What is the most important property of musical content. The nature of the musical work

The limitless world of life, human feelings, dreams and ideals is the content of music detected using a musical form. Sometimes a person appears in music as a main character, a character, like, for example, a brave pioneer Petya or his grimy grandfather in a symphony fairy tale S. S. Prokofiev "Peter and Wolf". But more often it remains as if behind the scenes. "I thought my heart was forgotten" - so begins one of the poems A. S. Pushkin. Who is this "me"? Will we strive to visually present the look of the lyrical hero? No, the way of perception here is different: the hero looks at the world with us. We do not see it, but clearly feel His presence. And if the poem deeply agitated us, then this means that the "artistic" poem merged with our own "I". This complete merger knows how to seek music. "Washing country is my own," the person sings and is experiencing the same feelings as the hero of the song. "Art I", mandatory for all arts, takes various forms. You can talk about the hero of a particular work, such as a small foreplay, but also - both the heroes of individual, national and historical styles.

What parties are revealed in music man - and depicted character, and "artistic I"? For the character, external signs of his appearance are very important. Music, of course, can not depict the color of the hair or the shape of the nose. But the gestures of gestures, gait and manners of speech involuntarily make the appearance and appearance of the character. It's hard not to imagine a mumbel, Rokhl Vesheka, listening to him by Aria "Ah, that this is Tako!" From the opera B. sour cream "sold by the bride", or fastened and sticky bomeline from the Opera N. A. Rimsky-Korsakov "Tsarist Bride". Instrumental music is also full of characters - gallant, yurk, turmoil, eccentric, magnificent, noble and vulgar.

With ease, we differ in music types of female and male characters. It is enough to remind, for example, about fine, fragile and delicate Snow Maiden and torture, passionate Kupava from the opera of the Roman Corsakov "Snow Maiden".

Great the possibility of music in reproduction of mental and emotional states of man. Almost physically we feel the grave and vague course of strangely confused thoughts in the scene of Prince of Prince Andrei from the opera Prokofiev "War and Peace".

In characters and heroes, as in living people, age, temperament, vital tone, emotional states are crowded with the features of social, historical, cultural, national. The man was leaning, despired, experienced anger at all times, in all countries. Kings laughed, the peasants laughed, artisans laughed. But we will not find two equally pronounced feelings. How much, for example, types of joy in music? As many heroes in her. The sparkling Italian taranthella and the removal of the Russian dance, Torno-Sweet Argentine Tango and the predominant clodee polonais, the infertility joy of the shepherd naigry, and exquisitely jumped dune dance, the trembling ecstasy of the hero of the works of A. N. Scriabin and the chaste sensation of happiness, filling the melodies S. V. Rakhmaninova, - For all these manifestations of joy, we feel a particular person.

Various life content also causes various feelings. The stupid and evil joy of the High-hero of Farlaffe from the opera "Ruslan and Lyudmila" M. I. Glinka, the treacherously of the killed opponent, and the bright joy of Lyudmila - fundamentally different feelings.

How does the music of life circumstances embody? It is widely used by visual techniques. Often we hear the murmur of the streams, the noise of the surf, the rolling of thunder, howling a storm or barely audible rustling of foliage, birds voices. But even these simple sound images are manifestations of the inner world of man. "Dawn on the Moscow River" M. P. Mussorgsky, "Morning" E. Grieg is, of course, not only the paintings of the wakeful nature, which blooms in sounds and paints, it is also a renewal of the human soul.

Music can recreate more complex life circumstances. It is impossible to portray such a socio-political phenomenon as fascism. But you can create a generalized image, as it with anger and indignation, D. D. Shostakovich did in his 7th symphony. Union-dance, almost drowning motors are superimposed on mechanical marching rhythm. As a result, the image of monstrous confouplessness, arrogant-self-satisfying, sickly admirement by force. This terrible force is coming, submissive for himself, overshadows the entire horizon until it stops the power of spiritual and humane. Along with static sketches of life circumstances, we meet in musical works and with different situations, events.

Melody is built from the submission of intonation. Movement and anti-confinement of intonation lines permeate the texture - a set of all votes and elements of polyphony. In large form, musical drama, Fabul, plot appears. These names taken from the theater and literature are not accidental. They are related to the fact that the music was looking for various ways to build his artistic world, relying on the experience of other arts. The first parts of the Sonatop and Symphony J. Gaidna and V. A. Mozart are built as it were according to the laws of the theater: the characters are guessed in bright topics, we hear their voices, music is saturated with dialogues and disputes. In a romantic sonata form to the fore, the lyrical hero comes out: alternations of various topics are perceived as his soulful conflict. Romantic composers have invented a completely new way to organize content: in their instrumental ballads, they influenced the ballads of literary and vocal, the figure of the "narrator", is interested and passionate about the unusual, significant and disturbing events.

Modern music found new techniques for building content. The literary and cinematic techniques of "internal monologue" are often used, for example, in the symphony of G. A. Kancheli, in the works of A. G. Schnitke.

The musical form also performs another, an extremely important role: it leads the perception, helps him. In the melody of mass songs, each new phrase often begins with the same sound on which the previous one has ended. Such a chain connection contributes to the memority of the pit.

The organization of Lada, harmony, rhythm, composite forms of thousands of threads sews the sound tissue of a musical work, creating the perfect shape that embodies the bold and deep figurative thoughts about the world, happiness and beauty, thoughts, close and understandable to millions of people on the globe.

The assimilation of knowledge, skills and skills in musical training is carried out on artistic material. The perception of musical works in all types of activity is always peculiar and is creative. Creative learning activities should permeate the entire process of learning knowledge, the formation of skills and skills and therefore do not stand out as an independent learning element.

In connection with the following, the elements of the content of musical training are: - the experience of an emotionally moral attitude of a person to reality, embodied in music (that is, the music itself, "musical material"); - musical knowledge; - Musical skills; - musical skills.

Choice criteria Music material - the main component of the content of musical training, are:

Artistry;

Fascination and accessibility for children;

Pedagogical feasibility;

Educational meaning (the possibility of forming moral ideals and aesthetic tastes of students.

Musical Knowledge. As the basis of the understanding of musical art, knowledge of two levels: 1) knowledge contributing to the formation of a holistic understanding of musical art; 2) Knowledge to help the perception of specific musical works.

The first level of knowledge characterizes the nature of musical art as a social phenomenon, its function and role in public life, aesthetic norms.

The second level is knowledge of the essential features of the musical language, the laws of building and developing music, about the means of musical expressiveness.

These provisions of musical science determined the approach to the choice of knowledge about music. In accordance with them D.B. Kabalevsky allocated in the content of musical training knowledge of generalized ("key"). This is knowledge that reflect the most common phenomena of musical art. They characterize typical, sustainable ties of music and life, relate to the laws of musical development of children. Key knowledge is necessary for understanding musical art and its individual works.

The content of school music learning with the second group of knowledge correlate the knowledge that is called "private" (DB Kabalevsky) relate. They are subject to key. This category includes knowledge of individual specific elements of musical speech (soundness, metrochrites, pace, dynamics, papers, timbre, aggoh, etc.), biographical information about composers, performers, about the history of the work of the work, knowledge of the note lead, etc.

Musical skills. The perception of music is the basis for the formation of the musical culture of schoolchildren. His essential side is awareness. Perception is closely related to knowledge and includes an artistic assessment. The ability to give aesthetic assessment by the work can serve as one of the indicators of the schoolchild's musical culture. Perception is the basis of all types of execution, as it is impossible without an emotional, conscious relationship to music, without its assessment.

So, the ability of students to apply knowledge in practice, in the process of the perception of music manifests itself in the formation of musical skills.

Keyful knowledge are used in all kinds of schoolchildren's musical training activities, therefore, the skill-based skills are treated as leading.

Along with the leading musical skills, private, which are also formed in specific forms of activity are allocated.

Among the "private" skills, three groups can be distinguished:

Skills related to knowledge of individual elements of musical speech (soundness, rhythm, rubre, etc.);

Skills associated with the use of musical knowledge of composers, performers, musical instruments, etc.;

The skills associated with the knowledge of notice letters.

Thus, leading and private skills relate to key and private knowledge, as well as with various forms of musical training activities.

Musical skills They are in direct communication with the educational music activity of schoolchildren and act in certain techniques for music. Performing skills are also formed on the basis of musical perception. Without their acquisition, it is impossible to talk about the complete learning assimilation.

Subject 6:

The concept of musical education and music program D.B. Kabalevsky: Past and present

1. General characteristics

By the 70s of the twentieth century, a lot of experience in the field of musical education of schoolchildren was accumulated by domestic pedagogy. At the same time, there is a need to create a single, generalizing its concept, which gives clear areas to the formation of schoolchildren's musical culture.

The concept, according to the dictionary, is a system of views on the phenomenon, the main point of view with which this phenomenon is considered, leading the intention, etc.

To develop such a concept was proposed to a group of young scientists under the leadership of the famous composer and public figure Dmitry Borisovich Kabalevsky. The concept and program were developed in the laboratory research institutes of the Ministry of Education of the RSFSR in the period from 1973 to 1979. The main ideas of the concept are embodied in the article that is a wearing music program "Basic Principles and Methods of Music Music for Commerce School". The program itself came out in small circulations with the note "Experimental". At the same time, tight advantages were produced for musical support of the program, as well as phochrestomatology with records of all works of the program. During the experimental testing of the program, Kabalevsky himself was led by Kabalevsky himself. These lessons were demonstrated on television. Widely spread throughout the country and a book for children "about three whales and about much more", which P.B. wrote Kabalevsky for children.

For mass use, the music program for 1-3 grades (with ate methodological development) was issued in 1980, and for 4-7 classes in 1982.

The Kabalevsky program is still widely used in our country. It is a starting point for developing new music programs. However, in recent years, this program has increasingly becomes an object for criticism. At the same time, it has a lot of supporters. It seems that it is obsolete and unsuitable to be considered obsolete.

This concept is a major achievement of our culture. She absorbed the best experience of domestic pedagogy, and also anticipated a number of qualitatively new processes, nascent both in art and in all parties of public life. Namely, the desire to preserve and upbringing spiritual culture, recognition of the priority of universal values. This concept has great potential for development. When preserving the essence, this development has such directions:

Development of artistic didactics and the theory of pedagogy of art;

Justification of the musical material of the program;

Expansion of the musical material of the program;

Expanding the role of improvisations, vocal and instrumental musication;

The enrichment of the lesson of folklore, spiritual music, samples of modern folk musical creativity, etc.

One of the most important tasks of the teacher working under the program DB Kabalevsky - develop humanistic ideas concept. In their direction, the content of the educational process is a spiritual dialogue of various cultures. The content becomes the process of upbringing in children of moral and aesthetic attitudes to reality, the art itself, the artistic activity of the child as his "life" in art, creation of themselves as a person, a look in itself.

Thus, understanding the concept of the formation of the child's spirituality through the music, after experience, feeling and impression can be argued that there is nothing to update in the program.

If we talk about updating the content of the program as updating musical material, communication methods with music, etc., then this process is laid in the concept as a permanent, necessary and natural.

It focuses on the fact that the musical material can be replaced, on the fact that, when implementing the program, a creative approach of the teacher is needed in the choice of methods, forms of practical muscy.

In 1994 A new version of the program was published, which Bader and Sergeyev made. The main tasks of the reissue are to eliminate the value of the content, to enable the teacher to show creative initiative in planning lessons. Thus, in this edition, the Music Material has been changed and the orientate methodological developments are eliminated.

2. Objective, tasks, principles and fundamental methods of music program,

developed under the direction of D.B. Kabalevsky

The purpose of music lessonsin the secondary school - the upbringing of the musical culture of schoolchildren as the necessary part of their common spiritual culture.

Leading tasks: 1) the formation of an emotional attitude to music based on its perception; 2) the formation of a conscious attitude to music; 3) the formation of an active and practical attitude to music in the process of its execution, first of all choral singing, as the most affordable form of musitization.

Basic principles of the program:

Studying music as live art, support on the patterns of music itself;

Links of music and life;

Interest and Guidance in Music Training;

The unity of emotional and conscious;

Unity of art and technical;

Thematic structure of the music program.

According to the last principle, its topic is defined for each quarter. Gradually complicated and deepening, it reveals from the lesson to the lesson. Between the quarters and stages (classes) there is a continuency. All side, secondary topics are subordinated to the main and studied in connection with them. The theme of each quarter corresponds to one "key" knowledge.

Fundamental methods of the program. The leading methods of the program in their aggregate are primarily aimed at achieving the goal and the organization of the assimilation of the content. They contribute to the establishment of the integrity of the process of musical training in the lesson of music as a lesson of art, that is, they perform regulatory, cognitive and communicative functions. These methods are in collaboration with all other methods.

Method of musical generalization. Each topic is summarizing and combines all forms and types of classes. Since the topic is generalized, it is possible to assimilate it only by the method of generalization. The development of tendments of generalized knowledge occurs in a support for musical perception. This method is primarily aimed at developing children a conscious attitude towards music, on the formation of musical thinking.

Method of musical generalization acts in the form of cumulative ways to organize students aimed at mastering key knowledge about music, the formation of leading skills.

The method includes a number of consecutive actions:

1st action. The task is to activate that the musical and life experience of schoolchildren, which is necessary for the introduction of the topic or its deepening. The duration of the preparatory phase is predetermined by the nature of the generalized knowledge. The duration of preparation depends on the level of musical experience of schoolchildren. The main thing is to not allow the study of the topic formally, without support for a sufficient hearing experience.

2nd action. The goal is to introduce new knowledge. The main importance of the techniques of a productive nature - a variety of location situations. In the process of searching, three points are allocated: 1) the task is clearly defined by the teacher; 2) gradually, together with students, the solution of the task with the help of leading issues, the organization of one or another action; 3) the final conclusion to make which students themselves must say.

The 3rd action is associated with the consolidation of knowledge in different types of training activities, with the formation of the ability to independently focus on music based on learned knowledge. The implementation of this action involves the use of a combination of various techniques of productive and reproductive nature.

Method "Running" forward and "return" to the passed. The content of the program is the system of interrelated topics. It is important that the lesson in the consciousness of the teacher and students acted as a link of the general theme and the entire program. The teacher needs, on the one hand, to constantly prepare the ground for the upcoming topics, on the other, constantly return to the material passed to understand it at the new level.

When implementing the method, the teacher's task is to choose the best for a particular class of "Races" and "Returns". There are three level connections here.

1. Communication between the training stages 2. Communication between themes of quarters. 3. Relations between specific musical works in the process of studying the program.

Method of emotional drama. Lessons are built mainly on two emotional principles: emotional contrast and consistent enrichment and development of one or another emotional tone lesson.

Based on this, the task is to relate one or another proposed in the program the principle of building a lesson with specific conditions, the level of musical and general development of students.

The method of emotional drama is primarily aimed at the activation of the emotional attitude of schoolchildren to music. It contributes to the creation of an atmosphere of passionism, a living interest in musical classes. This method allows, if necessary, clarification of the sequence of works planned for a lesson (its beginning, continuation, culmination is a particularly important lesson, to end) in accordance with the specific conditions for holding the classes.

It is important to determine the best in the conditions of this class a combination of forms and species of musical activity (classes).

The identity of the teacher (his passionateness of the subject manifested in the performance of music, in judgments, objectivity of students' assessment, etc.) is a powerful incentive to activate schoolchildren's activities in the lesson.

L.P. Kazantsev
doctor of Art History, Professor of the Astrakhan State Conservatory
and the Volgograd State Institute of Arts and Culture

The concept of musical content

Since ancient times, the thought of man tried to penetrate the secrets of music. One of these secrets, or rather, the key, the essence of music has become. The fact that music is able to strongly affect the person due to the fact that something in itself contains a doubt arose. However, what exactly this meaning is what she "says" to man, which hears in the sounds - this, differently varying the question of which interested many generations of musicians, thinkers, scientists did not lose their sharpness today. It is not surprising that the cornerstone for music is the question of its content gained very unlike, sometimes mutually exclusive answers. Here are just some of them, conventionally grouped by us.

The area of \u200b\u200bopinions about music is distinguished significantly. man:

music - the expression of the feelings and emotions of man (F. Boutervek: Musical arts express "feelings without knowledge of the outside world according to the laws of human nature. All the external these arts may indicate only indefinitely, to paint only very remotely"; L.R. D'Alber; V.G. Vachenroder; K. M, Weber; F. Chopin; F. Tirsche; J.Zh. Engel; J. Sand: "The area of \u200b\u200bmusic is spiritual unrest"; R. Wagner: Music "remains even in his extreme manifestations of t o l to about in s t in m "; S. Kierkegore; R. Rolland; Standal; R. Wagner; V.P. Botkin; L.N. Tolstoy:" Music is the stenogram of feelings "; B.M. Heat:" Containment Music are feelings, emotions, moods "; L. Berio; A.Y. ZI; S. Langer; S.Kh. Rappoport; E.A. Sitnitsky); Thinkers of the XVII - XVIII centuries. (A. Kirorh, I. Mattazon, D. Harris, N. Diletsky, etc.): Music - an expression of affects;

music - sensation expression (I. Kant: She "speaks through one sensations without concepts and, it became, unlike poetry, nothing leaves for reflection");

music - an expression of intelligence(I.S. Turgenev: "Music is a mind embodied in beautiful sounds"; Ya. Xenakis: The essence of music is to "express intelligence with sounds"; R. Wagner: "Music can not think, but she can Improving the thought "; Mr. Leibniz:" Music is the unconscious exercise of the soul in arithmetic ");

music - the expression of the inner world of man(G.V.F. Hegel: "Music makes a subjective inner life"; V.A. Sukhomlinsky: "Music unites moral, emotional and aesthetic spheres of man"; Kh.F. Krause; A.A. Farbstein ; M.I. Robyterstein: "The main thing about what the music tells about, this is the inner world of man, his spiritual life, his feelings and experiences, his thoughts and sentiment in their comparison, development"; V.N. Vladimirov; Golovinsky; I.V. Vestev; A.A. Chernov);

music - the expression of the mysterious depths of the human soul (J.F. Ramo: "Music must contact the soul", "Genuine music is a heart language"; A.N. Serov: "Music is the language of the soul; this is a region of feelings and moods; it is in the sounds of the soul's pronounced life"; F. Grillparter: "It is unclear feelings and there is own area of \u200b\u200bmusic"; F. Garcia Lorca: "Music in yourself is a passion and mystery. Words talk about human; in music is the fact that no one knows, no one can clarify But there is more or lesser extent in each "; H. Roman:" Content ... Music form melodic, dynamic and aggatic lifts and decreases, carrying an imprint of their mental motion "; A.F. Losev:" Music It turns out the intimate and most adequate expression of the element of mental life ");

music - an expression of an inexpressible, subconscious(V.F. Odoyevsky: "Music itself is artless, the art of expressing inexpressible"; Sh. Müns: "Music is an art expressing inexpressible. Music ownership is not amenable to control of the mind and touching the scope of the subconscious"; Nigauses: "All" insoluble ", an unknown, inconspicuous, that constantly lives in the soul of a person, all the" subconscious "(...) and there is a kingdom of music. Here is its origins").

Multicolia area of \u200b\u200bideas about music as imprinvention overhead:

music - an expression of existential, absolute, divine(R. De Konde: Music calls for the "irrational absolut"; R. Steiner: "The task of music is to embody the spirit that a person. Music reproduces the ideal forces that lie for the material world." A.N. Scriabin; KV; .F. Solger: The meaning of music is "the presence of the Divine and the dissolution of the soul in the Divine ..."; FR. Fisher: "Even good dance music - religious");

music - the expression of the essence of being (A. Shopenhauer: "Music in any case expresses only the quintessence of life and its events", other arts "speak only about the shadows, it is about being"; V.V. Medushevsky: "The true content of music is the eternal secrets of being and human Souls "; G.V. Sviridov:" The word ... carries the thought of the world ... Music is having a feeling, feeling, soul of this world "; L.Z. Lyubov:" Music is a kind of reflection of the composer comprehension of nature, universe, eternity, God. This is the majestic item ");

music - Display reality (Yu.N. TULIN: "The content of music is the mapping of real validity in specific musical images"; I.Y. Ryzhkin: Music "gives a complete and multilateral reflection of public life ... and leads us to civo knowledge of reality "; T. ADORO:" The essence of society becomes the essence of music "; A. Webern:" Music is the pattern of nature, perceived by hearing ");

music - Movement(A. Shelling: Music "is a pure movement, as such, in distraction from the subject"; A.K. Buckova; R. Arnheim; N.A. Goriukhina: "Question: What to imply under the content of the musical work? Answer: Dialectics His Own movement "; A.F. Losev:" ... Clean music has tools to transmit ... Without-ourseligious element of life, i.e. its pure formation "; V.K. Sukuntseva:" The subject of music ... is the area of \u200b\u200brewarding the proceduralness of being in its Actual sociocultural development ... "; L.P. Zarubina:" Music is basically and, by the advantage, is depicted with t a n o in l and e);

music - a positive expression (A.V. Schlegel: "Music absorbs only those of our sensations that can be loved by the sake of themselves, those on which our soul can voluntarily delay. Absolute conflict, there is no negative start to music into music. Bad, noise music at all It can express, even if I wanted "; A.N. Serov:" Ambigid, stupidity, cunning, like Yago, the evil of Richard III, the wise of the Faust Götheva is not musical objects ").

Transitional between the first and second areas of the zone in which the following settings fall:

music - the expression of man and peace(N.A. Rimsky-Korsakov: "The life of the human spirit and nature in its positive and negative manifestations, expressed in their positive and negative manifestations, expressed in their mutual relations, is served by the human spirit, expressed in their mutual relations"; Apresian: she "It is capable of reflecting its essential phenomena of life inherent in its means, first of all the feelings and thoughts of people, the spirit of their time, certain ideals"; Yu.A. Kremlin; L.A. Mazel; L.M. Kadzyn: "The content of musical works is the world of ideas. ... About the work itself, about the world around the world, about the listener in this world and, of course, about the author and performer in this world, "B.L. Yavorsky:" Music expresses: a) Schemes of motor processes ... b) Schemes emotional processes ... 3) schemes of volitional processes ... 4) schemes of contemplative processes "; A.A. Evdokimova allocates emotional, intellectual and subject aspects of musical content);

music - reflection of reality in emotions and ideas of man(Yu.B. Borev; G.A. French: The content of music - "The image of emotional experiences, protruding one of the forms of mental reflection in the consciousness of a person's objective reality - the object of musical art").

Finally, it is important, although in part and paradoxically, the understanding of music as a capture sound:

music - Specific Safety World (L.N. Tolstoy: "Music, if it is music, has something to say something that can only be expressed by music"; I.F. Stravinsky: "Music expresses itself"; L.L. Sabaneyev: "This is a closed The world from which a breakthrough into logic and ideology is performed only by violent and artificial means "; H. Eggbrecht:" Music means not something extrazyme; it means the most itself ");
music - Estheticized sounds (Knepeller: "Music is everything that functions as music"; B.V. Asafiev: "The subject of music is not a visible or tangible substance, but there is an embodiment, or reproduction, sound state processes, or, Based on the perception, - giving itself the state of hearing. What is the complexes of sound in their relationship ... ");

music - Combination of Sounds (E. Ganslik: "The music consists of sound sequences, sound forms that do not have a content other than themselves ... There is no content in it, except for the sound forms you hear, for the music not only tells the sounds, she says some sounds"; M. Benzene; V. Vior; E. Garni; G.A. Laros; A. Mol; D. Poll; N. Ringb; V. Fuchs; T. Zelinsky: She is "sound landscape");

music - all that sounds (I.G. Heder: "Everything that sounds in nature, and there is music"; J. Cage: "Music is the sounds, sounds that are heard around us, regardless of whether we are a hall, or outside it "; L. Berio:" The music is all that hears with the intention to hear music ").

Of course, a very conditional grouping of thoughts about the essence of music is impossible to cover the launched palette of opinions. This is clearly not going to position, say, stemming from the interpretation of music in the Middle Ages as sciences, from the distinction in the music of the composer opsis and - the improvisational process of musitization, the statement of the ontological nature of music as a type of art, transfer the concept of music content in the area of \u200b\u200bperception, etc.

Its sometimes original, approaches are also offered by some modern definitions of musical content, data V.N. Hopovoy - "... its expressive-semantic essence"; A.Yu. Kudryashov - "... A complex system of interactions of musical and semantic childbirth, species and types of signs with them both objectively with the composer and refracted in the individual consciousness of the composer with subjective-specific meanings, which are further converted into new meanings in the executional interpretation and audience perception"; VC. Sukuntseva - "... The region of being and evolution of rhythm-intonation complexes in their principled condition and indirectness of the composer's creative subjectivity"; Yu.N. Holopov, who believes that the content of music as art is "Viola [Ennium] the spiritual appearance of the work; what the music expresses ", and includes" h u in s t a and n e p and a n i n i p e z and f and h c k and e s t and h E with to and e "and" sound quality, which ... subjectively perceived as one or another nice material and sound design (in a negative case - trouble). " They also require an understanding of the position of E. Kurt - "... True, initial, driving and forming content [music. - L.K.] is the development of mental stresses, and the music is only a nuclear form in his sensual form ... "; G.E. Cousy - There is a technical content ("All diverse material used for its [musical creation. - L.K.] manufacturing") and artistic ("The impact on the listener; the mental experiences caused by sound perceptions; excited by music of ideas, images, emotions, and t .P.") .

In these and numerous other, the judgments about the content of music are easy to lose, because the essence of the essence of music known today is not similar. Nevertheless, we will try to understand this complex matter.

Music content characterizes music as a type of art, so the most common patterns should state. Here's how A.N. formulates them. Savor: "The content of M [condes] is made up of arts [by] -intonation images, T [o] E [ST] The results of reflection, transformation and aesthetic estimate of the objective reality in the consciousness of the musician (composer, artist) are captured in meaningful sounds (intonations) .

In principle, faithful, this definition is still not fully - and in this we have just been repeatedly convinced - characterizes what the music is strong. So, it is clearly lost or unnecessarly hidden behind the phrase "Objective Reality" The subject is a person whose inner mental world is invariably attractive for the composer. From the situation of communication of the composer-an artist, the listener fell out the last link - the interpretation of the audience sounding, - without which the musical content cannot take place.

Considering this, we will give the following definition of musical content: This is an embodied spiritual side of the music, generated by the composer with the help of the objectified constants (genres, sound systems, composition techniques, forms, etc.), actualized by the artist's musician and formed in perception of the listener.

Several details characterize the components of the multi-storey formula.

The first component of our definition informs that musical content - the spiritual side of the music . It generates a system of artistic representations. Representation- Associate psychologists - this is a specific image that arises as a result of the complex activity of the human psyche. As a combination of the efforts of perception, memory, imagination, thinking and other properties of a person, the view image has a generalization (distinguishing it from, say, direct impressions in the image-perception). He absorbs the human experience of not only the present, but also of the past and possible future (which distinguishes him from the present image and asgraded into the future of imagination).

If music - systemrepresentations, then logically wonder: what exactly?

How we were convinced earlier subject Musical representations are seen in different ways, and almost every statement is true. In many judgments about music appears human. Indeed, musical art (as, however, and any other) is intended for a person, going on and consumed by a person. Naturally, it tells first of all about a person, that is, a person is barely not in all richness of his self-refining has become a natural "subject" displayed by music.

Man feels, thinks, acts in relations with other people in the focus of developed by the society of philosophical, moral, religious laws of being; He lives among nature, in the world of things, in geographical space and historical time. Habitat A man in the broad sense of the word, that is, macromir (regarding the world of the person himself) is also a worthy subject of music.

Do not throw away as the insolvent and the statements in which the essence of music is linked to sound. The most controversial, they are also legitimate (in particular for modern creativity), especially if they do not sharpen them on sound, but to expand to the entire apparatus of the impact that has established within the limits of music. Thus, the meaning of music can be in her self-knowledge, in ideas about its own resources, that is, about the micrometer (again about the human world).

We called large subject "spheres of competence" (A.I. Burov) of music - ideas about the person surrounding the world and the music itself - testify to the big spectrum of its subjects. The aesthetic features of music will be conscious of us as even more significant if we will remember that outlined subject areas are not necessarily carefully clothed, but prone to diverse interpenetrations and mergers.

Presentations folded into musical content are generated and coexisted according to the laws of musical art: they are concentrated (let's say, in the exposure supply of intonation) and discharge (in intonation development), relate to the "events" of musical drama (for example, replace each other when introducing a new image) . In complete agreement with the space-time foundations of the integrity of the musical work, the time of the scan of some representations (corresponding to musical intonation) is thickened and is designed to more capacious (musical images), which, in turn, give rise to themselves the most general representations (meaning "concentrates" - musical - Summary topics and ideas). Subordinates with artistic (musical) laws, presentations generated by music, conquer the status artistic(musical).

Music content is not a single idea, but their system. This means not just some of their many (set, complex), but a certain interconnectedness. According to its presentation, the presentation may be heterogeneous, but in a certain way ordered. In addition, they may have different significance - to be the main, secondary, less significant. Based on some, more private, ideas occur other, more generalized, global. The combination of multiple and varying-quality representations gives a rather difficult organized system.

The feature of the system consists in her dynamicity. The musical work is arranged in such a way that in the deployment of sound tissue all the time the meanings, interacting with those who have already consisted and synthesize all new and new ones. The content of the musical work is in nonstop movement, "playing" and "merzia" edges and shades, discovering its various layers. Non-permanently changeable, it eludes and entails.

Let's go further. Those or other ideas arise from composer. Since the presentation is the result of human mental activity, it cannot be limited only to the objectively existing subject sphere. It certainly includes subjective and Personal Start, man reflection. Thus, the presentation of music is based on the basis of music - the unanswered unity of objective and subjective began. We will show their muffins on such a difficult phenomenon as musical and thematic borrowing.

The musical and thematic material borrowed by the composer, that is, already existing musical statements, falls into a difficult situation. On the one hand, he stores a connection with an artistic phenomenon that has already been an objective reality. On the other hand, it is designed to transfer other artistic thoughts. In this regard, it is advisable to distinguish between his two status: autonomous musical themia (located in the primary artistic opus) and the contextual (purchased with secondary use). They correspond to autonomous and contextual meaning.

Music and thematic borrowings can maintain their primary meanings in a new product. The sense side of the fragment from the "Enlightened Night" of A. Schönberg in the Third Sonate for Bayan Vl remains almost unchanged. Zolotarev, despite the arrangement of orchestral fabric for solo instrument; In the "Moz-Art" play for two violins A. Stinit, the author also manages to carry out a easily recognizable initial musical theme of symphony g-Moll.Mozart in a violin duet, not distorting its meaning. In both cases, autonomous and contextual meanings almost coincide, leaving the priority for "objectively data".

However, even the most careful handling of borrowing (not excluding these examples) is tested by the new artistic context on themselves, which is aimed at the formation of not attacked without someone else's music of semantic layers in the leak of the borrowing composer. So, a fragment from Schoenberg's music at the end of the play Zolotarev acquires an unfounded idealization to him in the original source, and the key intonation of Mozart's symphony is involved in a witty game, which two violins are conducted in a shit. Even more apparent the subjective activity of the composer in cases where borrowings are not given "literally", but pre-("precontex and") are dispersed. Therefore, even such particular, as used by the composer, a musical and thematic material is brought to himself a seal of a diverse unity "objectively" of this and author's individuality, which is actually natural for art as a whole.

Outline one or other subject area and express your own vision to the composer allow facultivated constants - Traditions produced by musical culture. A significant feature of musical content is that it is not built by the composer every time "from scratch", but absorbs some semantic clots, accumulated by generations of precursors. These meanings are exhausted, typologized and stored in genres, sound systems, composer technics, musical forms, styles, widely known intonation signs (intonation formulas such as DIES IRAE, rhetorical figures, symbols of musical instruments, semantic roles of tonalities, timbres, etc. ). Finding into the field of attention of the listener, they cause certain associations and help "decrypt" the composer's idea, thereby strengthening mutual understanding between the author, performer and listener. Speaking towards them as a support point, the author enhances new semantic layers on this foundation, denied their artistic ideas to the listeners.

Representations arising from the composer are drawn up into an artistic opusion, which becomes full-fledged music only if it is interpreted by the performer and perception by the listener. For us, it turns out that the constituent spiritual side of the music of the presentation is not only in the composer's opus, but also in executionand perception. Copyright shows are adjusted, enriched or impoverished (let's say, in cases of loss of "communications of times" with a large time distance between the composer and the performer or composer and the listener, the serious genre-style transformation of the "primary source", etc.) by the submissions of other subjects and Only in this form from the potential of music turn into true music as a real phenomenon. Since the situations of interpretations and perceptions are countless and individually unique, it can be argued that the musical content is in a continuous movement that it is a dynamically developing system.

Like any other, the presentation of the presentation is "emitted". His "material form" - soundTherefore, and the "materialized" imaging can be called sound or auditory. The sound way of being of ideas is distinguished by music from other types of art in which the submissions are "separated" by the line, paint, word, etc.

Of course, any sound is able to cause an idea, but it does not necessarily create music. To get out of the thickness of the original "noise" and become musical, that is, "tone", the sound should be aestheticized, "raised" over the usuality of its special expressive impact on a person. This turns out to be achieved when the sound is on (by special methods and receptions) into a musical and artistic process. In such a situation, the sound acquires specific - artistic - functions.

However, the recognition of the sound nature of music does not absolit as purely musical exclusively auditory views. Other - visual, tactile, tactile, olfactory are fully admissible. Of course, in music, they do not compete with auditory ideas and are designed to generate additional, clarifying the main auditory representation, additional associations. However, even so modest, auxiliary, the role of optional ideas allows them to coordinate music with other types of art and - wider - in other ways of human being.

Understanding this, you should still refrain from the extreme - an excessively expansion interpretation of the music, which is expressed, for example, S.I. Savshinsky: "There is not only what is given in his sound tissue is applied to the content of the musical work. They merge with him, possibly expressed or even not expressed by the composer, the program is the data of theoretical analysis, etc. For Beethoven, this is the analyzes of A. Marx, Articles R. Rollan, for the works of Chopin, this is his "letters", leaf books about him, Shuman's articles, leuchtelritte analyzes, or Masel, saying Anton Rubinstein, for Glinka and Tchaikovsky, this article Larosh, Serov and Tchaikovsky Asafyeva. " It seems that it is certainly important for the perception of music, "near-disconnecting" materials still do not need to reveal the boundaries of the music actually predetermined by its sound nature. The latter lies not only in sound as substances, but also in subordinate sound to the musical laws of being (sound, tonal harmonic, dramaturgical and other).

Given the sound in music as a form of art, still a warning: its embodiment in sound should not be understood straightforwardly, they say, music is just what sounds directly at the moment. The sound as an acoustic phenomenon is the result of oscillation of an elastic air environment - maybe there is no "here and now." However, in principle, it is in principle reproducible by memories (about previously audible music) and internal hearing (on the available record). These are works, a) composed and written by the author, but not yet voiced, b) living with an active stage life, as well as c) works, which are now (temporarily) not relevant "the set of already accomplished executive implementations", "the memory of which was postponed, stored in the public consciousness. " In the same cases, when the sound "robe" was not found and fixed by the composer or - in improvisation - was charged by the Contractor, and at the same time the author's functions also take on, and to talk about musical content, and the musical work, it is not necessary. So, quite realistically, there is a musical content of the thirty-second piano Sonatas L. Beethoven, which during reading these lines does not sound. However, it is more or less successfully reconstructed, which would be absolutely impossible in the hypothetical case, admit, with the thirty-third Sonata of the same author who does not have a sound substance.

So, we found out that the result of the mental activity of a person - a composer, the artist, a listener - acquires sound "outlines" and forms the spiritual start of music.

Music Product Content Structure

If the concept of musical content characterizes music as if from the outside, in comparison with other types of art, the concept of maintenance of the musical work has an internal orientation. It is indicated by the sphere of spiritual, but not at maximum generalization (inherent in music at all), but in much greater certainty (peculiar to the musical work). Music content focuses in the content of the musical work and provides this (although not the only, alongside, let's say, with improvisation) the way of being of music. Between them, the relationship "Invariant - option" arise. Keeping all the properties of musical content, the content of the musical work adapts the ability of music to its existence in this form and the solution of the artistic problem.

The content of musical work is specified through a number of concepts. Describing the musical content, we talked about the key value of ideas. Not only in its subjectibility - that it became completely obvious - but also in its capacity and artistic design in music presentations are diverse. Highlight those of them that are referred to musical images.

Musical images are given to man as mediating musical sounds (real or imaginary), sound motion, deploying musical fabric. In the musical product, the images not only receive their own sound outlines, but also, interacting with each other in a certain way, consolidate into a holistic shaped-artistic picture.

The musical image is relatively large or (given the mostly temporary nature of music) the continuous meaning unit of the musical work. It may occur only on the basis of the meanings of a smaller scale. These are musical intonation. Music intonations enclose lapidaric, uneven meanings. They can be liked by words in the literary language, folding into verbal unity and giving life a literary image.

Musical intonations also do not exist as "finished" meanings and are formed on a certain semantic soil. It becomes the semantic impulses of musical sounds or tones. Estimated in an extensive area of \u200b\u200bsounds, the musical sound - the tone is very specific, because it is designed to ensure the life of an artistic work. In music, the sound is dual. On the one hand, he "declares", "energizes" musical content, as stated earlier. Objectively belonging to the environment, the sound leads us to the area of \u200b\u200bphysico-acoustic realities. On the other hand, the sound is selected to solve a certain artistic problem, and therefore it is also endowed with the fact that you can call the semantic prerequisites. And although the tone is difficult to attribute to purely semantic components of music, we include it in the structure of the content of the musical product as an elementary unit that is not decomposed into even smaller meanings. Thus, the tone limits the lower limit of the content structure, rooting in the material substance of music.

Understanding how the musical image is being formed from all smaller semantic units, we will try to go in the opposite direction and consider which components of the content it, in turn, causes.

Artistic or their aggregate in art detected subjectworks. The same happens in music: Musical images disclose the topic understood here and further as a general -est source category. The topic is distinguished by a great degree of generalization, which allows it to embrace all the whole work or its large part. At the same time, relations with holistic sound weakened in the subject, there is a trend towards the liberation of the "dictate" of the sound and self-valued being in the world of abstractions.

The final expression is the trend of mediating the sound of the semantic units of varying degrees of capacity (intonations - images - theme) gets ideamusical work. The idea is most generalized, abstracted and directed from the sound in the area of \u200b\u200bthe ideal, where the sound specifics of music is practically leveled in the face of the ideas of scientific, religious, philosophical, ethical origin. Thus, the idea becomes another limit of the structure of the maintenance of a musical product, which is seen as vertically directed from the material in perfect.

We identified semantic components are built into the hierarchy, at each level of which certain semantic units are formed. These levels are represented tone, musical intonation, musical, theme and idea of \u200b\u200ba musical work.

These components of the content of the musical work do not exhaust all elements of the structure, they represent only its backbone. The structure cannot be complete without some other elements in its specific places. One of these elements - means of musical expressiveness. On the one hand, the means of musical expressiveness are quite material, for soundness, dynamics, timbre, articulation and other parameters are conjugate with rather obvious sound. On the other hand, they sometimes crystallize the meanings that are genuinely intonational (in some melodic patterns, rhythmic formulas, harmonic revolutions). Therefore, their position in the structure of the maintenance of the musical work will correctly be called intermediate between the tone and musical intonation, and that in which they are partly rooted in tone, and partly "germinate" into musical intonation.

Another indispensable element of the structure of the maintenance of the musical work - copyright. The musical work serves to communicate two personalities - the listener and the composer, so it is so important how the composer appears in his own essay. The author's personality captures himself not only in style, but deeply penetrates into the area of \u200b\u200bcontent. We can meet with her not only in the musical image (the image of the author), but also in the personal painted musical intonation (F. Chopen, R. Shumanan, F. Sheet, S. Rakhmaninova, D. Shostakovich), and in the personally meaningful sound Palette (for example, J. Kage, Ya. Ksenakis, S. Gubaidulina), in the subject (self-portrait), etc. It turns out that on the territory of his own opus, the author's personality in principle is omnipresent. Knowing this, we can argue that the copyright occupies a special position - it is potentially distributed throughout the content structure of the musical work and can be localized in one or more of its components.

In the structure of the maintenance of the musical work there is another, not named earlier, the element. It - dramaturgy. Almost all of its activity is aimed at ensuring the deployment process, although the latter undergoes marked by one or another "events" of milestones and stages. This process flows in different planes of the musical work: in the means of musical expressiveness (as "tonal drama", "Temmery drama", etc.), intonation ("intonation drama"), images ("figurative-art" or "Musical drama "). Thus, dramaturgy, closely interacting with other elements, takes on the role of energy force, which stimulates the self-apparent musical content.

The presence of a driving component of the structure of the maintenance of the musical product is symptomatic. It stands for the essential pattern of music: genuine content is not a static design, but the process. It is deployed in the non-stop movement of the continuous creation of new meanings, escorting already manifested meanings, changes of the previously held meanings (rethinking), all sorts of interactions of meanings, etc.

As we can see, the hierarchically organized asset of the structure replenished next to others, functionally peculiar, elements. Thus, a universal structure is drawn up, which makes it possible to exist musical content in the musical work.

It is easy to see that the components of the structure are folded in the composer's opus. However, the process of propagation, beginning in the composition of the composer, continues, as already mentioned by the performer and listener. In the performing and listener creative activity, the composer is adjusted and converted, and this means that new elements are not attached to the content structure of the musical work. In the performing and listening activities, it should be about transformation, a change in the structure formed.

In the uncontrollabic deployment of the process of particulars, the structure plays the role of a flexible frame, ordering, "disciplining" this process, that is, a kind of "carrier support" of the semantic flux. Structural units are "nodes" (B.V. Asafyev) fluid content-formation. Therefore, the most scrupulous study of a holistic structure still does not give a reason to count on the final solution to the task of comprehending the phenomenon of the content.

If you proceed from the chronotope (space-time nature) of the musical work, the most important feature of the process of creating a musical work will open. It lies in his double direction. Means are growing not only in sequential-time, horizontal, more distinctly conscious movement of musical thought, but also spatially - on the "vertical". The vertical vector reveals itself in the formation of hierarchically correlated meanings, that is, in crystallization semantic units of the lower level - the meanings of a higher level. In detail, it is described by V.V. Medushevsky. The researcher brings seven types of interaction of the means of musical expressiveness, tracing the corresponding ways from the meanings of music elements to musical intonation or a musical image:

interpretation relationship: impulsive movements (texture) + joyful, light coloring (PLA, register) \u003d babysitting, or impulsive movements + saddral paint \u003d despair, or wait + voltage \u003d tomorrow, attraction;

the ratio of detail: mournful intonation (descending chromatisms or minor sober with detention) + voltage, tension (acunified lade ratios) \u003d sorrow;

metaphorical transfer: fullness of textures, like a fondic quality, like a fullness of space with sounds and voices + voltage, striving, tomorrow \u003d fullness of feelings ("Female feelings", "Sea of \u200b\u200bflowers");

suppression of semantics, replacement of value to the opposite: joy, light (major) + sadness, darkness (low register, etc.) \u003d sadness, darkness;

clearing Polemia, highlighting hidden values: exemption from peripheral semantic nuances in favor of a few major;

interval contradictions, inconsistencies, exaggeration: deformations in the emotion structure ("one-time contrast", discovered by the so-called. Livanova);

parallel interaction (synonymy): Sorrowful sighs (in a soloist party) + sorrowful sighs (in the orchestra party) \u003d amplification, uyarium value or aspiration (functional) + aspiration (melodic, linear) \u003d gain value.

Developed by the medushevsky "algebra of semantic interactions" would seem to solve a modest private problem - systematizes the methods of sense formation. But for the study of musical content, it means much more. First, we see that although the scientist examines the interaction of the means of musical expressiveness, leading to the embodiment of emotions, in fact, the radius of the formulas given to them can be expanded to other results, that is, it is distributed to images of mental processes, landscape images and T .. In other words, we have universal schemes for the formation of meanings in music.

Secondly, the "algebra" allows you to understand that the "maintenance of the musical work is formally unweight from the language values \u200b\u200bof the funds used," the meanings are also synthesized with elements of music, quite different from their own. This thought can be developed and expanded: the content of the musical work is unavailable to one of the components of the structure (musical image, theme, intonation, etc.), as it would be deeply developed. It certainly implies the interconnectedness of the whole complex of components.

The third conclusion allowed by the formulas described above, such: the mechanism of education of new meanings "works" not only at the levels of means of musical expressiveness and images, but also on other "floors" of the structure of the maintenance of the musical work.

From previous reasoning, another conclusion stems. In synthesizing new meanings, the "emission" occurs on a higher level of hierarchical structure, thereby turns on the mechanism of transitions from the underlying level to the overlying, from it - to a higher level located, etc. At the same time, each lower level turns out to be "soil", the foundation for being over it. Resorting to the general philosophical categories "Content" and "Form", essentially distinguished from the musical and aesthetic categories of the same name, which will be constantly used subsequently, we can say that every lower level is correlated with a higher form and content, and transitions with One level on another is equivalent to the transitions of the form to the content.

The structure of the musical work detected by us concludes the most common patterns. As such, it is universal. Any essay corresponds to these patterns, but in its own way overcomes the schematics of the structure. The invariant structure is detailed, filled with a specific corresponding to the individuality of each individual opus.

Since the musical work absorbs, in addition to the results of composer creativity, the activity of the performer and the listener, the maintenance of the musical work is unthinkable without accounting. However, since it turned out that the structure formed in the composer opus is individualized, but is not updated with new elements, it is legitimately called it not only by the structure of the composer content (on which we later actually concentrate their attention), but also the structure of the maintenance of the musical work .

Even the most detailed structure described is not able to cover the holistic content of the work. Music always hides and something elusive, "ineverance". Penetrating into the smallest "cells" and "pores" of the Opus, becoming its "air", it is practically not amenable to not only the analysis, but, as a rule, and the awareness, by virtue of which received the name of the "unconscious". Therefore, when taking care of the task of comprehending the maintenance of the musical work, we must understand that in all its completeness it is unlikely to be summoned by reason. There are always those "proven" depth of content, which are still unavailable, and therefore mysterious. The mastering structure of the content of the musical work, we must remember that the content is unlikely to open to us in all its integrity and depth, for it is in principle inexhaustible. How thoroughly we analyze it, still remove only the surface layer, followed by a lot of artistically valuable, aesthetically affecting the listener.

"If someone is content with the fact that thoughts contained in the poem or story, trends, goals and edifications, he is satisfied with very few, and the mysters of art, his truths and authenticity simply did not notice," said the modern writer and thinker Herman once Hesse. But isn't it impossible to attribute it to music? Isn't a musical work - not intriguing, mounted mystery? Studying musical content and its connection with the form, we are trying to open the veil of this mystery.

Notes

1. Two fragments from the book: Kazantseva L.P.Basics of musical content theory. - Astrakhan: GP JSC IPK "Volga", 2009. 368 p.
2. Holopova V.N. The theory of musical content as a science // Problems of musical science. 2007. No. 1. P. 17.
3. Kudryashov A.Yu. Theory of musical content. - St. Petersburg., 2006. P. 37-38.
4. Sukuntseva V.K.. Music as a human world (from the idea of \u200b\u200bthe Universe - to the philosophy of music). -Kyev, 2000. P. 51.
5. Kholopov Yu.N. Musical shape // Music encyclopedia. - M., 1981. T. 5. STB. 876.
6. Kholopov Yu.N. To the problem of musical analysis // Problems of musical science: Sat. Art. - M., 1985. Vol. 6. P. 141.
7. Kurt E.Romantic harmony and its crisis in Tristan Wagner. - M., 1975. P. 15.
8. Cousy G.E. Scientific substantiation of musical syntax. - M., 1935. P. 13, 14.
9. Savor A.N.. Music // Music Encyclopedia. - M., 1976. T. 3. STB. 731.
10. Recall: Spirit - "Philosophical concept, meaning an intangible start" (philosophical encyclopedic dictionary. - M., 1989. P. 185).
11. Savshinsky S.I.. The work of the pianist over the musical work. - M., L., 1964. P. 43.
12. N.P. Koriwalova names still not fulfilled, but written by notes the composition of the "potential" ("possible") form of the Musical Work, but "already sounded earlier ... who became the fact of culture, but now not executable ..." - "virtual" form, rightly believing that " Virtual Being is the actual being of the musical work "( Korichalova N.P. Interpretation of music. - L., 1979. P. 148).
13. The structure of the content of the musical work as a kind of hierarchy is considered G. B. Zulumyan ( Zulumyan G.V.Music content as aesthetic problem: dis. ... Cand. Form science - M., 1979); MG Karpeichev (Karpuchev M.G. Theoretical problems of music content. - Novosibirsk, 1997), I.V. Malyshev ( Malyshev I.V.Musical composition. - M., 1999), N.L. Serecheovskaya (sketchy N.L. Content and form in music. L., 1985), V.N. Hopova ( Holopova V.N. Music as a type of art. - SPb., 2000), E.I. Chigareva ( Chigareva E.I.. Organization of expressive means as the basis of the individuality of the musical work (on the example of the work of Mozart of the last decade): Author. dis. ... Cand. Art history. - M., 1975).
14. The role of performing interpretation and audience perception in the formation of musical content is shown in the book: Kazantseva L.P. Music content in the context of culture. - Astrakhan, 2009.
15. Medushevsky V.V.. To the problem of semantic syntax (about artistic modeling of emotions) // owls. music. 1973. No. 8. P. 25-28.
16. Ibid. C. 28.
17. Nevertheless, the music is trying to solve his riddle. We indicate, in particular, on the publication of MG Aranovsky ( Aranovsky MGOn two functions of the unconscious in the creative process of the composer // The unconscious: nature, functions, research methods. - Tbilisi, 1978. T. 2; Aranovsky MG Conscious and unconscious in the creative process of the composer: to the formulation of the problem // Musical style questions. - L., 1978), G.N. Bloodless ( Bescronous G.N.The interaction of deliberate and unintentional (improvisational) began as a source of multivariate musical interpretation // Questions of musical execution and pedagogy: Sat. Tr. - Astrakhan, 1992), V.N. Hopova ( Holopova V.N.. The region is unconscious in the perception of musical content. - M., 2002).
18. Hesse Letters in a circle. - M., 1987. P. 255.

What is the essence, musical content (2 hours)

1. Generalization is the most important property of musical content (according to the example I of the part of the Laman Sonatas L. Beethoven).

Music material:

1. L. Beethoven. Sonata No. 14 for piano. I part (hearing); II and III parts (at the request of the teacher);
2. L. Beethoven. Symphony number 7, I and II parts (at the request of the teacher);
3. L. Beethoven, Russian Text E. Alexandrova. "Friendship" (singing).

Feature activities:

1. Analyze the methods of incarnation in musical works.
2. Perceive and evaluate musical works from the point of view of the unity of content and form (taking into account the criteria presented in the textbook).
3. Master the outstanding samples of Western European music (the era of Vienna classicism).

In search of an understanding of musical content powerless laws and methods of analysis. We believe music just contrary to any logic, believe only because it affects us undoubtedly and obviously. Is it possible not to believe what exists in ourselves?

Everyone who had to think over the secret, which makes the musical content, probably felt: music tells us something more, which is immeasurably wider and richer than our experience, our knowledge of life.

So, listening, for example, "lunar" Sonatu Beethoven, we can present a picture of the moon night: not just one of one night in a concrete area, with a specific landscape, namely the spirit of the moon night with her mysterious rustles and flavors, with endless starry sky Unbavreable, mysterious.

However, is it exhausted if the content of this work is only landscape associations? After all, listening to this sonatoo, we can imagine a diligent flour of undivided love, separation and loneliness, the whole bitterness of human sorrows.

And all these such different ideas will not contradict the nature of the Beethoven Sonatata, its concentrated contemplative mood. For she tells us about sadness - not just sadness of the lunar night, but all the sorrow of the world, all his tears, suffering and longing. And everything that can cause these suffering can be an explanation of the content of sonata, in which everyone guess his own mental experience.

Most of you know the "Lunar Sonata" and truly loves it. How many times we listened to this magic music, she conquers us with her beauty, deeply worries the mighty power of the feelings embodied in it.
In order to experience the irresistible impact of the music of this sonata, you can not know, under what life circumstances it was composed; You can not know that Beethoven himself called her "Sonata-fantasy", and the name "lunar", after the death of the composer, was assigned to her with a light hand of one of the friends of Beethoven - Poet Ludwig Robbab. In the poetic form, Robelstab expressed his impressions from Sonatata, in the first part of which he saw the picture of the moon night, the quiet state of the lake and the serenely floating boats.
I think that, listening to this sonata today, you will agree with me that such an interpretation is very far from the actual content of Beethoven Music and the name "Moon" - as if we are accustomed to it - it does not meet the nature and spirit of this music at all.
Yes, and whether some kind of own programs do not need to "nimble" to music, if we know the real life circumstances under which it was created, and what, therefore, thoughts and feelings owned the composer when creating it.
Now, if you know, at least in general terms, the history of the emergence of the "lunar sonatas", I have no doubt that he will listen to, and you will be able to perceive it anywhere than he listened and perceived so far.
I have already talked about the deep spiritual crisis that Beethoven survived and who was captured in his Galeegenstadt will. It was the day before that the crisis, undoubtedly, approaching and sharpening him, in the life of Beethoven, an important event was happening for him. Just at this time, when he felt the approach of the deafness, he felt (or, in any case, it seemed to him) that for the first time in his life, real love came to him. About his charming student, Young Countess Juliet Gwitchchadi, he began to think about his future wife. "... she loves me, and I love her. This is the first bright minutes over the past two years, "wrote Beethoven to his doctor, hoping that the happiness of love would help him defeat his terrible disease.
And she? She, brought up in the aristocratic family, was happiness looked at his teacher - let the famous, but more thank birth, and besides, still stumbling. "To unfortunately, it belongs to another class," - recognized Beethoven, understanding what the gulp lies between him and his beloved. But Juliet could not understand his ingenious teacher, she was too frivolous for this and superficial. She inflicted Bethoven a double blow: turned away from him and married Robert Gallenberg - a lack of music writer, but the graph ...
Beethoven was a great musician and a great man. Man of Titanic Will, a mighty spirit, a man of high thoughts and deepest feelings. Imagine how great his love should have been great, and his suffering, and his desire to overcome these suffering!
"Moonlight Sonata" and was created in this difficult course of his life. Under its present name "Sonata Quasi Una Fantasia", that is, "Sonata like fantasy", Beethoven wrote: "Dedicated to the Countess Juliet Gwitchchadi" ...
Listen to this music now! Listen to it not only by your hearing, but also with all your heart! And maybe now you will hear in the first part of such immeasurable sorrow, which ever had never heard;
in the second part - such a light and at the same time such a sad smile as they did not notice;
and finally, in the final - such a stormy boiling of passions, such an incredible desire to escape from the shackles of sadness and suffering, which is only a genuine Titan. Beethoven, struck by misfortune, but not bent under his weight, and was such titanium.
The "Moon Sonata" brought us closer to the world of Beethoven sorrow and Beethoven suffering, to the deepest Bethoven humanity, which for more than one and a half centuries worries the hearts of millions of people, even those who have never seriously listened to real music.

Similarly, joyful music opens all the joys of the world, everything, from what people laugh and having fun.

The topic of joy sounds in many works of Beethoven, including the famous nine symphony, in the final of which (for the first time in the history of symphonic music!) Beethoven introduced a chorus and soloists who sing a mighty anthem - "ODU to joy" for Schiller's words.
But the seventh symphony is one of the few essays of Beethoven, where joy, enthusiastic, violent joy arises not as the completion of the struggle, not in the process of overcoming difficulties and obstacles, and as if the struggle, led to this victorious joy, went somewhere before, not Seen and not heard.
But Beethoven would not be Beethoven if he had surrendered to the power of the spontaneous joy thoughtlessly, forgetting about the difficulties and transformations of real life.
In the seventh symphony, as in most other Symphones of Beethoven, four parts. The first of these parts is preceded by a great slow accession. Many critics heard in this entry into the extension of the love of nature, about which Beethoven himself often spoke. With nature, it is connected, for example, much in his sixth symphony, to compose, according to his own words, cuckoo, organizes, quail and nightingale helped him.
In joining the seventh symphony, it is indeed, it is not difficult to hear the picture of the morning awakening of nature. But, like all Beethoven, nature here is also mighty, and if the sun goes back, then the first of his rays will illuminate everything around the bright and burning light. And maybe it is also distant extensions of that struggle, which was still and was obviously not easy ...
But the entry ended, and Beethoven literally feels the element of joy on us. Three parts of the symphony are filled with it. If there was such a tool that could be measured by the power of the tension of music, the power of feelings, it was expressed, then in the seventh Symphony of Beethoven, we would probably find so much joy as it is not in all the writings taken together in many other composers.
What a miracle of art and, if you want, a miracle of life! Beethoven, whose life was completely devoid of joy, Beethoven, who said somehow in despair: "Oh, fate, give me at least one day clean joy!" - He himself gave humanity with his art abyss of joy for many centuries ahead!
Is this not a miracle, in fact: to blame immeasurable suffering in the violent joy, from the dead deafness to cause dazzling bright sounds to life! ..
But three joyful parts of the seventh symphony are the first part, the third and fourth. And the second?
It is here that Beethoven and remained faithful to the truth of life, which he knew on his personal crowded experience. Even those of you who have never heard the seventh symphony before, you may find out the music of her second part. This mournful music is not the song, not that march. It does not have no heroic, nor tragic notes, which usually sound in mourning marches Beethoven. But she is full of so sincere, heartful sadness that it often performed on civilian memories, in the sorrowful days of the funeral of the outstanding, dear people to all of us.
Even the lightest episode, manifested in the middle of this part (the same, in essence, occurs in the mourning march of Chopin written in half a century), does not deprive this music of its common mournful tone.
This part of the whole symphony gives an amazing vitality, as if: we all strive for joy, joy is great! But, alas, not only from the joy of Walking our life ...
It was this part that was repeatedly repeated at the request of the public in the first execution of symphony. It is this part that applies to the number of the most beautiful and most popular pages of Beethoven Music. (D. B. Kabalevsky. Conversations about music for youth).

We see that the music has a property to summarize all similar phenomena of the world, which, expressing any condition in the sounds, it always gives immeasurably more than can accommodate the experience of one person's soul.

Not only joys and sadness, but all fabulous miracles, all the wealth of fantasy, all the mysterious and magical, which is hidden in the incomprehensible depths of life, - all this makes music, the main expressant invisible, wonderful, intimate.

Questions and tasks:

1. Name the musical works known to you, in which the basic human feelings would be embodied - joy, sadness, anger, delight, etc.
2. Listen to these poems. How do you think some of them most correspond to the image of "lunar" Sonata Beethoven? Explain your choice.

Presentation

Included:
1. Presentation, PPSX;
2. Music sounds:
Beethoven. Symphony number 7:
1 part. Poco sostenuto-vivace, mp3;
2 part. Allegretto, mp3;
Beethoven. Symphony number9, oka to joy (final), mp3;
Beethoven. Sonata number 14:
1 part. ADAGIO SOSTENUTO (2 version options: symphony orchestra and piano), MP3;
2 part. ALLEGRETTO (F - BU), MP3;
3 part. Presto Agitato (F - BU), MP3;
3. Accompanying flocks, DOCX.

"You say that we need words here.

Oh no! Here it is words that are not necessary, and where they are powerless,

it is fully armed with their "music language ..."

(P. Tchaikovsky)

The desire to embody the peculiarities of nature can constantly cause considerable works of art. After all, nature is so diverse, so rich in miracles that these miracles would have enough for one generation of musicians, poets and artists.

Let us turn to the piano cycle of P. Tchaikovsky "Seasons". Like Vivaldi, Tchaikovsky has a name that corresponds to the name of the month, which it is dedicated to, as well as a mandatory subtitle and epigraph, deepening and concretizing its content.

"January. At Camelka, "" February. Maslenitsa "," March. Lark song, "April. Snowdrop "," May. White nights "," June. Barcarol, "July. Kosary's song, "August. Harvest, "September. Hunting "," October. Autumn song "," November. On Troika, "December. The shints.

Such images were associated with Tchaikovsky with the perception of special poetry, the soul of every month of the year.

Probably, any person has a certain time of the year causes a whole layer of images, thoughts, experiences, close and understandable only to him. And if different composers created their "seasons", then, of course, this is completely dissimilar works, which reflect not only the poetry of nature, but the special artistic world of their creators.

However, just as we take the nature in the various manifestations - after all, there is a charm of its beauty, and in a blizzard, and the cloudy autumn day, - exactly also we accept the full love of an artistic look, which composer embodies in his works . Therefore, listening to the plays "November. On the troika, "we do not think that the tagged horses have long gone from our life for a long time that November wakes up completely different ideas in us. We again and again plunge into the atmosphere of this beautiful music, so expressively telling the "soul of November", which Great Tchaikovsky breathed in her.

Music can tell us about the wonderful countries and about the eternal poetry of nature, it immerses us in a distant historical past and gives the dream of a beautiful future, she re-creating the characters of the characters - even those that are already known to us in the works of literature or visual art.

History, people, characters, human relationships, paintings of nature - all this is presented in music, but is presented in a special way. True intonation found, a bright rhythmic pattern will tell us about the work much more than the longest and detailed literary description. After all, each art expresses himself with his own, only inherent in the means: literature affects the word, painting - paints and lines, and the music conquers with its melodies, rhythms and harmonies.

Listen to the playP. Tchaikovsky "November" from the piano cycle "Seasons of the Year".

Listen to the sound of the initial section of the "November" play and try to imagine what autumn paints a composer in his music, what feelings and mood causes her sound in us.

P. Tchaikovsky

Notic example 2.

P. Tchaikovsky. "November. On the troika. " From the piano cycle "Seasons of the Year". The first section. Fragmen.T.

You remember that this cycle was conceived by a composer as a peculiar musical narration about the life of nature, about its continuously changing appearance, such a subject to the infinite movement of the time of the year.

The second section of the play brings us to the content expressed in the title of the play, "on the top three. The music of this section is enriched with the introduction of a bright visual moment - the pole of the Bubentsy. In it guessed the funny running of the top of the horses, which once had an integral part of Russian national life. This ringing of buberets gives the sound of the play and at the same time makes one more cheerful moment - the moment of admirement with a picture of each Russian heart.

Great example 3.

P. Tchaikovsky. "November. On the troika. " From the piano cycle "Seasons of the Year". Second section. Fragment

The ringing of the buberets and completes the "November" play, the sound of which by the end becomes all quieter, as if Troika, who had just made past us, gradually removes, disappears in the smoke of a cold autumn day.

Maybe in this last exposure of the sound first remember the lines from the epigraph to the play? Indeed, in the play itself there is no extensions of the promised longing and anxiety, which are given in the poem. How then understand the software content from the epigraph to the play?

November, the last autumn month, the last days before the onset of long winter. Here, linking the bubrels, the Troika rushed - and now it's farther and farther from us, hiding away, and the journal of the bubblers is all quieter ... The Piece of Farewell is "November" for its location in the cycle of the seasons. And no matter how much a cheerful view of the composer, who knows how to see the charm and completeness of life in any time, is still not free from a sense of acute regret, always inevitable when separated with something familiar and in his own way. And if so, then we can say that the programming is significantly expands and deepetethe musical image, making a semantic subtext, which only in one music we would not catch.

Questions and tasks

1. Is the mood of the play P. Tchaikovsky "November" by your ideas about this season?

2. What is the role of the poem N. Nekrasov "Troika" in the context of the "November" play?

3. Which of the software components of the work (the name of the month, the name of the play, the poem-epigraph), in your opinion, is more reflecting the nature of the music?

4. What do you see the main features of similarities and differences in the embodiment of artistic images of the age of the year in the works of A. Vivaldi and P. Tchaikovsky?

Song repertoire:

1. What fall is? This is the sky Crying Birds with clouds fly out in the puddles Autumn, I have not been with you for a long time. Chorus: Autumn. In the sky harness ships Fall. I would be away from the ground Where in the sea sink sinking Autumn, Dark Dal. 2. What fall is? These are stones Loyalty over the black Autumn again reminded the soul about the most important Autumn, I'm again deprived of peace. Fall. I would be away from the ground Where in the sea sink sinking Autumn, Dark Dal. 3. What fall is? This is the wind Re-playing torn chains Autumn, add-on whether to share if dawn, What will be from homeland and with us. Autumn, Did you live before the answer? Autumn, what will happen tomorrow with us. Chorus: Autumn. In the sky harness ships Fall. I would be away from the ground Where in the sea sink sinking Autumn, Dark Dal. Melting a lot of the city in the Mol Autumn what i knew about you How long will foliage Autumn forever rights.