The content of which reveals a certain verbal program embedded in it by the composer, very often poetic, - that's what program music. This phenomenon gives her specific features, which distinguish it from non-programmed ones, which reflect the moods, feelings, emotional experiences of a person. The program can be a reflection of any phenomena of reality.
Specificity and synthesis
In theory, all music is programmed to one degree or another, except that it is almost impossible to accurately designate either objects or concepts that evoke certain feelings in the listener. Only speech, oral or written, possesses such abilities. Therefore, composers often provide their works with a program, thus forcing the verbal or literary premise to work in synthesis with all the musical means used by them.
The unity of literature and music is helped by the fact that both these types of art are able to show the development and growth of the image in time. Various types of creative activities have been united since antiquity, since art was born and developed in a syncretic form, associated with rituals and labor activity. In terms of means, it was very limited, therefore, it simply could not exist separately and without applied tasks.
disengagement
Gradually, the way of life of mankind improved, art became more sophisticated, and there was a tendency to separate its main genera and species. Reality was enriched, and the reflection of this was already achieved in all its diversity, although art forever remained syncretic in ritual, spiritual, vocal-instrumental, dramatic aspects. The joint actions of music and words, however, which determine the program, also never went far from music.
These may be the names that program music provides. Examples - in the collection piano pieces P. I. Tchaikovsky where each play has not only a "speaking", but also a "telling" title: " morning prayer"," Nanny's Tale "," Doll's Illness "and all other small works. This is his collection for older children" Seasons ", where Pyotr Ilyich added a bright poetic epigraph to the title. The composer took care of the specific content of the music, explaining what is program music and how to perform this work.
Music plus literature
Program music for children is especially understandable if the work has both a title and an accompanying word, which is composed by the composer himself or by the writer who inspired him, as Rimsky-Korsakov did in symphonic suite"Antar" based on the fairy tale by Senkovsky or Sviridov in music for the story
Nevertheless, the program only complements the music, not being an exact explanation. It's just that the object of inspiration is the same for the writer and the composer, but the means are still different.
Music minus literature
If a piece is called "A Sad Song" (for example, Kalinnikov, Sviridov and many other composers have it), this determines only the nature of the performance, but not the specific content, and that is how program and non-program music differ. The specifics are "The dog got lost", "Clowns", "Grandfather's clock" (which tick-indulge, and then they will certainly beat). This is almost all program music for children, it is deeper and faster understood and better absorbed.
The musical language most often specifies the program content itself by means of its figurativeness: the sound can imitate the singing of birds ("Firebird", "Cuckoo"), forcing tension, fun festivities, fairground noises ("An Extraordinary Incident", "Maslenitsa" and others. This is the so-called sound recording, which also clarifies what program music is.
Definition
Any equipped verbal characteristic the work necessarily contains elements of software, which has many types. And what is program music, you can understand, even listening to or learning etudes. They themselves are designed to develop the technical capabilities of a musician in the role of detailed exercises and may not only not contain programs, but also music as such, but still often carry the features of programming and even are absolutely programmatic. But if in instrumental work there is a plot, and the content is consistently revealed, it is necessarily program music. Examples can be found in both national folk and classical compositions.
"Three whales" and national features in the program
They also help to understand what program music is, certain features of applied (“Polyushko”, for example), marches in all genre diversity (“March of Chernomor” and “March wooden soldiers"), as well as dance - folk, classical, fantastic. This, with light hand D.B. Kabalevsky, in music - "three pillars" that determine genre affiliation.
The characteristic features of national music also usually serve as a programmatic piece of music, setting the general concept, tempo, rhythm of the composition ("Saber Dance" by Khachaturian, for example, "Two Jews ..." and "Gopak" by Mussorgsky).
Landscape and scene programming
The display of one or a series of images that do not change throughout the entire composition is also program music. Examples of works can be found everywhere: "In the fields" by Gliere, "On the rocks and fjords" by Grieg and so on. This also includes pictures of holidays and battles, musical images landscape and portrait.
even the same literary plots composers embody in music in different ways: for example, Shakespeare's "Romeo and Juliet" turned into an overture by Tchaikovsky, where the programming is generalized, and by Berlioz it is consistent. Both, of course, program music. The title can most often be seen as story program, for example, Liszt's "Battle of the Huns" based on the fresco of the same name by Kaulbach, or his sketches "Dwarfs' Round Dance" and "Forest Noise". Sometimes works of sculpture, architecture, painting help to understand what program music is, because they participate in the choice visual means for a musical picture.
Conclusion
Software enriches music with new expressive means, helps in the search for new forms of work, differentiates genres. If the composer refers to the program in his composition, it brings his listener closer to reality, spiritualizes life, and contributes to the comprehension of deep spiritual principles. However, if programming prevails over other tasks, then the perception of music is noticeably reduced, that is, the listener needs space for his own creative perception.
Therefore, many composers tried to refuse from programming (including Mahler, Tchaikovsky, Struaus and others), but, despite this, none of them succeeded in completely non-program music. The unity of music and the specifics of its content is never indissoluble and absolute. And the more generalized the content is reflected, the better for the listener. What is program music - it will become clear from the slightest strokes of the development of musical thought: having ears, so to speak, will hear, despite the fact that a single definition and even an identical understanding of this phenomenon in music among music theorists has not yet appeared.
Fundamentals of musical psychology Fedorovich Elena Narimanovna
8.2. Musical emotions
8.2. Musical emotions
Any human activity is accompanied by emotions, causes an emotionally active or passive attitude.
Emotions play a dominant role in music. This role is predetermined by sound and temporal about and the nature of music, capable of conveying an experience in motion, in the process of development with all the changes, rises, falls, conflicts or mutual transitions of emotions. Music is able to embody a human mood that is not directed at any object: joy or sadness, cheerfulness or despondency, tenderness or anxiety. Music can convey the emotional side of intellectual and volitional processes: vigor and restraint, seriousness and frivolity, impulsiveness and resilience. Thanks to this property, music is able to reflect the human character. Music can express thoughts-generalizations that relate to the dynamic side of social and mental phenomena: harmony - disharmony, stability - instability, power - human impotence, etc.
The perception and performance of music has a strong emotional impact on a person due to the properties of sound. Sound carries a colossal amount of information for a person. A. Schnabel brilliantly wrote about this: “Life is given to sound in man; in him the sound became an element, an aspiration, an idea and a goal… It was revealed to a man that the sound created by him is capable of quenching his spiritual thirst and, obviously, is called upon… to elevate joy and alleviate suffering. Thus was born the destiny and desire of man to create from this transcendental substance, from this sounding vibration, with the help of his intellect, an ever-moving, tangible and yet intangible world ... The result of this creativity, which is nothing but a sequence of sounds, we call music ".
Music in human society becomes an active and effective means of emotional communication. Music is able to reveal thoughts, feelings, experiences of a person, events public life and pictures of nature, evoke a variety of associations.
In other words, music embodies the infinite variety of human emotional experiences and all the wealth spiritual world humanity.
Sound properties such as timbre, register, loudness, articulation, direction of movement of the melody, its accentuation in combination with the tempo of movement are converted into musical intonation. It is no coincidence that B. V. Asafiev called music "the art of intoned meaning."
Properties musical intonation are similar to speech intonation, which conveys the meaning of the statement. However, feelings can be incomparably more fully expressed by means of music than formulated by words. Therefore, it is very difficult to translate the content of music into words. “This translation will inevitably be incomplete, rough and approximate,” wrote B. M. Teplov. The main difference between speech utterance and musical speech is how the content, meaning is expressed. In speech, the content is conveyed through the meaning of the words of the language; in music, it is directly expressed in sound images. If the main function of speech is the function of designation, then the main function of music is the function of expression(B. M. Teplov). Similar thoughts are expressed by A. Schnabel: “Among all the arts, music occupies an exceptional and incommensurable position with other types. It is - everywhere - becoming and because of this it can never be "caught". It is impossible to describe it, there is no practical use; you can only experience it ... ".
Studying the issues related to the musical experience, B. M. Teplov draws the following very significant conclusions.
1. The experience of music is an emotional experience. and acts as a kind of non-verbal knowledge, as a unity of "affect and intellect" (L. S. Vygotsky). "One cannot comprehend the content of music in a non-emotional way." At the same time, the experience of music is connected with its understanding (i.e., forms, structures, structures musical fabric etc.). That's why understanding music becomes emotional. “Music is emotional cognition” [ibid.].
2. Musical experience is an emotional and cognitive experience at the same time. You can learn music with the help of other methods and means of cognition: comparisons with other types of art, spatial and color associations, ideas, symbols. In combination with other non-musical means of cognition cognitive value music expands to the widest limits. At the same time, music deepens the existing knowledge and gives it a new quality - emotional richness.
B. M. Teplov considered a person’s ability to experience music as a sign of musical talent, musicality, but the core of musicality - "emotional responsiveness to music".
Musicians usually convey the sphere of emotions with various words used as synonyms: feeling, mood, sensation, affect, excitement, etc. The differences between them are manifested in the intensity of the manifestation of emotion: for example, sensation is weaker, excitement is stronger.
Or the differences become stylistic. "Affect" is used in relation to the theory of affects in the music of the 17th-18th centuries. ; "feeling" in relation to style direction sentimentalism in music XVIII in. ; "feeling, excitement, mood" - to characterize the romantic music XIX century.
In addition, the emotional and suggestive impact of music is associated with temporal about and the length of the piece of music. The theory of affects is based on this relationship. European music baroque era: one "affect", one feeling is maintained throughout the entire work or its major part. This affect may increase or decrease, but it cannot change for another. So A. Kirchner in the work " Musurgia universalis” lists eight affects that music should evoke: love, sadness, courage, delight, moderation, anger, greatness, holiness. That is why the works of J. S. Bach, associated with the long development of one affect, make a deep emotional impression on the listeners.
The 19th century brought new discoveries: music capable of conveying inner world a person, the development or transformation of his feelings, becomes the leading form of art, which literature, poetry, and painting strive to imitate. It is no coincidence that the variety of epithets, poetic images, program names that emphasize the character musical emotions, is found in the works of F. Liszt, F. Chopin, R. Schumann, Russian composers " mighty handful”, P. Tchaikovsky and others.
In the music of the 20th century, despite anti-romantic tendencies, the embodiment of new emotions continues: anxiety, anger, sarcasm, grotesque.
Summarizing the above, we emphasize that music contains a rich spectrum of different emotions, among which are: 1) vital emotions of the surrounding world; 2) emotions that are adequate to the emotions of other types of art; 3) specific musical emotions.
In this regard, the complexity of studying the problem of musical emotions and the lack of a developed theory become clear. Exploring Theory musical content, VN Kholopova offers the following classification of the most important types of musical emotions.
1. Emotions as a feeling of life.
2. Emotions as a factor of personality self-regulation.
3. Emotions of admiration for the mastery of art.
4. Subjective emotions of a practicing musician - composer, performer.
5. Emotions depicted in music (emotions of the image embodied in music).
6. Specific natural emotions of music (emotions of natural musical material).
Emotions in music retain a connection with life emotions, but are expressed in images of fantasy. At the same time, the dominant specific natural musical material, which include: a) motor-rhythmic sphere; b) singing or vocal sphere, transferred to the sound of the timbres of musical instruments; c) speech or declamatory sphere.
Motor-rhythmic sphere influences rhythmic periodicity, a variety of accents, melodic peaks and climaxes, the sound of harmonies and various gradations of sound power. This area has a universal effect on a person, up to immersion in a state of hypnosis.
Singing or vocal sphere includes the entire range of intonations human voice and is continuously replenished with intonations of the speech sphere.
Speech or declamatory sphere contains huge and very emotional material: intonations of request or complaint, fear or threat, delight or indignation, etc.
The specific natural emotions of music are interconnected with those depicted, that is, with the emotions of the image embodied in music. Emotions depicted are emotions artistic image, composer's intention. In comparison with the specific natural emotions in music, they are symbolic, conventional, have the character of an allegory, an artistic idea.
Thus, musical emotions represent "a hierarchy of human artistic reactions to different levels, from a transient mood, a local “affect”, suggested musical material(rhythm, melos), to the elements of the worldview, worldview, brought up musical art, his masterpieces. Music affects a person with the help of the emotional generalization that has developed in it for centuries, ”points out V. N. Kholopova. Emotional generalization embodies the aesthetic and ethical ideas of art. On the basis of emotional generalization in music, symbols appear that depict emotions. With the help of associations, allegories, the idea of a feeling, affect or mood is suggested. Musical emotions are set artistic intent works and have an impact on human perception of the world. “Emotions in music are emotions-excitements, and emotions-ideas, and emotions-images, and emotions-concepts”.
From the book The Secret of Happy Parents author Biddulph Steve4 Children and emotions What is really going on? It seems like it's time to confess. The title of this book - "The Secret of Happy Parents" - is far from reality! In the adult world, there is absolutely no happy people; I don't think anyone wants to be completely happy. So
From the book Kindergarten and preparation for school the author Biryukov ViktorTip 24 Musical Instruments Even toy instruments will do Let's be clear right away: we do not call for teaching children music, and here's why. In tsarist times, children of the privileged classes were required to study music. Peasants with workers could about it
From book Theatrical activity in kindergarten. For classes with children 4-5 years old author Shchetkin Anatoly VasilievichLesson 28. Emotions Purpose. To teach children to recognize emotional states (joy, sadness, fear, anger) by facial expressions. Improve the ability to coherently and logically express your thoughts. Introduce the basics of theatrical culture. The course of the lesson1. Exercise for vowels and consonants
From the book Gymnastics and massage for the little ones. A guide for parents and caregivers author Golubeva Lidia GeorgievnaLesson 29. Emotions Purpose. To teach children to recognize emotions (joy, sadness, fear, anger) by facial expressions and intonation; depict these emotions using gestures, movements, voice. Contribute to the enrichment of the emotional sphere. Progress of the lesson1. consideration reproductions of paintings,
From the book Child of the third year of life author Team of authorsMusical rhythm lessons Very useful for the child musical rhythmic exercises, which must be included in everyday life. Rhythm promotes the development of coordination of movements, helps to quickly master various exercises, eliminates
From the book My child is an introvert [How to reveal hidden talents and prepare for life in society] by Laney MartyWe listen musical sounds The purpose of the games and exercises below is to teach the child to listen to musical sounds, to emotionally respond to them. Introduce your baby to fun, fast, slow, loud and quiet melodies. At the same time, try to make your child
From the book Discipline without Stress. Teachers and parents. How to develop responsibility and a desire to learn in children without punishment and encouragement by Marshall MarvinBlocking Emotions Introverted children tend to experience feelings of guilt and shame, which is explained, as I said in Chapter 2, by the characteristics of their nervous system. These are inhibiting emotions that cause a slowdown in the activity of the child. Without them, children cannot learn to distinguish
From the book Miracle baby from the cradle. Step-by-step methodology for the development of a child from birth to a year author Mulyukina Elena GumarovnaEmotions ("E" in LIMES) Changes due to successful study occur both in the intellect and in the emotions. Emotions can help learning process, but can interfere with it. A person's emotions govern his attention, which, in turn, governs learning and memory. (Sylwester).
From the book Seven Habits of Effective Parents: Family Time Management, or How to Do Everything. Training book author Heinz MariaMusical educational games When you play an instrument, you will show your child that sounds come in different pitches. The height of the sound is most clearly demonstrated precisely on the keyboards. high sounds we can say that this bird flies and sings, and low ones can be compared with
From the book Born to read. How to make a child friends with a book author Boog JasonWhat are emotions? Joy, sadness, interest, anger are all emotions. They play a huge role in a person's life and can give a charge of inexhaustible energy, or they can squeeze out so that no work will be possible. They are so important role developed in the course of evolution. Emotions
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From the book Rocking the Cradle, or Profession "Parent" author Sheremeteva Galina BorisovnaFeelings and Emotions Your face is still the object of study. Fingers explore your eyes, nostrils, mouth ... The baby begins to realize that he and you are two different person: if you pull your hair, it hurts, and if you pull it, even if it is strong, then for some reason
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From the book Fundamentals of Musical Psychology author Fedorovich Elena Narimanovna From the author's book From the author's book2. MUSICAL ABILITIES 2.1. general characteristics musical abilities Abilities are individual psychological properties of a person, which are subjective conditions for the successful implementation of a certain kind of activity. Ability is not limited to
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MODELING EMOTIONS BY MEANS OF MUSIC
IN AND. PETRUSHIN
For the practice of aesthetic education, it is very important to find ways to form a high emotional culture in schoolchildren. Education of the ability to respond to the whole gamut of human experiences is one of the important tasks musical education. To do this, a music teacher must have information on the basis of what patterns a person's emotions are reflected in music.
All existing music education programs and guidelines emphasize that music is a means of developing the emotional sphere of students, however, the proposed repertoire is built according to historical, thematic or genre principles. In none of the existing programs of musical education, it was possible to find the principles of selecting musical works according to their emotional content, as well as those objective grounds on which a particular piece of music can be attributed to the expression of a certain emotional state. AT music programs ah, nothing is said about the connection between the value attitude to the object and the nature of the experiences experienced in this case. As a rule, it is stated that if a person loves something, then this should somehow excite him. The main issue is to identify the connection between the emotional sphere of a person and the patterns of its reflection in music, i.e. the translation of worldly emotions into aesthetic ones has not yet been fully disclosed in musicology.
The search for a solution to the problem under consideration has a long history. The ancient Greek philosophers, in whose works we find the development of the principles of the ethical impact of music on a person, proceeded from its imitative nature. Imitating this or that affect with the help of rhythm, melody, timbre, the sound of this or that musical instrument, music, according to the ancients, evokes in the listeners the same affect that it imitates. In accordance with this provision, classifications of modes, rhythms, and musical instruments were developed in ancient aesthetics, which should be used to educate the personality of an ancient citizen with the appropriate character traits.
In the Middle Ages this problem was studied in the framework of the theory of affects, which establishes a connection between emotional manifestations person in life and ways of their reflection in music. In this theory, the interaction of tempos, rhythms, modes, timbres in the transmission of emotional states, their effect on people with different temperaments was considered in detail, but a complete concept of modeling emotions in the theory of affects was never created.
From modern research, it should be noted the works of V.V. Medushevsky, who points out that "the principle of modeling implies the existence of a certain correspondence between the semantic structure of a musical work 1 and our intuitive ideas about emotions" .
In accordance with this, a holistic musical emotion is synthesized from individual semantic meanings and can be represented in the form of various formulas. However, the proposed principles for encoding musical emotions, in our opinion, lack some generality, which is always inherent in a complete theoretical model.
In order to identify patterns of emotion coding in music, it is necessary to identify the most significant, invariant features of various musical works that carry the expression of similar emotional states. Then, according to these signs, it is possible to determine the nature of a musical work with sufficient simplicity, abstracting from other, less significant signs of emotion coding. We proceeded from the concept of J. Bruner, according to which perceptual learning consists in “mastering the proper ways of coding environment and the subsequent categorization of stimuli reaching the subject with the help of code systems ". "Ultimately, it comes down to the assimilation of certain formal schemes that can be used or adapted in order to organize the information reaching the subject" . By teaching the student to more accurately understand the emotional content of a piece of music, the music teacher gets the opportunity to teach him to understand himself, his feelings and thoughts.
To identify the most significant
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parameters of reflection of emotions in music, a group of five musicians-experts was offered 40 pieces of music with the task to decompose them according to the generality of the emotional states expressed in them. It was required to differentiate musical works according to the parameters "anger", "joy", "sadness", "calm". As a result of the experiment, 28 works were selected, which were attributed by all experts to the expression of emotions of the same modality. The results of the subsequent analysis made it possible to reveal that works of the same modality have similarities in the tempo and mode indicated in the notes, which gave grounds for constructing the following table.
It was assumed that the coding of musical emotions and the assignment of different works to the expression of emotions of the same modality can be carried out using the coordinate system proposed below:
To test this assumption, the experts were asked to place the works they analyzed in a given coordinate system. All of them assigned the pieces of music indicated in the table in accordance with their mood to a certain square. Thus, it could be concluded that this principle of modeling reflects some objective patterns of existing relationships between emotion and its expression in music.
Generalized characteristics of musical works,
expressing a similar emotional state
|
Basic Music Options |
Basic mood |
Literary definitions(according to musicological literature) |
Titles of works |
|
Slow major Slow minor fast minor Fast major |
calmness sadness Anger Joy |
Lyrical, soft, contemplative, elegiac, melodious Gloomy, tragic, gloomy, dreary, oppressive, overwhelming, despondent, mournful Dramatic, agitated, anxious, restless, rebellious, angry, desperate festive, solemn, jubilant, vigorous, cheerful, joyful |
Borodin, Notkin from string quartet; Chopin. Nocturne in F major (extreme movements); his own. Etude in E major (extreme movements); Schubert. "Ave Maria"; Saint-Saens. "Swan" Chaikovsky. V symph., introduction; his own. Symphony VI, final; Grieg. "Death"; Chopin. Prelude in C minor; his own. March from Sonata in B flat minor Chopin. Scherzo No. 1, Etude No. 12, Op. ten; Scriabin. Etude No. 12, Op. eight; Chaikovsky. Symphony VI, 1st part development; Beethoven, Sonata Finales No. 14, 23; Schumann. "Rush" Shostakovich. Festive overture; Sheet. Rhapsodic Finales No. 6, 12; Mozart. Little Night Serenade, finale; Glinka. "Ruslan and Lyudmila", overture; Beethoven, finales of symphonies No. V, IX |
It should be noted that such moments of musical expressiveness as timbre, rhythm, dynamics, rhythmic intonation and harmonic means seem to be very important for modeling this or that emotion in music, however, they are additional. In the studies of Ch. Osgood and his collaborators, performed on the material visual arts, it was found that "pictures with the most diverse subject-iconographic content can have very similar emotional and evaluative properties" . This provision is also valid for musical works. The same mood in different musical-historical and composer styles can be expressed by dissimilar rhythm-intonation, harmonic and timbre means, as can be seen in the works of I.S. Bach and D.D. Shostakovich, A.Vivaldi
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and I. Stravinsky, S.S. Prokofiev and F. Schubert. From the works of the old masters to the works of modern composers, the semantic complexity of the musical fabric increases, but the emotions themselves do not change significantly. And if in the works of composers of different eras we find the expression of similar emotional states, we can say that in this case the parameters of tempo and mode will be similar.
The aesthetic feelings arising from the perception of a musical work, in contrast to the basal emotions that take place in immediate life, include a complex of moods that are close in meaning, giving a dynamic picture of an aesthetic experience that can be expressed with the help of numerous verbal definitions.
The proposed model for categorizing emotions based on two parameters (tempo and mode) obeys the law of quantitative changes and their transformation into qualitative differences. The same melody, performed in a major or minor key, fast or slow tempo, will, depending on this, convey a different emotion. Therefore, if we set out to place various musical works in the proposed grid of coordinates, then some of them, depending on the intensity of the expressed emotion, will be located closer to one of the coordinate axes, while others will be further away. For example, a very sad work will be farther from the y-axis than a work expressing a slight elegiac sadness,
As the practice of pedagogical observations shows, the above categorization of emotions based on two components of means musical expressiveness It is quite clearly manifested in the perception of the music of the Baroque era (A. Vivaldi, J.S. Bach), Viennese classics (F. Haydn, W. Mozart, L. Beethoven), romantic composers (F. Schubert, R. Schumann, F. Chopin, F. Liszt, E. Grieg, J. Brahms), Russian classical music (P.I. Tchaikovsky, N.A. Rimsky-Korsakov, A.K. Glazunov), modern music (S.S. Prokofiev, D .D. Shostakovich). However, in the transition to the so-called music of new means (A. Webern, K. Penderetsky, A. Schoenberg), in which the major-minor ratios become unsteady and indefinite, often overlapping each other, the rhythmic structure of the work becomes extremely free, the main carrier artistic sense become the originality of intonational gravitation, timbre and harmonic characteristics of sound, and the proposed principles for identifying emotional states cease to justify themselves.
Thus, in works traditional in terms of musical expressiveness, the following patterns can be distinguished, which should be taken into account when perceiving music in order to understand the emotions inherent in it:
1. Slow tempo + minor coloring of the sound in a generalized form model the emotion of sadness and convey moods of sadness, despondency, grief, regret about the past beautiful past.
2. Slow tempo + major coloring simulate emotional states of peace, relaxation, satisfaction. The nature of the musical work in this case will be contemplative, balanced, peaceful.
3. Fast tempo + minor coloring in a generalized form model the emotion of anger. The nature of the music in this case will be intensely dramatic, excited, passionate, heroic.
4. Fast tempo + major coloring simulate the emotion of joy. The nature of the music is life-affirming, optimistic, cheerful, joyful, jubilant.
Further analysis of the proposed model of emotion reflection in music showed that in its characteristics it is in some sense isomorphic to the well-known classification of temperaments proposed by Eysenck. But instead of the parameter "introversion-extroversion" in our model, the tempo is taken - slowly-fast, and instead of "stability-instability" - the parameter major - minor. In both models, to characterize both the temperament of a person and the mood of a musical work, it turns out to be sufficient to have indicators of two variables - the tempo (either mental activity or a musical work) and the qualitative feature of emotional experience, disclosed in one case in the concept of "stability-instability", and in another - major or minor fret . The main thing is that between the emotional life of a person and its manifestation in natural temperament, on the one hand, and the reflection of its features in music, on the other, there are certain dependencies and connections,
It is known that choleric and sanguine people are characterized by a fast pace of mental activity, while melancholic and phlegmatic people are slower. If melancholic and choleric people are distinguished by instability, mood instability, then phlegmatic and sanguine people will be distinguished
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precisely stability, the general majority of the emotional worldview.
In the theory of affects mentioned above, the position was postulated that listeners like the music that best suits their natural temperament. The task was to verify this position in the experiment. 58 schoolchildren of grades VIII-IX were asked to listen to several pieces of music expressing various emotions (sadness, joy, anger, calmness).
The participants of the experiment were asked to evaluate each of the listened works on a five-point scale - from -2 to +2 with gradations - "do not like at all", "do not like", "indifferent", "like", "like very much". It was also necessary to rank the listened works according to their degree of preference.
Eysenck's personal questionnaire "Extraversion-neuroticism" (form A) made it possible to identify the temperament of the participants in the experiment. During the analysis, eight questionnaires were excluded as unreliable, since the number of points on the "False" scale exceeded 5 units. Of the remaining 50 questionnaires, in 21 cases we obtained a match between the temperament of the schoolchild identified with the help of the questionnaire and the character of the music they liked the most. In 29 cases, schoolchildren liked the kind of music that did not correspond to the peculiarities of their temperament. Thus, the assumption that schoolchildren should like the music that most closely matches their natural temperament was not fully confirmed. We found that the preference for musical works, the mood of which corresponds to the peculiarities of the temperament of this or that schoolchild, is noted mainly among those who have little musical experience. Musically developed students, who react vividly to music, gave high marks to all the pieces they listened to and found it difficult to choose the one they liked the most. Such schoolchildren, as it were, departed from their natural preferences and could positively evaluate music that was different in comparison with their temperament. It can be assumed that the liveliness of response to musical works, different in nature, indicates the development of the emotional sphere of students. However, finding more subtle correlations between the level of development of the student's emotional sphere, the level of his musical responsiveness and the peculiarities of his natural temperament requires further study.
Musical education, offering students emotions of various modalities in the content of musical works, makes them at the same time more capable of experiencing those emotional states that are not included in the structure of emotions of their natural temperament, thereby expanding and deepening contacts with people around them and reality.
It would be wrong to try to put all the richness of the emotional content embedded in the art of music into the proposed scheme. Nevertheless, it seems to us that the model under consideration in its most significant moments reveals the main patterns of encoding everyday emotions by means of music and turning them into aesthetic emotions. A model is only a model, and not reality itself, but using modeling techniques, this reality can be understood deeper and more versatile.
7. Fress P., Piaget J. Experimental psychology. M., 1975.8. Shestakov V.P. From ethos to affect. M., 1975.
Received 16. II1987
Music project
Topic " Feelings of joy in works of art»
Completed by a student of 8 "B" class
Kozachenko Vyacheslav
head music teacher
Gubkina N.V.
2016-2017 academic year
1.Introduction………………………………………………………………3p.
2.Main part…………………………………………………..4p.
3.Conclusion (conclusions)……………………………………….6p.
Introduction
“Joy comes to our life when we have something to do, someone to love and something to hope for” Viktor Frank.
At music lessons, we considered the big topic “World human feelings”, where on the listened works they determined what feelings and emotions are manifested in musical works. The most varied and vivid was the manifestation of a feeling of joy. Here we talked about what causes joy in our guys, how differently they would describe this feeling, they even tried to portray it. And I decided not to stop there and find out how great people conveyed feelings of joy in their works.
The purpose of the work: to consider how the feeling of Joy is manifested in other types of art.
Tasks:
- Find the concepts of Joy and Art, how they are connected
- Consider examples of works in various types art that conveys the feeling of Joy
- To conclude
Main part
To figure out what works I should look for, I decided to find out what the words Joy and Art mean, I went to the library, where I looked through many dictionaries: musical ____________, Ozhigov's dictionary, a dictionary of synonyms ... In which I learned:
- Joy is an emotion expressed by a person, which is a positive feeling. internal state man and his spiritual satisfaction.
Synonyms for the word Joy: delight, fun, fun, happiness, triumph, pleasure ... ..
- In science, art is called as actually creative artistic activity, and its result ispiece of art .
Art forms: Painting, architecture, sculpture, film, literature, music…
After learning the different types of art, I went to the teacher of music, literature, art, and also turned to the Internet, looking for examples of works expressing a feeling of joy. There were a lot of them, in my work I cited only a few.
Literature
1. The story "Gooseberry" by A.P. Chekhov.
In which the feeling of joy was manifested through
the happiness of a man whose cherished dream came true, who got what he wanted: he finally grew, harvested and tried his gooseberries.2. M. Kuzmin's poem"Oh, to be abandoned - what happiness!"
In this poem, a feeling of joy is manifested through love for another person, expressed through the perception of the surrounding nature.
Painting
1. Ekaterina Babok "Sunny Childhood"
The bright and wonderful colors of these images convey a feeling of joy and delight.
2.
Music
one." Smile "Plyatskovsky.M; Shainsky V.
In this fragment of the song, joy arises from friendship, have a nice day, from just a smile to each other.
2. L .V.Beethoven Symphony No. 9 "Ode to Joy" -is a hymn of joy
W. A. Mozart "Little Night Serenade" -
night party under the windows of a loved oneP.I. Tchaikovsky "Kamarinskaya" -
festive fun partyPhoto
These photos show an unconstrained joy that comes from enjoying fleeting moments in life, the delight of happiness.
Cinema
"On the night before Christmas" N.V. Gogol
I took a fragment where the feeling of people's joy is manifested in skiing, in games, in winter fun.
Conclusion:
Love for another person
Love for what you love
Achieving the goal
Holidays,
Short description
1. Music project
Theme "Feelings of joy in works of art"
2. Completed by a student of 8 "B" class
Kozachenko Vyacheslav
3. Head music teacher
Gubkina N.V.
4. The purpose of the work: to consider how the feeling of Joy is manifested in other types of art.
5. Research methods:
Information retrieval
Analysis of works
6.Conclusion:
In the course of my work, I have revealed how the feeling of Joy manifests itself in various forms of art, such as literature, music, painting, cinema, photography through
Love for another person
Love for what you love
Perception of the surrounding world
Achieving the goal
Holidays,
fleeting moments of happiness
Admiring children's emotions.
In the course of work, we encountered difficulties: among the many works to choose specific works.
“Joy is a special wisdom. A person has the highest gift to know joy,” wrote Helena Roerich, “A high forehead is given to see the highest. From the Far Worlds to a small flower, everything offers people joy."
| Basic parameters of music (dark and mode) | Basic mood | Characteristic | Titles of works |
|---|---|---|---|
| Slow major | calmness | Lyrical, soft, contemplative, melodious, elegiac | Borodin. Nocturne from string quartet: |
| Chopin. Nocturne in F major (end parts); | |||
| Chopin. Etude in E major (extreme movements); | |||
| Schubert. Ave Maria: | |||
| Saint Sane. Swan. | |||
| Slow minor | sadness | Gloomy, tragic, dreary, oppressive, depressing. mournful | Chaikovsky. 5th symphony, introduction; |
| His same. VI symphony, finale; | |||
| Grieg. Death; | |||
| Chopin. Prelude in C Minor; | |||
| Chopin. March from sonata in sn flat minor. | |||
| fast minor | Anger | Dramatic, agitated, anxious, restless, rebellious, angry, desperate | Chopin. Scherzo No. 1 Etude No. 12, Op. ten; |
| Scriabin. Etude No. 12, Op. eight; | |||
| Tchaikovsky.VI symphony. 1st part, development; | |||
| Beethoven. Sonata Finales No. 14, 23; | |||
| Schumann. Gust. | |||
| Fast major | Joy | festive, solemn, jubilant, vigorous, cheerful, joyful | Shostakovich. Festive overture; |
| Liszt. Finale of rhapsodies N? 6.12; | |||
| Mozart.Little Night Serenade, finale; | |||
| Glinka. Ruslan and Lyudmila, overture; | |||
| Beethoven. Symphony Finales No. V. IX |
Packages of musical programs for the regulation of the emotional state
| 1. To reduce irritability, frustration and to increase the sense of frailty of life | Bach "Cantata No. 2 |
| Beethoven" Moonlight Sonata" | |
| Prokofiev "Sonata "RS" Frank "Symphony in D Minor" | |
| 2. To reduce feelings of anxiety, uncertainty about the successful end of what is happening | Chopin "Mazurka and Preludes" |
| Strauss "Waltzes" | |
| Rubinstein "Melody" | |
| 3. For general calm, peace and harmony with life as it is | Beethoven "6th Symphony" |
| part 2 Brahms "Lullaby" | |
| Schuberg "Ale Maria" | |
| Schuberg "Andante from Quarget" | |
| Chopin "Nocturne in G minor" | |
| Debussy "Light of the Moon" | |
| 4. To reduce malice, envy of the success of other people | Bach "Italian Concerto" |
| Haydn "Symphony" | |
| Sibelius "Finland" | |
| 5. To relieve emotional tension in relationships with other people | Bach "Violin Concerto in D Minor" |
| Bartok "Sonaga for piano" | |
| Bruckner "Mass in E Minor" | |
| Bach "Cantata No. 21" | |
| Bartok "Quartet No. 5" | |
| 6. To reduce headaches associated with emotional overstrain | Beethoven "Fidelio" |
| Mozart "Doi Juan" | |
| Leaf" Hungarian Rhapsody № 1" | |
| Khachaturian "Masquerade Suite" | |
| Gershwin "An American in Paris" | |
| 7. To improve mood | Chopin "Prelude" |
| Sheet "Hungarian Rhapsody No. 2" |
