"Impressionism in Music" - Maurice Ravel. A mute is a device used to change the timbre of a musical instrument. Impressionism. Draw an illustration for a piece of music (“Celebrations”, “Habanera” - to choose from). Claude Debussy. Habanera. French Impressionist painters. Song about pictures Music by Grigory Gladkov Words by Alexander Kushner.
"The Development of Music" - Subject and meta-subject actions with educational material. Metasubject Results. Thematic planning. Cognitive UUD. Communicative UUD. Goals of studying music: Formation of personal, communicative, regulatory, cognitive activities. Course content. Personal UUD. Personal.
"Great Composers" - Franz Schubert. Austrian composer, creator of a romantic song-romance (c. 600 to poems by Schiller, Goethe, Heine, etc.). overture "Fingal's Cave", "Dream in midsummer night”, oratorios, concertos for violin, for piano. Opera Les Troyens, Requiem, treatise Conductor of the Orchestra, Memoirs. Operas "Evg. Onegin", "Mazeppa", "Cherevichki", "Iolanta", " Queen of Spades"," Enchantress.
"Musical culture of the Baroque" - In music - a variety of rhythms. Mozart in Vienna. Last piece Mozart - "Requiem" - remained unfinished. “Musicians want to invent something new. Mozart writing the Requiem on his deathbed. " little genius". Claudio Monteverdi (1567-1643) - the first baroque composer (Italy). Musical culture XVII-XVIII centuries
"Renaissance Music" - Shakespeare Theatre. Gradually, the themes of folk songs of non-religious content are introduced into church hymns. Saved the main themes medieval music: praise to the Lord and the Creator of the world, the holiness and purity of religious feelings. Musical culture of the Renaissance. Sacred music reached its highest dawn in the 15th century. in the Netherlands.
"Music of the Silver Age" - A. A. Akhmatova. A. Blok. V. Ya. Bryusov. Silver Age. Winter night. K. D. Balmont. Poetry of the Silver Age contemporary music. I like that you are not sick of me. I. V. Severyanin. N. S. Gumilev. I do not regret, do not call, do not cry. Left march. Lyrics silver age versatile and very musical.
In total there are 24 presentations in the topic
Completed by Kravchenko E.A. GOU high school year "JOY TO THE SUN CALLS US!"
PURPOSE Education of personality through the aesthetic, moral and spiritual power of musical art. OBJECTIVES Continue acquaintance with the work of the Viennese classics. Develop cognitive interest through differentiated homework and independent research; Consolidate previous knowledge. FIND OUT: what is the meaning of creativity Viennese classics for the development of the world musical culture. Abstract Objectives Lesson Plan
1. Acquaintance: Three outstanding composer classical period.Introduction: Three outstanding composers of the classical period. 2. Acquaintance with the work of J. Haydn. Acquaintance with the work of J. Haydn. Demonstration of a portrait of J. Haydn. Listening to an audio recording. / A fragment of the "Children's Symphony" / Test. Accompanied by repeated listening to the audio recording Conversation / Teamwork/ 3. Acquaintance with the work of W. Mozart. Acquaintance with the work of W. Mozart. Demonstration of the portrait of W. Mozart. Demonstration of a portrait of L. van Beethoven. Test Conversation / Teamwork. / 5. Dispute / What is the meaning of the work of the classics Viennese school? / Debate / What is the significance of the work of the classics of the Viennese school? / Lesson plan Annotation Objectives Lesson plan
CLASSICAL PERIOD 18th century 19th century J. Haydn W. MozartL. van Beethoven
Joseph Haydn, father of the symphony creative legacy 104 symphonies, 83 quartets, 52 piano sonatas, oratorios (“The Creation of the World”, “The Seasons”) 14 masses, operas. Test
“In sorrow, merry, and in joy, sad” W. A. Mozart Composed 41 symphonies Test
... be indulgent to me, seeing my isolation at a time when I, in fact, would be happy to talk with you ... The pinnacle of Beethoven's "late" work is the 9th symphony (1824) Ludwig van Beethoven () Test
H. G. Nefe: “Gifting is not everything, it can perish if given to a person who does not possess diabolical persistence. Forbid, forbid yourself forever to pronounce such words as I can’t, I don’t want to, I don’t know! If you fail, start again! If you fail a hundred times, start again a hundred times! ...... A pinch of talent is enough, but perseverance needs an ocean. ” l "Music should strike fire from people's hearts." (Beethoven)
Unlike his predecessor Mozart, Beethoven composed with difficulty. Notebooks Beethoven is shown how gradually, step by step, a grandiose composition emerges from uncertain sketches, marked by a convincing logic of construction and rare beauty. Just one example: in the original sketch of the famous "motif of fate" that opens the Fifth Symphony, he was entrusted with a flute, which means that the theme had a completely different figurative meaning. A powerful artistic intellect allows the composer to turn a disadvantage into a virtue: Beethoven opposes Mozart's spontaneity, an instinctive sense of perfection, with unsurpassed musical and dramatic logic. It is she who is the main source of Beethoven's greatness, his incomparable ability to organize contrasting elements into a monolithic whole.
Beethoven erases traditional caesuras between sections of the form, avoids symmetry, merges parts of the cycle, develops extended constructions from thematic and rhythmic motifs, which at first glance do not contain anything interesting. In other words, Beethoven creates musical space with the power of the mind, own will. He anticipated and created those artistic directions, which became decisive for the musical art of the 19th century. And today his works are among the greatest, most revered creations of the human genius.
Compositions: Opera Fidelio (1st edition titled Leonora, staging titled Fidelio or Conjugal Love, 1805, Vienna; 2nd edition with the addition of the overture Leonora 3, 1806, Vienna; 3rd edition 1814, Vienna); ballets, including the Creations of Prometheus (1801, Vienna); for soloists, choir and orchestra oratorio Christ on the Mount of Olives (1803), Mass in C-dur (1807), Solemn Mass (1823), cantatas; For symphony orchestra 9 symphonies (1st, 1800; 2nd, 1802; 3rd, Heroic, 1804; 4th, 1806; 5th, 1808; 6th, Pastoral, 1808; 7th, 1812; 8 -I, 1812; 9th, 1823); overtures to the tragedy "Coriolanus" by Collin (1807), to the tragedy "Egmont" by Goethe (1810), etc.; concertos for instruments and orchestra 5 for piano (1st, 1795; 2nd, 2nd edition 1798; 3rd, 1800; 4th, 1806; 5th, 1809), for violin (1806), Triple Concerto for Piano, Violin and Cello (1804); chamber instrumental ensembles 16 string quartets(1798–1826), 10 sonatas for piano and violin (including the 9th, Kreutzer, 1803), 5 sonatas for piano and cello; for piano 32 sonatas, variation cycles (including 32 variations in c-moll; bagatelles); songs, including the cycle To a Distant Beloved (1816); arrangements of folk songs; music for performances drama theater and etc.
Joseph Haydn Wolfgang Amadeus Mozart Ludwig van Beethoven 104 symphonies 41 symphonies 9 symphonies Symphony duration (approx): 17 minutes 40 minutes 60 minutes Why? Because one of the main genres of the classical period, the symphony, is being formed and saturated with content. SYMPHONY - musical novel about the life of mankind 17
Invite the children to carefully look at the cover of the publication. vocal cycle"Children's", which was painted by I. Repin. Let them find here the plots of the plays of the cycle mentioned in this spread.
The first play of this cycle, "With the Nanny", is offered not only for listening with students, but also for sketching the melody. At the same time, draw students' attention to pauses, dynamic shades and short phrases emphasizing the recitativeness of musical intonation. All this will enrich the intonational expressiveness of the performance as a whole.
The song "With a Doll" is more accessible for learning with the guys. Learn it gradually, as if living, playing this scene from a child's life; for example, taking a doll in her arms, the girl begins to rock her: “Tyapa, bye, bye, Tyapa, sleep, sleep, take it easy ...” An angry cry interrupts the motive of the lullaby: “Tyapa! Need to sleep!" At the same time, Tyapa receives a hefty slap. But, apparently, this scoundrel does not want to sleep at all. Imitating the nanny, the girl begins to intimidate Tyapa: “Tyapa, sleep, sleep, Tyapa will eat beech, Gray wolf take it, carry it into the dark forest. Silence… Tyapa lies, thrown on the floor. What is the girl doing in the meantime?.. Then the lullaby continues.
A kind of illustration for this song will serve as a picture of M. Dobuzhinsky "Doll".
A friend of M. Mussorgsky, the artist V. Hartman, said: “The cycle “Children’s” is not romances and not songs, but real dramatic scenes, they should have been performed in the recitation of a talented actress or singer, on stage, in costumes and among the scenery” .
"On a walk". The theme of M. Mussorgsky's "Walk" has already been written in detail above. If third-graders will listen to this work for the first time, then we can offer the following work options for the teacher:
Option 1. The teacher tells the students that a melody will now sound that draws a portrait of a person engaged in a very interesting business for him, and offers to answer where he comes from and what he does. (It sounds like “Walk”.) The guys usually find surprisingly correct answers: “This is a Russian man who walks very sweepingly”; "He looks at something, stops and walks around again." Then the teacher invites the children to take a walk with the composer through the exhibition of paintings - to get acquainted with individual pieces of "Pictures at an Exhibition".
Option 2. The teacher invites the children to imagine that they are at the exhibition of one artist who demonstrates his paintings. There are many visitors at this exhibition, including the composer who wrote this music. (The walk sounds.) After listing the names of the parts (pictures) of the suite and listening to the Walk, the children should answer whether it is possible to find out from its intonation which people this music and the composer who wrote it belongs to. Let the students try to prove their opinion.
The melody of "The Walk", like many other parts of the suite, can be sung with words. V. Sokolov arranged the suite for children's choir, and the text was written by Em. Alexandrova:
Hey, come in here, come in, honest people!
Come, look at the wonderful pictures!
On people, on birds, and on distant lands!
You sing, you glorify a good heart,
Generosity and intelligence, skillful hands of the Russian people!
"The Tuileries Garden" is a joyful picture of childhood, nature, and happiness, filled with dazzling light. A sonorous register, a major scale, an elastic rhythm reminiscent of a children's rhyme - all these means embody the children's images beloved by the composer. According to the author's program, this is a quarrel scene. The middle part contrasts with the childlike theme of the first movement. She, as it were, conveys the speech of nannies who calm quarreling children. The sonorous, high register and the excited movement of the first theme are replaced by a calm middle register, repetitions of persuasive intonations.
The entire scenario of the "musical events" here belongs to M. Mussorgsky himself, since the artist has very limited information about the painting: "The Garden in the Tuileries - pencil drawing." The drawings by V. Hartmann became an occasion, an impetus for writing "Pictures at an Exhibition". The suite should in no way be regarded as a musical illustration of the drawings. The plays of M. Mussorgsky are completely independent artistic images.
Some drawings by W. Hartmann have been preserved. Three of them are presented in the textbook for grade II. A modern artist, responding to the musical images of M. Mussorgsky, painted an illustration for the “picture” “The Limoges Market”.
An interesting methodological move of the teacher will be to offer the children to draw their impressions of the music they listened to. At the same time, the names of the pieces are not reported, otherwise the drawings will correspond primarily to the title and will not reflect the child's own musical associations.
With one more "French" sketch - the play " old lock» Pupils will get to know each other already in the 4th grade. Again, you need to pay attention to the questions in the textbook.
We emphasize once again that from the first lessons it is important to teach children to listen to the musical speech of each composer, distinguishing the work of one author from another.
"Evening". The spread introduces students to songs, or rather, romances of famous composers. The music of M. Mussorgsky, P. Tchaikovsky, E. Grieg, the poetry of A. Pleshcheev, the painting of V. Markova give them an idyllic picture of evening peace and quiet. Invite the children to determine the figurative content of music by its sound, first in the piano version. After they have spoken about the mood that this or that romance expresses, you can ask what the music tells about, how they felt it, and consider a reproduction of the picture presented in the textbook.
Then you can start learning the work you like the most, achieving cantilena, breadth of breathing, lingering vowels and short pronunciations of consonants. You can return to the already familiar works of these composers, try to find the characteristic features of their musical style.
ABOUT RUSSIA TO SING - WHAT TO STRIVE TO THE TEMPLE
"Hail Mary!" "Virgin Mother of God, rejoice." Two prayers - two musical appeals to the Mother of God. Their authors are F. Schubert and S. Rachmaninov. These pieces of music can be listened to and compared in one lesson. After that, try to sing the first phrases with the words of the name of the prayers (“Two Marys” and “Virgin Mary, Rejoice”), using the musical text from the Reader of Musical Material for the textbook “Music. Grade 2", or to a vowel sound.
The main thing in the process of listening is to reveal the intonational similarity of prayers through the nature of the sound, harmony, dynamics, chant, in order to help children feel the beauty of harmony, pure and harmonious appeal to the image of the Virgin. It is difficult to describe such masterpieces in your own words; it is better to read the poetic lines of Dante and Pushkin, addressed to the works of artists.
The picture of Raphael is separated from the icon by V. Vasnetsov for almost 350 years, but they are very similar. A conversation about music can be preceded by asking children about the image of the Virgin Mary: where did Mary come from? Where does she direct her feet? Where did you look? What paints are on the canvases of artists, what color is more? Is there a difference in the pictures between heaven and earth? Where is the action taking place? Who is the Virgin Mary standing in front of?
We want to warn the teacher against comparing the image Mother of God on the icon and the Madonna in the picture. In the picture, the face of the Madonna can be someone's portrait, and the icon is painted according to the canon (church institution, rule), and the face on it does not bear someone's individual features.
The epithet "All-Petered", addressed to the Mother of God, will help to preserve in the children's minds the poems of A. Pushkin and the Italian poet Dante, the icon of V. Vasnetsov and the painting of Raphael as works of world art. They have the majesty and nobility of the Queen of Heaven: the Mother of God serves as an example of human dignity.
Additional Information
There are many wonderful holidays in Rus', and each has its own special, reverent attitude. So it happened with the twelfth feast of the Annunciation of the Most Holy Theotokos.
Let us recall the gospel story that underlies the feast of the Annunciation. On this day, the archangel Gabriel, sent by God, brought the Virgin Mary the “good news” that she was chosen among women and the Son of God would be incarnated from her. He said to her these words: “Rejoice, Blessed One! The Lord is with you; Blessed are You among women."
The same text, somewhat modified, is also the text of the prayer of S. Rachmaninov and other Russian composers who addressed this topic:
Virgin Mary, rejoice.
Blessed Mary, the Lord is with you.
Blessed are You in wives,
And blessed is the fruit of thy womb.
Like the Savior gave birth to our souls.
The prayer of F. Schubert could also be written to this text, since some prayers are the same for Orthodox and Catholics, but the composer chose the text of Walter Scott. The practice of church music shows the possibility of various embodiments of the same text.
"Ancient Song of Motherhood". These pages are dedicated to the icon of Our Lady of Vladimir, the heavenly intercessor of Moscow. This greatest shrine of Rus' for several centuries was in the Assumption Cathedral of the Moscow Kremlin. The icon “saw” and “heard” a lot:
Scary story of Russia
All passed before Your Face...
Here in Uspensky - in the heart of the Kremlin walls,
Tempted by your tender appearance,
How many eyes are cruel and harsh
Moistened with a bright tear!
M. Voloshin
The path of the icon from Zion to Kyiv, from Kyiv to Vladimir, from Vladimir to Moscow is a centuries-old path, but the image remains unchanged.
There is no more dazzling miracle in the worlds
Revelations of eternal beauty!
According to the artist I. Grabar, this icon is “the most ancient song of motherhood”.
According to the statute of the Russian Orthodox Church every holiday has its own troparion. Troparias were compiled and written many years ago for all the icons of the Mother of God, and there are more than a hundred of them in the church calendar. There is a troparion and Vladimir icon Mother of God. It partly tells the story of the icon. Usually the troparion is sung in a certain voice, that is, it has a melody forever assigned to it. In this case, we introduce you to the author's melody. Its composer is a Moscow clergyman, Archpriest Fr. Boris Pisarev (his surname is not indicated in the anthology). This is an example of genuine church music combined with an archaic text. It should sound in the lesson, the guys can follow the first words of the text from the textbook, sing a melody.
A. Fet has a poem "Ave Maria" 4 (translated from Latin - "Hail Mary"). It also emphasizes the global community of various cultures connected by the image of the Virgin.
The Mother of God is first of all a mother, and therefore her image is honored in all countries of the world as an eternal symbol of a suffering mother. Everything addressed to her bears the character of great bright sadness, sorrow, tenderness, petition for the most precious thing.
“My quiet, my gentle, my kind mother!” This spread presents two paintings: "Petrograd Madonna" by K. Petrov-Vodkin and "Madame Charpentier with Children" by O. Renoir. K. Petrov-Vodkin draws the image of a mother, exalted in its purity and moral strength. The name of the Madonna - "Petrogradskaya" (with reference to a specific place) - is associated with the traditional image of the icons of the Mother of God (Vladimirskaya, Donskaya, Kazanskaya). The general intonation of the picture is disturbing - the gesture of the mother, squeezing the child's hand, is perceived as a desire to protect her son from adversity.
The painting by O. Renoir, on the contrary, conveys an atmosphere of comfort, love, and happiness. The relaxed postures of the mother, children and even the dog are full of peace and tranquility.
Comparison of the songs proposed for children to perform - "Mama" by V. Gavrilin (to the words of A. Shulgina) and "Mama" by the Italian composer Bixio - is similar to the comparison of paintings. Which of the songs is more consistent with the image of the painting by O. Renoir?
Additional Information
Perhaps not everyone knows that the song "Mama" is the last number of the vocal-symphonic cycle "Earth" by V. Gavrilin. This cycle includes seven numbers, seven contrasting songs, not connected by plot, but united by a common theme: "Memory", "Trench", "Bread", "Wind", "Lullaby", "Earth", "Mother". Of all the numbers in the cycle, the seventh - "Mom" - received particular popularity.
The image of the mother is a symbol of everything dear, dear, blood, holy. Mother-nurse, mother-earth, Motherland... The expressiveness of the musical solution of tender and touching lines about mother, combined with the classical intonation of the song melody, pure, strict, but sublime simplicity of chant, the song "Mama" resembles the classical Adagio. The continuity of the unfolding melody of wide breathing with soft delays, grace notes, colorful but noblely calm leaps and measuredly pulsating accompaniment evokes such well-known melodies as the flute solo from the second scene of E. Gluck's opera "Orpheus and Eurydice", the horn theme of the second part of the Fifth symphonies by P. Tchaikovsky, viola aria No. 47 from the "Passion according to Matthew" by J.-S. Bach.
Next to the song by V. Gavrilin, the song of the Italian composer sounds in contrast. The national flavor present in it gives the music passion and expressiveness of expressing feelings. We offer the following option for introducing students to these two songs: before listening, the teacher writes out musical lines - the first from an Italian song and the last from a Russian one.
"Palm Sunday". These pages introduce students to another twelfth holiday of the Orthodox Church - Palm Sunday. This holiday is also called the Entry of the Lord into Jerusalem.
The entrance to Jerusalem is the return of Jesus Christ from wanderings to Jerusalem, His last entry into the city where He will take place. death on the cross and the coming resurrection. In the textbook, students will see two icons dedicated to Palm Sunday.
In the center of the Russian icon and fresco 5 Italian artist Giotto, we see Jesus Christ riding a donkey, and behind him a group of apostles, disciples of Christ. The inhabitants of Jerusalem, who welcome Jesus, wave palm branches and spread their clothes under the feet of His donkey. This is how it was customary to greet the winner.
"Willows". The next spread introduces students to the same holiday with the help of children's songs by A. Grechaninov and R. Gliere to the words of A. Blok "Verbochki" and a bright, memorable melody English composer Lloyd Webber from the rock opera Jesus Christ Superstar. Work on songs requires a deep understanding of their poetic text.
The song "Verbochka" by A. Grechaninov, despite its apparent simplicity, requires painstaking vocal and choral work with intonation. In order to discuss the performance plan with the children, it is advisable to write out several measures of the song on the board, emphasize the direction of the melody, and find a climax. Questions will help with this: with what words does the climax begin? What range does it cover? What are the main words in the song? Pay attention to the duration of the students. Singing in semitones gives the song a certain vibrancy associated with the flickering candlelight. It is necessary to draw the attention of students to the fact that there is no usual couplet form here, to determine the nature of the music, to compare it with a choir from a rock opera, and then ask the question: what kind of music depicts a festive action - a procession, and which one expresses the state of a person waiting for a holiday?
Working with R. Glier's song "Verbochki" comes down to establishing differences with A. Grechaninov's song. We think that after a single listening, students will not be able to distinguish one song from another - they are so similar. Apparently, one should ask the question, which words account for the intonational culmination in these small works and what is the reason for this. If students answer this question correctly, then they understand the meaning of the songs.
"Holy Lands of Russia". Here, students get acquainted with the music of magnificence, taken from church life, and with the "Ballad of Prince Vladimir", dedicated to the images of the saints - Princess Olga and Prince Vladimir. Olga and Vladimir are not only Russian princes, but also Russian saints. The Russian Orthodox Church calls them equal to the apostles, that is, their deeds on earth are equal to those of the disciples of Jesus Christ - the apostles, who enlightened the peoples of the world, telling about Christ and his commandments. Just like the apostles who preached the teachings of Christ, they brought the Orthodox faith to Rus'.
Additional Information
Princess Olga was one of the first Christians in our land, and her grandson, Prince Vladimir, baptized Rus', that is, he converted the entire state subject to him to Christianity
The images of the Holy Equal-to-the-Apostles Princess Olga and the Holy Equal-to-the-Apostles Prince Vladimir, which students will see on the pages of the textbook, are fragments of the painting by V. Vasnetsov of the Vladimir Cathedral in Kyiv.
V. Vasnetsov knew ancient Russian and oriental patterns and ornaments well. He depicted Princess Olga and Prince Vladimir in Byzantine clothes (it was in Byzantium that Olga was baptized). The cross, the church in Olga's hands, the sword on her belt - all these are symbols of princely power and signs of the saints of the Russian land. Peacocks on the fabric of Princess Olga's clothes symbolize eternal life. Draw students' attention to these symbols.
"The Ballad of Prince Vladimir" to the verses of A. Tolstoy is a folk chant. The melody of the ballad is artless, with an even rhythmic pattern. It is close to historical folk songs. The melody sounds calmly, measuredly - a story about the affairs of Prince Vladimir. It is interesting to compare the melody of the ballad with greatness, with hymns about St. Sergius of Radonezh, revealing contrasting and identical in intonations.
magnificence- This is a solemn prayer chant. The nature of the music is calm, majestic, the melody is singsong.
To magnify means to praise, glorify, honor. There is no hurry in magnification, so the words are pronounced calmly, in a singsong voice. In the old days they called it songs, congratulatory wishes, honorable lamentations.
The magnification given in the textbook is the music of the Orthodox Church. Try to sing this greatness with students calmly, dignifiedly, widely and singsongly. The musical notation of greatness is peculiar: an unusual size, constantly repeating sounds.
It is advisable to write out the continuation of the musical notation of the greatness on the board from the “Reader of musical material for the textbook“ Music. Grade 3 "and draw students' attention to how words are pronounced (sung) in one sound.
It is interesting that this music remains unchanged for the glorification of all the saints. And the students will return to him, but in connection with the magnification of Saints Cyril and Methodius.
TO BE A MUSICIAN, SO NEEDED SKILL
"Wonder Music". The spread is dedicated to songs about music as a source of inspiration, hope and joy of life. Students are invited to choose to learn one or two songs: “We are friends with music” by J. Haydn (Russian text by P. Sinyavsky) and “Miracle Music” by D. Kabalevsky (lyrics by Z. Aleksandrova) or “Music lives everywhere” by Y. Dubravin . Previously, students determine whether they are song or dance (at the same time, the teacher can play them like piano pieces), written in our time, or belong to a composer of another era. It is interesting to find out with the guys the features of the couplet form of each of the songs, in the work on which a number of difficulties will be encountered.
The nature of the songs requires light sounding, rhythmic coherence in performance, which will help the thoroughness of work on phrasing. In the songs “Miracle Music” and “Music Lives Everywhere”, in order to achieve clarity of diction at a fast pace, you can use the well-known technique of whispering the text of the song.
slight emphasis on downbeat the second bar of each phrase in D. Kabalevsky's song will emphasize its dance character. The exception is the words "That's it!". Here you can make two accents and, as the song says, “stomp your heels” to make it fun and provocative. Attention should be paid to the exact intonation of altered sounds found in the melody (lowered level VII, higher step IV, deviations to minor, etc.), to the “active” removal of sustained sounds on the strong beat of the next bar at the end of the 1st and 2nd phrases .
The last verse sounds at the dance tempo, so the initial tempo should be chosen with the expectation of further successive acceleration. In the song of Y. Dubravin, the phrases should be longer and built on a gradual and constant increase. Students will be able to independently determine whether the entire song sounds in major, where the minor appears and in what mode the song ends.
In a song by J. Haydn, a pause that breaks a four-bar phrase into two motives should emphasize the dance character, without interrupting the line of development of the melody. This will help to give the song a special flavor, emphasizing its belonging to another era, another people. It resembles an Austrian folk melody in the spirit of an elegant minuet, dance moves which affected the features of the construction of the melody, the expansion of the last phrase to six measures.
"Sharp Rhythm - Jazz Sounds". The teacher introduces third-graders to jazz compositions: "Acute Rhythm" by J. Gershwin (to the words of A. Gershwin), a fragment from the musical "Crazy Girl" by J. Gershwin (lyrics by A. Gershwin) performed by F. Waller and his jazz ensemble. Students listen to Louis Armstrong and Ella Fitzgerald perform Clara's Lullaby from George Gershwin's Porgy and Bess.
Most likely, this will be the first conscious encounter of children with jazz. Undoubtedly, in order to feel the peculiarities of jazz, the sharpness of the rhythm, syncopation, special, specific moves of the melody, you need to perform fragments of the song "Acute Rhythm" and "Clara's Lullaby" by J. Gershwin, then listen to the recording of the vocal performance of J. Gershwin's music.
Additional Information
In addition to what is said in the textbook, it is advisable for the teacher to tell in more detail the history of the emergence of jazz, that jazz is music created by the descendants of Negro slaves taken out of Africa.
When converting slaves to Christianity, the missionaries taught them religious hymns of European origin. However, the Negroes sang these melodies in their own way. So arose spirituals- Negro spiritual songs. Like a complaint, the protest cry of the Negro soul against slavery and oppression appears and blues- A folk song of American blacks. The Negro sings the blues not to get emotional, but to free himself from his suffering, from his misfortunes. “The one who sings about his grief sings it,” they say about the folk song. Or, as the old nanny of M. Mussorgsky said, noticing the deep meaning folk words“to share grief with someone”: “Grief can only be opened, but it is impossible to“ open it up ”. This is what helps the joint performance of songs.
On the basis of blues and spirituals, jazz arose - a new orchestral music - an arrangement of folk and religious songs of blacks in the USA, which, with its beauty and originality, conquered the world and spread to almost all continents.
On the pages of the textbook, students will see a portrait of Louis Armstrong, and in the recording they will hear his voice and his magnificent trumpet playing. No one had such a powerful sound as Louis Armstrong. “This is not your pipe, but you are at the pipe,” they said about him. In fact, he was the complete master of his instrument. His trumpet was capable of expressing everything, capable of singing like a human voice.
Some jazz singers and singers tried to imitate the timbre of his voice and unusual vibrato. Evaluating jazz performers, they said: "Louis did everything and did it first." Armstrong creates a melody and, developing it, builds his solos with such impeccable logic that one gets the impression that this is not improvisation, but deeply thought out, pre-composed music.
"I love the sadness of your open spaces." reversal, dedicated to music G. Sviridov, will be a striking contrast to the previous turn. He develops the artistic and pedagogical idea of opening the textbook for grade II "My sadness is light." Here the perception of the plays already familiar to children “Spring. Autumn ”,“ Troika ”, students get acquainted with the choral work of G. Sviridov“ Zapevka ”to the verses of I. Severyanin.
The work of G. Sviridov appears to students as song, in the literal and figurative sense of the word. This definition can be explained, on the one hand, by the composer's interest in vocal genres, his great attention to the word, the deep connection between the word and music, on the other hand, his tireless chanting of the Motherland and the creative principle in man.
The melody of "Sings" can be learned by children with a focus on musical notation. Sincere and thoughtful, it expresses the composer's great feeling of love for his native land, which captures us too. We seem to have the same feeling.
If “Zapevka” is an independent choral work - a choral miniature, then “It is snowing ...” - a part from G. Sviridov's “Little Cantata” to B. Pasternak's verses - a lyrical sketch of winter nature. Before listening to this music on record, let the students try to sing a melodic improvisation to the verses of B. Pasternak, then compare the sound of the verses of B. Pasternak and A. Pleshcheev and “compose” melodies based on the rhythmic formulas written out in the workbook (“ Playing Composer. In what character will each of the melodies sound? Which of them will have a more developed, detailed melodic line? What will be the peculiarity of the melody to the repeatedly repeated words "it's snowing"?
With a system of such tasks, the teacher poses artistic and creative problems for students, the solution of which actively develops their figurative thinking. It is important that it be carried out in the language of music, and not verbally. After that, listen to the music of G. Sviridov to the verses of B. Pasternak, compare it with the melodies "composed" by children. Then have the students sing the melody of this part of the "Little Cantata" according to the notes given in the textbook.
The verses sound muffled, almost in a whisper, at a slow pace of calmly falling snow - and G. Sviridov's music sounds as if in an undertone, as if with a mute, "at the same pace, with that laziness ...". In the melody, only two sounds are alternately scanned ( f-sharp And la). Each of these sounds is assigned “its own” timbre (a group of altos is replaced by a group of sopranos), “its own” harmonic background of two chords (alternating mode). In conclusion, it is advisable to listen once again to the 1st part of the cantata “It is snowing ...” in the recording.
Uniform, repeated repetition of the main intonation on the same sound in different voices gives transparency, mystery to the sound. Listening to music, you experience the bewitching, almost hypnotic effect of this musical picture - it's snowing. Draw the children's attention to the accompaniment of the choir, the sound of the harp, celesta, flute, which convey the feeling, on the one hand, of some fantasticness, on the other, of bells, aspiration upwards.
But is it just landscape? What else does such metric uniformity remind children of? Students, as a rule, hear the swing of the pendulum, the countdown. Music reproduces not only the fall or flight of snow - G. Sviridov's sound picture is also the image of Time itself, which is opposed to the theme of creativity. How is creativity woven into Time? How do the years go - like a passionless snowfall or meaningfully, “like words in a poem”? Thus, the landscape, familiar and close to all of us since childhood, is translated into music with the help of the poet B. Pasternak as an idea about the artist's destiny.
Maybe year after year
It follows as it snows,
Or like the words in a poem?
The last words of the phrase are performed by the soloist. Thus, the composer highlights them especially, emphasizing their significance in the general sense of the work. The question remains unanswered. The unchanging refrain "It's snowing, it's snowing" sounds like a magic spell - the violas sing at the lowest sound (an octave lower), and the initial stanza of the verses is repeated again.
It seems that the teacher will turn to this music more than once, return to it in the middle grades of the school, when the philosophical meaning of the creative tasks set by the composer and poet can be fully revealed to students. However, approaching them is possible and necessary already at primary school age.
If this turn was focused on the music of G. Sviridov, then the following are devoted to the music of S. Prokofiev, a comparison of the works of E. Grieg and P. Tchaikovsky, V.-A. Mozart and L. Beethoven. It is important to enter the world of these composers, as if to enter into a dialogue with each of them.
"The World of Prokofiev".“I came to this world to see the sun…” - these lines of K. Balmont are the best suited to the unusual musical fragment sounded at the lesson - “Procession of the Sun” - from the 4th part of the Scythian Suite for a large symphony orchestra by S. Prokofiev “ Ala and Lolly" 1 .
The composer expanded the pictorial boundaries of music in depicting a picture of the mighty flowering of nature and created a vividly dynamic image of the rising sun. The finale, Lollia's March and the Sun's Procession, is a dazzling sonic fresco. Music seems to burn with its frantic colorful rumble. Here, according to B. Asafiev, there is "violent will, a thirst for life, healthy, powerful, going ahead and stopping at nothing." This coda is built on the effect of a colossal sonic boom. S. Prokofiev used the "quadruple" composition of the orchestra with a large number of additional voices, making full use of the rich arsenal of brass and percussion instruments. All new groups of instruments are included in the growing rumble, above which the piercing, burning sound of pipes floats and expands. The melodic beginning is almost absent.
The teacher can work with this spread both separately and in comparison with the next one, dedicated to the music of P. Tchaikovsky and E. Grieg. This, on the one hand, will help students remember what works they are already familiar with, on the other hand, it will allow them to highlight the features, originality musical language, the musical speech of each of these composers.
In advance, you can invite students to draw a picture of the sunrise. Considering the drawings in the lesson, the teacher, together with the children, selects them according to their mood and character. For example: the sunrise is warm, soft, gentle, lyrical or bright, joyful, burning.
Following this, the children listen to two musical fragments and determine which of them is in tune with one or another drawing. (Sounds like "Morning" from the suite "Peer Gynt" by E. Grieg and "Procession of the Sun" from the suite "Ala and Lolly" by S. Prokofiev.) Students will feel the vivid contrast of these two musical pictures. Did the same composer write these works or different ones? What can be said about the authors of these works?
This is how the famous pianist Arthur Rubinstein expressed his attitude to the music of the Russian composer S. Prokofiev: “You, my dear Prokofiev, could say about yourself:“ The sun is me! charged with vital energy” D. Kabalevsky: “Prokofiev can safely be called the sun of Russian music of the 20th century. His work is filled with mighty life force, dazzling light, imbued with boundless love for life, for man, for nature. Even in the most dramatic, intense, tragic pages of his music… we always feel that somewhere, behind the clouds, the sun continues to shine and it will surely shine over us…” This feeling of Prokofiev’s music also arises in children. In the elementary grades, it is enough to draw the attention of students to the chased, courageous rhythms of S. Prokofiev's compositions, which are born from the elements of march, dance, and human gesture; listen to the melodic line, continuous, expressive, clear in its emotional content, but having a characteristic pattern in which the simplicity of the lines is combined with unusual curves and angularities.
If you listen closely to the musical speech of S. Prokofiev, it will turn out that it is very difficult to sing his melodies: the sounds are separated from each other at a great distance. Have the students try to sing the melody "Walks". With what great leaps and ledges it moves!
And if we write out this melody without jumps, we will see that this is the same scale (see note examples on p. 72).
"Singers native nature». This spread contains the words of E. Grieg and P. Tchaikovsky about each other and about the love of each of them for their land, their native nature, for the tunes of their Motherland. This is a kind of creative credo that determined the nature and national style of the music of these masters.
Let the children try to create an imaginary portrait of composers already quite familiar to them - S. Prokofiev, P. Tchaikovsky and E. Grieg. This will help listening to their compositions and the statements of composers about each other. For example, P. Tchaikovsky wrote about the Norwegian composer E. Grieg: “In his music ... reflecting the beauty of Norwegian nature, sometimes majestically wide and grandiose, sometimes gray, modest and wretched, but always incredibly charming for the soul of a northerner, there is something something close to us, dear, immediately finding a warm, sympathetic response in our hearts ... ”And here is how E. Grieg assessed himself:“ Artists, like Bach and Beethoven, erected temples on heights. I wanted ... to build dwellings for people in which they would feel comfortable and happy.
The essence of E. Grieg's music and the origins of its originality are contained in his tunes - sometimes severely mournful, sometimes gently sad, sometimes fervently cheerful, cheerful and joyful. They reflect the impressions of living among the unusually beautiful nature of Norway. A characteristic feature of the Grigovian melody is the downward movement of the voice from a second to a third, which, as B. Asafiev emphasizes, sounds especially characteristic when the introductory tone moves down to the dominant mode. The teacher can emphasize and play out these “favorite musical sayings” of the composer: “Grigov’s ... northern folk singing-intonation ... always pleasantly excites, like a native friendly touch in the handwriting of a dear person ... You can know very few of Grieg’s compositions, but you can immediately distinguish properties and character of his music. How people's faces meet, indelibly remembered due to the special expressiveness of their features.
The persuasiveness of the melody of P. Tchaikovsky - music, always song, expressing the high culture of human feeling, lyrically revealing lasting, like a song, a state of nature, "in lyrical imagery", according to B. Asafiev, "as if making you feel, and therefore see what our heart sings about." His musical style is distinguished by a deep and sensitive rethinking of the rhythmic formula of the waltz, a combination of the wavelike melody inherent in the waltz with Russian chant, breadth and smoothness of breathing.
If you listen closely to the musical speech of P. Tchaikovsky, you will notice that all the sounds of the melody are nearby, follow one after another, sing to each other.
So children in a form accessible to them are not the first time touching the problem of style, affirming themselves in the idea that "style is a person." The concept of style is filled with more and more capacious, deep meaning.
Let's glorify joy on earth. "Joy to the sun calls us." The remarkable Russian composer and scientist Sergei Ivanovich Taneyev (1856-1916) once remarked that if inhabitants of other planets appeared on Earth, who should have been given an idea of humanity in just one hour, then it would be best to perform for them the Ninth Symphony by L. Beethoven ... And here is how the poet N. Zabolotsky expressed his impression of the music of L. Beethoven in verse:
And through the peace of the space of the world
The ninth wave passed to the very stars ...
Open up thought! Become music, word
Hit the hearts so that the world triumphs!
Music J.-S. Bach, V.-A. Mozart, L. Beethoven, symbolizing the highest achievements of human genius, will certainly inspire the teacher to a generalized, creatively improvisational construction of the final lessons of the year. In these lessons, in addition to the works indicated on the pages of the textbook, it is important to include those compositions that the children especially remember and that they would like to perform or hear again.
Here, third-graders are invited to first listen to a fragment of the finale of the Ninth Symphony - the last symphony of L. Beethoven - performed by the teacher, then learn its main theme and, finally, hear it performed by the choir and orchestra. Perhaps students have already heard this music, since significant events in the life of many peoples, many countries of the world (for example, the Olympic Games) are often marked by the performance of the Ninth Symphony.
After the students independently determine the content of the musical image of this theme, express their thoughts on this matter, you can learn the final theme with them.
The joy of young life is a flame!
New bright days pledge!
We, drinking the flame in our hearts,
We enter your bright chamber.
The oppression has been torn from unnecessary borders,
Where everyone lives by work.
All creators of ideas are obedient
Under your big wing.
Joy shines on us in the fog,
Warms the heart in the hour of adversity.
The captivity of passions beckons us into the abyss,
Joy to the sun calls us.
Joy will be remembered by all nations,
Forgetting the oppression of gray centuries.
From the breast of nature itself
Fortunately, our call is being heard.
Even in his youth, carried away by the ideas of the French Revolution, L. Beethoven was looking for a musical embodiment of F. Schiller's ode "For Joy", on the text of which the finale of the symphony was written. The ideas of universal human equality, fraternity and freedom worried the composer throughout his entire career. It is no coincidence that the musical theme of the finale arose long before the symphony, and in various works of the composer one can find images related to this theme.
The theme of joy is surprisingly simple and is perceived as a revelation. The voices of the soloists, the choir, the orchestra unite, merge in a single impulse to glorify joy. The theme is transformed into a song, a bright anthem, a heroic march, forming into a grandiose picture of mass jubilation, the triumph of a happy humanity. "Hug, millions!" - the symphony ends with this apotheosis, making the hearts of the listeners beat in unison with the music of L. Beethoven and the words of F. Schiller.
The most important thing is that students feel and understand how the works of L. Beethoven and M. Glinka, V.-A. Mozart and S. Prokofiev, a variety of musical genres: ode and cant, symphony and opera. "Glory!" M. Glinka and the finale of L. Beethoven's Ninth Symphony are a single song-hymn to human happiness, joy, this is the triumph of the human spirit.
The methodological guide has been compiled taking into account the real test tasks of the exam; the training materials included in it correspond to the codifier of the elements of the content of the tasks of the exam in 2011. Benefit structure
ToolkitOptions benefits(part A and part B). In the presented methodical allowances... in this sentence? Music P.I. Tchaikovsky excites listeners ... with local names for ubiquitous items. 1) 1, 2, 3, 4 2) 1,2,3 3) 3, 4 4)1,3 ...
Methodical manual For primary school teachers On the subject "The world around us" Grade 3
Toolkitmethodical allowance For teachers primary school By subject « The world» Grade 3... it is advisable to integrate with reading, music, with the environment. Goals... Usage interactive whiteboard methodical recommendations 1. Organizational moment ...
Methodological manual on the organization of work in physical culture teams of educational institutions
Toolkitmethodical allowance on the organization of work in physical teams ... 6 exercises of the complex: b) repeat the exercises under music 10 min. 10 min. 10 ... lesson work: fostering interest in subject, instilling skills of independence, honesty in the game ...
Explanatory note
Working training program in music for the 3rd grade was developed in accordance with the federal state educational standard of the second generation of elementary general education, an exemplary program of primary general education in music, taking into account the author's program in music - “Music. Primary school”, authors: E.D. Kritskoy, G.P. Sergeeva, T.S. Shmagina, M., Enlightenment, 2007.
The work program is focused on the use of educational and methodological kit:
- Kritskaya E.D., Sergeeva G.P., Shmagina T.S. "Music": A textbook for students in the 3rd grade of elementary school - M .: Education, 2013
- A guide for the teacher / Comp. E.D. Kritskaya, G.P. Sergeeva, T.S. Shmagina.- M.: Enlightenment, 2012;
- Phonochrestomathies of musical material for the textbook "Music". Grade 3 1 (CD) mp3, M., Enlightenment, 2013
The study of music in the 3rd grade of elementary school is aimed at the formation of musical culture as an integral part of the spiritual culture of schoolchildren.
The introduction of children into the diverse world of music through acquaintance with musical works that are accessible to their perception and contributes to the solution of the following goals and objectives:
- formation of the foundations of musical culture through emotional, active perception of music;
- education of emotional and valuable attitude to art, artistic taste, moral and aesthetic feelings: love for the Motherland, pride in the great achievements of domestic and world musical art, respect for the history, spiritual traditions of Russia, the musical culture of different peoples;
- development of perception of music, interest in music and musical activity, figurative and associative thinking and imagination musical memory and hearing singing voice, creativity in various types of musical activity;
- enrichment of knowledge about the art of music; mastering practical skills and abilities in educational and creative activities (singing, listening to music, playing elementary musical instruments, musical-plastic movements and improvisation).
- Types of organization of educational activities:
Independent work
creative work
Contest
Quiz
The main types of control in the organization of work control:
Introductory
Current
final
Individual
Writing
Teacher control
Forms of control:
Observation
Independent work
Test
Planned learning outcomes for students
Subject Results
Music in human life
The student will learn:
Perceive and understand music of different emotional and figurative content, different genres, including fragments of operas. Ballets, cantatas, symphonies;
Transfer to Musically -artistic activity artistic and figurative content and the main features of the works of various composers and folk art.
The main laws of musical art
The student will have the opportunity to learn:
Musical picture of the world
The student will learn:
Personal universal learning activities
Regulatory universal learning activities
The student will learn:
The student will have the opportunity to learn:
Understand the meaning of the tasks proposed in the textbook, including design and creative ones;
Cognitive universal learning activities
The student will learn:
The student will have the opportunity to learn:
Summarize educational material;
Establish analogies;
Communicative universal learning activities
The student will learn:
The student will have the opportunity to learn:
In accordance with the Basic curriculum in 3rd grade academic subject"Music" is given 34 hours (at the rate of 1 hour per week).
Educational and thematic plan
Sections and topics | Qty hour | Including: |
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Test papers. |
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Russia is my motherland. | |||
Melody is the soul of music. | |||
Nature and music. | |||
Cantata "Alexander Nevsky". | |||
Opera "Ivan Susanin". | |||
Day, eventful. | |||
Morning. | |||
General lesson. | |||
"Singing about Russia - what to strive for in the temple." | |||
Holy Lands of Russia. Duchess Olga. Prince Vladimir. | |||
“Burn, burn brightly so that it doesn’t go out!” | |||
Singers of Russian antiquity. Lel. | |||
Sound pictures. | |||
IN musical theater. | |||
Opera "Ruslan and Lyudmila". | |||
Opera "Orpheus and Eurydice" Overture. Farlaf. | |||
"Ocean - the sea is blue." | |||
Ballet Sleeping Beauty. | |||
IN concert hall. | |||
Sound pictures. | |||
Suite "Peer Gynt". | |||
The world of Beethoven. | |||
“To be a musician, you need skill…” | |||
Miracle music. Sharp rhythm - jazz sounds. | |||
World of Prokofiev. | |||
Singers of native nature. | |||
General lesson. | |||
total |
No. p / p | Section name | Number of hours | results | |||||
subject | Personal | Regulatory | cognitive | Communicative |
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Music in human life | 11h | Origins of music. The birth of music as a natural manifestation human condition. The sound of the surrounding life, nature, moods, feelings and character of a person. A generalized idea of the main figurative and emotional spheres of music and the diversity of musical genres and styles. Song, dance, march and their varieties. Song, dance, marching. Opera, ballet, symphony, concert, suite, cantata, musical. Domestic folk musical traditions. Folk art of Russia. Musical and poetic folklore: songs, dances, rituals. Historical past in musical images. Folk and professional music. Compositions of domestic composers about the motherland. Spiritual music in the work of composers. | Music in human life The student will learn: Perceive and understand music of different emotional and figurative content, different genres, including fragments of operas, ballets, cantatas, symphonies; Distinguish between Russian music and music of other peoples; compare works of professional and folk music; Understand moral sense fabulous images in opera and ballet, heroic images in Russian folk songs and in the music of major genres: opera and cantata; Emotionally express their attitude to musical works; Navigate the genres and main features of musical folklore; Understand the possibilities of music, convey the feelings and thoughts of a person; To convey in musical and artistic activity the artistic and figurative content and the main features of the works of various composers and folk art. The student will have the opportunity to learn: Correlate the performance of music with your own life impressions and implement your own performance intention, suggesting a performance plan for the song, etc. Carry out (within the framework of solving project tasks) the search for the necessary information, including ICT; Possess the initial skills of self-organization and self-evaluation of cultural leisure. | The student will have: Emotional responsiveness to musical works of various figurative content; The position of the listener and performer of musical works, the initial skills of assessment and self-assessment of musical and creative activity; The image of the Motherland, the idea of its rich history, the heroes - defenders, about cultural heritage Russia; Sustained positive attitude towards music lessons; understanding the meaning of music in one's own life; The basis for developing a sense of beauty through familiarity with accessible musical works different eras, genres, styles; Empathy as understanding the feelings of other people and empathy with them; The concept of music and music lessons as a factor that positively affects health, the initial ideas about leisure. The student will have the opportunity to: Cognitive interest in music lessons, the position of an active listener and performer of musical works; Moral feelings (love for the Motherland, interest in the musical culture of other peoples); Moral and aesthetic feelings, understanding and sympathy for the experiences of the characters of musical works; Understanding the connection between the moral content of a musical work and the aesthetic ideals of the composer; Ideas about music lessons as a way of emotional unloading. | The student will learn: Accept and save the educational, including musical and performing task, understand the meaning of the teacher's instructions and make adjustments to it; Plan your activities according to learning objectives, distinguishing between the method and the result of one's own actions; Perform actions (orally) based on a reference point given by the teacher or peers; respond emotionally to musical characteristic images of heroes of musical works of different genres; Monitor and evaluate your participation in different types musical activity. The student will have the opportunity to learn: Perform actions (in oral written form and in the internal plan) based on the reference point given in the textbook; Perceive the opinion of peers and adults about a piece of music. | The student will learn: Search necessary information in the dictionary and from additional sources, expand your understanding of music and musicians; Independently work with additional texts and tasks in the workbook; To convey their impressions of the perceived musical works; Use examples of musical notation when discussing features of music; Choose ways to solve a performance problem; Correlate the illustrative material and the main content of the musical composition; Correlate the content of drawings and schematic images with musical impressions; Perform chants, focusing on the recording by hand signs and musical text. The student will have the opportunity to learn: Search for the necessary information in the dictionary and additional sources, including the controlled space of the Internet; Correlate various works according to mood and form; Build your own reasoning about the perceived properties of music; Use the notation adopted in relative and absolute solmination; To carry out comparison, seriation and classification of the studied objects according to the specified criteria; Summarize educational material; Establish analogies; Compare funds artistic expressiveness in music and other arts (literature, painting); Present information in the form of a message (presentation of projects). | The student will learn: Express your opinion about music in the process of listening and performing, using different speech means (monologue, dialogue, in writing); Expressively perform musical works, take an active part in various types of musical activities; Understand the content of the questions and reproduce easy questions about music; Show initiative by participating in the performance of music; Control their actions in collective work and understand the importance of their correct implementation; Understand the need to coordinate joint actions in the performance of educational and creative tasks; Understand the importance of cooperation with peers and adults; Accept an opinion that is different from your point of view; Seek to understand the other person's position. The student will have the opportunity to learn: Express your opinion about music using different means of communication (including ICT tools). Understand the importance of music in conveying the mood and thoughts of a person, in communication between people; Control your actions and correlate them with the actions of other participants teamwork, including collaboration in project activities. Formulate and ask questions, use speech to convey information, for your actions and the actions of your partner; Strive to coordinate various positions in cooperation; Show creative initiative in collective musical and creative activities. |
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Basic laws of musical art. | 12h | The intonational-figurative nature of musical art. Expressiveness and figurativeness in music. Intonation as a voiced state, expression of a person's emotions and thoughts. Musical and speech intonations. Similarity and difference. Intonation is the source of musical speech. Musical speech as a way of communication between people, its emotional impact. Composer-performer-listener. Features of musical speech in the works of composers, e expressive meaning. The development of music is the juxtaposition and collision of human feelings and thoughts, musical intonations, topics artistic images. | - listen to a piece of music, highlight expressive and pictorial intonations in it, distinguish between works of different genres; - observe the development of musical images, themes, intonations, perceive the difference in the forms of music construction; - participate in the collective embodiment of musical images, expressing your opinion in communication with peers; - to recognize the features of the musical speech of individual composers; apply the acquired knowledge in performing activities; - to recognize folk melodies in the works of composers; the sound of musical instruments and singing voices. The student will have the opportunity to learn: Show creative initiative in the implementation of their own ideas in the process of singing, playing children's elementary musical instruments to the music; Improvise melodies for individual phrases and complete fragments of a poetic text in the nature of a song, dance and march; Use the notation adopted in relative and absolute solminization; Find features of form, presentation in the musical text; - distinguish the sound of musical instruments (including the timbre of the harp, cello, celesta). The student will have the opportunity to: Ideas about the composition (M.I. Glinka, P.I. Tchaikovsky, A.P. Borodin. N.A. Rimsky-Korsakov, F.-Y Haydn, J.-S. Bach, W.-A Mozart, E Grieg, G. V. Sviridov, S. S. Prokofiev, R. K. Shchedrin and others) performing arts; Musical concepts: major and minor scale, fermata, pauses of various durations, sharp, flat, aria, canon, etc. | The student will have: Emotional responsiveness to musical works of various figurative content; The position of the listener and performer of musical works, the initial skills of assessment and self-assessment of musical and creative activity; The image of the Motherland, the idea of its rich history, the defending heroes, the cultural heritage of Russia; Sustained positive attitude towards music lessons; interest in music lessons extracurricular activities, understanding the meaning of music in one's own life; The basis for the development of a sense of beauty through acquaintance with accessible musical works of different eras, genres, styles; Empathy as understanding the feelings of other people and empathy with them; The idea of music and music lessons as a factor that positively affects health, the initial ideas about leisure. The student will have the opportunity to: Cognitive interest in music lessons, the position of an active listener and performer of musical works; Moral feelings (love for the Motherland, interest in the musical culture of other peoples); Moral and aesthetic feelings, understanding and sympathy for the experiences of the characters of musical works; Understanding the connection between the moral content of a musical work and the aesthetic ideals of the composer; Ideas about music lessons as a way of emotional unloading.. | The student will learn: Accept and save the educational, including musical and performing task, understand the meaning of the teacher's instructions and make adjustments to it; Plan your actions in accordance with the learning objectives, distinguishing between the method and the result of your own actions; Perform actions (orally) based on a reference point given by the teacher or peers; Emotionally respond to the musical characteristics of the images of the heroes of musical works of different genres; To exercise control and self-assessment of their participation in various types of musical activities. The student will have the opportunity to learn: Understand the meaning of the tasks proposed in the textbook, incl. design and creative; Perform actions (in oral written form and in the internal plan) based on the reference point given in the textbook; Perceive the opinion of peers and adults about a piece of music. | The student will learn: Search for the necessary information in the dictionary and from additional sources, expand your understanding of music and musicians; Independently work with additional texts and tasks in the workbook; To convey their impressions of perceived musical works; Use examples of musical notation when discussing features of music; Choose ways to solve a performance problem; Correlate the illustrative material and the main content of the musical composition; Correlate the content of drawings and schematic images with musical impressions; Perform chants, focusing on the recording by hand signs and musical text. The student will have the opportunity to learn: Search for the necessary information in the dictionary and additional sources, including the controlled space of the Internet; Correlate various works according to mood and form; Build your own reasoning about the perceived properties of music; Use the notation adopted in relative and absolute solmination; To carry out comparison, seriation and classification of the studied objects according to the specified criteria; Summarize educational material; Establish analogies; Compare the means of artistic expression in music and other forms of art (literature, painting); Present information in the form of a message (presentation of projects). | The student will learn: Express your opinion about music in the process of listening and performing, using different speech means (monologue, dialogue, in writing); Expressively perform musical works, take an active part in various types of musical activities; Understand the content of the questions and reproduce simple questions about music; Show initiative by participating in the performance of music; Control their actions in collective work and understand the importance of their correct implementation; Understand the need to coordinate joint actions in the performance of educational and creative tasks; Understand the importance of cooperation with peers and adults; Accept an opinion that is different from your point of view; Seek to understand the other person's position. The student will have the opportunity to learn: Express your opinion about music using different means of communication (including ICT tools). Understand the importance of music in conveying the mood and thoughts of a person, in communication between people; Control their actions and correlate them with the actions of other participants in the collective work, including joint work in project activities. Formulate and ask questions, use speech to convey information, for your actions and the actions of your partner; Strive to coordinate various positions in cooperation; Show creative initiative in collective musical and creative activities. |
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Musical picture of the world. | 11h | The intonation richness of the musical world. General idea of musical life countries. Various types of music6 vocal, instrumental, solo, choral. Musical instruments. Orchestra: symphonic, brass, folk instruments. | The student will learn: Expressively perform chants and songs in compliance with the basic rules of singing, including conducting (2\4, 3\4, 4\4. 3\8, 6\8) Singing themes from individual pieces of music being listened to; perform songs in one-voice and two-voice presentation; Distinguish between melody and accompaniment, convey a different rhythmic pattern in the performance of available works; Compare musical images in the sound of different musical instruments; Distinguish the language of music different countries peace. The student will have the opportunity to learn: Compare the sound of the same work in different performances; To learn the passed musical works and their authors; Give examples of famous musical genres, forms; Collect music collections, take part in holding cultural events in the classroom, present the results of project activities. | The student will have: Emotional responsiveness to musical works of various figurative content; The position of the listener and performer of musical works, the initial skills of assessment and self-assessment of musical and creative activity; The image of the Motherland, the idea of its rich history, the defending heroes, the cultural heritage of Russia; Sustained positive attitude towards music lessons; interest in music lessons in extracurricular activities, understanding the meaning of music in one's own life; The basis for the development of a sense of beauty through acquaintance with accessible musical works of different eras, genres, styles; Empathy as understanding the feelings of other people and empathy with them; The idea of music and music lessons as a factor that positively affects health, the initial ideas about leisure. The student will have the opportunity to: Cognitive interest in music lessons, the position of an active listener and performer of musical works; Moral feelings (love for the Motherland, interest in the musical culture of other peoples); Moral and aesthetic feelings, understanding and sympathy for the experiences of the characters of musical works; Understanding the connection between the moral content of a musical work and the aesthetic ideals of the composer; Ideas about music lessons as a way of emotional unloading.. | The student will learn: Accept and save the educational, including musical and performing task, understand the meaning of the teacher's instructions and make adjustments to it; Plan your actions in accordance with the learning objectives, distinguishing between the method and the result of your own actions; Perform actions (orally) based on a reference point given by the teacher or peers; Emotionally respond to the musical characteristics of the images of the heroes of musical works of different genres; To exercise control and self-assessment of their participation in various types of musical activities. The student will have the opportunity to learn: Understand the meaning of the tasks proposed in the textbook, incl. design and creative; Perform actions (in oral written form and in the internal plan) based on the reference point given in the textbook; | The student will learn: Search for the necessary information in the dictionary and from additional sources, expand your understanding of music and musicians; Independently work with additional texts and tasks in the workbook; To convey their impressions of perceived musical works; Use examples of musical notation when discussing features of music; Choose ways to solve a performance problem; Correlate the illustrative material and the main content of the musical composition; Perform chants, focusing on the recording by hand signs and musical text. The student will have the opportunity to learn: Search for the necessary information in the dictionary and additional sources, including the controlled space of the Internet; Correlate various works according to mood and form; Use the notation adopted in relative and absolute solmination; To carry out comparison, seriation and classification of the studied objects according to the specified criteria; Summarize educational material; Establish analogies; Compare the means of artistic expression in music and other forms of art (literature, painting); Present information in the form of a message (presentation of projects). | The student will learn: Expressively perform musical works, take an active part in various types of musical activities; Show initiative by participating in the performance of music; Control their actions in collective work and understand the importance of their correct implementation; Understand the importance of cooperation with peers and adults; Accept an opinion that is different from your point of view; Seek to understand the other person's position. The student will have the opportunity to learn: Express your opinion about music using different means of communication (including ICT tools). Control their actions and correlate them with the actions of other participants in the collective work, including joint work in project activities. Formulate and ask questions, use speech to convey information, for your actions and the actions of your partner; Strive to coordinate various positions in cooperation; Show creative initiative in collective musical and creative activities. |
Educational and thematic planning
Lesson topic Lesson type | Content element | Control and evaluation activities | ICT facilities learning | ||
Melody is the soul of music. Lesson-conversation. | The intonational-figurative nature of musical art. Musical means expressiveness.The birth of music as a natural manifestation of the human condition. The intonational-figurative nature of musical art. Intonation as an internal voiced state, expression of emotions and reflection of thoughts. The main means of musical expression (melody).song like distinguishing feature Russian music. The understanding of the melody as the basis of music - its soul is deepened.
| input | oral questioning | Video presentation of the song |
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Nature and music.Combined lesson. Traditional. | Expressiveness and figurativeness in music. Various types of music: vocal, instrumental;Expressiveness and figurativeness in music. Various types of music: vocal, instrumental. The main means of musical expression (melody, accompaniment).Romance. Lyrical images in romances and paintings by Russian composers and artists.
| current | oral questioning | Video presentation |
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Vivat, Russia! (kant). Our glory is the Russian state. Combined lesson. Traditional. | Folk musical traditions of the Fatherland. Musical and speech intonations. Similarity and difference.Introducing students to the genre of canta. Folk musical traditions of the Fatherland. Musical and speech intonations. Similarity and difference. Song, marching. Soldier song. Patriotic theme in Russian folk songs. Images of defenders of the Fatherland in various genres of music.
| thematic | oral questioning | Presentation |
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Cantata "Alexander Nevsky". Lesson presentation. | A generalized representation of the historical past in musical images. Folk and professional music. Cantata. Cantata by S. S. Prokofiev "Alexander Nevsky". Images of defenders of the Fatherland in various genres of music.
| final | frontal survey | ||
Opera "Ivan Susanin". study lesson and primary fixation new knowledge. The lesson is conversation. | A generalized representation of the historical past in musical images. Compositions of domestic composers about the Motherland. Intonation as a voiced state, expression of a person's emotions and thoughts. Compositions of domestic composers about the Motherland. Intonation as an internal voiced state, expression of emotions and reflection of thoughts. The image of the defender of the Fatherland in the opera "Ivan Susanin" by M.I. Glinka.
| Video excerpts from operas |
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Morning. A lesson in reinforcing new material. Lesson-conversation. | The sound of the surrounding life, nature, moods, feelings and character of a person. Songness.The sound of the surrounding life, nature, moods, feelings and character of a person. Songness. Expressiveness and figurativeness in the musical works of P. Tchaikovsky " morning prayer"and E. Grieg" Morning ".
| current | group | Video presentation "morning" |
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Portrait in music. A person is hidden in every intonation. Lesson of studying and primary consolidation of new knowledge. Lesson-conversation. | Expressiveness and figurativeness in music. Intonation as an internal voiced state, expression of a person's emotions and thoughts.Portrait in music.
| current | oral questioning | ||
"In the nursery." Games and toys. On a walk. Evening. Lesson of studying and primary consolidation of new knowledge. Traditional. | Expressiveness and figurativeness in music.intonation expression. Children's theme in the works of MP Mussorgsky.
| current | oral questioning | Video fragments of their operas. f-t cartoon"Children's Album" |
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General lesson. | Generalization of musical impressions. Accumulation by students of auditory intonation-style experience through acquaintance with the peculiarities of the musical speech of composers (S. Prokofiev, P. Tchaikovsky, E. Grieg, M. Mussorgsky). | thematic | test | ||
Hail Mary! Virgin Mary, rejoice! Lesson-conversation. |
| current | oral questioning group | ||
An ancient song of motherhood.Combined lesson. Traditional. | The intonational-figurative nature of musical art. Spiritual music in the work of composers.The image of mother in music, poetry, fine arts.
| current | oral questioning | ||
Palm Sunday. Willows. A lesson in learning and consolidating new knowledge. Traditional. | Folk musical traditions of the Fatherland. Spiritual music in the work of composers.The image of the holiday in art. Palm Sunday.
| current | oral questioning | ||
Holy Lands of Russia. Princess Olga and Prince Vladimir. Combined lesson. Traditional | Folk and professional music. Spiritual music in the work of composers.Holy Lands of Russia.
| thematic | oral questioning group | ||
I will tune the harp in the old way ... (epics). Bylina about Sadko and the Sea King Combined lesson. Traditional. | Musical and poetic folklore of Russia. Folk musical traditions of the Fatherland. Folk art. Epics.
| current | independent Job | ||
Singers of Russian antiquity. Lel. Combined lesson. Traditional. | Musical and poetic folklore of Russia. Folk and professional music. Singers are gossips. Images of epic storytellers, folk traditions and rituals in the music of Russian composers (M. Glinka, N. Rimsky-Korsakov).
| thematic | oral questioning | disk "Russian folk instruments" |
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Sound pictures. Combined lesson. Traditional. | Musical and poetic folklore of Russia: rituals. Folk and professional music.Folk traditions and rituals in the music of the Russian composer N. Rimsky-Korsakov.
| final | test; individual. | Fragments from the opera. |
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Farewell to Shrovetide. General lesson. Lesson of control, evaluation and correction of students' knowledge. Quiz lesson. | Musical and poetic folklore of Russia: rituals. folk music | final | |||
Opera "Ruslan and Lyudmila". Overture. Farlaf. A lesson in learning and consolidating new knowledge. The lesson is a conversation. | Opera. The development of music is the juxtaposition and collision of feelings, themes, artistic images. Forms of construction of music as a generalized expression of the artistic and figurative content of the work. Singing voices. Musical themes-characteristics of the main characters. Intonational-figurative development in M. Glinka's opera "Ruslan and Lyudmila".
| thematic | oral questioning | Fragments from the opera. |
|
Opera "Orpheus and Eurydice". Lesson of generalization and systematization of knowledge. Lesson-conversation. | Opera. The development of music is a comparison and collision of human feelings and thoughts, themes, artistic images. The main means of musical expression.Intonation-figurative development in K. Gluck's opera "Orpheus and Eurydice".
| current | oral questioning | Presentation. |
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Opera "Snow Maiden". Magical child of nature. Combined lesson. Traditional. | Intonation as an internally voiced state, expression of emotions and reflections of thoughts. Musical development in the juxtaposition and collision of human feelings, themes, artistic images.Musical themes-characteristics of the main characters. Intonational-figurative development in N. Rimsky-Korsakov's opera "The Snow Maiden" and in the introduction to the opera "Sadko"
| current | oral questioning | Video fragments from the opera. |
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"Ocean - the sea is blue." Combined lesson. Traditional. | Intonation as a voiced state, expression of emotions and reflections of a person's thoughts. The development of music is the juxtaposition and collision of human feelings, themes, artistic images.Intonation-figurative development in P.I. Tchaikovsky's ballet "The Sleeping Beauty". Contrast. The ocean is blue. Introduction to the opera "Sadko". I. Rimsky-Korsakov. | current | oral questioning | Video from the film "Sadko" |
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Ballet Sleeping Beauty. Combined lesson. Traditional. | Ballet. The development of music - the juxtaposition and collision of human feelings, themes, artistic images
| thematic | oral questioning | Fragments from the ballet. |
|
In modern rhythms (musical). A lesson in learning and consolidating new knowledge. Traditional. | A generalized idea of the main figurative-emotional spheres of music and the variety of musical genres. Musical.Musical as a genre of light music.
| current | oral questioning | ||
Musical competition (concert). Combined lesson. Traditional. | Various types of music: instrumental. Concert. Composer - performer - listener.Genre instrumental concerto.
| thematic | oral questioning group | ||
Musical instruments (flute, violin). Combined lesson. Lesson-lecture. | Musical instruments. Timbre coloring of musical instruments and their expressive possibilities.Expressive possibilities flutes, violins. The expressive power of the violin. Outstanding violin makers and performers.
Caprice No. 24. N. Paganini | current | oral questioning | Module Musical instruments. |
|
sounding pictures. Lesson of generalization and systematization of knowledge. Lesson-conversation. | Performance of studied works, participation in collective singing, playing music on elementary musical instruments, transfer of musical impressions of students for the 3rd quarter.
| Thematic | oral questioning | Module Musical instruments. |
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Suite "Peer Gynt". A lesson in learning and consolidating new knowledge. Traditional. | Forms of construction of music as a generalized expression of the artistic and figurative content of works. The development of music is the movement of music. Song, dance, marchingContrasting images of E. Grieg's suite "Peer Gynt".
| current | oral questioning | Cartoon "To the Hall of the Mountain King" |
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"Heroic". A call to courage. Second part, final. Lesson of generalization and systematization of knowledge. Lesson-lecture. | Contrasting images of L. Beethoven's symphony. musical form(three-part). Themes, plots and images of Beethoven's music.
| thematic | oral questioning | Beethoven module. The formation of personality. |
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The world of Beethoven. Combined lesson. Traditional. | Symphony. Forms of construction of music as a generalized expression of the artistic and figurative content of works.
| oral questioning | |||
Miracle music. Sharp rhythm - jazz. A lesson in learning and consolidating new knowledge. Lesson-conversation. | A generalized idea of the main figurative and emotional spheres of music and the diversity of musical genres and styles. Composer-performer- listener. Jazz is the music of the 20th century. Famous jazz musicians-performers. Music is a source of inspiration and joy.
| current | oral questioning | ||
World of Prokofiev. Knowledge consolidation lesson. The lesson is a conversation. | Musical speech as works of composers, transmission of information expressed in sounds. Similarities and differences in the musical speech of G. Sviridov, S. Prokofiev, E. Grieg, M. Mussorgsky.
| thematic | oral questioning | ||
Singers of native nature. Combined lesson. Traditional. | Intonation as a voiced state, expression of a person's emotions and thoughts. Musical speech as works of composers, transmission of information expressed in sounds.Similarities and differences in the musical speech of E. Grieg and P. Tchaikovsky.
| current | oral questioning | Video presentation "Song of Solveig" |
|
33 | Let's glorify joy on earth. Joy to the sun calls us. The lesson is a conversation. | Musical speech as a way of communication between people, its emotional impact on listeners. Musical speech as works of composers, transmission of information expressed in sounds.Music is a source of inspiration and joy.
| thematic | Frontal survey | |
34 | General lesson. Lesson of control, evaluation and correction student knowledge Lesson - concert | Performance of studied works, participation in collective singing, transfer of musical impressions of students.
| final control | group | Fragment from the opera, "Dawn on the Moscow River" |
Sample musical material
Section 1. Russia - My Motherland (5 hours)
Main melody of the 2nd part.From Symphony No. 4. P. Tchaikovsky.
Lark.M. Glinka, lyrics by N. Kukolnik.
Bless you woods.P. Tchaikovsky, lyrics by A. Tolstoy.
The song of a lark is louder.N. Rimsky-Korsakov, words by A. Tolstoy.
Romance.From Musical illustrations to A. Pushkin's story "The Snowstorm". G. Sviridov.
Rejoice, Russian earth; Eagle Russian.Vivacious edges. Unknown authors of the 18th century.
Our grandfathers were glorious; Let us remember, brothers, Rus' and glory!Russian folk songs.
Alexander Nevskiy.Cantata (fragments). S. Prokofiev.
Ivan Susanin.Opera (fragments). M. Glinka.
Section 2. A day full of events (4 hours)
Lullaby.P.Tchaikovsky, lyrics by A. Maykov.
Morning.From the suite "Peer Gynt". E. Grieg.
Sunset.E. Grieg, words by A. Munch, trans. S. Sviridenko.
Evening song.M. Mussorgsky, lyrics by A. Pleshcheev.
Chatterbox.S. Prokofiev, wordsA.Barto.
Cinderella.Ballet (fragments). S. Prokofiev.
Juliet girl.From the ballet Romeo and Juliet. S. Prokofiev.
With a nanny; With a doll.From the cycle "Children's". Words and music by M. Mussorgsky.
Walk. Tuileries garden.From the suite "Pictures at an Exhibition". M. Mussorgsky.
Children's album.Plays. P. Tchaikovsky.
Section 3. About Russia to sing - what to strive for in the temple (4 hours)
Virgin Mary, rejoice.No. 6. From the All-Night Vigil. S. Rachmaninov.
Troparionicon of the Vladimir Mother of God.
Ave Maria.F.Schubert, words by W. Scott, trans. A. Pleshcheeva.
Prelude№ 1 to major. From Volume I of The Well-Tempered Clavier. AND. -WITH. Bach.
Mother.From the vocal-instrumental cycle "Earth". V. Gavrilin, lyrics by V. Shulgina.
Hosanna.Chorus from the rock opera "Jesus Christ Superstar". L. Webber.
Willows.A. Grechaninov, lyrics by A. Blok.
Willows.R.Gliere, lyrics by A. Blok.
magnificencePrince Vladimir and Princess Olga.
Ballad about Prince Vladimir.Words by A. Tolstoy.
Section 4. Burn, burn brightly so that it does not go out! (4 h)
Bylina about Dobryn Nikitich,processed N. Rimsky-Korsakov.
Sadko and the Sea King.Russian epic (Pechora antiquity).
Songs of Boyan.From the opera Ruslan and Lyudmila. M. Glinka.
Songs Sadko,choirWhether height, height.From the opera "Sadko". N. Rimsky-Korsakov.
The third song of Lelya; Seeing Shrovetide,choir. From the prologue of the opera The Snow Maiden. N. Rimsky-Korsakov.
stoneflies,Russian and Ukrainian folk songs.
Section 5. In the musical theater (6 hours)
Ruslan and Ludmila.Opera (fragments). M. Glinka.
Orpheus and Eurydice.Opera (fragments). K. Gluck.
Snow Maiden.Opera (fragments). N. Rimsky-Korsakov.
The ocean-sea is blue.Introduction to the opera "Sadko". N. Rimsky-Korsakov.
Sleeping Beauty.Ballet (fragments). P. Tchaikovsky.
Sounds of music.R.Rogers, Russian text by M. Zeitlina.
Wolf and seven kids in a new way.Musical. A. Rybnikov, script by Y. Entin.
Section 6. In the concert hall (6 hours)
Concerto No. 1 for piano and orchestra.3rd part (fragment). GG Tchaikovsky.
Joke.From Suite No. 2 for orchestra. I.-S. Bach.
Melody.From the opera Orpheus and Eurydice. K. Gluck.
Melody
Caprice№ 24 for violin solo. N. Paganini.
Peer Gynt. Suite№ 1 (fragments);Suite№ 2 (fragments). E. Grieg.
Symphony№ 3 ("Heroic") (fragments). L. Beethoven.
Sonata№ 14 ("Lunar") (fragments). 1st part. L. Beethoven.
Country dance; To Elise; Funny. Sad.L. Beethoven.
Marmot.L. Beethoven, Russian text by N. Raisky.
magic bow, Norwegian folk song.
Violin.R.Boyko, lyrics by I. Mikhailov.
Section 7. To be a musician, you need skill (5 hours)
Melodyfor violin and piano. P. Tchaikovsky.
Morning.From the suite "Peer Gynt", E. Grieg.
The procession of the sunS. Prokofiev.
Spring; Autumn; Troika.From Musical illustrations to A. Pushkin's story "The Snowstorm". G. Sviridov.
It is snowing.From the Little Cantata. G. Sviridov, lyrics by B. Pasternak.
zapevka.G. Sviridov, lyrics by I. Severyanin.
Glory to the sun, glory to the world!Canon.V.-A.Mozart.
Symphony№ 40. The final. V.-A. Mozart.
Symphony№ 9. The final. L. Beethoven.
We are friends with music.I. Haydn, Russian text by P. Sinyavsky.
Miracle music.D. Kabalevsky, lyrics by 3. Alexandrova.
Music lives everywhere.I.Dubravin, words by V. Suslov.
musicians,German folk song.
Fork,Norwegian folk song.
Sharp rhythm.J. Gershwin, words by A. Gershwin, Russian text by V. Strukov.
Lullaby of Clara.Fromopera "Porgy andBess". J.Gershwin.
List of scientific and methodological support.
Educational and methodical set "Music grades 1-4" by E.D. Kritskaya, G.P. Sergeeva, T.S. Shmagina:
Based on the "Program educational institutions. Music grades 1-4
E.D. Kritskaya, G.P. Sergeeva, T.S. Shmagina., M., Enlightenment, 2010
"Methods of working with textbooks "Music grades 1-4", Toolkit for the teacher M., Enlightenment, 2012.
U-turn "Singers of native nature" (p. 124-125) compares the works of Tchaikovsky and Grieg, in which they sing of their native nature, sublime human feelings. Students will be able to better understand and feel the music of these composers by referring to the composers' statements about their attitude to their native land, to each other's music. You can not limit yourself to only those two works, the musical notation of which is offered on this spread (“Morning” and “Melody”), but also bring to the lesson other works by these composers familiar to third-graders. It is important that the children were able to hear their “favorite musical sayings”: for Grieg - the movement of the voice from a second to a third down, for Tchaikovsky - the song wavelikeness, the stepwise movement of sounds. Of course, the best way to feel this originality of the musical language will be the vocalization of familiar melodies, singing them.
reversal "Let's glorify joy on earth" (p. 126–127) draws the attention of students to the ageless music of V.–A. Mozart (1756-1791). As before, it is recommended to remind students of the works of Mozart they are familiar with: the main themes of the overture to the opera "The Marriage of Figaro", the 1st part of "Symphony No. 40". You can also sing "Spring Song" or "Lullaby". What properties of these compositions will students note? cheerfulness, inexhaustible energy, youthful enthusiasm, admiring the beauty of life. It is no coincidence that the children are invited to reflect on the words of E. Grieg about Mozart's music: “In their the best works it embraces all times."
It is recommended to emphasize the idea that Mozart's talent manifested itself in various musical genres - opera, symphony, works for piano, songs. The new material of the lesson will be the 4th part (final) of "Symphony No. 40". Musical notation main theme the finale of the symphony proposed in the Textbook (p. 126) will allow third-graders to hear two elements: the first is a melody flying up, which is insinuating (ρ) play violins; the second is the affirmation of a strong-willed rhythmically active motif, which is performed by the entire orchestra (ѓ). The contrast of sonorities, the alternation of different groups of the orchestra constitute the main principle of the development of the music of the finale of the symphony. To understand how accurately students respond to changes in the sound of music will help role-playing game“We play conductor.”
Acquaintance with Mozart's music continues when learning the canon "Glory to the sun, glory to the world!". First you need to learn this melody in one voice, paying attention to active articulation, the distribution of breath per phrase, the exact execution of a rhythmic pattern (dotted rhythm, pauses), singing long sounds at the end of phrases, melodic options in the second part of the song. The Reader of Musical Material offers a four-voice canon, which can be learned in the classroom with the choir. A class choir may confine itself to singing a one-voice version of a song, or a two-voice canon. To activate the purity of intonation of a melody, it is necessary to learn it without accompaniment (a capella), with presetting chorus singers in the right key.
Lesson #7 (33)
To be a musician, you need skill...
The main objective of this lesson is to summarize the life-musical impressions of students in the section of the Textbook "To be a musician, you need skill ...". To do this, the teacher needs to build a sequence of works in such a way that, when they are perceived and performed, in the minds of students, the thoughts are affirmed that: a) music reflects the diversity of life; b) each composer and performer reveals a variety of images with the help of his own means; c) listeners hear and feel music differently.
At the beginning of the lesson, you can continue learning the canon “Glory to the sun, words to the world!” Mozart, and then move on to learning the melody from the finale of L. Beethoven's Symphony No. 9, proposed on p. 128 / last page/ Tutorial - "Joy to the sun calls us"
. The composer composed this melody based on the text of F. Schiller's "Ode to Joy". It is performed in the symphony by the choir. You can tell students that the ideas of freedom, brotherhood, equality of people worried the composer throughout his life and the melody of the finale of his Ninth Symphony matured for a long time: echoes of the theme of joy sound in various works Beethoven. When learning this melody, pay attention to the simplicity and conciseness of the musical thought contained in it: an active, volitional step-by-step movement (only five sounds!) Ends with a characteristic rhythm at the end of the phrase. major scale emphasizes its bright light color. The theme sounds in the finale of the symphony in different ways - either as a jubilant song, or as a bright hymn of joy, or as a festive march, depicting a picture of the jubilation of all mankind. Here is the Russian text of "Ode to Joy", which is recommended to be used when learning this immortal melody, the sound of which accompanies significant events in the life of many peoples of the world. This melody has become an international symbol, a kind of international anthem, a song of unity of the peoples of the Earth:
The joy of young life is a flame! Joy shines on us in the fog,
New bright days pledge! Warms the heart in the hour of adversity.
We, drinking the flame in our hearts, The captivity of passions beckons us into the abyss,
We enter your bright chamber. Joy to the sun calls us.The oppression has been torn from unnecessary borders, Joy will be remembered by all peoples,
Where everyone lives by work. Forgetting the oppression of gray centuries.
All creators of ideas are obedient From the breast of nature itself
Under your big wing. Fortunately, our call is being heard.
After learning Beethoven's melodies, it is recommended, together with students, to remember and sing the melodies of other composers, consonant with the image of "Ode to Joy": the canon "Glory to the sun, glory to the world!" Mozart, choir "Glory!" from the opera "Ivan Susanin" and "Patriotic Song" by M. Glinka and others.
The final stage of the lesson can be devoted to a kind of diagnosis musical development students using "voiced" tasks from Workbook offered on spreads « Music genres», "Musical Form" , "Wonderful Transformations" It is also possible to conduct final testing of students. (See Attachment).
Lesson #8 (34)
Summary of the third year of study.
When developing a scenario for the final lesson of the year, the teacher must take into account the level of development of the musical culture of students, their musical preferences. It is important, using the method of emotional dramaturgy of the lesson, to choose musical material in such a way that it organically combines different kinds schoolchildren's activities - the perception of music and thinking about it, playing music (singing, playing children's musical instruments, improvisation, plastic intonation and musical-rhythmic movements). As mentioned earlier, the final lesson of the year can be held in the form of a "concert lesson" with the invitation of guests.
