Contrast - means of achieving composite expressiveness. The world of vocal and instrumental music images, including in art

BBK (SH) 85.31

R.G. Schitikova

Contrast in music and its genre-forming function in the Baroque Sonate

Theoretically substantiates a new approach to the phenomenon of contrast in music. This phenomenon is presented in the form of a complex organized multi-level system, which includes components as components as ovological norms of artistic thinking, and a hierarchically differentiated complex of immanent musical patterns. Based on the comprehensive analysis of the entity, structure and values \u200b\u200bof contrast for different levels of the composition, a hypothesis of its genre-forming function is put forward in large-scale constructions, confirmed on the material of the Baroque Sonatas.

Keywords:

baroque, Genre, Composition, Contrast Music, Sonata, Form.

Among the factors generating a genre structure, the musical science traditionally distinguishes the origin, forms and conditions of approval, performance and perception of music, its life purpose, social functions, features of content and form. Along with these, undoubtedly, objective parameters, the crystallization process of the genre and its subsequent evolution is also regulated by a sociocultural context, an epochable historical and style patterns and an individual style of creative thinking of the author. A special place in this process takes, at first glance, a narrowly specialized, but, in fact, a universal phenomenon denoted by the concept of conta-ras1. This phenomenon refers to the number of arts founding in the field of art, including music. It is the meaning and actually with musical anti-rods deployable in the dynamics of the development of the whole and its components, the multidimensionality of the artistic content of the work is determined. At the same time, the theoretical understanding of this phenomenon in music recognition is primarily and mainly with the problems of formation. In the works of B.V. Asafieva, I.V. SPOSO-BINA, V.P. Bobrovsky, Yu.N. and VN Holopovov, Yu.N. Tulina, L.A. Masel and V.A. Zuckerman, V.V. Zadeyatsky, E.A. Ruchhevskaya, M.Sh. Bonfeld This concept is disclosed in correlation with fundamental categories: dramaturgy, composition, musical theme.

However, the contrast as a phenomenon has a significantly wider range of actions, representing fundamental

it is a property of thinking, including artistic. Genesis is lies in objective prerequisites inherent in all natural, social and educational processes. "The root of all movement and vitality is a contradiction." It is a source of development, change, transition to new quality. The contradiction under which the interaction is understood inside the single object between interdepending each other and the interpenetrating opposites, absorbs the contrast as an embodiment of the opposition of "sharply pronounced opposites". The materialization of this confrontation is carried out in the form of a kind of dialogue deployed in a space-time continuum. The dialogue in this context appears in the form of a certain universal entity that permeates all the relationships and manifestations of human life. In spiritual and practical activities, the contrast is a way to implement a dialogue between nature and man, "I" and "non-me", the world internal and external, ideal and material, irreal, mystical and objectively existing.

Contrast is the primary source of mythological thinking. "The world of myth is dramatically: this is the world of action, forces, the conflicting mighty began. Mythical perception is always saturated with emotions. Everything visible and sensible is surrounded by a special atmosphere - atmosphere of joy or grief, despair or excitement, lifting or depression ... All items are good or evil, friendly or hostile, familiar or unknown, mounted or repulsive

pretty or threatening. "

In musical art, the contrast is the reflection of the eternal essence of peace and life. The very idea of \u200b\u200bidentifying the elements of music (individual tones, intervals, lade, rhythmic and melodic forms, the appearance and nature of the sound of instruments) with diverse cosmogonical and material substances carrying a tendency to distinguish between opposites, because the natural elements embodied in music are incarnate in music , seasons, day and night, male and female start, etc.

in a broad plan, the contrast includes differences between a significant and secondary, necessary and random, unchanged and transient, constant and variable, sustainable and mobile. The opposition can be supplemented with the characteristics of a different plan, in particular: generally accepted, typical - individual, someone else's - its own (in the letter manner), the usual - unusual, understandable - incomprehensible (about the degree of musical statement of musical statement), condissal-person, periodical - aperiodichny (about metrorty), etc.

Multiple manifestations of contrast in the musical composition. First of all, this is the opposition and unity of multidirectional principles: an emotionally sensual, characterized by a pronounced emotive function, and intellectual-rational, with its ana-lytic operating plants based on abstraction and logic. Along with this, the contrast defines the conceptual structure of the work and method, the form of its practical implementation. The sphere of action of opposites becomes as aesthetic content plan - for example, harmony and disharmony antithesis and overall norms of thinking: dialectical anti-thethics of stability and instability (defunctional and rhythmic), symmetry and asymmetry (structuralityintaxic), continuality, indivisibility of connected and discreteness, Intermittentness, dismemberment. A different kind of opposition is also detected at the level of musical language elements: ascending and downward movement of the melodic line, the dynamics -f and p, transparent and saturated texture, etc. The elements are recognized as contrasting when they are deployed in a temporary

cooking, in the meaningful dynamics of the musical and dramaturgical process.

Of principled importance for understanding the contrast has a comparison of structural components not so much according to the principle of adding, as in the nature of relations between them between them. So, the incomplete reveals its nature only in the process of real permanent. Otherwise, an unstable element, such as a disseminating harmonic complex, can perform a tonic function, that is, to act as a wealth. The overall historical course of musical thinking actually implements in practice the idea of \u200b\u200bincreasingly increasing emancipation of instability and endowed with its unusual functions. In essence, the contrast in music represents a kind of dialogue of individual elements of the text, which constitutes the primary composition as a whole and its components, at the same time destructive and supporting the unity of the system.

Contrast is the phenomenon of the procedural, drop-down in the dynamics of the relationship. Its realization is possible only in the context of the deployment of musical thought, in the dialogistic interaction of various components of the structure, which reveals their disabilities, as well as initiating and ensuring the procedural composition of the composition.

The contextual contrast value is that it acts as, on the one hand, the factor generating, which defines the process of creation, on the other - generated, characterizing its end result and employee, in turn, creative prerequisites for rethinking, update the first, generating factor .

Historically, the contrast is formed into a complex multi-level phenomenon, including both overall revolving standards of artistic thinking and a hierarchically differentiated system of musical parameters actually (for this).

A similar approach to this definition allows you to raise the issue of genre-forming contrast function. The genre is a system that integrates certain types of content and forms, and since the contrast is considered traditionally as one of the fundamental, along with the identity, the principles of the musical form, naturally assume its participation and directly in the genreering

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rest. The hypothesis is confirmed by the fact that in a number of cases, the contrast in combination with other factors determines the genre model of the composition.

The genre in the complex of its components is organized in the real artistic product of a system of substantive-shaped and structurally syntactic elements. At the same time, not all levels of the system have a specific genre context. Each of the elements can individually have and actually has a wide range of manifestations. The essence of the genre content3 (note 3) is determined by the presence of specific specialized elements and the method of their interaction in the hierarchy of holistic education. In other words, the contrast is universal, covering all components of the musical structure as an overall norm of artistic thinking. The genre-forming feature is included at the level of content regulating in turn dramaturgy and the musical form of the work. It is in the content that the semantic, figurative-associative functions of contrast, reflecting both in the semantic appearance of thematism and in the method of deploying the procedural side of the musical composition.

It should be noted that the contrast is not a universal genually-forming factor. The sphere of its action covers, first of all, large-scale construction: suite, sonata, trio, quartet and other ensembles in the field of chamber instrumental music; Overture, concert, symphony, symphonic poem - in orchestral; Opera, ballet and other musical and theater varieties. In so-called miniatures, "small" structures, its participation in genre education is facilitative, selective, manifestation only in cases where the composer refers to a contrasting type of content and the corresponding forms.

In chamber instrumental music, the genre-forming function of contrast is relieved in the genre of the Sonata. In our opinion, the contrast is the essential primacy of the sonata, determines its content, intonational dramatic, composite features. The development of the genre generally reflects the dynamics of the movement of the very idea of \u200b\u200bcontrast as one of the fundamental principles in the overall evolution of artistic thinking. However, on the other hand, in

the NAT is the specific forms of the "interaction of opposites", subsequently extrapolated on other genre areas and employees of the impetus to update and enrich creative ideas.

The genre-forming properties of contrast, its essence, structure and functions, as well as the Sonatata typology, are directly related to the historical and stylistic context. Each era is formed their controls of contrast control, its types, scale, inclusion nature. "These means that were sufficient to create a contrast in the music of the Renaissance will be weak in Baroque music. In typical forms of classicism, the contrast plays a different form-forming role than in Baroque music. " Despite, however, on a changing style context, the contrast at all stages of the development of the genre determines the meaningful-semantic logic of the Sonatata, its specificity. In turn, Sonata occupies a special place in the historical development of the principle of contrast. In fact, the origin of the genre in the musical culture of the Renaissance is associated with distinguishing, opposition of vocal and instrumental principles and intrinsic intonation types, although the individual internal structure of the genre and the corresponding types of contrasts at this stage are not yet formed (see about this).

Actually, the contrast as a genre-forming factor consists of a baroque era, the art of which with maximum fullness reflects the drama and conflict of the month of time. "University of Baroque - the game field and the boring of the opposite began." At the same time, the essence of the opposite is interpreted very peculiar. According to the German philosopher Ya. Beeom, "From Yes, there is no all things, whether it is named divine, devilish, earthly or anything else. One of them, yes, there is a pure strength and life, and there is God True, or God himself. In itself, it was indistinguishable without not. No, there is an opposite yes, or truth, and exists, in order to actually opened and became something, it would be inside the opposite ... And it is impossible to say that yes and no - two separate and query, they are the essence of one and the only thing , dividing two starts and forming two centers, where each in itself manifests itself and seizes the will. There are two of them two that all stay in constant

rhenium, there would be all things only nothing and remained alone, outside mobility. The expiring will wishes to incomprehensible, in order to be angry and recognize eternal vision "[quot. by: 9, p. 55].

Understanding the world as movements and connections The contradictions is the focus of baroque poetics and determines the features of the creative method of the era. In artistic thinking, this leads to the weakening of the motives of strict orderliness and freedom, polyphonic and harmonic norms of the organization of musical tissue. Antitrity acts as an essential, rhetorical disposition, the principle of drama: unity is compiled in comprehension of contradictions. "In music, it was in the era of Baroque, the contrast was opened and erected into the law of the style formation, the ratio of genres, architectonics, dynamics, organization of time in various practices."

The basis of the Baroque musical style is a steady system of antinea of \u200b\u200btraditional and innovative, spiritual and secular, vocal and instrumental, polyphony and homophone, as well as tensions and dynamics of development, explosive expression and strong affects. Features of thinking spawned a new type of artistic logic. The contrast of the typed forming-intonational structures is acquiring the contrast, which determines the general orientation of the melody-thematic deployment. The musical process is recognized as an event, which leads to alternating or combining contrasting phenomena images, stylistic, genre antithesis.

The concept of contrast is characteristic of the aesthetics and poetics, the concept of contrast is extrapolated on Sonatu, which consists in this era as a genre in the unity of its meaningful and separation parameters. The content of the content in two main varieties is occurring: Sonat Da Chiesa and Sonata Da Camera. For the first, as is well known, the embodiment of the states of objective, "concretely". The second distinguishes the orientation of dance, genreness, subjective-lyrical imagery.

The total rationalistic orientation of the baroque predetermines the syntactically dismembered and at the same time a holistic logical organization of the form. Gets in the sonate the implementation and typical baroque idea of \u200b\u200bmultilingualism, which raise

in the interaction of the traditional and new structural foundles, in the integration of elements of various systems of the organization of musical tissue - polyphony and harmony, medieval modality, aperiodicity and multidimensional regularity, quadacity.

Interpreted quite widely in the context of baroque aesthetics, the principle of compliance-representations in connection with the Sonata can be understood as an establishment in the process of dramatic development of similarities, analogies, kinship between different elements of the musical system. The consequence of this principle is a conscious installation on the design of a deployed composition, subordinate to a certain logic of interaction of leading musical and thematic complexes, contrasting in its original entity and combined the principle of similarity. The technique of contrast used in this case, contradictions and rethinking is consistent with the rules of the widespread "theory of wit". According to B. Gracian, the "inventor" of this theory, "to combine the power of the mind two contradictory concepts - the highest art of wit" [Cyt. by: 9, p. 111].

Contrast as the most important genre-forming factor determines the essence of sonata thinking in the baroque era. "This unifying principle arose from the idea of \u200b\u200bthe contrast of musical movements and caused a stubborn and persistent desire to build cycles from the chain of variekractic comparisons. Only the idea of \u200b\u200balternating contrasting those inside one movement gave Sonate the final expression and a strong and flexible structural base. Of the gradual approximation to the idea of \u200b\u200bthe thematic contrast and the associated principle of development, their finds and assimilation, and then consolidate this idea is essentially the whole great period of formation formation. "

On the other hand, the contrast, being a genetic sign and criterion of sonata, is formed in the context of genre thinking into a complex system object. First of all, in the baroque sonata as a cyclic composition, the contrast of the genre, figurative-intonational content of the cycle parts is crystallized. In particular, the concept of Sonat Da Chiesa is based on a consecutive deployment of sharply opposing areas: from sublime patellum, "speech" recitation (first part) to the dynamic energy of action (second), hereinafter - subjectively painted lyrics

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(third) and, finally, the rapid moto- general contrast is

rica enriched with often dance versal, along with the identity, norm

rhythms (final). At the heart of Sonata Da Camera logical, artistic and creative

comparison of the variekteric dances: go, including musical thinking

allemanda - Kuranta - Sarabanda - Algered. And at the same time acts attribute

The area of \u200b\u200bantitheeticity in the baroque genre sign of sonata, generating

sonata also becomes a contrast to polyphic and its conceptual

niche and harmonic warehouses writing, figurative system, inton

ma, especially privatic in Sonat Da Chiesa, Construction Music, Composite

built on the alternation of homophone features and actually

and fugled parts. Fusion processes. Baroque type

Another zone of the contrast of the raster is characterized by the "absence of illustrative

is the temp-rhythmic organization. Motivated emotion transitions »

So, the sequence of parts in the typical presentation in the maximum

the cycle is based on a sharply concentrated concentrated form of a kind of

in the pace, the opposite-tusto-polyphonic interaction

tyah: Largo or Grave is the first part, Allegro - various historical plans: the antimitor, Adagio - Third and Presto - Final. In the middleweight tradition and new

depending on the quantitative composition, the laws of musical and creative muscle

variable in real composer's research. Established in the baroque zealous era

practice, also using numerous contrast functions, its

modifications of this scheme. Types, scale, regulation techniques,

Tonal, themed types of the contraction of the introduction, interdependent

rasta is originally implemented between and deterministic historical style

frequencies of the cycle and only on a certain output context, are intensive

stage of development of the genre of the scope of their development in classical, romantic

it applies to the framework of one part. and modern sonate.

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1 Etymology of the word contrast goes back to the FR. CONTRASTE, it. Kontrast, Ial. Contrasto, Contrastare, which is translated as "sharply pronounced opposite", as well as "confrontation, distinction".

2 Discussion in this context is an attempt to delimit the definitions of contrast and conflict in the work of A.N. Petrova: "Contrast is a more static concept, considering phenomena in a logical aspect. The conflict is a more dynamic concept associated with ideas about action, movement and contraction. " The statement about the static nature of contrast, in our opinion, does not quite correspond to the specifics of music as temporary art. The application of the concept of statics is possible only in a metaphorical sense.

3 Definition "genre content" belongs to A.N. Saw. The scientist connects it with the social function of music. In our opinion, it has a wider range of values, including in itself and actually musical, intonational meanings.

Sergey Vasilyevich Rakhmaninov Russian composer, pianist, conductor.

"I am a Russian composer, and my homeland put an imprint on my character and my views." S.V. Rachmaninov lived and worked at the turn of the XIX - XX centuries. The clash of a new one in the old in all areas of life, including in art. Time associated with the First World War and Revolutions engaged in Russia.

By the morning, at the dawn, on Rosy grass, I will go fresh in the morning to breathe. And in a fragrant shadow, where Lilac is crowded, I will go my happiness to look for ... in life, one thing is destined to find one thing, and that happiness lives in Lilac; On green branches, on fragrant brushes My poor happiness blooms ... Lilac

The story "Lilac" ... Verochka gently spread the branches and saw Sergei Rakhmaninov, nephew of the owners of the manor. He lifted the brush lilac with his palms and immersed his face in them ... each had his taste. White - It seems to lick the plug from the mother of french spirits; Lilova gives in ink; The most delicious blue lilac, sweetish, stealing lemon crust ...

Conclusions: Personality expresses an internal state in music Various performers create their own image of visual images strengthen perception, make a musical image more diverse, expressive. Conclusions: to the omposor, artist, writer, as well as the performer creates each image, expressing its inner state. Zeper images enhance the perception of listeners, make a musical image more diverse. Homework: Read the story of Y.Nagina "Lilac", which will strengthen the impression from the music of S. Rashmaninov, will help to present the image of the composer, enter his world.

Music, like other arts, is created by a person, as a way of expressing his individuality, perception of peace, harmony with man and nature. Or, on the contrary, - the expression of disagreement, contradictions. Music expresses different moods and elements. A certain rhythm and harmony are the basis of an artistic image in music. Musical works created in different epochs in different countries appeared at one time a prerequisite for the development of dance and singing.

Artistic images in music are created thanks to the sounds. Music is always addressed to the senses of man, because the music itself expresses feelings as the language of the human soul. Music differs not only in styles and directions, but also to ethnic groups. It can contain different scenes from life, situations.

Communication of music and fine art

Music and visual art are closely connected. A talented composer or a musician, like the artist, presents a certain associative symbolic series in his works, reflecting its energy. Like painting, music has its own flavor. Fine arts, like music, expresses feelings, emotions, mood of their creator. Even the musicians themselves, their art and musical works became the topic for the works of many artists in all over the world.

In classical academic painting there are certain rules: in the foreground is the main object of the picture, then follow the secondary objects and the background is drawn. Also in music, - the sound of the melodies begins with a certain tact, musical size, several main notes, then the sound becomes greater, the orchestra starts playing. We observe the same phenomenon in solo singing under the accompaniment: the voice of the soloist is complemented by cholar singing or instrumental accompaniment.

Another important brings music and visual art. This is a contrast. After all, in painting, the color is always compared, and in modern visual art - forms. In music, this is a comparison of the pace, high and low notes, loud and quiet sound.

Melodies, like paints of artists, are cold and warm, bright and dusk. And such characteristics of fine art, like gamma, tone, tint, nuance, are used today critics for interpretation of musical works.

The summary of the music lesson in the 6th grade was developed on the basis of the music program 1 -7kl., Author E.D. Krit.

Subject:

Type of lesson:

Formation of new knowledge.

The purpose of the lesson:

Features of the worldview of the composer S.V. Rashmaninov, the themes of philosophical sound in his work.

Tasks lesson:

Acquaintance with the life and creativity of the composer. A brief overview of historical backgrounds. Features of the genre "Romance" in the work of S.V. Imanimanova.

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The world of vocal and instrumental music images of Romance S.V. Rhahmaninova The work performed the MBOU Music Teacher MBOU "SOSH No. 1" of Bologoye Tver Region Mincheva L.N.

Sergey Vasilyevich Rakhmaninov 1873 - 1943 Russian composer, pianist, conductor.

With the work of Sergei Rakhmaninov, we started getting acquainted even in elementary school. Today we will try to remember, generalize everything - what we know about this great, Russian composer. So, our trip to the "World Rakhmaninov" begins ...

"I am a Russian composer, and my homeland put an imprint on my character and my views." S.V. Rachmaninov lived and worked at the turn of the XIX - XX centuries. The clash of a new one in the old in all areas of life, including in art. Time associated with the First World War and Revolutions engaged in Russia.

As a pianist, he traveled the whole world. And wherever he played, he was given a bouquet of white lilac. For the composer lilac was the symbol of the Motherland.

Task: Listen to the Romance "Lilac" and tell me what feelings, the composer put a composer into music? How does the composer expresses the contrast between the agitated sense of a person and the image of serene nature?

By the morning, at the dawn, on Rosy grass, I will go fresh in the morning to breathe. And in a fragrant shadow, where Lilac is crowded, I will go my happiness to look for ... in life, one thing is destined to find one thing, and that happiness lives in Lilac; On green branches, on fragrant brushes My poor happiness blooms ... Lilac

The story "Lilac" ... Verochka gently spread the branches and saw Sergei Rakhmaninov, nephew of the owners of the manor. He lifted the brush lilac with his palms and immersed his face in them ... each had his taste. White - It seems to lick the plug from the mother of french spirits; Lilova gives in ink; The most delicious blue lilac, sweetish, stealing lemon crust ...

Transcription S.V. Rashmaninova

Quest: What is the difference between two artists of the Romance "Lilac"? What image creates each of the performers? Find the consonance between musical and visual images.

Conclusions: Personality expresses an internal state in music Various performers create their own image of visual images strengthen perception, make a musical image more diverse, expressive. Conclusions: Composer, artist, writer, as well as the performer creates each image, expressing its inner state. Spectative images enhance the perception of listeners, make a musical image more diverse. Homework: Read the story of Y.Nagina "Lilac", which will strengthen the impression from the music of S. Rashmaninov, will help to present the image of the composer, enter his world.

Preview:

6th grade Music lesson on the topic

"The world of vocal and instrumental music images. Romance images S.V. Rhahmaninova. "

Type of lesson:

Formation of new knowledge.

The purpose of the lesson:

Features of the worldview of the composer S.V. Rashmaninov, the themes of philosophical sound in his work.

Tasks lesson:

Acquaintance with the life and creativity of the composer. A brief overview of historical backgrounds.

Features of the genre "Romance" in the work of S.V. Imanimanova.

Education of audience culture.

Equipment lesson:

Technical Row: Computer, projector.

Spectator: Presentation.

Musical row : S. Rashmaninov, E. Beketova Romance "Lilac" - vocal execution.

(Attachment 1)

S. Rashmaninov Roman's transcription "Lilac" performed by the author(Appendix 2).

Literary Series: Y.Nagibin story "Lilac", a fragment.

Didactic materials:the text of the romance "Lilac", sl. E Beketova - distribution material.

During the classes.

Slide 2.

Teacher: Epigraph to the topic of today's lesson I want to read the last line of the poem "Evening" I. Bunin: "I see, I hear, happy. All in me. "

What mood cause these words? What thought they pushed?

Students: Different answers (students suggest that creativity is awakened when a person is in unity with nature, he is open, it perceives him sensitively).

Teacher: Are we close to nature today? Try to "look into yourself." Is the modern man often experiencing such simple and at the same time deep, elevated feelings from communication with nature?

Students: (think).

Teacher: Today we again appeal to the work of the Russian composer, Pianist, Cerizer S.V. Imanimanova. The composer was reproached in old-fashioned, and he said: "I don't want to be a fashion that I think, change the constantly sounding tone, through which the world around me surinchesion."

Slide 3.

Teacher: To determine the "sounding tone" Rakhmaninovalet's try to remember, generalize everything - what we know about this great, Russian composer.

So, our trip to the "World Rakhmaninov" begins ...

I suggest you take a trip to the historical past ...

Slide 4.

Teacher: What reflections do you like fragments of the viewed movie? Students: The composer lived in a difficult historical time associated with the First World War and revolutions engaged in Russia. The clash of the new with the old has covered all the spheres of life, including art.

Slide 5.

Teacher: And how do you understand the words S. Rakhmaninova:"I am a Russian composer, and my homelanddid the imprint on my character and my views "?

Students: S. Rashmaninov remained faithful to traditions of classical art.

Slide 6.

Teacher: So it can be concluded that S.V. Rushmaninovsought to keep his inner worldi managed to defend my opinion.Sincerely, excitedly spoke with his music aboutwhat's in the soul.

Slide 7.

Teacher: S. Rakhmaninov called the greatest composer and pianist of all time.As a pianist, he traveled the whole world. And wherever he played, he was given a bouquet of white lilac.For the composer lilac was the symbol of the Motherland. What do you think why?

Students : Memories of childhood, a lot of lilac, where he was born.

Teacher: You're right. Rodina Rakhmaninova - Novgorod Region. Here he was filled with old handles, bell tongues, here he was awakened by "endless love for Russia and to the whole Russian." The beauty of the native nature filled the music of the composer with a strong sense. As if transparent watercolor paints were written by his romance "Lilac."

Slide 8.

Teacher: Task:

Listen to the romance "Lilac" and tell me what feelings, the sensation put a composer to music?

How does the composer expresses the contrast between the agitated sense of a person and the image of serene nature?

Slide 9, 10, 11, 12, 13. (Appendix 1)

Students: (Answers ). Romance talks about love, tenderness. Music is expressive, there is an element of depiction. In music, air transparency, light breathing of lilac branches. Created clear, calm images, full peace of mind. Perhaps the composer experienced happy moments of his life, which was reflected in his music.

Teacher: You are right, it was the best time to live a composer. Every spring and early summer he spent in Ivanovka. Subsequently, Rakhmaninov wrote: "It was here that I worked well."

These memories of the composer formed the basis of the story of Y.Nagina "Lilac".

Slide 14.

"Strong thunder shower, in early June ... aggravated by the Svyatitsa in the Universe. And Lilac bloomed the whole at once, stuck in one night and in the courtyard, and in the avenues, and in the park ...

And when the Verohow Skalon ran into the garden ... He smeared ... The wonderful splendor of lilac decoration.

Verochka gently spread the branches and in step he saw Sergei Rakhmaninov, nephew of the owners of the manor. He lifted lilac brushes with palms and immersed her face in them. When I raised my head, forehead, nose, cheeks and chin were wet, and petals and tubes of colors were glued to the eyebrow of the thin string of the mustache. He chose a small brush and carefully took in his mouth, as if she was going to eat, then also cautiously pulled her out of his mouth and swallowed something. The Veroch followed his example, and the mouth was filled with bitter cold moisture. She frowned, but still repeated the experience. White dismissed, then blue, then a lilac lilac - each had his own taste. White - It seems to lick the plug from the mother of french spirits; Lilova gives in ink; The most delicious - blue lilac, sweetish, stealing lemon crust ... "

Teacher: Why do you think Seryozhe Rachmaninov tried to try lilac taste?

Students : He tried to compare different shades of lilac.

Teacher: Did you notice the changes in the intonation in the romance melody? In which part of the romance, more tense intonation sounds? What do they express - joy or spiritual pain, dreams of happiness or bitterness of loss?

Students : The melody was development. In the second part of the romance, more tense intonation sounds. They express the feeling of emotion and dreams of happiness.

Teacher: Listen to the transcription of this romance performed by the composer himself and answer the following questions:

Slide 15.

What is the difference between two artists "Lilac"?

What image creates each of the performers?

Find the consonance between musical and visual images

Slide 16.

Students : The author himself executes the romance. He transmits his feelings, experiences, excitement. Therefore, music draws a man's image. And in the first, vocal execution, the serenity of nature is transmitted, the image of transparency, rest is emphasized by a high female voice - soprano.

In the process of analyzing, students offer their own versions of the consonance of musical and visual images.

Slide 17.

Teacher: Summing up our lesson, we can draw the following conclusions:

Composer, artist, writer, as well as the performer create each image, expressing its inner state.

Spectative images enhance the perception of listeners, make a musical image more diverse.

Homework: Read the story of Y.Nagina "Lilac", which will strengthen the impression of the music of S. Rashmaninov, will help to present the image of the composer, enter his world.

So, two questions about the contrast in music were affected. The first is its internal character and the degree of controversy, the second is a constructive effect in conditions of simple, complex saccate and cyclic forms. The complex problem of contrast by these two signs is not limited. To understand its essence, to realize the importance in the musical composition, it is necessary to familiarize themselves with the second, opposite to him, the most important principle of the musical movement - the principle of identity, or repetition. It is these two principles - identities and contrast - in cooperation with each other and constitute the entity of the formation in music. They create that harmony of equilibrium, stability and internal proportionality, which are particularly different classical writings.

The identity in the musical form is the presence of similarity, coincidence, repeatability between themes, parts, sections, expressed to one degree or another and implemented with such musical means. If the contrast in music is the accumulation and aggravation of changes, then the repetition is the lack of fundamental changes, minimum differences. The amount and quality of changes in the repeated elements (themes, sections, parts of the form) determine the gradations of identities. The greatest degree of identity is literal, accurate repetition, devoid of any changes recorded by the composer in the music text. The greatest degree of change in identity is varied repetition, which should also meet the same requirements of the recognition and the invariance of the essence of the initial musical material, as at the exact repetition.

As mentioned, the principles of identity and contrast interact, but the identity is dominated in some musical structures, and in others - contrast. Many simple forms, especially in vocal and instrumental folk music, are built on the predominance of the principle of identity. These are folk songs, dances, dances, as well as miniatures from the classic repertoire. Complicated and cyclic forms in most cases use the synthesis of both principles with the determining role of the principle of contrast.

The principles of identity and contrast are a universal phenomenon in music, the basis of its formation; They naturally complement and replace each other, providing a living process of musical movement. Their role in the disclosure of figurative-artistic content is enormous, as they contribute to the conscious perception of music and active empathy by the listener.