musical patterns. Among them: variation and the related principle of Monothematism a ,
put forward by F. Liszt; the principle of leitmotiv characteristics (see Leitmotiv), which was one of the first to be applied by G. Berlioz; the combination in a one-part form of the features of the sonata allegro and the sonata-symphony cycle, which is characteristic of the genre of symphonic poem created by F. Liszt. Programming was a great conquest of musical art, stimulated the search for new expressive means, contributed to the enrichment of the circle of images of musical works. Musical music is equal in rights with non-programmed music and develops in close interaction with it. P. m. has been known since ancient times (ancient Greece). Among the program works of the 18th century. - harpsichord miniatures by F. Couperin and J. F. Rameau, "Capriccio for the Departure of a Beloved Brother" by J. S. Bach. A number of program works were created by L. Beethoven - the Pastoral Symphony, the Egmont overture, Coriolanus, and others. largely associated with the romantic direction in musical art (see Romanticism),
who proclaimed the slogan of renewing music by uniting it with poetry. Among the program works of romantic composers are Berlioz's "Fantastic Symphony" and the "Harold in Italy" symphony, the symphonies "Faust", "To Dante's Divine Comedy", the symphonic poems "Tasso", "Preludes" and others by Liszt. Russian classical composers also made a major contribution to classical music. The symphonic painting "Midsummer Night on Bald Mountain" and the piano cycle "Pictures at an Exhibition" by Mussorgsky, the symphonic suite "Antar" by Rimsky-Korsakov, the symphony "Manfred", the fantasy overture "Romeo and Juliet", the fantasy for orchestra "Francesca da Rimini” by Tchaikovsky and others. Program compositions were also written by A. K. Glazunov, A. K. Lyadov, A. I. Skryabin, S. V. Rakhmaninov, and others. National traditions in the field of P. m. find their continuation and development in the work of Soviet composers - N. Ya. Myaskovsky, D. D. Shostakovich and others. Lit.: Tchaikovsky, P.I., About program music, Izbr. excerpts from letters and articles, M., 1952; Stasov V.V., Art of the 19th century, Izbr. soch., vol. 3, M., 1952; List F., Selected. articles, M., 1959, p. 271-349; Khokhlov Yu., About musical programming, M., 1963; KIauwell O., Geschichte der Programmusik, Lpz., 1910; Sychra A., Die Einheit von absoluter Musik und Programmusik, "Beiträge zur Misik-wissenschaft", 1, 1959; Niecks Fr., Program music in the last four centuries, N. Y., 1969. Yu. N. Khokhlov.
Big soviet encyclopedia. - M.: Soviet Encyclopedia. 1969-1978 .
See what "Program music" is in other dictionaries:
Academic music that does not include a verbal text (that is, purely instrumental), but accompanied by a verbal indication of its content. The minimum program is the title of the essay, indicating any phenomenon ... ... Wikipedia
The latest "descriptive" or "pictorial" music (Wagner and his followers), which strives to convey movement, various actions, etc. in sounds, needs a program in order to be completely understandable to listeners; hence the software... Dictionary of foreign words of the Russian language
Musical works that the composer provided with a verbal program that concretizes perception. Many program works are connected with plots and images of outstanding literary works... Big Encyclopedic Dictionary
- (German Programmusik, French musique a program, Italian musica a programma, English program music) music. works that have a certain verbal, often poetic. program and revealing the content imprinted in it. The phenomenon of music ... ... Music Encyclopedia
Musical works that the composer provided with a verbal program that specifies the content. Many program works are associated with plots and images of outstanding literary works. * * * PROGRAM MUSIC PROGRAM MUSIC,… … encyclopedic Dictionary
What do you think is the difference between Tchaikovsky's piano concerto and his own symphonic fantasy "Francesca da Rimini"? Of course, you will say that in the concerto the piano is the soloist, but in fantasy it is not at all. Maybe you already know that the concert ... ... Music dictionary
PROGRAM MUSIC- (from German Programmusik), music, the task of which is to depict the state of the inner or outer world, more or less precisely defined in the text (program) attached to the composition. Under the influence of the latter, the listener, listening to the letter, does not ... ... Riemann's musical dictionary
program music- instrumental and orchestral music associated with the embodiment of ideas borrowed from the non-musical sphere (literature, painting, natural phenomena, etc.). The name comes from the program - the text that composers often accompanied ... ... Russian Index to English-Russian Dictionary of Musical Terminology
Program music- type of instr. prod. with the program announced (in the form of a title or in a more detailed verbal form) as a source of music. dramaturgy. The program does not include genre headings (waltz, polka) or wok texts. music. Although examples of software ... ... Russian humanitarian encyclopedic dictionary
I Music (from the Greek musike, literally the art of the muses) is a type of art that reflects reality and affects a person through meaningful and in a special way organized sound sequences, consisting mainly of tones ... ... Great Soviet Encyclopedia
Books
- Etudes on foreign music, Valentina Konen. The collection is intended mainly for teachers. However, it can also be used by students for seminars or reports in scientific circles. Some of the articles are...
- Program development of educational areas "Cognition", "Communication", etc. in the nursery group, Karpukhina Natalia Aleksandrovna. Software development educational areas"Cognition", "Communication", "Reading fiction", "Socialization", " Physical education", "Music" in nursery group(1.5-2 years)…
