Control testing in music for the I quarter (grade 7). Characteristic of musical abilities Characteristic of music in sound and structure

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

In connection with the above, the elements of the content of musical education are: - the experience of a person's emotional and moral attitude to reality, embodied in music (that is, the music itself, "musical material"); - musical knowledge; - musical skills; - musical skills.

Selection criteria musical material - the main component of the content of musical education, are:

Artistry;

Fascination and accessibility for children;

Pedagogical expediency;

Educational value (the ability to form moral ideals and aesthetic tastes of students.

Musical knowledge... Knowledge of two levels serves as the basis for understanding the art of music: 1) knowledge that contributes to the formation of a holistic idea of ​​the art of music; 2) knowledge that helps the perception of specific pieces of music.

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 about the essential features of the musical language, the patterns of construction and development of music, about the means of musical expression.

These provisions of musical science have determined the approach to the choice of knowledge about music. In accordance with them, D.B. Kabalevsky singled out generalized knowledge (“key”) in the content of musical education. This is knowledge that reflects the most common phenomena of musical art. They characterize typical, stable connections between music and life, correlate with the patterns of musical development of children. Key knowledge is required to understand the art of music and its individual works.

In the content of school music education, the second group of knowledge correlates knowledge that is usually called “private” (D.B. Kabalevsky). They are subordinate to the key. This category includes knowledge about individual specific elements of musical speech (pitch, metro rhythm, tempo, dynamics, harmony, timbre, agogy, etc.), biographical information about composers, performers, about the history of the creation of a work, knowledge of musical notation, etc.

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

So, the ability of students to apply knowledge in practice, in the process of perceiving music, is manifested in the formation of musical skills.

"Key" knowledge is used in all types of musical educational activity of schoolchildren, therefore, the skills that are formed on their basis are considered as the leading ones.

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

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

Skills related to knowledge about individual elements of musical speech (pitch, rhythm, timbre, etc.);

Skills related to the application of musical knowledge about composers, performers, musical instruments, etc.;

Skills related to knowledge of musical notation.

Thus, leading and private skills are correlated with key and private knowledge, as well as with various forms of musical educational activity.

Musical skills are in direct connection with the educational musical activity of schoolchildren and perform in certain techniques of performing music. Performing skills are also formed on the basis of musical perception. Without their acquisition, one cannot speak of complete assimilation of the content of training.

Theme 6:

The concept of musical education and the music program by D. B. Kabalevsky: past and present

1. General characteristics

By the 70s of the twentieth century, domestic pedagogy had accumulated a lot of experience in the field of musical education of schoolchildren. At the same time, there is a need to create a unified concept that generalizes it, giving clear directions for the formation of the musical culture of schoolchildren.

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

To develop such a concept was proposed to a group of young scientists led by the famous composer and public figure Dmitry Borisovich Kabalevsky. The concept and program were developed in the laboratory of the Research Institute of Schools of the Ministry of Education of the RSFSR in the period from 1973 to 1979. The main ideas of the concept are embodied in an article that precedes the music program "Basic principles and methods of a music program for a secondary school." The program itself was published in small editions with the note "Experimental". At the same time, music readers were issued for the musical support of the program, as well as phono-chrestomatics with recordings of all the works of the program. During the experimental testing of the program, music lessons in one of the schools in Moscow were led by Kabalevsky himself. These lessons were shown on television. The book for children "About three whales and about many other things", which was written by D.B. Kabalevsky for children.

For mass use, the music program for grades 1-3 (with lesson methodological developments) was released in 1980, and for grades 4-7 - in 1982.

Kabalevsky's program is still widely used in our country. It is the starting point for the development of new music programs. However, in recent years, this program has increasingly become the object of criticism. At the same time, she also has a lot of supporters. It seems that it is inappropriate to consider it obsolete and unusable.

This concept is a major achievement of our culture. She absorbed the best experience of Russian pedagogy, and also anticipated a number of qualitatively new processes emerging both in art history and in all aspects of social life. Namely, the desire to preserve and educate spiritual culture, recognition of the priority of universal human values. This concept has great potential for development. While maintaining the essence, this development has the following directions:

Development of artistic didactics and theory of art pedagogy;

Substantiation of the musical material of the program;

Expansion of the musical material of the program;

Expanding the role of improvisation, vocal and instrumental music making;

Enrichment of the lesson with folklore, sacred music, examples of modern folk music, etc.

One of the most important tasks of the teacher working according to the program of D.B. Kabalevsky - to develop the humanistic ideas of the concept. In their line, the content of the educational process is the spiritual dialogue of different cultures. The content is the process of educating children of a moral and aesthetic attitude to reality, art itself, the child's artistic activity as his “life” in art, creation of himself as a person, a look into himself.

Thus, understanding by the content of the concept the process of forming a child's spirituality through music, through experience, feeling and impression, it 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, ways of communicating with music, etc., then this process is laid down in the concept as constant, necessary and natural.

It focuses on the fact that the musical material can be replaced, on the fact that the implementation of the program requires a teacher's creative approach in the choice of methods and forms of practical music-making.

In 1994. a new version of the program was released, which was made by Bader and Sergeeva. The main tasks of the reprint are to eliminate the ideological content of the content, to enable the teacher to show creative initiative in planning lessons. Thus, in this edition, the musical material was changed and the lesson methodological developments were eliminated.

2. Purpose, objectives, principles and fundamental methods of the music program,

developed under the leadership of D.B. Kabalevsky

Purpose of music lessons in a general education school - the upbringing of the musical culture of schoolchildren as a necessary part of their general 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-practical attitude to music in the process of its performance, primarily choral singing, as the most accessible form of music-making.

Basic principles of the program:

Study of music as a living art, relying on the laws of music itself;

Connections between music and life;

Interest and passion for music education;

Emotional and conscious unity;

Unity of artistic and technical;

Thematic structure of the music program.

According to the last principle, each quarter has its own theme. Gradually complicating and deepening, it unfolds from lesson to lesson. There is a continuity between quarters and stages (classes). All secondary, secondary topics are subordinated to the main ones and are studied in connection with them. The topic of each quarter corresponds to one “key” knowledge.

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

Musical generalization method... Each topic is general in nature and unites all forms and types of activities. Since the topic is generalized in nature, then it is possible to assimilate it only by the method of generalization. The mastering of generalized knowledge by students is based on musical perception. This method is primarily aimed at developing a conscious attitude towards music in children, at the formation of musical thinking.

The method of musical generalization acts in the form of aggregate methods of organizing student activities aimed at mastering key knowledge about music, the formation of leading skills.

The method includes a number of sequential actions:

1st action. The task is to activate the musical and life experience of schoolchildren, which is necessary for the introduction of the topic or its deepening. The duration of the preparatory stage is predetermined by the nature of the generalized knowledge. The duration of training also depends on the level of musical experience of the students. The main thing is not to allow the study of the topic to take place formally, without relying on auditory experience sufficient for this.

2nd action. The goal is to acquaint with new knowledge. The techniques of a productive nature are of fundamental importance - various options for organizing the search situation. In the search process, three points are highlighted: 1) the task clearly formulated by the teacher; 2) gradually, together with the students, solving the problem with the help of leading questions, organizing one or another action; 3) the final conclusion, which the students themselves must draw and pronounce.

The third action is associated with the consolidation of knowledge in various types of educational activities, with the formation of the ability to independently navigate in music on the basis of the acquired knowledge. The implementation of this action involves the use of a combination of various techniques of a productive and reproductive nature.

The method of "running ahead" and "returning" to the past... The content of the program is a system of interrelated topics. It is important that the lesson in the minds of the teacher and students acts as a link in a common theme and the entire program. The teacher needs, on the one hand, to constantly prepare the ground for the upcoming topics, on the other, to constantly return to the material covered in order to comprehend it at a new level.

When implementing the method, the teacher's task is to choose the best options for a particular class of “running” and “returning”. There are three levels of communication traced here.

1. Links between the stages of learning 2. Links between the themes of the quarters. 3. Links between specific pieces of music in the process of studying the topics of the program.

The 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 of the lesson.

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

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

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

The personality of the teacher (his enthusiasm for the subject, manifested in the performance of music, in judgments, objectivity in the assessment of students, etc.) acts as a powerful stimulus for enhancing the activities of schoolchildren in the classroom.

L.P. Kazantseva
Doctor of Arts, Professor of the Astrakhan State Conservatory
and Volgograd State Institute of Arts and Culture

CONCEPT OF MUSICAL CONTENT

Since ancient times, human thought has tried to penetrate the secrets of music. One of these secrets, or rather, the key one, is the essence of music. There was no doubt that music is capable of strongly influencing a person due to the fact that it contains something in itself. However, what exactly is this meaning, what does it “tell” a person, what is heard in the sounds - this question, which has been in different ways, which has interested many generations of musicians, thinkers, scientists, has not lost its acuteness even today. It is not surprising that the question of its content, which is fundamental for music, received very dissimilar, sometimes mutually exclusive answers. Here are just a few of them, conventionally grouped by us.

The area of ​​opinions about music as an imprinting is significantly highlighted. human:

music is an expression of human feelings and emotions(F. Bouterweck: musical arts express "feelings without knowledge of the external world according to the laws of human nature. All external, these arts can indicate only indefinitely, paint only very distantly"; L.R. d'Alembert; V.G. Wackenroder; K. M, Weber; F. Chopin; F. Thirsh; J.J. Engel; J. Sand: "The field of music - emotional excitement"; R. Wagner: music "remains even in its extreme manifestations only to in st v o m "; S. Kierkegaard; R. Rolland; Stendhal; R. Wagner; V. P. Botkin; L. N. Tolstoy:" Music is a shorthand of feelings "; B. M. Teplov:" The content of music are feelings, emotions, moods "; L. Berio; A.Ya. Zis; S. Langer; S.Kh. Rappoport; EA Sitnitskaya); thinkers of the 17th - 18th centuries (A. Kircher, I. Matteson, D. Harris, N. Diletsky and others): music - the expression of affects;

music is an expression of feelings(I. Kant: she "speaks through sensations alone without concepts and, therefore, unlike poetry, she leaves nothing for reflection");

music is an expression of intelligence(IS Turgenev: “Music is the mind, embodied in beautiful sounds”; J. Xenakis: the essence of music is to “express intelligence through sounds”; R. Wagner: “Music cannot think, but it can to embody thought "; GV Leibniz:" Music is an unconscious exercise of the soul in arithmetic ");

music is an expression of the inner world of a person(GVF Hegel: "Music makes subjective inner life its content"; VA Sukhomlinsky: "Music unites the moral, emotional and aesthetic spheres of man"; K.H.F. Krause; AA Farbstein MI Roytershtein: “The main thing that the music tells about is the inner world of a person, his spiritual life, his feelings and experiences, his thoughts and moods in their comparison, development”; VN Vladimirov; G.L. Golovinsky; I.V. Nestiev; A.A. Chernov);

music is an expression of the mysterious depths of the human soul(J.F. Rameau: "Music should appeal to the soul", "Genuine music is the language of the heart"; AN Serov: "Music is the language of the soul; this is the area of ​​feelings and moods; this is the expressed life of the soul in sounds"; F. Grillparzer: "It is the vague feelings that is the own area of ​​music"; F. Garcia Lorca: "Music in itself is passion and mystery. Words speak about the human; in music is expressed what no one knows, no one can explain, but what is, to a greater or lesser extent, in everyone "; H. Riemann:" The content ... of music is formed by melodic, dynamic and agogical ups and downs, bearing the imprint of the spiritual movement that gave rise to them "; AF Losev:" Music turns out to be the most intimate and most adequate expression of the element of mental life ”);

music is an expression of the inexpressible, subconscious(VF Odoevsky: "Music itself is an art of unaccountableness, the art of expressing the inexpressible"; S. Munsch: "Music is an art that expresses the inexpressible. The possession of music is the uncontrollable sphere of the subconscious that cannot be controlled by the mind and touch"; G. G. Neuhaus: "Everything" insoluble ", indescribable, inconceivable that constantly lives in the human soul, everything" subconscious "(...) is the realm of music. Here are its origins").

The many-sided area of ​​ideas about music as an imprint extrahuman:

music is an expression of the existential, the Absolute, the Divine(R. De Conde: music calls for an "irrational absolute"; R. Steiner: "The task of music is to embody the spirit that is given to man. Music reproduces the ideal forces that are hidden behind the material world"; A.N. Scriabin; K.V. F. Solger: the meaning of music is “the presence of the deity and the dissolution of the soul in the divine ...”; Fr. Fischer: “Even good dance music is religious”);

music is an expression of the essence of Being(A. Schopenhauer: "Music in any case expresses only the quintessence of life and its events", other arts "speak only of the shadow, it is about the being"; V.V. Medushevsky: "The true content of music is the eternal secrets of being and human soul "; GV Sviridov:" The Word ... carries in itself the Thought of the World ... Music carries the Feeling, Sensation, Soul of this world "; LZ Lyubovsky:" Music is a kind of reflection of the composer's comprehension of Nature, the Universe, Eternity, God. This is her majestic Subject ");

music - display of reality(Yu.N. Tyulin: "The content of music is the reflection of reality in specific musical images"; I.Ya. Ryzhkin: music "gives a full and many-sided reflection of social life ... and leads us to a whole cognition of reality "; T. Adorno:" The essence of society becomes the essence of music "; A. Webern:" Music is the law of nature, perceived by the ear ");

music is movement(A. Schelling: music “represents pure movement, as such, in abstraction from the subject”; A.K. Butskoy; R. Arnheim; N.A. Goryukhina: “Question: what is meant by the content of a musical work? own movement "; AF Losev:" ... Pure music has the means to convey ... the imageless element of life, that is, its pure actual socio-cultural development ... "; LP Zarubina:" Music basically and predominantly depicts the state of affairs ");

music is an expression of positive(A. V. Schlegel: “Music absorbs only those sensations of ours that can be loved for their own sake, those on which our soul can voluntarily linger. There is no path to music for an absolute conflict, a negative beginning. can express, even if she wanted to "; AN Serov:" Ambition, avarice, cunning, like Iago, the malice of Richard III, the philosophizing of Goethe Faust are not musical subjects ").

The transition zone between the first and second areas is also viewed, into which the following settings fall:

music is an expression of man and the world(N.A. Rimsky-Korsakov: “The life of the human spirit and nature in its positive and negative manifestations, expressed in their mutual relations, serves as the maintenance of works of art”; G.Z. Apresyan: it “Is able to reflect with its inherent means the essential phenomena of life, first of all the feelings and thoughts of people, the spirit of its time, certain ideals”; Yu.A. Kremlev; L.A. Mazel; L.M. Kadtsyn: “The content of musical works is the world of performances ... about the work itself, about the world around, about the listener in this world and, of course, about the author and performer in this world "; BL 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 highlights the emotional, intellectual and substantive aspects of musical content);

music is a reflection of reality in human emotions and ideas(Yu.B. Borev; G.A. Frantsuzov: the content of music is "an image of emotional experiences, which is one of the forms of mental reflection in the mind of a person of objective reality - an object of musical art").

Finally, it is not unimportant, although partly paradoxical, the understanding of music as an imprint sounding:

music is a specific self-valuable world(LN Tolstoy: “Music, if it is music, has something to say that can only be expressed by music”; IF Stravinsky: “Music expresses itself”; L.L.Sabaneev: “This is a closed a world from which a breakthrough into logic and ideology ... is made only by violent and artificial means "; H. Egebrecht:" Music does not mean something extra-musical; it means itself ");
music - aestheticized sounds (G. Knepler: “Music is everything that functions as music”; BV Asafiev: “The subject of music is not a visible or tangible thing, but is the embodiment, or reproduction, of processes-states of sound, or, based on perception, - giving oneself to the state of hearing. What? Sound complexes in their relationship ... ");

music - a combination of sounds(E. Hanslik: “Music consists of sound sequences, sound forms that have no content different from themselves ... there is no content in it, except for the sound forms we hear, for music not only speaks with sounds, it speaks only sounds”; M. Benze; ​​V. Viora; E. Garni; G. A. Laroche; A. Moll; D. Proll; N. Ringbom; V. Fuchs; T. Zelinsky: she is a “sound landscape”);

music is everything that sounds(IG Herder: “Everything that sounds in nature is music”; J. Cage: “Music is the sounds, sounds that are heard around us, regardless of whether we are in a concert hall or outside it "; L. Berio:" Music is everything that is listened to with the intention of hearing music ").

Of course, it is impossible to cover the current palette of opinions by a very conventional grouping of thoughts about the essence of music. This clearly does not include positions, say, stemming from the interpretation of music in the Middle Ages as a science, from the distinction in music of the composer's opus and the improvisational process of making music, statements of the ontological nature of music as an art form, transferring the concept of music content to the field of perception, etc.

Some modern definitions of musical content, given by V.N. Kholopova - "... her expressive and semantic essence"; A.Yu. Kudryashov - "... a complex system of interactions of musical and semantic genders, types and types of signs with their both objectively formed meanings and subjectively concretized meanings refracted in the individual consciousness of the composer, which are further transformed into new meanings in the performing interpretation and listening perception"; VC. Sukhantseva - “... the area of ​​being and evolution of rhythm-intonation complexes in their fundamental conditionality and mediation by the creative subjectivity of the composer”; Yu.N. Kholopov, who believes that the content of music as an art is “the inner [enny] spiritual image of the work; what the music expresses ", and includes in it" feeling and transferring yes "and" sound quality, which ... is subjectively perceived as one or another pleasantness of the sound material and sound structure (in the negative case - a nuisance). " The positions of E. Kurt also require understanding - “... the true, original, driving and shaping content [of music. - LK] is the development of mental stress, and music only transmits it in a sensual form ... ”; G.E. Konyus - there is a technical content (“all the various material used for its [musical creation. - LK] production”) and artistic (“impact on the listener; mental experiences caused by sound perception; music-excited representations, images, emotions, etc. .NS.") .

It is easy to get lost in these and numerous other judgments about the content of music not given here, because the understanding of the essence of music known to science today is very different. Nevertheless, we will try to understand this most difficult issue.

Musical content characterizes music as an art form, therefore, it should state the most general laws. This is how A.N. Sohor: "The content of music is composed of artistic [nno] -intonation images, that [o] e [s]] imprinted in meaningful sounds (intonations) are the results of reflection, transformation and aesthetic assessment of objective reality in the mind of a musician (composer, performer)" ...

In principle, correct, this definition is still far from complete - and we have just seen this many times - characterizes what music is strong in. So, the subject is clearly lost or unjustifiably carefully hidden behind the phrase "objective reality" - a person whose inner world of soul is invariably attractive to the composer. From the situation of communication between the composer-performer-listener, the last link fell out - the interpretation of the sounding by the listener - without which the musical content cannot take place.

Considering the above, we will give the following definition of musical content: it is the spiritual side of music embodied in sound, generated by the composer with the help of objectified constants (genres, pitch systems, composition techniques, forms, etc.) perception of the listener.

Let us characterize in more detail the terms of our multi-component formula.

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

If the music is system representations, then it is logical to ask the question: what exactly?

As we saw earlier, subject side musical performances are seen in different ways, and almost every statement is somewhat true. Many judgments about music include human... Indeed, musical art (as, indeed, any other) is intended for a person, is created and consumed by a person. Naturally, it tells first of all about a person, that is, a person, almost in all the richness of his self-manifestation, has become a natural “subject” displayed by music.

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

We will not reject as untenable those statements in which the essence of music is linked with sounding... The most polemical, they are also legitimate (in particular for modern creativity), especially if they do not focus on sound, but expand to the entire apparatus of influence that has developed within the music. Thus, the meaning of music may lie in its self-knowledge, in ideas about its own resources, that is, about the microcosm (again, relative to the human world).

The large subject “spheres of competence” (AI Burov) of music that we have named - ideas about a person, the world around him and music itself - testify to a wide range of its subjects. The aesthetic possibilities of music will be perceived by us as even more significant if we remember that the outlined subject areas are by no means necessarily thoroughly isolated, but are prone to multiple interpenetrations and mergers.

Forming into musical content, representations are generated and coexist according to the laws of musical art: they are concentrated (say, in the presentation of intonations) and discharged (in intonational development), correlated with the "events" of musical drama (for example, they replace each other when a new image is introduced) ... In full agreement with the spatio-temporal foundations of the integrity of a musical work, the temporal development of some representations (corresponding to musical intonations) is condensed and compressed into more capacious (musical images), which, in turn, give rise to the most general representations (semantic "concentrates" - musically -artistic themes and ideas). Subject to artistic (musical) laws, performances generated by music gain status artistic(musical).

Musical content is not a single performance, but their system. This means not just a certain set of them (set, complex), but their certain interconnection. By their objectivity, representations can be heterogeneous, but ordered in a certain way. In addition, they can have different significance - be the main, secondary, less significant. On the basis of some, more particular, concepts, other, more generalized, global ones arise. Combining multiple and different quality representations gives a rather complexly organized system.

The peculiarity of the system is its dynamism... A piece of music is arranged in such a way that in the unfolding of the sound fabric, meanings are created all the time, interacting with those that have already taken place and synthesizing more and more new ones. The content of a piece of music is in non-stop motion, “playing” and “shimmering” with facets and shades, revealing its various layers. Fickle-changeable, it slips away and entails.

Let's go further. These or those ideas arise in composer... Since a representation is the result of a person's mental activity, it cannot be limited only to the objectively existing subject area. It certainly includes subjective-personal principle, reflection of a person. Thus, the idea underlying music is an indissoluble unity of objective and subjective principles. Let's show their fusion on such a difficult phenomenon as musical thematic borrowings.

The musical-thematic material borrowed by the composer, that is, already existing musical expressions, finds itself in a difficult situation. On the one hand, it keeps a connection with an already established artistic phenomenon and exists as an objective reality. On the other hand, it is intended to convey other artistic ideas. In this regard, it is advisable to distinguish between two of its statuses: autonomous musical thematicism (found in the primary artistic opus) and contextual (acquired through its secondary use). They correspond to autonomous and contextual meanings.

Musical-thematic borrowings can retain their primary meanings in a new work. The semantic side of the fragment from "The Enlightened Night" by A. Schoenberg in the Third Sonata for accordion by Vl. Zolotarev, despite the arrangement of the orchestral fabric for a solo instrument; in the play "Moz-Art" for two violins by A. Schnittke, the author also manages to carry out the easily recognizable initial musical theme of the symphony g-moll Mozart in a violin duet, without distorting its meaning. In both cases, the autonomous and contextual meanings almost coincide, leaving priority to "objectively given".

However, even the most careful handling of borrowing (not excluding the named examples) experiences the pressure of a new artistic context, which is aimed at the formation of semantic layers that are not attainable without someone else's music in the opus of the borrowing composer. Thus, a fragment from Schoenberg's music at the end of Zolotarev's play acquires a sublime idealization unusual for him in the original source, and the key intonation of Mozart's symphony is involved in a witty game played by two violins by Schnittke. The subjective activity of the composer is even more obvious in those cases when borrowings are not given "literally", but are prepared in advance ("pre-context"). Consequently, even such a particular as the musical-thematic material used by the composer bears the stamp of the diverse unity of the "objectively" given and the author's individuality, which is actually natural for art as a whole.

To outline a particular subject area and express his own vision of the composer allow objectified constants- traditions developed by musical culture. An essential feature of the musical content is that it is not created by the composer every time "from scratch", but absorbs certain semantic clusters developed by generations of predecessors. These meanings are honed, typologized and stored in genres, pitch systems, compositional techniques, musical forms, styles, well-known intonation-signs (intonation formulas like Dies irae, rhetorical figures, symbols of musical instruments, semantic roles of tonalities, timbres, etc.) ). When they come to the attention of the listener, they evoke certain associations and help to "decipher" the composer's intention, thereby strengthening mutual understanding between the author, performer and listener. Using them as points of support, the author layers new semantic layers on this foundation, conveying his artistic ideas to the audience.

The composer's performances are transformed into an artistic opus, which becomes a full-fledged music only if it is interpreted by the performer and perceived by the listener. For us, it turns out that the performances that make up the spiritual side of music are formed not only in the composer's opus, but also in execution and perception... The author's ideas are corrected, enriched or impoverished (for example, in cases of the loss of the “connection of times” with a large time distance between the composer and the performer or the composer and the listener, a serious genre-style transformation of the “primary source” opus, etc.) by the representations of other subjects, and only in this form are they transformed from the potential of music into true music as a real phenomenon. Since the situations of interpretations and perceptions are countless and individually unique, it can be argued that musical content is in continuous motion, that it is a dynamically developing system.

Like any other performance that arises in music, it is “reified”. His "material form" - sound therefore, the idea "materialized" by him can be called auditory or auditory. The sound way of being of representations distinguishes music from other types of art, in which representations are "reified" by line, paint, word, etc.

Of course, any sound is capable of evoking a performance, but it does not necessarily create music. To get out of the thickness of the primordial “noises” and become musical, that is, “tone”, the sound must be aestheticized, “raised” above the ordinary by its special expressive influence on a person. This turns out to be achievable when sound is included (by special methods and techniques) in the musical and artistic process. In such a situation, sound acquires specific - artistic - functions.

However, the recognition of the sonic nature of music does not absolutize as purely musical exclusively auditory representations. Others are quite acceptable in it - visual, tactile, tactile, olfactory. Of course, in music they do not at all compete with auditory representations and are called upon to generate additional additional associations that clarify the basic auditory representation. However, even such a modest, auxiliary, role of optional performances allows them to coordinate music with other types of art and, more broadly, with other ways of being a person.

Realizing this, one should nevertheless refrain from the extreme - an overly broad interpretation of music, expressed, for example, by S.I. Savshinsky: “The content of a musical work includes not only what is given in its sound fabric. With him merge, perhaps expressed or even not expressed by the composer, the program - the data of theoretical analysis, etc. For Beethoven, these are analyzes of A. Marx, articles of R. Rolland, for Chopin's works, these are his Letters, Liszt's books about him, Schumann's articles, analyzes of Leuchtentritt or Mazel, statements by Anton Rubinstein, for Glinka and Tchaikovsky these are articles by Laroche, Serov and Asafiev ". It seems that “near-musical” materials, absolutely important for the perception of music, should not blur the boundaries of the music itself, which are predetermined by its sound nature. The latter consists not only in sound as a substance, but also in the subordination of sound to the musical laws of life (pitch, tonal-harmonic, dramatic, and others).

Paying tribute to sound in music as an art form, we should nevertheless warn: its embodiment in sound should not be understood straightforwardly, they say, music is just what sounds directly at the moment. Sound as an acoustic phenomenon - the result of vibrations of an elastic air medium - may be absent “here and now”. However, at the same time, it is, in principle, reproducible with the help of memories (about previously heard music) and internal hearing (according to the available musical notation). These are the works, a) composed and notated by the author, but not yet voiced, b) living an active stage life, and also c) works that are now (temporarily) irrelevant "a set of already accomplished performing implementations", "the memory of which has been deposited, is kept in the public mind. " In those cases, when the sound “attire” of performances was not found and fixed by the composer, or - in improvisation - presented by the performer, who at the same time also takes on the author's functions, there is no need to talk about the musical content, and even the musical work. Thus, the musical content of Beethoven's Thirty-second Piano Sonata exists quite realistically, which does not sound during the reading of these lines. Nevertheless, it is more or less successfully reconstructed, which would have been absolutely impossible in a hypothetical case, for example, with Sonata Thirty-third by the same author, which has no sound substance.

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

STRUCTURE OF CONTENT OF A MUSICAL WORK

If the concept of musical content characterizes music as if from the outside, in comparison with other types of art, then the concept of the content of a musical work has an internal orientation. They designate the sphere of the spiritual, but not in maximum generalization (characteristic of music in general), but in a much greater certainty (characteristic of a piece of music). Musical content focuses on the content of a piece of music and provides this (although not the only, along with, say, improvisation) way of being music. The relations "invariant - variant" arise between them. While preserving all the properties of musical content, the content of a musical work adapts the possibilities of music to its existence in a given form and the solution of an artistic task at the same time.

The content of a musical work is concretized through a number of concepts. In characterizing the musical content, we talked about the key meaning of the performances. The performances are diverse not only in their objectivity, which has become quite obvious, but also in their capacity and artistic purpose in music. Let's select those of them that are called musical images.

Musical images are given to a person as mediation of musical sounds (real or imaginary), sound movement, and the deployment of musical fabric. In a piece of music, images not only get their own sound outlines, but also, interacting with each other in a certain way, add up to a holistic figurative-artistic picture.

A musical image is a relatively large or (given the predominantly temporary nature of music) a continuous semantic unit of a musical work. It can only arise on the basis of meanings of a smaller scale. These are musical intonations. Musical intonations contain lapidary, undeveloped meanings. They can be likened to words in the literary language, forming verbal unity and giving life to the literary image.

Musical intonations also do not exist as “ready-made” meanings and are formed on a certain semantic basis. For them, it becomes the semantic impulses of musical sounds or tones... Standing out in a vast area of ​​sounds, musical sound - tone - is very specific, for it is intended to ensure the life of a work of art. In music, the sound is dual. On the one hand, it "forms", "materializes" the musical content, which was mentioned earlier. Objectively belonging to the environment, sound takes us into the realm of physical and acoustic realities. On the other hand, the sound is selected for the solution of a certain artistic task, in connection with which it is also endowed with what can be called semantic prerequisites. And although it is difficult to attribute the tone to the purely semantic components of music, we include it in the structure of the content of a musical work as an elementary unit that cannot be decomposed into even smaller meanings. Thus, the tone limits the lower limit of the content structure, rooted in the material substance of the music.

Having understood how a musical image is formed from ever smaller semantic units, let us try to go in the opposite direction and consider what components of the content it, in turn, determines by itself.

In an artistic way or in their totality in art, it is found theme works. The same happens in music: musical images reveal a theme that is understood here and below as a general aesthetic category. The topic is distinguished by a high degree of generalization, which allows it to cover the entire work as a whole or a large part of it. At the same time, the theme weakens connections with integral sound, a tendency is ripening in it towards liberation from the "dictate" of sound and self-valuable existence in the world of abstractions.

The final expression of the tendency to mediate sound by semantic units of varying degrees of capacity (intonations - images - theme) gets in idea a piece of music. The idea is the most generalized, abstracted and directed from sounds to the area of ​​the ideal, where the sound specificity of music is practically leveled in the face of ideas of scientific, religious, philosophical, ethical origin. Thus, the idea becomes another limit of the structure of the content of a musical work, which is seen as vertically directed from the material to the ideal.

The semantic components identified by us are arranged in a hierarchy, at each level of which certain semantic units are formed. These levels are represented tone, musical intonation, musical image, theme and idea of ​​a piece of music.

The aforementioned components of the content of a musical work do not exhaust all the elements of the structure, they represent only its backbone. The structure cannot be complete without some other elements that occupy specific places in it. One such element is means of musical expression... On the one hand, the means of musical expression are quite material, because pitch, dynamics, timbre, articulation and other parameters are associated with a rather clear sound. On the other hand, they sometimes crystallize meanings that become truly intonational (in some melodic patterns, rhythmic formulas, harmonic turns). Therefore, their position in the structure of the content of a musical work will be correctly called intermediate between tone and musical intonation, and such that they are, as it were, partly rooted in the tone, and partly "sprout" into musical intonation.

Another indispensable element of the structure of the content of a musical work is author's beginning. A piece of music serves the communication of two personalities - the listener and the composer, which is why it is so important in it how the composer appears in his own composition. The author's personality captures himself not only in style, but deeply penetrates into the area of ​​content. We can meet her not only in a musical image (the image of the author), but also in a personally colored musical intonation (in F. Chopin, R. Schumann, F. Liszt, S. Rachmaninov, D. Shostakovich), and in a personally meaningful sound palette (for example, J. Cage, J. Xenakis, S. Gubaidulina), in the subject (self-portrait), etc. It turns out that the author's personality is, in principle, omnipresent on the territory of his own opus. Knowing this, we can assert that the author's principle occupies a special position - it is potentially spread over the entire structure of the content of a musical work and can be localized in one or several of its components.

In the structure of the content of a piece of music, there is one more, not previously named, element. It - dramaturgy... Almost all of its activity is aimed at ensuring the deployment process, although the latter passes milestones and stages marked by one or another "eventfulness". This process takes place in different planes of a musical work: in the means of musical expression (like "tonal dramaturgy", "timbre dramaturgy", etc.), intonation ("intonational drama"), images ("figurative-artistic" or "musical drama "). Thus, drama, closely interacting with other elements, takes on the role of an energetic force that stimulates the self-movement of musical content.

The presence of a driving component of the structure of the content of a musical work is symptomatic. Behind it stands a regularity that is essential for music: the true content is not a static structure, but a process. It unfolds in the non-stop movement of the continuous creation of new meanings, the escaping of already manifested meanings, changes in previously existing meanings (rethinking), all kinds of interactions of meanings, etc.

As we can see, the hierarchically organized skeleton of the structure has been replenished with a number of other, functionally unique, elements. Thus, a universal structure is built that makes possible the existence of musical content in a piece of music.

It is easy to see that the components of the structure are added up in the composer's opus. However, the process of making meaning, which begins in the composer's activity, continues, as already mentioned, by the performer and the listener. In performing and listening creative activity, what the composer has outlined is corrected and transformed, which means that new elements are not added to the structure of the content of a musical work. In performing and listening activities, the speech should accordingly be about the transformation, change of the formed structure.

In the uncontrollable development of the process of generating meaning, the structure plays the role of a flexible framework that regulates and "disciplines" this process, that is, a kind of "bearing support" of the semantic flow. Structural units are "nodes" (BV Asafiev) of fluid content-becoming. Therefore, the most scrupulous study of the integral structure still does not give reason to count on the final solution of the problem of comprehending the phenomenon of content.

If we proceed from the chronotope (spatio-temporal nature) of a musical work, then the most important feature of the process of creating the content of a musical work will be revealed. It is twofold. The meanings grow not only in the sequential temporal, horizontal, more clearly perceived movement of musical thought, but also spatially - along the “vertical”. The vertical vector reveals itself in the formation of hierarchically correlated meanings, that is, in the crystallization of meaning units of a lower level - meanings of a higher level. It is described in detail by V.V. Medushevsky. The researcher cites seven types of interaction of the means of musical expression, tracing the corresponding paths from the meanings of the elements of music to musical intonation or musical image:

interpretation attitude: impulsive movements (texture) + joyful, light color (harmony, register) = jubilation, or impulsive movements + sad colors = despair, or expectation + tension = longing, attraction;

detail ratio: mournful intonations (descending chromatisms or minor triads with an aching retention) + tension, longing (exacerbated modal relations) = grief;

metaphorical transfer: fullness of texture, as a phonic quality, as fullness of space with sounds and voices + tension, striving, longing = fullness of feeling ("flood of feelings", "sea of ​​flowers");

suppression of semantics, replacement of the meaning with the opposite: joy, light (major) + sadness, darkness (low register, etc.) = sadness, darkness;

clipping polysemy, highlighting hidden values: liberation from peripheral semantic nuances in favor of a few basic ones;

interlevel contradictions, inconsistencies, exaggerations: deformations in the structure of emotion ("one-time contrast" discovered by TN Livanova);

parallel interaction (synonymy): mournful sighs (in the soloist's part) + mournful sighs (in the orchestra's part) = strengthening, brightening of meaning or aspiration (functional gravities) + aspiration (melodic, linear gravitations) = strengthening of meaning.

The "algebra of semantic interactions" developed by Medushevsky seemingly solves a modest particular problem - it systematizes the methods of meaning formation. But for the study of musical content, it means a lot more. First, we see that although the scientist studies the interaction of the means of musical expression, leading to the embodiment of emotion, in fact, the range of action of the formulas given by him can be extended to other results, that is, it can also be extended to images of thought processes, images-landscapes, etc. .d. In other words, we have before us universal schemes for the formation of meanings in music.

Secondly, “algebra” makes it possible to understand that “the content of a musical work is not formally deduced from the linguistic meanings of the means used,” since the elements of music also synthesize meanings that are quite different from their own. This idea can be developed and expanded: the content of a musical work cannot be reduced to any of the components of the structure (musical image, theme, intonation, etc.), no matter how deeply it is developed. It certainly presupposes the interconnectedness of a whole complex of components.

The third conclusion admitted by the formulas described above is as follows: the mechanism of the formation of new meanings that they reveal "works" not only at the levels of means of musical expression and images, but also at other "levels" of the structure of the content of a musical work.

Another conclusion follows from the foregoing considerations. When synthesizing new meanings, there is a "release" to a higher level of the hierarchical structure, thereby activating the mechanism of transitions from a lower level to an overlying one, from it to a higher one, and so on. In this case, each level below it turns out to be "soil", the foundation for the one above it. Resorting to the general philosophical categories "content" and "form", which are essentially different from the musical and aesthetic categories of the same name, which will be constantly used by us later, we can say that each lower level is correlated with a higher one as form and content, and transitions with from one level to another are equivalent to transitions of form into content.

The structure of the content of a musical work discovered by us contains the most general laws. As such, it is versatile. Any essay complies with these laws, but in its own way overcomes the schematic structure. The structure-invariant is detailed, filled with specifics that correspond to the individuality of each individual opus.

Since a musical work includes, in addition to the results of the composer's creativity, the activities of the performer and the listener, the content of a musical work is unthinkable without taking them into account. However, as soon as it became clear that the structure formed in the composer's opus is individualized in performance and perception, but is not replenished with new elements, it is legitimate to call it not only the structure of the composer's content (on which we subsequently focus our attention), but also the structure of the content of the musical work. ...

Even the most detailed structure is not able to capture the complete content of the work. There is always something elusive, "ineffable" hidden in music. Penetrating into the smallest "cells" and "pores" of the opus, becoming its "air", it practically defies not only analysis, but, as a rule, comprehension, due to which it received the name "unconscious". Therefore, taking on the task of comprehending the content of a musical work, we must understand that in its entirety it can hardly be grasped by reason. There are always those "transcendental" depths of content that are still inaccessible to consciousness, and therefore mysterious. While mastering the structure of the content of a musical work, we must remember that the content is unlikely to be revealed to us in all its integrity and depth, because it is, in principle, inexhaustible. No matter how carefully we analyze it, we remove only the surface layer, behind which lies a lot of artistically valuable, aesthetically influencing the listener.

"If someone is content with knowing the thoughts, tendencies, goals and edifications contained in a poem or story, then he is content with very little, and he simply did not notice the secrets of art, its truth and authenticity," the modern writer and thinker Herman once said Hesse. But can't his words also apply to music? Isn't a piece of music an intriguing, alluring mystery? Studying the musical content and its connection with the form, we are trying to open the veil of this mystery.

NOTES

1. Two excerpts from the book: Kazantseva L.P. Foundations of the theory of musical content. - Astrakhan: State Enterprise AO IPK Volga, 2009.368 p.
2. V. N. Kholopova The theory of musical content as a science // Problems of musical science. 2007. No. 1.P. 17.
3. Kudryashov A.Yu. The theory of musical content. - SPb., 2006.S. 37-38.
4. Sukhantseva V.K... Music as a human world (from the idea of ​​the universe to the philosophy of music). –Kiev, 2000. P. 51.
5. Kholopov Yu.N. Musical form // Musical encyclopedia. - M., 1981.T. 5. Stb. 876.
6. Kholopov Yu.N. On the problem of musical analysis // Problems of musical science: Sat. Art. - M., 1985. Issue. 6, p. 141.
7. Kurt E. Romantic harmony and its crisis in Wagner's Tristan. - M., 1975.S. 15.
8. Konyus G.E. Scientific substantiation of musical syntax. - M., 1935.S. 13, 14.
9. Sokhor A.N... Music // Musical encyclopedia. - M., 1976. T. 3. Stb. 731.
10. Let us remind: spirit is “a philosophical concept, meaning an intangible beginning” (Philosophical Encyclopedic Dictionary. - M., 1989. S. 185).
11. Savshinsky S.I... The pianist's work on a piece of music. - M., L., 1964.S. 43.
12. N.P. Korykhalova refers to a composition that has not yet been performed, but written down in notes as a “potential” (“possible”) form of being a musical work, and “that has already been heard ... virtual being is the actual being of a piece of music "( Korykhalova N.P. Interpretation of music. - L., 1979.S. 148).
13. The structure of the content of a musical work as a kind of hierarchy is considered by G. B. Zulumyan ( G.V. Zulumyan The content of a musical work as an aesthetic problem: Dis. ... Cand. Philos. sciences. - M., 1979); M.G. Karpychev (Karpychev M.G. Theoretical problems of the content of music. - Novosibirsk, 1997), I.V. Malyshev ( Malyshev I.V. Musical composition. - M., 1999), N.L. Ocheretovskaya (Ocheretovskaya N.L. Content and form in music. L., 1985), V.N. Kholopova ( V. N. Kholopova Music as an art form. - SPb., 2000), E.I. Chigareva ( Chigareva E.I.... Organization of expressive means as the basis of the individuality of a musical work (on the example of Mozart's work of the last decade): Author's abstract. dis. ... Cand. art history. - M., 1975).
14. The role of performing interpretation and listening perception in the formation of musical content is shown in the book: Kazantseva L.P. Musical content in the context of culture. - Astrakhan, 2009.
15. Medushevsky V.V.... On the problem of semantic syntax (on the artistic modeling of emotions) // Sov. music. 1973. No. 8. S. 25-28.
16. Ibid. P. 28.
17. Nevertheless, musicology is trying to solve its riddle. Let us point out, in particular, the publications of M.G. Aranovsky ( Aranovsky M.G. On the two functions of the unconscious in the composer's creative process // Unconscious: nature, functions, research methods. - Tbilisi, 1978.Vol. 2; Aranovsky M.G. Conscious and unconscious in the composer's creative process: Towards a problem statement // Questions of musical style. - L., 1978), G.N. Bloodless ( Beskrovnaya G.N. The interaction of intentional and unintentional (improvisational) began as a source of multivariance of musical interpretation // Questions of musical performance and pedagogy: Sat. tr. - Astrakhan, 1992), V.N. Kholopova ( Kholopova V.N.... The area of ​​the unconscious in the perception of musical content. - M., 2002).
18.Hesse G. Letters in a circle. - M., 1987.S. 255.

What is the essence of musical content (2 hours)

1. Generalization of the most important property of musical content (on the example of the first part of L. Beethoven's Moonlight Sonata).

Musical material:

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

Description of activities:

1. Analyze ways of translating content into musical works.
2. To 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 examples of Western European music (the era of Viennese classicism).

In the search for an understanding of the musical content, logical laws and methods of analysis are powerless. We believe music just in spite of all logic, we believe only because it affects us indisputably and obviously. Is it possible not to believe what exists in ourselves?

Everyone who has had to think about the mystery that the musical content contains, probably felt: music tells us about something greater, which is immeasurably wider and richer than our experience, our knowledge of life.

So, listening, for example, to Beethoven's "Moonlight" sonata, we can imagine a picture of a moonlit night: not just one night in a specific area, with a specific landscape, but the spirit of a moonlit night with its mysterious rustles and aromas, with an endless starry sky boundless, mysterious.

However, is the content of this work limited to landscape associations only? After listening to this sonata, we can imagine the dreary torment of unrequited love, separation and loneliness, all the bitterness of human sorrow.

And all these such different representations will not contradict the character of Beethoven's sonata, its concentratedly contemplative mood. For she tells us about sorrow - not just the sorrow of a moonlit night, but all the sorrow of the world, all its tears, suffering and longing. And everything that can cause this suffering can become an explanation for the content of the sonata, in which everyone guesses his own emotional experience.

Most of you know the Moonlight Sonata and truly love it. No matter how many times we listen to this magical music, it conquers us with its beauty, deeply excites us with the mighty power of the feelings embodied in it.
In order to experience the irresistible influence of the music of this sonata, one may not even know under what life circumstances it was composed; you may not know that Beethoven himself called it a "fantasy sonata", and the name "Moonlight", after the death of the composer, was appropriated to it with the light hand of one of Beethoven's friends - the poet Ludwig Rellstab. In a poetic form, Relshtab expressed his impressions of the sonata, in the first part of which he saw a picture of a moonlit night, the quiet surface of the lake and a boat sailing serenely on it.
I think that, having listened to this sonata today, you will agree with me that such an interpretation is very far from the actual content of Beethoven's music and the name "Moonlight" - no matter how we get used to it - does not at all correspond to the character and spirit of this music.
And is it even necessary to “compose” some of our own programs for the music, if we know the real life circumstances under which it was created, and what, therefore, thoughts and feelings possessed the composer during its creation.
Now, if you know, at least in general terms, the history of the "Moonlight Sonata", I have no doubt that you will listen and perceive it differently than you have listened and perceived until now.
I have already talked about the deep mental crisis that Beethoven experienced and which was captured in his Heiligenstadt testament. It was on the eve of this crisis and, undoubtedly, bringing it closer and sharpening it, an important event for him took place in Beethoven's life. Just at this time, when he felt the approach of deafness, he felt (or, in any case, it seemed to him so) that for the first time in his life true love had come to him. He began to think of his charming student, the young Countess Juliet Guicciardi, as of his future wife. “... She loves me, and I love her. These are the first bright minutes in the last two years, ”Beethoven wrote to his doctor, hoping that the happiness of love would help him overcome his terrible illness.
And she? She, brought up in an aristocratic family, looked down on her teacher - albeit a famous, but of an ordinary origin, and besides, he was deaf. “Unfortunately, she belongs to a different class,” admitted Beethoven, realizing what a chasm lies between him and his beloved. But Juliet could not understand her brilliant teacher, she was too frivolous and superficial for this. She dealt a double blow to Beethoven: she turned away from him and married Robert Gallenberg - a mediocre music composer, but a count ...
Beethoven was a great musician and a great man. A man of titanic will, a mighty spirit, a man of lofty thoughts and deepest feelings. Imagine how great his love, and his suffering, and his desire to overcome this suffering must have been!
The Moonlight Sonata was created at this difficult time in his life. Under its real name "Sonata quasi una Fantasia" that is "Sonata like a fantasy", Beethoven wrote: "Dedicated to Countess Juliet Guicciardi" ...
Listen to this music now! Listen to it not only with your ears, but with all your heart! And maybe now you will hear in the first part such immeasurable sorrow as you have never heard before;
in the second part - such a bright and at the same time such a sad smile, which was never noticed before;
and, finally, in the finale - such a stormy boiling of passions, such an incredible desire to break free from the shackles of sadness and suffering, which only a true titan can do. Beethoven, struck by misfortune, but not bending under its weight, was such a titan.
The Moonlight Sonata brought us closer to the world of Beethoven's grief and Beethoven's suffering, to that deepest Beethoven's humanity that has been stirring the hearts of millions of people for more than a century and a half, even those who have never seriously listened to real music.

In the same way, joyful music reveals to us all the joys of the world, everything from which people laugh and have fun.

The theme of joy is heard in many of Beethoven's works, including the famous Ninth Symphony, in the finale of which (for the first time in the history of symphonic music!) Beethoven introduced the chorus and soloists singing the mighty hymn - "Ode to Joy" to the words of Schiller.
But the Seventh Symphony is one of the few works of Beethoven, where joy, ecstatic, exuberant joy does not arise as the end of a struggle, not in the process of overcoming difficulties and obstacles, but as if the struggle that led to this victorious joy had passed somewhere earlier, not seen and not heard by us.
But Beethoven would not be Beethoven if he surrendered himself to the power of elemental joy thoughtlessly, forgetting about the complexities and vicissitudes of real life.
The Seventh Symphony, like most of Beethoven's other symphonies, has four movements. The first of these parts is preceded by a long, slow introduction. Many critics have heard in this introduction echoes of that love for nature, about which Beethoven himself often spoke. For example, a lot is connected with nature in his Sixth Symphony, which, in his own words, was helped by cuckoos, orioles, quails and nightingales.
In the introduction to the Seventh Symphony, it is really not difficult to hear a picture of the morning awakening of nature. But, like everything in Beethoven, nature is also powerful here, and if the sun rises, then its very first rays illuminate everything around with a bright and burning light. Or maybe these are also distant echoes of the struggle, which nevertheless was and was, obviously, not easy ...
But now the introduction is over, and Beethoven literally brings down the element of joy on us. Three parts of the symphony are filled with it. If there were such an instrument that could measure the strength of the tension of music, the strength of the feelings expressed by it, then in one Seventh Symphony of Beethoven we would probably find so much joy as it does not exist in all the works taken together by many other composers.
What a miracle of art and, if you like, a miracle of life! Beethoven, whose life was completely devoid of joy, Beethoven, who once said in despair: "Oh, fate, give me at least one day of pure joy!" - he himself gave mankind with his art an abyss of joy for many centuries to come!
Isn't it a miracle, in fact: to melt immense suffering into violent joy, to bring to life dazzling bright sounds from dead deafness! ..
But the three joyous movements of the Seventh Symphony are the first movement, the third and the fourth. And the second one?
It was here that Beethoven remained faithful to the truth of life, which he learned from his personal difficult experience. Even those of you who have never heard the Seventh Symphony before may recognize the music of the second movement. This is mournful music - either a song or a march. There are no heroic or tragic notes in it, which are usually heard in Beethoven's funeral marches. But it is full of such sincere, heartfelt sorrow that it is often performed at civil funerals, on the mournful days of the funeral of outstanding people dear to all of us.
Even the brighter episode that appears in the middle of this part (the same, in fact, occurs in Chopin's mourning march, written half a century later), does not deprive this music of its general mournful tone.
This part of the whole symphony gives an amazing life truthfulness, as if to say: we all strive for joy, joy is wonderful! But, alas, our life is woven not only from joy ...
It was this part that was repeated twice at the request of the audience during the first performance of the symphony. This part is one of the finest and most popular pages of Beethoven's music. (D. B. Kabalevsky. Conversations about music for youth).

We see that music has the ability to generalize all similar phenomena of the world, that, expressing any state in sounds, it always gives immeasurably more than the experience of the soul of one person can contain.

Not only joys and sorrows, but all fabulous wonders, all the riches of fantasy, all the mysterious and magical that is hidden in the incomprehensible depths of life - all this is contained in music, the main exponent of the invisible, wonderful, secret.

Questions and tasks:

1. Name pieces of music known to you that would embody the basic human feelings - joy, sadness, anger, delight, etc.
2. Listen to these poems. Which of them do you think most corresponds to the image of Beethoven's "Moonlight" sonata? Explain your choice.

Presentation

Included:
1. Presentation, ppsx;
2. Sounds of music:
Beethoven. Symphony No. 7:
1 part. Poco sostenuto-Vivace, mp3;
Part 2. Allegretto, mp3;
Beethoven. Symphony No. 9, Ode To Joy (finale), mp3;
Beethoven. Sonata No. 14:
1 part. Adagio sostenuto (2 performance options: symphony orchestra and piano), mp3;
Part 2. Allegretto (piano), mp3;
Part 3. Presto agitato (piano), mp3;
3. Accompanying flock, docx.

The development of musical abilities is one of the main tasks of the musical education of children. The cardinal question for pedagogy is the question of the nature of musical abilities: whether they are innate properties of a person or develop as a result of the influence of the environment, upbringing and training. Another important theoretical aspect of the problem, on which the practice of musical education essentially depends, is the definition of the content of concepts musical ability, musicality, musical talent. The direction of pedagogical influences, diagnostics of musical abilities, etc., to a large extent depend on what is suppressed as the basis for the content of these concepts.

At different historical stages of the formation of musical psychology and pedagogy (foreign and domestic), as well as at the present time in the development of theoretical and, consequently, practical aspects of the problem of the development of musical abilities, there are different approaches, there are discrepancies in the definition of the most important concepts.

B.M. Teplov in his works gave a deep, comprehensive analysis of the problem of the development of musical abilities. He compared the points of view of psychologists representing the most diverse areas in psychology, and outlined his views on the problem.

B.M. Teplov clearly defined his position on the question of the innateness of musical abilities. Based on the work of the outstanding physiologist I.P. Pavlov, he recognized the innate properties of the human nervous system, but did not consider them only as hereditary (after all, they can form during the period of intrauterine development of a child and for a number of years after birth). The innate properties of the nervous system of B.M. Teplov separates from the mental properties of a person. He emphasizes that only anatomical and physiological features, that is, the inclinations that underlie the development of abilities, can be innate.

The abilities of B.M. Teplov defines as individual psychological characteristics of a person that are related to the success of any one activity or many. They are not limited to the presence of skills, abilities or knowledge, but can explain the ease and speed of their acquisition.

Musical abilities necessary for the successful implementation of musical activity are combined into the concept of "musicality".

Musicality, as B.M. Teplov is a complex of abilities required for practicing musical activity, unlike any other, but at the same time associated with any kind of musical activity.

In addition to musicality, which includes a complex of special, namely musical, abilities of B.M. Teplov indicates that a person has more general abilities that are manifested in musical activity (but not only in it). This creative imagination, attention, inspiration, creative will, a sense of nature, etc. A qualitative combination of general and special abilities forms a wider than musicality the concept of musical giftedness.

B.M. Teplov emphasizes that each person has a peculiar combination of abilities - general and special. Features of the human psyche suggest the possibility of broad compensation of some properties with others. Therefore, musicality is not limited to one ability: "Each ability changes, acquires a qualitatively different character, depending on the presence and degree of development of other abilities."

Each person has an original combination of abilities that determines the success of a particular activity.

“The problem of musicality,” emphasizes B.M. Teplov, is a problem, first of all, qualitative, not quantitative. " Every normal person has some kind of musicality. The main thing that a teacher should be interested in is not the question of how musical a particular student is, but the question of what his musicality is and what, therefore, should be the ways of its development.

Thus, B.M. Teplov recognizes as innate certain features, a person's predisposition, and inclinations. The abilities themselves are always the result of development. Ability by its very essence is a dynamic concept. It exists only in movement, only in development. Abilities depend on innate inclinations, but develop in the process of education and training.

An important conclusion made by B.M. Thermal, is the recognition of dynamism, developed by ability. “That’s not the point,- the scientist writes, - that abilities are manifested in activity, but in the fact that they are created in this activity.

Therefore, when diagnosing abilities, any tests, tests that do not depend on practice, training, development are meaningless.

So, B.M. Teplov defines musicality as a complex of abilities developed on the basis of innate inclinations in musical activity, necessary for its successful implementation.

In order to highlight the complex of abilities that make up music , it is important to determine the specifics of the content of the music (and, therefore, the qualities necessary for its perception), as well as the features of the difference between musical sounds and other sounds found in life (and, therefore, the qualities necessary for distinguishing and reproducing them).

Answering the first question (about the specifics of the music content), B.M. Warmth argues with the representative of German aesthetics E. Hanslik, who defends the view of musical art as an art that cannot express any content. Musical sounds, according to Hanslik, can only meet the aesthetic needs of a person.

B.M. Teplov opposes this with a point of view on music as an art, which has various possibilities of reflecting vital content, conveying vital phenomena, the inner world of a person.

Distinguishing two functions of music - pictorial and expressive, B.M. Teplov notes that software-visual music, which has specific, "visible" prototypes (onomatopoeia, natural phenomena, spatial representations - approach, distance, etc.), a specific name or literary text, a plot, conveying specific life phenomena, while always expresses a certain emotional content, emotional state.

It is emphasized that both pictorial, programmed, music (whose share in musical art is negligible) and non-pictorial, non-programmed, always carry emotional content - feelings, emotions, moods. The specificity of musical content is determined not by the visual possibilities of music, but by the presence of the emotional coloring of musical images (both program-visual and non-programmed). Thus, the main function of music is expressive. The wide possibilities of musical art to convey the subtlest nuances of human feelings, their change, mutual transitions and determine the specifics of musical content. B.M. Teplov emphasizes that in music we cognize the world through emotion. Music is emotional cognition. Therefore, the main feature of B.M. Teplov calls the experience of music, in which its content is comprehended. Since musical experience in its very essence is an emotional experience and it is impossible to understand the content of music otherwise than by an emotional way, the center of musicality is the ability of a person to emotionally respond to music.

What possibilities does musical art have to convey a certain emotional content?

Music is a movement of sounds, different in pitch, timbre, dynamics, duration, organized in a certain way in musical modes (major, minor), having a certain emotional coloring, expressive possibilities. In each fret, sounds relate to each other, interacting with each other (some are perceived more stable, others less). In order to perceive musical content more deeply, a person must have the ability to differentiate moving sounds by ear, to distinguish and perceive the expressiveness of rhythm. Therefore, the concept of "musicality" includes an ear for music, as well as a sense of rhythm, which are inextricably linked with emotions.

Musical sounds have different properties: they have pitch, timbre, dynamics and duration. Their distinction in individual sounds forms the basis of the simplest sensory musical abilities. The last of the listed properties of sounds (duration) underlies the musical rhythm. The feeling of the emotional expressiveness of the musical rhythm and its reproduction form one of the musical abilities of a person - the musical-rhythmic feeling. The three first named properties of musical sounds (pitch, timbre and dynamics) form the basis of pitch, timbre and dynamic hearing, respectively.

In a broad sense, ear for music includes pitch, timbre and dynamic hearing.

All the listed properties (pitch, timbre, dynamics and duration) are inherent not only in musical sounds, but also in others: speech sounds, noises, voices of animals and birds. What is it that makes the originality of musical sounds? Unlike all other sounds and noises, musical sounds have a definite, fixed pitch and length. Therefore, the main carriers of meaning in the music of B.M. Teplov calls pitch and rhythmic movement.

Ear for music in the narrow sense of this word B.M. Heat is defined as pitch hearing. Providing theoretical and experimental substantiations, he proves that the leading role in the perception of musical sound is played by pitch. Comparing the perception of height in noise sounds, sounds of speech and music, B.M. Teplov comes to the conclusion that in noises and sounds of speech, the height is perceived as a total, indivisible. The timbre components are not separated from the actual pitch components.

The feeling of height is initially merged with the timbre. Their dismemberment is formed in the process of musical activity, since only in music does the pitch movement become essential for perception. Thus, a feeling of musical height is created as the height of sounds that form a certain musical movement, facing each other in one or another height ratio. As a result, it is concluded that the ear for music, by its very essence, must be a pitch ear, otherwise it will not be musical. There can be no musicality without hearing the musical height.

Understanding musical ear (in a narrow sense) as pitch does not diminish the role of timbre and dynamic hearing. Timbre and dynamics allow you to perceive and reproduce music in all the richness of its colors and shades. These properties of hearing are especially important for a performing musician. Since the pitch of the sounds is fixed in notes, and regarding the timbre and dynamics there are only general instructions from the author, it is the choice of different colors of sounds (timbre and dynamic) that largely determines the possibilities of the performer's creative freedom, the originality of interpretation. However, B.M. Teplov advises to educate timbre hearing only when there are fundamentals of pitch hearing: “Before taking care of the development of performing hearing, it is necessary to ensure the presence of a simple musical ear, that is. pitch, hearing ".

Thus, ear for music is a multi-component concept. Sound-pitch hearing has two types: melodic and harmonic. Melodic hearing is pitch hearing in its manifestation to a monophonic melody; harmonic hearing - pitch hearing in its manifestation in relation to consonances, and, consequently, to polyphonic music. Harmonic hearing can significantly lag behind melodic hearing. In preschoolers, harmonic hearing is usually underdeveloped. There are observational data indicating that at preschool age many children are indifferent to the harmonic accompaniment of a melody: they cannot distinguish a fake accompaniment from a non-fake one. Harmonious hearing presupposes the ability to feel and distinguish consonance (euphony), which, apparently, is developed in a person as a result of some musical experience. In addition, for the manifestation of harmonic hearing, it is necessary to simultaneously hear several sounds of different heights, to highlight the simultaneous sounding of several melodic lines by ear. It is acquired as a result of the activity that cannot be carried out without it, when working with polyphonic music.

In addition to melodic and harmonic hearing, there is also perfect pitch concept. This is a person's ability to distinguish and name sounds without having a real standard for comparison, that is, without resorting to comparison with the sound of a tuning fork or a musical instrument. Absolute pitch is a very useful quality, but even without it, it is possible to successfully practice music, so it is not among the basic musical abilities that make up the structure of musicality.

As already noted, the ear for music is closely related to emotions. This connection is especially clearly manifested in the perception of music, in distinguishing the emotional, modal color, moods, feelings expressed in it. When playing melodies, a different quality of hearing acts - it becomes necessary to have an idea of ​​the location of sounds in pitch, that is, to have musical and auditory representations of pitch movement.

These two components of pitch hearing - emotional and auditory proper - are distinguished by B.M. Thermal as two musical abilities, which he called modal feeling and musical and auditory representations. Ladovoye feeling, musical and auditory performances and sense of rhythm make up the three main musical abilities that form the core of musicality.

Let's consider the structure of musicality in more detail.

A freaky feeling. Musical sounds are organized in a particular mode. Major and minor scales differ in emotional coloring. Sometimes a major is associated with an emotionally positive range of moods - a cheerful, joyful mood, and a minor - with a sad one. In some cases, this is the case, but not always.

How is the distinction of the modal coloration of music carried out?

The fret feeling is an emotional experience, an emotional ability. In addition, in the modal feeling, the unity of the emotional and auditory sides of musicality is revealed. Not only the harmony as a whole has its own color, but also individual sounds of the harmony (having a certain pitch). Of the seven degrees of the scale, some sound stable, others unstable. The main degrees of the fret (first, third, fifth) sound steadily, and especially the tonic ( first stage). These sounds form the basis of the fret, its support. The rest of the sounds are unstable, in the melody they tend to be stable. The fretting feeling is the distinction not only of the general nature of the music, the moods expressed in it, but also of certain relationships between sounds that are stable, complete (when the melody ends on them) and requiring completion.

A freaky feeling manifests itself when perception music as an emotional experience, "felt perception". B.M. Teplov calls him perceptual, emotional component of the ear for music. It can be found when recognizing a melody, determining whether a melody has ended or not ended, in sensitivity to the accuracy of intonation, modal color of sounds.In preschool age, an indicator of the development of a modal feeling is love and interest in music. Since music is essentially an expression of emotional content, the ear for music should obviously be an emotional ear. A freewheeling feeling is one of the foundations of emotional responsiveness to music (the center of musicality). Since the modal feeling manifests itself in the perception of pitch movement, it traces the relationship of emotional responsiveness to music with the feeling of musical pitch.

Musical and auditory performances... To reproduce a melody with a voice or on a musical instrument, it is necessary to have auditory ideas of how the sounds of the melody move - up, down, smoothly, in jumps, whether they are repeated, that is, to have musical-auditory representations of pitch (and rhythmic) movement. To reproduce a melody by ear, you need to memorize it. Therefore, musical and auditory performances include memory and imagination. Just as memorization can be involuntary and voluntary, musical-auditory representations differ in the degree of their arbitrariness. Arbitrary musical and auditory performances are associated with the development of inner hearing. Internal hearing is not just the ability to mentally imagine musical sounds, but to arbitrarily operate with musical auditory representations.

Experimental observations prove that many people resort to internal singing for the arbitrary presentation of a melody, and piano learners accompany the presentation of the melody with finger movements (real or barely fixed), imitating its playback on the keyboard. This proves the connection between musical and auditory performances and motor skills. This connection is especially close when a person needs to voluntarily memorize a melody and keep it in memory. "Active memorization of auditory representations, - notes B.M. Teplov, - makes the participation of the motor moments especially essential. " 1 .

The pedagogical conclusion that follows from these observations is the ability to involve vocal motor skills (singing) or playing musical instruments to develop the ability of musical and auditory representations.

Thus, musical and auditory representations are an ability that manifests itself in reproduction by hearing melodies. It is called auditory, or reproductive, a component of ear for music.

Sense of rhythm is the perception and reproduction of temporal relationships in music. Accents play an important role in the dismemberment of musical movement and the perception of the expressiveness of the rhythm.

As evidenced by observations and numerous experiments, during the perception of music, a person makes noticeable or imperceptible movements that correspond to its rhythm and accents. These are movements of the head, arms, legs, as well as invisible movements of the speech and breathing apparatus. They often arise unconsciously, involuntarily. Attempts by a person to stop these movements lead to the fact that either they arise in a different capacity, or the experience of rhythm stops altogether. The ego speaks about the presence of a deep connection between motor reactions and the perception of rhythm, about the motor nature of musical rhythm.

The experience of rhythm, and therefore the perception of music, is an active process. “The listener only experiences the rhythm when he reproduces, does ... Any full-fledged perception of music is an active process that involves not just listening, but also making. moreover making includes a very diverse movement. As a consequence, the perception of music is never just an auditory process; it is always a hearing-motor process. "

The sense of musical rhythm is not only motor, but also emotional in nature. The content of the music is emotional.

Rhythm is one of the expressive means of music, with the help of which the content is conveyed. Therefore, the sense of rhythm, like the modal feeling, is the basis of emotional responsiveness to music. The active, effective nature of the musical rhythm allows you to convey in movements (which, like the music itself, are of a temporary nature), the smallest changes in the mood of the music and thereby comprehend the expressiveness of the musical language. The characteristic features of musical speech (accents, pauses, smooth or abrupt movement, etc.) can be conveyed by movements corresponding to the emotional coloring (claps, taps, smooth or abrupt movements of the hands, legs, etc.). This allows them to be used to develop emotional responsiveness to music.

Thus, the sense of rhythm is the ability to actively (motor) experience music, feel the emotional expressiveness of the musical rhythm and reproduce it accurately. Musical memory is not included B.M. Thermal among the main musical abilities, since "Direct memorization, recognition and reproduction of pitch and rhythmic movements constitute direct manifestations of musical ear and sense of rhythm. "

So, B.M. Teplov distinguishes three main musical abilities that make up the core of musicality: modal feeling, musical and auditory representations and a sense of rhythm.

ON. Vetlugina names two basic musical abilities: pitch-pitch hearing and a sense of rhythm. This approach emphasizes the inextricable connection between the emotional (modal feeling) and auditory (musical and auditory representations) components of the ear for music. The combination of two abilities (two components of musical ear) into one (pitch-pitch hearing) indicates the need for the development of musical ear in the relationship between its emotional and auditory foundations.

The concept of "musicality" is not limited to the named three (two) basic musical abilities. In addition to them, performing, creative abilities, etc., can be included in the structure of musicality,

The individual originality of the natural inclinations of each child, the qualitative originality of the development of musical abilities must be taken into account in the pedagogical process.

“You say that words are needed here.

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

is fully armed with its "language of music ..."

(P. Tchaikovsky)

The desire to embody the peculiarities of nature can constantly bring to life significant works of art. After all, nature is so diverse, so rich in miracles that these miracles would be enough for more than one generation of musicians, poets and artists.

Let us turn to P. Tchaikovsky's piano cycle The Seasons. Like Vivaldi, Tchaikovsky's each play has a title corresponding to the name of the month to which it is dedicated, as well as an obligatory subtitle and an epigraph that deepens and concretizes its content.

"January. By the fireside "," February. Shrovetide "," March. Song of the Lark "," April. Snowdrop "," May. White Nights ”,“ June. Barcarole "," July. Song of the Mower "," August. Harvest ”,“ September. Hunting ”,“ October. Autumn Song "," November. On the top three ”,“ December. Christmastide ".

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

Probably, in any person a certain time of the year evokes a whole layer of images, thoughts, experiences, close and understandable only to him. And if different composers have created their "Seasons", then, of course, these are completely dissimilar works that reflect not only the poetry of nature, but the special artistic world of their creators.

However, just as we accept nature in its various manifestations - after all, rain, a blizzard, and a cloudy autumn day have their own charm - in the same way we accept that artistic view full of love, which the composer embodies in his works ... Therefore, listening to the play “November. On the troika ”, we do not think that the triplets of horses ringing bells have long gone from our lives, that November awakens completely different ideas in us. We again and again plunge into the atmosphere of this beautiful music, so expressively telling about the “soul of November” that the great Tchaikovsky breathed into it.

Music can tell us about wonderful countries and about the eternal poetry of nature, it plunges us into the distant historical past and gives us a dream of a wonderful future, it re-creates the characters of heroes - even those that are already known to us from works of literature or fine art.

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

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

Listen to the sound of the initial section of the piece "November" and try to imagine what autumn the composer draws in his music, what feelings and moods it evokes in us.

P. Tchaikovsky

Note example 2

P. Tchaikovsky. "November. On the top three ”. From the piano cycle "Seasons". First section. Fragmen T

You remember that this cycle was conceived by the composer as a kind of musical narration about the life of nature, about its continuously changing appearance, so subject to the endless movement of the seasons.

The second section of the play brings us closer to the content expressed in the title of the play - "On the troika". The music of this section is enriched by the introduction of a bright pictorial moment - the ringing of bells. In it one can guess the merry run of the troika of horses, which was once an integral part of Russian national life. This ringing of bells adds visibility to the sound of the play and at the same time brings in another cheerful moment - the moment of admiring a picture dear to every Russian heart.

Note example 3

P. Tchaikovsky. "November. On the top three ”. From the piano cycle "Seasons". Second section. Fragment

The ringing of bells completes the piece "November", the sound of which becomes quieter by the end, as if the troika that had just rushed past us is gradually disappearing, disappearing in the haze of a cold autumn day.

Perhaps, in this last melting of the sound, the lines from the epigraph to the play are recalled for the first time? Indeed, in the play itself there are no echoes of that promised longing and anxiety, which are given in the poem. How, then, can we understand the programmatic content from the epigraph to the play?

November, the last month of autumn, the last days before the onset of the long winter. Here, ringing bells, the troika rushed - and now it is farther and farther from us, hiding in the distance, and the ringing of bells is quieter ... A piece of farewell - this is "November" in its location in the cycle of the seasons. And no matter how cheerful the look of the composer is, who knows how to see the charm and fullness of life at any time of the year, he is still not free from the feeling of acute regret, which is always inevitable when parting with something familiar and dear in its own way. And if this is so, then we can say that the programmaticity here is significantly expands and deepens a musical image, introducing a semantic subtext into it, which we would not have caught in only one music.

Questions and tasks

1. Is the mood of P. Tchaikovsky's play "November" in tune with your ideas about this time of year?

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

3. Which of the program components of the work (name of the month, title of the play, epigraph poem), in your opinion, reflects the character of the music to a greater extent?

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

Song repertoire:

1.What is autumn? This sky Crying sky under your feet Birds with clouds fly in the puddles Autumn, I have not been with you for a long time. CHORUS: Autumn. Ships are burning in the sky Autumn. I would be off the ground Where sorrow drowns in the sea Autumn, dark distance. 2.What is autumn? These are stones Faithfulness over the blackening Neva Autumn again reminded the soul of the most important thing Autumn, I am again deprived of peace. Autumn. I would be off the ground Where sorrow drowns in the sea Autumn, dark distance. 3.What is autumn? This is the wind Plays with torn chains again Autumn, will we crawl, will we reach dawn, What will happen to the Motherland and to us. Autumn, will we crawl, will we live to see the answer? Autumn, what will happen to us tomorrow. CHORUS: Autumn. Ships are burning in the sky Autumn. I would be off the ground Where sorrow drowns in the sea Autumn, dark distance. The city melts in a flock in the darkness Autumn, what I knew about you How much foliage will tear Autumn is forever right.