Slide 7.

Music product - an essay consisting of sounds with text or without text executable by voice or with tools. Musical work is a single whole, like any artistic work.

Slide 8.

The most important and bright means of musical expressiveness are: Melody Harmony Rhythm Floor Tembre supporting and enriching each other, they fulfill a single creative task - create a musical image and affect our imagination. Means of musical expressiveness

Slide 9.

Melody

When listening to music, involuntarily pay attention to the lead voice, the main musical theme. It sounds melody. The Greek word melody consists of two roots: Melos and Ode, which means "singing songs." Melody is the content of the work, its rod. It transmits the main artistic images.

Slide 10.

Harmony

Slide 11.

Harmony

This word came to us from Greece and in translation means "harmony", "consonance", "coherence". Harmony has 2 meaning: the coherence of sounds, "fraudulent"; Combining sounds in consonance and their natural submission.

Slide 12.

Rhythm

Rhythm in music is the alternation and the ratio of various musical durations. Rhythm is also a Greek word and translates as a "dimensional flow". Thanks to the rhythm, we distinguish the march from the Waltz, Mazurka from Polka, etc.

Slide 13.

LAD

Lad in music creates a mood. It may be joyful, light or, on the contrary, thoughtful, sad. LAD - Slavic word and translates as "peace", "order", "consent". In the music of the LAD means the relationship and consistency of sounds, different in height. The most common frets are major and minor.

Slide 14.

Slide 15.

Timbre

The timbre in French means "sound coloring". The timbre is a distinctive sign of every musical instrument or human voice.

Slide 16.

What musical works are harder to talk? About musical works, no program not containing. About musical works of non-program music. Despite the lack of a literary program, such works have no less rich musical content.

Slide 17.

What are the musical works of non-program music

Concerts; Symphony; Sonata; Etudes; Tool Pieces ...

Slide 18.

What is Sonata? Sonata (ITal. Sonare - sound) - Zhanninstrumental music, as well as a musical form called a sonata form. Compounds for chamber composition of tools and piano. As a rule, solo or duet. L. V. Beethoven

"Music grade 7 Theme of the year:" Content and form in music "I quarter Lesson 1 Topic:" Magic uniqueness "of a musical work. Goals ... "

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MUSIC

Topic of the year: "Content and form in music"

I quarter

Topic: "Magic uniqueness" of a musical work.

Objectives lesson:

Learn to perceive music as an integral part of everyone's life

man.

Develop attentive and friendly attitude to

the world around the world.

Educate emotional responsiveness to musical phenomena,

the need for musical experiences.

Music material lesson:

Additional material:

During the classes:

I. Organizational moment.

II. Message Topics lesson.

Theme of the year: "Content and form in music".

The subject of the lesson: "Magic uniqueness" of the musical work.

III. Work on the lesson.

Recording on the board:

A. De Saint-Exupery Any genuine artwork is convincing.

And it does not matter whether it embodies excellent ideas and images or deliberately sharpens dark, unsightly sides of life.

It is convincingly and then when he wakes us, awakens high aspirations, and then when it makes shudder from the horror experienced.

Why are some works dying, barely appeared, and others live in centuries, entitled to their depths and new and new generations?

Many centuries ago, the ancient Greek philosopher Aristotle emphasized the difference between the beautiful face and the perfectly painted face.

A great thinker one of the first guess that the meaning of art is not in the image of beautiful phenomena, but in the search and embodiment of the hidden essence of things.

The ability to see hidden, deep - one of the necessary conditions of genuine creativity.

Not that manty you, nature, not blind, not a soulless face, there is a soul in it, there is freedom in it, there is love in it, there is a language in it.

However, the finest hearing, the most acute view, the most sensitive intuition is not enough to ensure that the work of art appears. To see little and understand - you need to embody. With the incarnation sometimes connected with the most stressful side of creativity - the one that forces to write down the mountains of paper, make incredible travel, experience incredible travel, worry about a deep alarm

- And all for the sake of one single phrase, stroke, melodies.

True art requires full self-dedication and selflessness. It requires finding that true phrase or melody, the only one that would answer its creator.

The one who fate intended to be a creator, wears the ideal in the shower, with whom he twists everything that creates.

Such an ideal is the "magical uniqueness" of the idea and its incarnation

- Unity of content and forms.

Vocal choral work.

Y. Shevchuk. What is autumn.

IV. The outcome of the lesson.

We started talking about the unity of the content and form in art, which depends on the beauty, and from the truth, and the depths of life.

V. Homework.

Learn a song.

Objectives lesson:

Develop interest in music through creative self-expression, manifested in thinking about music, own creativity.

The formation of audience culture based on the acquisition to the vertex achievements of musical art.

The meaningful perception of musical works (knowledge of musical genres and forms, means of musical expressiveness, awareness of the relationship between content and shape in music).

Music material lesson:

Y. Shevchuk. What is autumn (singing).

Additional material:

During the classes:

I. Organizational moment.

II. Message Topics lesson.

The subject of the lesson: the music is difficult to explain in words.

III. Work on the lesson.

Recording on the board:

One spirit, touching the clay, creates a person from it.

A. De Saint-Exupery about musical content is much more difficult than the content of other types of art.

There is often no plot in music, unlike the works of literature or painting, so the music will not retell the music. It rarely meet specific images that can give a verbal characteristic.

Only about a small part of music - the music of the program - we have the opportunity to reason about how they argue about the literary work, that is, touching those verbal descriptions that the composer gives us. But as soon as the musical sound itself begins, the program music becomes equally inaccessible to our definitions, like any other.

All this makes music with special art among other arts.

Probably because only music knows how to express inexpressible.

We have already talked about the musicality of the world, that this musicality is present in the phenomena of nature, in other art types, in the manifold of human moods and states of the soul.

Anyone knows, in life is not all and does not always flow smoothly and cloudlessly.

Even everyday joy, excitement, the alarms leave a deep mark in the shower. Even more deeply affects us strong emotional shocks: discoveries, losses, disappointments and new hopes.

All these impressions make up a huge layer of human life - invisible, but sometimes the most important and significant. This is what a person is constantly, that only in the small part can be opened to the world around me - after all, the means of self-expression in humans are so limited. How to break out of yourself, at least briefly overcome this eternal loneliness of your own desires, aspirations, dreams, joys and suffering? One of the ways to overcome itself is creativity.

After all, they find the expressions of feelings and thoughts experienced by the author, his personal experience of defeats and victories, his whole rich inner life.

However, not every person is able to express itself in artistic activities. Among the many values, what art possesses, there is such that addressed to the human soul, which comes to the infinite fantasy world, elevates it, helps to overcome the closure of single existence.

Maybe this is the person primarily looking for art in works: after all, he is interconnected with the world, he is looking for a response and consolation. "We are eternal captivity of the sources, I wrote A. De Saint-Exupii in his book" Planet of People ". - Our freedom is so limited. It is believed that a person is wave to go where it will do. It is believed that it is free ... And no one sees that we are at the risen of the wells, we are tied to exactly umbilical cord, to the womb of the earth. You will make an extra step - and die. "This is the thought that came to the pilot, tolerant of disaster in the desert, should hardly be understood only in the right sense. We really are in the eternal captivity of the sources. As the body needs water, food and clothing, the human soul is looking for their springs, where she draws strength.

Among these lively springs, since the long-standing and strengthening person, music is music - music with its incendiary rhythms and sluting intonations, music that understands and comforting us.

There are moments when we don't need words when they even interfere:

to listen to yourself, to understand your feelings deeper. Not always a person can explain himself.

That is why we are talking about the fact that only music is capable of expressing inexpressible.

That is why it is so hard to explain to her words.

And in this - the main feature of its content.

M. Tariverdiev, verses N. Dobronravova. Little prince (hearing).

I. Brahms. Symphony number 3. III part. Fragment (hearing).

Johannes Brahms (1833 - 1897) is an outstanding German composer, the creator of philosophically in-depth works for the symphony orchestra in which he expressed a variety of feelings and moods. He gives us the opportunity to feel the unique atmosphere of time, creates a musically generalized image of the era.

Vocal choral work.

Y. Shevchuk. What is autumn.

IV. The outcome of the lesson.

We talked about the fact that only music is able to express inexpressible.

V. Homework.

Learn a song. Answer in writing to the question: why artwork can be like a riddle?

*** Lesson 3 Topic: What is musical content.

Objectives lesson:

Learning to perceive music as an integral part of the life of every person.

Emotional responsiveness to musical phenomena, the need for musical experiences.

Develop interest in music through creative self-expression, manifested in thinking about music, own creativity.

The formation of audience culture based on the acquisition to the vertex achievements of musical art.

The meaningful perception of musical works (knowledge of musical genres and forms, means of musical expressiveness, awareness of the relationship between content and shape in music).

Music material lesson:

Additional material:

During the classes:

I. Organizational moment.

II. Message Topics lesson.

Recording on the board:

... life years passed no wonder, it is clear before me

The final conclusion of wisdom earth:

Only that is worthy of life and freedom who goes to battle every day!

I.V. Goethe. Faust III. Work on the lesson.

Teacher's story about L. Beethoven, his music.

Life credo L. Beethoven:

1. "I do not know other signs of superiority except kindness."

2. "To chariter, where you can, above all to love freedom and even the monastery throne from the truth does not redeem."

3. "The music should carve fire from the human soul."

Is the Beethoven principles close to you? Which one for you could be decisive in life? Why?

The foundations of the creative and human "intonation" of Beethoven Music - "Through thorns to the stars"; "Through suffering - to joy." "Give me at least one day clean joy."

Romain Rollan spoke about Beethoven: "Drawing it, I draw his tribe, our century, our dream. We and our companion with bloody legs - joy!

Not fatty joy leaving the soul stall. The joy of testing, the joy of labor and the struggle, overcome suffering, victory over themselves ... "

When Beethoven settled in Vienna, he was 22 years old, by that time he was already an experienced composer and a brilliant performer. His passion is improvisation, immediate, igniting creativity on the stage, the joy of creating music is immediately in the eyes of the listeners. In improvisation, he did not know himself equal. Success accompanied him. His essays acquired fame. He was accepted in aristocratic houses and it seemed that Beethoven could be happy. But "Fate was knocking on the door." For several years, Beethoven has noticed signs of an impending deafness - a terrible trouble for the musician. I had to hide the deafness from others. The fear of losing the ability to creativity led him in despair. Beethoven told this to his brothers letter known as the Galeegenstada will: "... I was not far away from imposing on my hands. Art! Only it alone kept me. It seemed unthinkable to leave this world before I did not fulfill what I felt designed ... "

But in the fall of 1801, life is still smiling by Beethoven. He loved the Countess Juliet Guichchardi. Despite the collapsed misfortunes, Beethoven saw the best, forgiving weakness in people: the music strengthened his kindness. Probably, in Juliet, he did not notice the frivolism for some time, considering her worthy love, taking the beauty of her face for the beauty of the soul. "I was more painful to live," he writes to a friend, "I meet with people ... This change ... It was made by the charm of one cute girl;

she loves me and I love her. The first happy moments in my life over the past two years. " He paid expensive for them. Juliet unexpectedly betrayed him. She married Count Helenberg, a tangible composer, preferred him not only as a contender on her hand, but also as a musician! After treason, Juliet Beethoven went to the estate of his friend. He was looking for loneliness. Three days he wandered around the forest without returning home. He was found in remote more often exhausted from hunger and suffering. Nobody heard a single complaint. Beethoven had no need for words. Everything was told by the music of "Sonata like fantasy".

"Listen to it not only with your hearing, but also with all your heart! And maybe you will hear in her first part such a sorrow, which one had never heard before, in the second part - such a bright and at the same time such a sad smile as they did not have noticed; And finally, in the final - such a terrible desire to escape from the shackles of suffering and sadness, which can only be said about the words of Beethoven himself: "I grab my fate for the throat. She will not be able to bend me! ABOUT! How would love to live a thousand lives! " D. Kabalevsky.

(hearing).

Not at all, such eternal sources of suffering as loneliness or unrequited love appear in art, on the contrary: they are filled with peculiar greatness, because they reveal the true dignity of the soul. Beethoven, rejected by Juliet Guichchardi, writes the "lunar" sonatu, even the dusk his illuminating tops of world musical art.

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What image creates music? Is the name "Moon Sonata", given to her by the poet-romantic rail, after the death of the composer, shaped the world of Beethoven Music?

What is the character of music - courageous, feminine, youthful or children?

Listening to the 1st part of the Sonata, pay attention to the three elements of its musical speech: a concentrated-mournful tune tune, evenly flowing accompaniment of trioles in the middle voice and deep gloomy bass chords. Which of the elements in the perception of the poet became the main thing and contributed to the appearance of memories of the lunar light?

How many images in this music? (One, in which the development of feelings is clearly heard: at the beginning of a mournful melody with rhythmic intonations of a mourning march; In the middle section, these intonations are inferior to the non-stop wave-like trioli movement against the background of deep bass, which gradually grow up, rising in the register and in the power of the temptation, reach climax As if they want to break the sorrowful trial goal; Return in the third section of the sorrowful melody, and a short code with mourning rhythm in the bass argue the feeling of hopelessness.) As you understand the words F. Dostoevsky "Much changes, the heart remains one." Do you agree with this?

Conclusion: "... if someone lives all his life, and not moving all the beauty and wealth of the music of Baha and Mozart, Beethoven and Chopin, Tchaikovsky and Mussorgsky will not be less than anybody, neither Mozart nor Beethoven nor Chopin, nor Tchaikovsky nor Mussorgsky. They will remain as great and mighty. But the one who passes past them and will not touch their art, will lose a lot, very much "D. Kabalevsky.

L. Beethoven. Sonata No. 14 for piano. II part. (hearing).

Why did Ferenz sheet - one of the best performers "Lunar Sonata" - called her the second part of the "flower between two abyss"?

Was the music of the 2nd part changed compared to the first?

What do you think Beethoven thought about when he wrote this part? (This is either a memory of something light and at the same time sad, or a dream, and maybe this is a smile of Juliet, almost dance fiction, alternating with his dark thoughts.) How many images? (Two - courageous and feminine.) Perhaps Beethoven meant himself when he said: "A man must be strong and courageous in everything."

And finally, the 3rd part.

Hearing.

What feelings are transmitted to the 3rd part? (Stormy boiling passions, a mighty desire to overcome grief.) It is known that the essence of the sonata in conflict (struggle) or contrast images. Why did Beethoven violated the established tradition and wrote the 1st part of the sonata not in a semonate form?

Where does the conflict appear more clearly: inside parts of the sonata or between parts?

What does Beethoven optimism manifest? (Achieving the goal in the struggle, not frivolous optimism, and the inner strength, proldering joy.) Conclusion: "... Holding souls, noble souls, take themselves in satellites of this person!" Eduard Arrio "Life Beethoven".

Vocal choral work.

Ya. Dubravin, verses M. Pleazkovsky. When playing a musician (singing).

IV. The outcome of the lesson.

"The heart is the true lever of all the great," Beethoven said. And friends celebrated an amazing combination of his kindness, an extraordinary children's inheritance and mighty, stubborn will. No emperor, no king possessed such a consciousness of his strength, as a great composer sliced \u200b\u200bfrom the people wall.

V. Homework.

Learn a song. Prepare a report on L. Beethoven.

*** Lesson 4 Topic: What is musical content.

Objectives lesson:

Learning to perceive music as an integral part of the life of every person.

Emotional responsiveness to musical phenomena, the need for musical experiences.

The formation of audience culture based on the acquisition to the vertex achievements of musical art.

The meaningful perception of musical works (knowledge of musical genres and forms, means of musical expressiveness, awareness of the relationship between content and shape in music).

Music material lesson:

Ya. Dubravin, verses M. Pleazkovsky. When playing a musician (singing).

Additional material:

Portrait of a composer L. Beethoven.

During the classes:

I. Organizational moment.

II. Message Topics lesson.

The subject of the lesson: "What is musical content".

III. Work on the lesson.

Recording on the board:

Mad love my, Beethoven!

Then I will crucify to you on the string, then plunge into hell, then raised in the sky ... P. Mikhnya We will continue the conversation about Beethoven. Today you will hear his Egmont's overture.

The EGMONT tragedy of the German poet I. V. Gothe was easier than historical events of the 16th century, related to the struggle of the Netherlands people for liberation from Spanish dominion. Egmont, Graph Lemoral, headed the uprising against the Spanish king Philip II, but becomes a victim of cunning plans of enemies who supported the king. Before his death, Egmont appealed to the people with a call to fight for the freedom and independence of their homeland.

The image of Egmont Bal is close to ideals and sentiment of L. Beethoven. He expressed all the power of his feelings in an overture.

Overture "Egmont" - a piece of one-room. L. Beethoven managed to show in a compressed form Highlights of the development of the tragedy.

Overture begins with slow access. There is a conflict.

The image of Spanish dominion. Chord presentation, the pace is slow, the rhythm is syncoped, it sounds solemnly, powerful - resembles the Spanish dance-procession of Saraband. Low register, minor swolf give her a gloomy sinister color. In the orchestra it is performed by string tools.

The image of the Netherlands people. The topic "seals" the oboe, to which other wooden wind instruments are joined, and then string. The melody is based on a very expressive secret intonation, which gives it a mournful character. Stuffed intonation, intonation of "sighs", please, complaint. When you listen to music, pay attention to the most important thing - when the entry goes to the main part: the main (first) the theme of this part is inconspicuously grows out of the second (oppressed) image of the people.

L. Beethoven. Overture "Egmont". Grade 8 (hearing).

Why? What did L. Beethoven mean by? (The composer makes it possible to understand - the oppressed people collects strength and moves to the struggle.) Following the first topic, a rapidly carrying forward, the second (side) appears - the image of conquerors. But, pay attention, there are no former majesty in it.

In the exposition, two images face, covered by a single stream of stress struggle.

What is the result of the struggle? The hero dies, but the people triumph victory.

How many parts are in an overture? Three: in the 1st - contrast images are set out and compares, in the 2nd - development and development of images, in the 3rd - result of the confrontation.

Overture is written in the form of Sonata Allegro. The main party has a volitional, heroic. It is set out in the Fi Minor. Strength and energy are gradually increasing. Initially, it sounds in the lower case in cello and other Piano string tools, and then picked up with all Fortissimo orchestra.

The course for a second at the beginning of the melody reveals the relationship of the main party with the second topic of entry - the theme of the "suffering" of the people. Her heroic character is no longer obedience, but about the perturbation of the Netherlands and the uprising of them against the enslavers.

The side part is also associated with the music of entry, chord, heavy - without difficulty, you can find out the topic of "enslavers". Staged in Major (La-Flat Major), it sounds not only solemnly, but also victorious. This topic is assigned to string tools. The quiet sound of wooden wind instruments in the second phrase is relative to the side game with the second topic of entry.

The courageous and decisive final batch completes the exposition.

Development is very small. It seems to be a comparison of contrasting topics, "struggle" is exacerbated. On timid "requests"

every time you follow an inexorable and cruel "answer." The multiple repetition of the melody of the beginning of the main party is completed by two detachable and sharp chords.

But the "struggle" does not end. At the end of the reprises, she flared up with even greater force. The theme of "Spanish enslavers" sounds here particularly both violently, and even more complaints about and imploring the theme of the people.

The unequal duel is suddenly broken. Reprise ends next to a number of weathered, quiet and sad chords. Beethoven wanted, obviously, serve here the last cruel fight with the enemy and the death of the hero, Egmont.

Overture ends with a large code, which shows the result of the struggle.

Her solemn and smaller character talks about the victory of the people.

The start of the codes resembles the hum of the approaching crowd, which rapidly increases and is poured into the flow of the grand mass procession. Causes of pipes and horn sounds, and at the end of the Piccolo Flute Overture.

Ends Beethoven an overture in the same major.

Conclusion: "The drama of the work is concluded in the acute collision of two images."

Vocal choral work.

Ya. Dubravin, verses M. Pleazkovsky. When playing a musician (singing).

Yu Migulya. Be a person (singing).

IV. The outcome of the lesson.

The interest of Beethoven to the fate of peoples, the desire to show the "struggle" as an inevitable way to achieve the goal and the coming victory is the main content of the heroic works of the composer.

V. Homework.

Learn songs. Reports on the work of Beethoven.

*** Lesson 5 Topic: What is the musical content. Music that needs to be explained by words.

Objectives lesson:

Emotional responsiveness to musical phenomena, the need for musical experiences.

Develop interest in music through creative self-expression, manifested in thinking about music, own creativity.

The formation of audience culture based on the acquisition to the vertex achievements of musical art.

The meaningful perception of musical works (knowledge of musical genres and forms, means of musical expressiveness, awareness of the relationship between content and shape in music).

Music material lesson:

Additional material:

Portraits of composers: A. Vivaldi and O. Messiana.

During the classes:

I. Organizational moment.

Today we will get acquainted with the program in music.

II. Message Topics lesson.

The subject of the lesson: "What is the musical content. Music that needs to be explained by words. "

III. Work on the lesson.

Each art speaks in its language. Music is the language of sounds and intonation - it is characterized by a special intonation depth. It is this emotional side of the content of music that is felt by the listener first. Music remarkably draws human characters, has sound illness. It carries a holistic mineosoz. Music is closely related to life, with other types of art. The song appears before us as the unity of poetry and music. Ballet - alloy of music and choreography. Opera, in essence, there is a synthesis of drama, visual art and music.

Software music often reproduces the plot in the sounds, familiar to listeners from the works of literature, painting and other types of art.

Music content manifests itself in different ways.

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

Such content is embodied in numerous musical works combined by common quality for them - programming. "Forest" and "Night in Madrid", "Bogatyrskaya" Symphony and "Winter Greens", "Shehherazada" and "Gnome" - all these works created by A. Glazunov and M. Gling, A. Borodin and P. Tchaikovsky, N . Romankorsakov and M. Mussorgsky, form a wonderful range of various embodiments of musical content.

I get acquainted with the musical work that has a program name, we are not looking for only the sound image of the images prompted to us, but also catching something more in his sound. The sound of music forms a special mood, giving a surcharge of an imagination of the listener.

Everyone presents its own, what is close and expensive to him. And we love something in the work only when we open up in it close and expensive to us. That is why us and in life, and in art, some things touched strongly and deeply, and some left indifferent.

(Software music - reproduces the plot in the sounds, familiar to listeners from the works of literature, painting and other works of art.) Instrumental music, actually separated from other arts, retains internal connections with them.

Hear music - it means to penetrate its meaning in her art world. But this path runs through the sound form.

The musical landscape is the "landscape" of mood, in which expressiveness of intonation merges with the visual details of the music language.

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

Let's follow how the content is manifested in works with software music. The nature is diverse, rich in miracles that these wonders are not enough for one generation of musicians, poets and artists.

A. Vivaldi. Winter. I part. From the cycle "Four concerts for violin with the Orchestra" Seasons "(hearing).

The singing of birds has long been attracted musicians. For many of them, it became a school of composer skill. Special timbres are inherent in each bird, the character of chirping, pace, strokes and, finally, the volume that is peculiar to her singing - all this has learned accuracy, detail, expressiveness of musical characteristics.

Orchestral work O. Messiana "Awakening of birds" is one of the results of such a "forest school", where the various sounds of the summer forest filled with the voices of birds is very accurate.

O. Messian. Awakening birds. Fragment (hearing).

In this fragment, it was possible to hear the singing of the vertical, the domain owl, the forest lark, Kamyshiki, the Black Drozda and other birds, gradually awakening and their singing of the dawn. Music opens up new sounds-proof opportunities - not only rhythmic and timbre, but also dynamic.

Vocal choral work.

E. Podgar. Autumn vocalization (singing).

IV. The outcome of the lesson.

Because musical content avoids concreteness, a generalizing meaning is always concluded. History, people, characters, human relationships, paintings of nature - all this is presented in music, but is presented in a special way. True intonation found, the bright rhythmic pattern will tell us about the work much more than the longest and detailed description of V. Homework.

Additionally, familiarize yourself with the life and creative way A.

Vivaldi. Prepare reports.

Lesson 6 Theme: November image in P. Tchaikovsky's play.

Objectives lesson:

Develop a careful and friendly attitude towards the environment.

Emotional responsiveness to musical phenomena, the need for musical experiences.

The formation of audience culture based on the acquisition to the vertex achievements of musical art.

The meaningful perception of musical works (knowledge of musical genres and forms, means of musical expressiveness, awareness of the relationship between content and shape in music).

Music material lesson:

E. Podgar. Autumn vocalization (singing).

Y. Visbor. My dear (singing).

Additional material:

Portrait of a composer P. Tchaikovsky.

During the classes:

I. Organizational moment.

Remember what was the speech on the past lesson? (What is the musical content. Music that needs to be explained by words.) Give the definition that such software music. (Program music

- reproduces the plot in the sounds, familiar to listeners from the works of literature, painting and other works of art.) II. Message Topics lesson.

Topic of the lesson: November image in P. Tchaikovsky's play.

III. Work on the lesson.

Today we will follow how the content in the works of software music is manifested.

Probably, any person has a certain time of the year causes a whole layer of images, thoughts, experiences, close and understandable only to him. And if all composers wrote their "seasons", then, of course, it would be absolutely no similar works that would reflect not only the poetry of nature, but the special artistic world of their creators.

However, just as we take the nature in the various manifestations - after all, the rain has their own charm, and in a blizzard, and at the cloudy autumn day - we also accept the full love of an artistic look that embodies the composer in his works. Listening to the "November" play ("on the troika"), we do not think that the troops of the top of the horses have long gone from our life that November wakes up completely different ideas in us, we again and again plunge into the atmosphere of this beautiful music, so An expressively narrow about that "November soul", which he breathed in her great Tchaikovsky.

Do not look with longing on the road, and behind the troika are not hurry, and the alarm walked in my heart forever Male.

This epigraph from the poem N. Nekrasov "Troika" deepens the substantive multidimensionality of the play, which is described before the music begins to sound. We do not just imagine a frozen autumn day, rushing the top three, and guess in this triple the symbol of something from the outgoing, someone's longing, waiting and anxiety.

Such is the software backgrounds of the plays.

Music gives us an image full of charm of True Russian November:

a wide breath of the melody, its smoothness and magnifier seemed traditional for Russian art the image of a fertile autumn - bright, generous, inspiring.

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This fragment from the poem I. Bunin "Listopad" was consistent with 1 section of the "November" P. Tchaikovsky's play, where he sounds like a bright, premiece. This contributes to the solar tonality of the melody (Mi major), a cheerful character (leisurely singing phrases). The latitude and peculiar beauty of Russian nature is shown.

Tchaikovsky, was gifted by the ability in each phenomenon of nature to see and understand something inseparable a beautiful, soothing, giving thirst for life.

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

The second section brings us to the content of the plays, "on the top three.

The music of this section is enriched with the introduction of a bright visual moment - the pole of the Bubentsy. It is guessed by a cheerful running of the top three horses, which is once an integral part of Russian national life.

This ringing of the buberets gives the bottleiness, pictureness and at the same time makes another cheerful moment - the moment of admirement with a picture of each Russian heart.

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

Software composer content:

November, the last autumn month, the last days before the onset of winter. Here the troika ringing, the Troika was rushed - and now she is farther and farther away from us away away, and the ringing of the buberets is all quieter ... And no matter how much the view of the composer, who knows how to see his beauty and completeness, still Free from a feeling of acute regret, inevitable when separated with something familiar and in its own way.

P. Tchaikovsky. November. On the troika From the piano cycle "Seasons" (hearing).

Vocal choral work.

E. Podgar. Autumn vocalization (singing).

V. Rebikikov, poems I. Bunin. Autumn song (singing).

Y. Visbor. My dear (singing).

IV. The outcome of the lesson.

The programming significantly expands the musical image, making a semantic subtext, which only in one music we would not catch.

V. Homework.

Learn the text of the songs. Briefly record basic information about Tchaikovsky to the notebook.

*** Lesson 7 Topic: "Eastern" Score N. Rimsky-Korsakova "Shehherazada"

Objectives lesson:

Learning to perceive music as an integral part of the life of every person.

Emotional responsiveness to musical phenomena, the need for musical experiences.

The formation of audience culture based on the acquisition to the vertex achievements of musical art.

The meaningful perception of musical works (knowledge of musical genres and forms, means of musical expressiveness, awareness of the relationship between content and shape in music).

Music material lesson:

(hearing).

E. Podgar. Autumn vocalization (singing).

V. Rebikikov, poems I. Bunin. Autumn song (singing).

Y. Visbor. My dear (singing).

Additional material:

Portrait of Composer N. A. Rimsky-Korsakov.

During the classes:

I. Organizational moment.

What was the speech on the past lesson? (The programming significantly expands the musical image, making a semantic subtext, which only in one music we would not catch.) II. Message Topics lesson.

The subject of the lesson: "Eastern" score of N. Rimsky-Korsakov "Shehherazada".

III. Work on the lesson.

Nikolai Andreevich Rimsky-Korsakov (1844 - 1908) Nikolai Andreevich Rimsky-Korsakov said: "My genus is a fairy tale, epics and certainly Russian." The composer inspired the beauty of folk art: songs, tales, rites. Pages of Russian history, exotic images of the East, paintings of nature as if coming to life in the music of Roman-Korsakov.

Another boy loved the sea. Roman-Korsakov comes to study in the marine corps, at the end of which makes worldwide swimming, which has become a source of creative fantasy for many years.

Brospopriceing with M. A. Balakirev, the young officer extracts the basics of composer skill, enters the "Mighty hand" circle.

Nikolai Andreevich Rimsky-Korsakov - the creator of 15 operas, very diverse in content. In the first opera, Pskovtyanka (1872) - is narrating the dramatic events related to the formation of a single Russian state. Especially attract the composer fabulous images. In operations written in the Maja Night and "night before Christmas" N.V. Gogol, soft, light humor combined with the poetchiness of the fiction. Opera "Snow Maiden" (according to the "spring fairy tale" A. N. Ostrovsky,

1881) shows the life of fabulous berendies inseparable from nature, its animated fantastic forces.

The composer attracted epics about the Novgorod Huslar Sadko (Sadko's Symphonic Picture and written in 1896 of the eponymous opera), ancient legends ("Tale of the invisible Grada and Virgin Fevronia", 1904).

In the late fabulous operations of the "Kolyanie immortal" (1902) and the "Golden Cockerel" (1907), a composer's relation to the content is expressed in an allegorical form. And in the Opera "Tsarist Bride" (on Drama L.A.

Maya, 1898), "Mozart and Salieri" (according to the eponymous tragedy, A.S. Pushkin,

1897) The drama of individual personalities is in the spotlight, their tragic fate.

Brightly manifested the talent of Roman Corsakov and in instrumental music.

In fragments from the operas (for example, the "Three Miracle" and- "Tale of the Tsar Saltan") and in the program symphony works ("Shehherazada", "Spanish Capricchio") of the orchestra paints are created pictures of marine expanses, battles, magic transformations ... from chamber The writings of the greatest artistic value are romances (only 79).

Not only creativity, but all the activities of the Roman Corsakov became the decoration of Russian musical culture. He gave a lot of strength and time to the completion of the works of A. P. Borodin, M. P. Mussorgsky, A. S.

Dargomyzhsky, processing folk songs.

Large social activities, speeches as conducted by the composer with pedagogical work at the St. Petersburg Conservatory. Among his students - A. K. Lyadov, A. K. Glazunov, S.S.

Prokofiev, I. F. Stravinsky and others.

In 1905, Roman Korsakov spoke on the side of revolutionary students, for which it was excluded from the professors.

The return of it to the conservatory was a major victory of democratic forces.

Having experienced the impact of progressive ideas of their time, Romankorsakov in music expressed faith in the celebration of good and beauty.

There are works in music with more specific software content. One of them is the symphonic suite of Romanskokorsakov "Shehherazada" written on the motives of fairy tales from the Arab fairytale collection "Thousand and One Night".

This is one of the most striking "eastern" scores, immerses us into the atmosphere of the sound of oriental music with its characteristic intonations and whimsical melodic bends, with instrumental testers, recreate fabulous, almost fantastic musical flavor.

Software entry:

Sultan Shahrihar, convinced of the cunning and infidelity of women, gave a shock to execute each of his wives after the first night; But Sultansh Shehherazad saved his life because he managed to take it with fairy tales, telling them to the continuation of 1001 nights, so, who inquired curiosity, Shahrhar constantly postponed her execution and finally left his intention. Many miracles told him Shehherazada, leading poets poets and words of songs, crowded a fairy tale in a fairy tale, a story in the story.

Some of the most vivid episodes of the wonderful tales of Shehherazada became the basis of the symphonic essay of the Roman Corsakov. Despite the fact that in the suite there are many independent episodes, heroes, musical topics, Suite is united in a single idea, which is subordinated to the image of the chief narrator - Shehrazada. After all, it is she, possessing a huge erudition and the richest imagination, managed not only to save his life, but also to create a huge magic world, full of incredible wonders and adventures.

Roman-korsakov calls the episodes used by him as a program for individual parts: the sea and ship Sinbad, the fantastic story of Calendar-Tsarevich, Tsarevich and the Queen, the Baghdad holiday and the ship, breaking about the rock.

The musical narration is built as a series of fabulous paintings and main characters with their characteristic musical topics. In the subject of Shahriara

- The imminate unison of wooden wind instruments, drawing the image of a strong and powerful Sultan, the mighty Lord of his state, freely dispose of life and the death of his subjects.

But the topic of Shehherazada gentle and languid, filled with singement violin Solo. In her, the magic of the Arab night, and the charging voice of the young storytellers, and the full mystery of the flavor of the wonderful Eastern narratives.

In accordance with the program intent, there is a suite and other topics: we hear the rocus of sea waves, the noisy bustle of the crowded Eastern city, the leisurely intonations of the narrator - the Sheherazada and Tsarevich calender.

N. Rimsky-Korsakov. Symphony Suite "Shehherazada". I part.

(hearing).

Vocal choral work.

E. Podgar. Autumn vocalization (singing).

V. Rebikikov, poems I. Bunin. Autumn song (singing). Y. Visbor. My dear (singing).

IV. The outcome of the lesson.

The specification of the program is significantly more affected by the nature of the music than the overall idea expressed in the title or epigraph (as in the plays from the "Seasons" cycle P. Tchaikovsky).

V. Homework.

Briefly end the biographical data on the composer N. A.

Roman Korsakov.

Learn the text of the songs.

*** Lesson 8 Topic: When the music does not need words (1 h)

Objectives lesson:

Learning to perceive music as an integral part of the life of every person.

Emotional responsiveness to musical phenomena, the need for musical experiences.

The formation of audience culture based on the acquisition to the vertex achievements of musical art.

The meaningful perception of musical works (knowledge of musical genres and forms, means of musical expressiveness, awareness of the relationship between content and shape in music).

Music material lesson:

A. Varlamov, Poems M.

Lermontov. Mountain peaks.

Extra Material: Portrait of Composer A. Scriabin, Reproduction Pictures, Poem, Story, Test, Slika Emotional Terms in Raznikov, Tables (temporal and "talking about music", Texts of songs, Colored pencils.

During the classes:

I. Organizational moment.

Read the epigraph to the lesson. How do you understand it?

Recording on the board:

Creativity Scriabin was his time expressed in sounds.

G Plekhanov II. Message Topics lesson.

Today we will get to know you with the music of the wonderful Russian composer Alexander Nikolayevich Scriabin (1871 - 1915), whose music caused the hottest interest of contemporaries. He could very sensibly convey the mood of the era, different vitality.

III. Work on the lesson.

Guys, in previous lessons, thinking about how musical content, we met with the concept of "program music". For more assimilation of this concept, I propose to fulfill Test No. 1 and No. 2. Who will perform the test number 1 - will receive a rating "4", and who test number 2 - receives the rating "5"

(Students themselves choose the test level). (Appendix 2.)

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4. What is the name of the III part of the Sumphonic Suite "Shehrazada"?

a) the sea and ship Sinbad;

b) Baghdad holiday and a ship breaking about the rock;

c) a fantastic story of Calendar-Tsarevich;

d) Tsarevich and Tsarevna.

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The topic of our lesson: "When music does not need words."

The purpose of the lesson: We have to find out that the content of the musical work can be understood without the help of the program.

There are a great many musical works, no program not containing (symphonies, concerts, essays for chamber ensembles, instrumental plays, sonates, preludes, etc.) But, despite the lack of a literary program, such works have no less rich musical content than Works of software music.

Today we will get acquainted with Music A. Scriabin (1871 - 1915). As the true son of the XIX century, Scriabin understood the vigorousness and notion of Russian society. He understood the inevitability of social catastrophe, waited for a storm. Therefore, in his music, he expressed anxious, stressful pulse of his time when the Russian society arrived in the troubling expectations of the coming change. Immediately after the revolution in 1918, the name of Scriabin was included by the Council of People's Commissar signed by V.I.

Lenin in the list of "great figures", which must be built monuments.

Today we will listen to the world's famous world "Etude №12" Reyz Minor.

Can we define a musical content by name?

And what is "etude"?

Etud - Franz. - Study (work in notebooks). Etude develops musician technique. Etudes exist for all musical instruments. Etudes that can be performed on stage as artistic real works are called concert. They wrote to Chopin, leaf, Rachmaninov and, of course, Scriabin.

Sometimes "Etude №12" is called pathetic, but this is not a sign of a program: it only indicates a raised sound of the sound. His Scriabin performed especially often and in the circle of friends, and at concerts. Etude entered the repertoire of many pianists of the world. In his music, as if Nabat, he sounds a call for freedom.

We listen to: Etude №12 A.Chryabina (before listening to the teacher distributes questions with students).

Music and theoretical analysis (table).

What image arises in your consciousness?

What can you say about the melody of the work? (melodic takeoffs)

What intonations are the melody? Try to draw a melodic line of etudes (plastic intonation).

What does the excited accompaniment resemble?

What is the speaker (quiet, loud, very loud)?

What is the paw (major or minor)?

How does an image develop (smoothly or with sharp contrasts, or growing)?

What is the rhythm (pulsating, pedial, impustiful)?

What did the development led to?

What did Skryabin wanted to tell his music? (the embodiment of the will, masculinity, gustiness, passionality).

Conclusion: It is precisely the means of musical expressiveness and transmit the content of the play, embodying the will, masculinity, a piggyback, passion.

What feelings did you experience, listening to the work?

What events from your life reminds this music?

What memories and hopes do she awaken?

What would you like to do after listening to this etude?

Is it possible to make a bad act after listened music?

Conclusion: it turns out that music does not always need words. A person is able to perceive music and without additional explanations.

Contemporaries A.N. Scriabin called his Etude "Petrel".

Who is a petrel?

Try to compare the mood of the music of Scriabin with the Bunctory mood "Song about the Petrel M. Gorky.

I read the "Song of the Petrel".

"Over the gray plain sea, the wind collects clouds. Between the clouds and the sea is proudly rewned by a petrel, black zipper similar.

That wing of the waves touching, then the arrow was filing to the clouds, he shouts, and - the clouds hear joy in the creek shout.

In this cry - thirst for storms! The strength of anger, the flame of passion and confidence in the victory hear the clouds in this scream.

Seagulls moan in front of the storm, - moan, rushing over the sea and on the bottom of it are ready to hide their horror before the storm.

And Gagars are also moaning, "to them, Gagaras, unavailable enjoyment of the battle of life: Thunder scares them.

Stupid penguin timidly hides the body fat in the cliffs ... Only a proud petrel reheres boldly and freely over gray-sided from foam by the sea!

Everything is gloomy and lower clouds fall over the sea, and they sing, and the waves are torn to height towards thunder.

Thunder rinsing. In the foam of anger, the waves are moan, with the wind argue. It covers the wind of the flock of waves to argue strong and throws them with a swing in a wild malice on the rocks, breaking into dust and splashes emerald romance.

The petrel with a cry of repeats, black zipper is similar how the arrow pierces the clouds, the foam of the waves is breaking the wing.

Here it is worn like a demon, - proud, black demon storm, - and laughs, and shoes ... He laughs over her clouds, he spits away from joy!

In the anger of thunder, - a sensitive demon, - he long hears fatigue, he is sure that he will not hide the clouds of the sun, - no, they will not hide!

The wind will live ... Thunder rinsing ...

Blue flames are burning flocks of clouds over the abyss of the sea. The sea catches lightning arrows and exhausted in his junction. Exactly fiery snakes, go in the sea, disappearing, reflecting these lightning.

Storm! Soon the storm is born!

This bold peberling is proudly relevant between lightning over the roaring angry sea; then shouts the Prophet Victory:

Let the storm get stronger! .. "

Is these works are consonant?

Now I will ask you to fulfill the song of Yu. Shevchuk "Autumn" (on the ranks each in the venue), sing in character (preliminary: breathing exercises, sound studies, diction)

Pay attention to the reproduction of the picture A.A. Rylov "in the blue space".

Is the picture of the mood of the music of Scriabin and songs "Autumn"

Yu. Shevchuk?

What feelings do you have this picture?

Re-hearing "Etude №12" A. Scriabin (during the hearing, draw a color gamut).

Scriabin had a special gift to see the tonality in color. Let's see your work.

IV. The outcome of the lesson.

What product of Scriabin we met?

This etude refers to software or not software music?

And what do you think Etude Scriabin is an etude exercise or concert etude? Why?

What helped us to figure out the musical content of the work?

Did he like you?

We will end up talking about the composer's music from his diary: "I'm so happy that if I could tell one bit of my happiness to inform the whole world, then life would seem beautiful to people. I want to live! I want a new, unknown.

I want to create. I want to create freely. I want to consciously create.

Life - activities, desire, struggle. "

And one more thing: "Sullen and the mighty one who experienced despair and defeated him."

V. Evaluation of students.

Criteria for evaluation:

How brightly and steadily is manifested by students interest in music, enthusiastic, love for her;

Whether to reflect on music, evaluate its emotional character and determine the figurative content;

Will the knowledge gained in the process of musical training be used;

What is the level of performing culture, how developed the ability to be creative, bright and emotionally transferred in singing, playing musical instruments, in musical - rhythmic movements and the nature of executable works.

Vi. D / s: Prepare for a musical quiz on the works listened for a quarter.

VII. Our lesson comes to completion, but we will soon meet. So the words in the song Yu are sounded.

The completion of the lesson will serve as a collective execution of the song "Pretty My"

Y. Victor.

Russian composer, pianist, teacher. His father was a diplomat, Mother - Pianist. He studied at the Moscow Cadet Corps (1882-89).

Music talent manifested itself early. Took lessons (piano) from E.

Cousy, N. S. Zvereva. In 1892 he graduated from the Moscow Conservatory in the class of piano in V. I. Safonov, also engaged in S. I. Taneyev (counterpoint) and A. S. Arensky (composition). Concerted in Russia and abroad, was an outstanding performer of his own writings.

Significant support provided him by M. P. Belyaev (published writings of a young composer, subsidized his concert trips).

In 1904-10 (with a break), he lived and worked abroad (in European countries, toured also in the United States). He was engaged in pedagogical activities: in 1898-1903, Professor (class of piano) of the Moscow Conservatory, simultaneously taught in the music classes of the Ekaterininsky Institute in Moscow. Among the students: M. S. Nemenovalunz, E. A. Beckman-Shcherbina.

Scriabin is one of the largest representatives of the artistic culture of the late 19th - early 20th centuries. The creativity presents piano and symphony genres. In the 90s. Created preludes, Mazurki, Etudes, Express, 1-3 Sonatas for piano, concert for piano with orchestra, in the 1900s. - 3 symphonies, 4-10th sonata and poems for piano (including "Tragic", "Satanic", "to the flame"), as well as such symphonic works as "Ecstasy Poem" (1907), " Prometheus "(" Poem of Fire ", 1910) - a strategic composition of the late period of creativity. The music of Scriabin reflected the Bunlet spirit of his time, the premonition of revolutionary changes. It combined the volitional impulse, tense dynamic expression, heroic surgeon, a special "flight" and a sophisticated spiritualized lyrics.

In the work of Scriabin, the ideological inconsistency inherent in its theoretical philosophical concepts (about 1900 Scriabin became a member of the Moscow Philosophical Society, occupied subjectively idealistic positions). The works of Scriabin, embodied the idea of \u200b\u200becstasy, daring, striving for the unknown space spheres of a gust, the idea of \u200b\u200bthe transforming force of art (the crown of such creations, on the thought of Scriabin, was to become "Mystery", in which all kinds of art are united - music, poetry, dance, architecture , as well as light), are distinguished by a large degree of artistic generalization, power of emotional impact.

In the work of Scriabin, it is peculiar to the late romantic traditions (the embodiment of the ideal dreams, a fermented, agitated nature of statements, to synthesis of arts, preference to the genres of preludes and poems) with phenomena of musical impressionism (thin sound color), symbolism (images and symbols: themes "Will "," Self-affirmation "," struggle "," Tomny "," Dreams "), as well as expressionism. Scriabin is a bright innovative in the field of musical expressiveness and genres, in the late compositions of the basis of a harmonic organization, dominant harmony becomes the most characteristic type of chord-t. Promethevsky Accord). For the first time in musical practice, he introduced a special batch of light into symphony scores ("Prometheus"), which is associated with an appeal to a color hearing.

Creativity Scriabin had a significant impact on the piano and symphonic music of the 20th century. Received further development of the idea of \u200b\u200bthe synthesis of music and light. In 1922, the Museum was organized in Moscow in the premises of the last apartment of Scriabin in Moscow.

*** Lesson 9 Topic: Final lesson.

Lesson - generalization

Objectives lesson:

Develop a careful and friendly attitude towards the environment.

Emotional responsiveness to musical phenomena, the need for musical experiences.

Develop interest in music through creative self-expression, manifested in thinking about music, own creativity.

The meaningful perception of musical works (knowledge of musical genres and forms, means of musical expressiveness, awareness of the relationship between content and shape in music).

Music material lesson:

L. Beethoven. Sonata No. 14 for piano. I part.

A. Scriabin. Etude Re-Diez Minor, Op. 8 № 12.

Additional material:

During the classes:

I. Organizational moment.

II. Message Topics lesson.

Today you are working: Answer test questions; Write an independent work on listening to music that sounded in lessons in the first quarter.

III. Work on the lesson.

Perform test task.

1. About whom Next statement P. Michnia:

"My crazy love, ...!

How do you go from you, do you in me?

Then I will crucify to you on the string, then plunge into hell, then raised with the sky in the sky ... "?

a) about A. Vivaldi

b) about L. Beethoven

c) about A. Skryabin

2. Etude - develops ... musician.

a) ability

b) Technical technology

3. Who owns the following words: "My kind is a fairy tale, epics and certainly Russians"?

a) P. Tchaikovsky

b) N. Rimsky-Korsakov

c) A. Skryabin 4. "We are in the eternal captivity of sources," wrote ... in his book "Planet of people. - Our freedom is limited. It is believed that a person is wave to go where it will do. It is believed that it is free ... and no one sees that we are attached to exactly umbilical cord, to the womb of the earth. You will make an extra step - and dying. "

a) Brothers Grimm

b) A. de Saint-Exupery

(c) Andersen Opera - 5.

alloy of music and choreography a) Synthesis of Dramatugia, Fine Arts and Music B) Language of Sounds and intonation C)

6. Software music often reproduces in sounds ..., familiar to listeners from the works of literature, painting and other types of art.

c) Character

7. Educational institution designed to obtain musical education - ....

a) Gallery

b) Conservatory

c) Opera House

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10. Who owns the words: "Only the Spirit, touching the clay, creates out of her person."

a) M. Tariverdiev

b) A.N. Tolstoy

c) A. de Saint-Exupery

11. Who wrote the piano cycle "Seasons":

a) P.I. Tchaikovsky

b) R. Shuman.

c) M.I. Glinka

12. Who wrote an "Egmont" overture?

a) L. Beethoven

c) M.P. Mussorgsky

a) Bariton

c) Bass listening to music (write to notebook).

I. Brahms. Symphony number 3. III part. Fragment;

M. Tariverdiev, verses N. Dobronravova. Little Prince;

L. Beethoven. Sonata No. 14 for piano. I part.

A. Vivaldi. Winter. I part. From the cycle "Four concerts for violin with orchestra" Seasons ";

O. Messian. Awakening birds. Fragment;

P. Tchaikovsky. November. On the troika From the piano cycle "Seasons";

N. Rimsky-Korsakov. Symphony Suite "Shehherazada". I part.;

A. Scriabin. Etude Re-Diez Minor, Op. 8 № 12.

Vocal choral work.

Y. SCHUK "Autumn"

Y. Visbor "Pretty My"

IV. Homework:

Get to know independently with the biography of the composer S.V. Rachmaninova II quarter Lesson 10 Topic: Musical image. Lyrical images in music.

Objectives lesson:

Learning to perceive music as an integral part of the life of every person.

Emotional responsiveness to musical phenomena, the need for musical experiences.

The formation of audience culture based on the acquisition to the vertex achievements of musical art.

The meaningful perception of musical works (knowledge of musical genres and forms, means of musical expressiveness, awareness of the relationship between content and shape in music).

Music material lesson:

Additional material:

During the classes:

I. Organizational moment.

II. Message Topics lesson.

Theme of the lesson: "Musical image. Lyrical images in music. "

I. Work on the subject of the lesson.

Musically, we call those creative ideas, then the life content that the composer creates, using the richest possibilities of the musical language.

Musical image is a life embodied in music, at least a small particle: feeling, experience, thought, deed, human action, several people; Any manifestation of nature, any event from the life of a person, the people, of all mankind.

In other words, the musical image (like any artistic image at all) is always a refraction through the artist's consciousness reflection of life.

The musical image is always the unity of life content and artistic form in which this content is embodied.

The circle of musical images with whom you got acquainted in the first quarter is very diverse. But among them, it is possible to distinguish images that are in the lyrical, lyrical and epic, and dramatic images.

The main properties of lyrics: Music, like any kind of art, displays life in all its manifestations.

When we say "image" - this means that we imagine something, and this is something consists of 2 components:

2. The way we understand this content is that we imagine.

So, the musical image is the life content embodied in musical sounds.

The power of art, and music, including, in his truth, how much the image created by the artist (composer) acts on us, what feelings in us causes and how much these feelings correspond to the fact that the composer wanted to express in his music.

We will explore the 3 main types of images in music:

1. Lyrical

2. Dramatic

3. Epic today's lesson is devoted to lyrical images in music.

The word Lyrics comes from the word "Lira" - this is an ancient tool on which singers played (rapes), a narrative of various events and experienced emotions.

Lyrics are the immediate, very personal perception of peace and various events.

These are the feelings and experiences of the hero, the lyrical hero, this is his monologue in which he tells about what he had a chance to survive.

There are no events in the lyrical work, unlike drama and epic - only confession of the lyrical hero, his personal perception of various phenomena.

the feeling of mood is lack of action We will get acquainted with the typical lyrical hero - mythological character of ancient Greece - an orfeit and a manner of this hero, created by various composers of different eras.

Many, the most famous music works are written, the most famous music works - Opera Christopa Willibald Gluca "Orpheus" Operetta Jacques Offenbach "Orpheus in hell" Zong-Opera of the modern composer Alexander Zhurba "Orpheus and Euridic" is based on all these works Lies the history of the love of Orpheus Evridica and his journey to hell, in order to return it to life.

This story relies on the myth of ORFEE.

Orpheus was one of the famous Greek heroes, is considered the first professional musician. He played on Lira (from the name of which, as we remember, and the name of the "lyrics"), played so beautiful that his game conquered everyone: people, animals, monsters.

Once, Euridic was bitten by the snake, and she died. Mount Orpheus was awesome, he expresses him in the famous Aria "I lost Evridika" (glitch, hubrin).

The gods of Olympus were squeezed over him, and Zeus allowed him to descend into the kingdom of the dead, Aid, and withdraw from there to his wife, putting a condition for no time not to look at her.

(Show pictures) Orpheus descended to Aid, playing on the lyre, and all the characters of the underground kingdom of the dead, fascinated by his game, inferior to him, even a terrible dog of Cerber, who was instructed to guard the entrance to Aid.

He found Euridic, took her hand and told up, away from the kingdom of the dead, without looking at her, as Zeus told him.

But Euridic, without understanding the reasons for this, began to complain that the Orpheus probably sobbed her and tend to take her at least once. Orpheus could not resist, looked at his wife - and she died again.

Mount Orpheus is expressed in a beautiful melody from the 2nd act of the opera, which we now listen.

(We listen to the "melody" glitch for flute with orchestra)

Questions:

1. What tool will soloize in this melody? (the flute)

2. Why did glitch chose it? (Cold, Outstanding Sound, the impressions of the recently visited the kingdom of the dead, where all human feelings were frozen)

3. What feelings does this melody express? (Deep sadness, humility, tenderness, hopelessness) in the ancient myth Orpheus lost Eurydich.

But in Opera Glitka, everything ends safely: Amur, seeing the despair of Orpheus, brought him a good news - Zeus allowed to return to Eurydich on the ground, to live people, talent by the talent of Orpheus and his lucky grief.

But Orpheus still does not know this - the "melody" of the glitch expresses all the completeness of his sorrow.

Thus, in this work there are all signs of a lyrical image:

Feeling mood no action of the date of life K.V. Glitka - 1714-1787 This is a great opera reformer, created a new type of opera: Operas, in which the main vocal virtuosity was not the mainstream, and the truth of life, the close connection of vocal action with instrumental accompaniment, bright outlines of the characters of the characters and their feelings.

*** "According to the pages of the works of S.V. Aramaninov"

To understand any artist's artwork or artist school, it is necessary to imagine the general state of mental and moral development of the time to which it belongs. There is a primary reason that determined everything else.

Ippolit I.

(In the lesson, the story of Y.Nagina "Rachmaninov" was used, because

the poetic word can cause a certain visual series in the presentation of children, will allow children to open for themselves the mystery of the magical strength of Rakhmaninov's creativity, as the main principle of his creative thinking.

Class decoration: Portrait of S. Rashmaninov, books with literary heritage and letters, notes and twig of lilac.

Today we are waiting for an amazing meeting with the music of Sergei Vasilyevich Rakhmaninov, the Russian composer. Close people who knew him well remembered that he had almost nothing about themselves and he didn't say anything about themselves, believing that he said everything with his works. And because to understand the creativity of the composer, you must listen to his music.

(Solware Minor, OP.32, №12 performed by S. Richter) sounds.

The brightest page of Russian music was considered the work of Rakhmaninov and in Russia, and in the West. But the year 1917 was in the fate of the composer's rock.

From the book: "Early autumn of 1917. Rachmaninov rode by car to Ivanovka. Parties to the road - unobed bread dried by weed potato fields, buckwheat, millet. Lonely stick the poles on the place of the mounted covered current. The car drove up to the manor. And here are notable tracks of the dispersion. Near the house, smeared some men, and other men endured vases from there, armchairs, rolled carpets, and various utensils. But it was not shocked by Rakhmaninov: wide windows opened open, something big, black, sparkling, shook out on the window sill, stumbled out and suddenly cut down.

And only hitting the land and sawing the truncated strings, discovered its essence of the cabinet piano "Waves".

Walking legs, like a shallow old man, Rachmaninov walked to the house. The men noticed him when he was next to the body of the piano, and numb. They did not have a personal hatred for Rachmaninov, and if in the absence he became "Barin", the "landowner", then his living image reminded that he was not just a barin, not at all a barin, but something else, not so hostile.

Nothing, continue, "Rachmaninov said absently and stopped over black, brilliant boards, whose death war continued to sound in his ears.

He looked at ... still trembling strings, on the keys scattered around ...

and I understood that I would never forget this minute.

What is the saying about this passage?

The fact that restless and tense atmosphere in Russia of 1917 led to the conflict Rachmaninov with the organs of the peasant poor in the road of the Ivanovka composer's heart.

That's right, and in general, everything that happens in Russia, and not only in Ivanovka, was perceived by Rachmaninov negatively, as a nationwide disaster.

Rachmaninov so writes about her trip to Tambov: "... almost all the one hundred miles I had to overtake the calls with some kind of brutally, wild snouts, who came to the passage of the car Gicani, whistle, throwing the car caps." Unable to understand what is happening, Rachmaninov decides to temporarily leave Russia. And he leaves a heavy feeling, not yet knowing that it leaves forever, and that he will regret many times that he made this step. I was waiting ahead and excited me to the longing of my homeland. (An excerpt from Prelude Sal-Dieze Minor).

Having left Russia, Rachmaninov seemed to have lost their roots and did not compose anything for a long time, dealing with only concert activities. For him, the doors of the best concert halls of New York, Philadelphia, St. Petersburg, Detroit, Cleveland, Chicago were opened. And only one place was closed for Rakhmaninov - his homeland, where the best musicians were offered to boycott his works. The newspaper "Pravda" wrote: "Sergey Rakhmaninov, a former singer of Russian merchants and bourgeoisie, was given a writer, the simulator and the reactionary, the former landowner is a sworn and active enemy of the government." "Down with Rakhmaninov! Down with the worship of Rachmaninov! " Call "Izvestia".

(From book):

Only one resembled the Swiss villa old Ivanovka:

lilac bush, once brought from Russia.

For God's sake, do not damage the roots! - he begged the old man gardener.

Do not worry, Herr Rachmaninov.

I have no doubt that everything will be fine. But lilac is a gentle and hardy plant. If you damage the roots - everything is gone.

Rachmaninov loved Russia, and Russia loved Rakhmaninov. And therefore, contrary to all prohibitions, the music of Rachmaninov continued to sound, because

it was impossible to prohibit it. Meanwhile, the incurable disease is quietly sneaked to Rachmaninov, the lungs and liver cancer.

(From the book :) as usual, tightened; In the impeccable Frace, he appeared on stage, he answered a short bow, folded Falda, sat down, tried the foot pedal - everything, as always, and only the closest people knew that he was standing for him every movement, how his fee was hampered and what inhuman will of the will hides He from the public his flour.

(The prelude Du-Diez Minor is performed by S. Rashmaninov).

(From the book :) ... Rachmaninov with glitter completes the prelude. Ovation hall.

Rachmaninov is trying to get up and can not. He repels his hands from the seat stool - in vain. Scrupped by intolerable pain, the spine does not give it to straighten.

Curtain! Curtain! - Walks behind the scenes.

Stretcher! - the doctor demanded.

Wait! I have to thank the public ... and say goodbye.

Rachmaninov stepped toward Ramp and bowed ... flying through the orchestral pit, a luxurious bouquet of white lilac fell to his feet. The curtain managed to omit before he collapsed on the platform.

At the end of March 1943, shortly after the completion of the Battle of Stalingrad, the outcome of which Sergei Vasilyevich managed to be glad, who was close to himself and the suffering of war in Russia, 8 initial chords of the entry of the second piano concert took place from black reproductors without the usual announcement (filled with piano ). After that it was said that Sergey Vasilyevich Rakhmaninov died in the USA. (The fragment of the second part of the concert number 2 for piano with the orchestra sounds).

Rachmaninova did not become, and his music continued to warm the souls of compatriots westing from the war:

And the note each shouts it:

And the cross above the holmik shouts:

He in a stranger so burned so much!

He only stiff ...

*** Sergey Vasilyevich Rakhmaninov (1873-1943) Russian composer, pianist, conductor. His grandfather Arkady Alexandrovich (1808-81) - a pianist amateur, author of salon romances.

From 4-5 years of age, Rachmaninov played the piano. From 1882 he was engaged in St. Petersburg, from 1885th Moscow Conservatory. Among his teachers: N. S. Zverev and A. I. Ziloti (piano), A. S. Arensky and S. I.

Taneyev (theoretical items, composition). During the years of study, 1 -th concert for piano with orchestra (1891: 2nd edition 1917), a number of piano, chamber instrumental works, romances.

P. I. Tchaikovsky was a great influence on the development of the composer, which already recognized in the student writings of Rakhmaninov is a pretty talent.

He graduated from the Moscow Conservatory as a pianist (1891) and the composer (1892; thesis-opera "Aleko"). In the season 1897/98, the conductor of the Moscow private Russian opera (the friendship of Rakhmaninov and F. I. Shalyapin began here, in 1904-06 - the Bolshoi Theater. Participated also in symphony concerts. Constantly concerted as a pianist and conductor in Russia and abroad (for the first time in London in 1899). In 1909-12, I actively participated in the activities of the RMM (member of the Directorate of the Moscow Department, the Music Inspector at the General Directorate). In the 1900s. Many of the most significant writings were created.

At the end of 1917, Rachmaninov went on tour to Scandinavia, since 1918 settled in the United States. In 1918-43, it was mainly engaged in concert activities (acted in European countries, America). In the few works created during these years, the topic of the Motherland is intertwined with the motive of the tragic loneliness of the composer torn off from the native soil. Living abroad, Rachmaninov remained a Russian artist, a patriot. In 1941-42 spoke with concerts, the fees from which were transferred to the help of the Red Army.

Rachmaninov belongs to the number of the largest composers of the turn of 19-20 centuries. The aggravated-lyrical feeling of the grand social shocks is connected with Rakhmaninov with the incarnation of the image of the Motherland. He was the heartfelt singer of Russian Nature. In his music, passionate, stormy impulses and fired poetic contemplation, volitional determination and quiet alertness, gloomy tragedy and enthusiastic humanities are coexisted.

Music has the unique melodic and sponge-polyphonic wealth, which comes from Russian folk songs and features of the bannyal manner. One of the distinguishing features of Rachmaninova's musical style is an organic combination of latitude and freedom of melodic breathing with elastic and energetic rhythm. For a peculiar harmonic language of his music, a diverse transit of bell tedies is characterized. The creative heritage of Rachmaninov includes various genres, but the central place in it belongs to the piano works.

Rachmaninov is one of the greatest pianists of the world. Phenomenal technician, virtuoso skills were subordinated to the game Rachmaninov high spirituality and the bright imagery of the expression. The same qualities were distinguished by its conductor art. In the village of Ivanovka Tambov region created the Memorial Museum of Rakhmaninov.

*** Various musical images always embody some kind of lifetime: this or that life phenomenon, a picture of nature, something that is happening in a person, in society, on the scale of all mankind or in the soul of a little child (feelings, thoughts, actions, characters, in Overall - the whole spiritual world of man).

What feelings best transmits a song?

(Feelings of sincere, lyrical, poetic).

What features of the character helps to pass dance?

(Easiness, mobility, playfulness).

What is the best time to convey Marthasiness?

(Masculinity, determination, strength of spirit, heroism).

The musical content manifests itself in musical images, in their occurrence, development and interaction.

No matter how much the mood is a musical work, all sorts of changes, shifts, contrasts are always guessed.

The appearance of a new melody.

Change rhythmic pattern.

Changing texture pattern.

The selection of the section means the occurrence of a new image, sometimes close in content, sometimes - just the opposite.

Development is based on figurative wealth, breaking various motives, states and experiences.

Prelude (from lat. Prae ... - Before and lat. Ludus is a game) - a short musical product that does not have a strict shape. During the period of birth, the foreplay has always been preceded by a longer, complex and strictly decorated work (hence the name), but afterwards the composers began to write a prelude and as independent works. In preludes, oxinato is often found, in general, the prelude in style is similar to improvisation.

Prelude - Entry to any musical composition or small self-play, mainly for harpsichord, piano, organ. Cycles of preludes and fugues are created, as well as some preludes.

S. Rachmaninov. Prelude Sol-Dieze Minor, Op. 32 № 12 (hearing).

Her mood, at the same time awe, dreary, consistently Russian musical tradition of the embodiment of sorrow and farewell images.

The music is felt in music: the thrill of the last foliage, drizzling rain, low gray sky.

The musical image of the prelude is complemented by the moment of sound image: something similar to the farewell rugs of cranes, leaving us for a long winter guessed in a melody-textured sound.

It may be because in our territories so long lasting the cold, and the spring comes slowly and reluctantly, each Russian man with a special sharpness feels the end of a warm summer and says goodbye to him with a dreary sadness.

And therefore, the farewell images crowded closely with the theme of autumn, the autumn images of which are so many in Russian art: flying out leaves, moroshnyak, carawing wedge.

How many poems, paintings, music plates are connected with this topic!

And how extraordinarily rich in the arts of autumn sorrow and farewell.

- & nbsp- & nbsp-

Vocal choral work.

Y. Milyutin, verses of E. Dolmatovsky. Lyrical song (singing).

Struve, Poems L. Kondratenko. Mothers of the dead heroes (singing).

Record text lyrics.

Show song.

Worker.

II. The outcome of the lesson.

The image of the Russian Soul and Russian Nature is described, embodied in a high farewell crane flight.

Cranes are a kind of image symbol as faulting over the overall picture of the prelude, which informs her sound special height and purity.

This musical image is associated with the embodiment of subtle lyrical feelings.

III. Homework.

Learn by heart the text of the songs.

Draw the autumn landscape, find a poem with the corresponding musical image of the "Prelude" S.V. Rachmaninova.

Lesson 11 Topic: Dramatic Images in Music

Objectives lesson:

Learning to perceive music as an integral part of the life of every person.

Develop a careful and friendly attitude towards the environment.

Emotional responsiveness to musical phenomena, the need for musical experiences.

Develop interest in music through creative self-expression, manifested in thinking about music, own creativity.

The formation of audience culture based on the acquisition to the vertex achievements of musical art.

The meaningful perception of musical works (knowledge of musical genres and forms, means of musical expressiveness, awareness of the relationship between content and shape in music).

Music material lesson:

F. Schubert, verses I. V. Goethe. Forest king (hearing).

Y. Milyutin, verses of E. Dolmatovsky. Lyrical song (singing).

Struve, Poems L. Kondratenko. Mothers of the dead heroes (singing).

Additional material:

During the classes:

Organizing time.

Students enter the classroom, welcome teachers with a music greeting

Actualization of reference knowledge:

What is a musical image?

What task did you get on the past lesson? (Draw an autumn landscape, find a poem corresponding to the musical image of the "Prelude" S.V. Rakhmaninova), read fragments of poems (against the background of the autumn landscape and sound of Rachmaninov's music) What is a prelude?

Message Topics lesson.

The subject of the lesson: "Dramatic images in music."

Work on the lesson.

Teacher: Dramatic images, like lyric, are presented in music very wide. On the one hand, they arise in music based on dramatic literary works (those operas, ballet and other stage genres), but significantly more often the concept of "dramatic" is associated in music with character characteristics, musical interpretation of heroes, images. Today we will continue the conversation about musical images. A sample of a dramatic work - the Ballad of Franz Schubert "Forest Tsar", written on the poem of the Great German Poet I. V. Goethe (on the screen, the portrait of Franz Schubert).

allada - LarEpic work, that is, the story set out in a poetic form, historical, mythical or heroic nature. The plot of ballads is usually borrowed from folklore. Ballades are often put on music.

Quick message about the life and work of the composer Franz Schubert - the Great Austrian composer of the 19th century in his short life wrote so many wonderful works that they barely fit in 37 thick volumes: symphony, vocal works, piano plays and much more. The main place in his work occupied the genre of the song (about 600), which he raised the high art level. Schubert's song is always a living scene, a dramatic picture in which the finest shades of human feelings are revealed. He wrote most of his works for the Viennese Music Lovers, for His friends, with whom they were called Schubertiad. (On the screen, the illustration) (on the screen, Goethe's portrait) Franz Schubert entertained the poetry Goethe. She worried, captivated fantasy, mind, soul of a young composer. Over 70 songs are written by Schubert on the words of the Great German Poet. Ballad "Forest Tsar"

The musical language is understandable without translation. And, undoubtedly, listening to the ballad, on the sound of the music itself, you can feel that this is a leisurely narration of the author or an agitated conversation of several actors. After listening, you will need to answer questions (the ballad "Forest Tsar") F. Schubert, verses I. V. Goethe. Forest king (hearing).

The task:

What execution did the work sounded? (Male voice accompanied by F - BUT) Character - an agitated, alarming pace - a quick way - a minor register - low dynamics - F, MP Teacher: How many actors in this ballad?

Pupils: Four.

Teacher: What intonations did you hear? The narrator is agitated;

Father - alarmed; Son - frightened, choking; Forest king - a sweet-plain teacher: What did you hear in accompaniment? Is it possible to see it?

Pupils: rapid, stress movement (riders rider) Teacher: Music expressive or pictorial?

Teacher: Now listen as this ballad sounds in Russian in the translation of St. Andreevich Zhukovsky - the Great Russian poet, the contemporary of Pushkin, a kind, very thin, deeply lyrical poet gave such an interpretation of the "terrible" vision of Goethe (against the background of the illustrations to read the ballad translated in . Zhukovsky) Today, the word "ballad" often sounds at the lesson. In the literature lessons you have already talked about this genre. And in music a special place in the song genre is occupied by the ballad. In the distant antiquity ballads called dance songs. In the Middle Ages, they became narrative songs. They found their reflection of people's traditions, stories about the mysterious events, the protected world of spirits, fantastic, mystical images.

Let us sum up: the purpose of our lesson was to identify the means of expressiveness of various types of arts (literary, musical and fine) in creating a single image.

What means the composer, poet and the artist came to the creation of a single dramatic image?

Pupils: Composer - With the help of means of musical expressiveness. Artist - gamma of paints. Poet - creating a plot, various intonations.

Teacher: So we can conclude.

Conclusion: As we see in verses, both in music, and in painting a large dramatic picture is drawn, a scene with several acting persons. But even if we heard some of their intonation, the whole scene merges in our consciousness into a single dramatic image combined by rapid movement; Not only the movement of a horse flying through the forest, but also by the movement of the senses of the main actors.

Teacher: The dramatic image is widely represented not only in classical music, but in a song genre.

Vocal choral work.

Y. Milyutin, verses of E. Dolmatovsky. Lyrical song (singing).

Struve, Poems L. Kondratenko. Mothers of the dead heroes (singing).

The outcome of the lesson.

On this, our lesson is completed. Thank you for work (assessments). Forgive with the teacher, come out of the class.

IV. Homework.

Learn the lyrics.

Music Lesson in Grade II Quarter, 2 Lesson Subject: "Drama Image in Music"

This lesson music for students of grade 7 was developed on the basis of the Music program (authors T. Naumenko, V.V. Aleev) The lesson was designed to take into account those skills and ways of action that children are already familiar: musical greetings, have the experience of the emotional feeling of various character. In the previous lesson, the children listened to the "Prelude" S.V. Rachmaninova and found out that there are various musical images in music - lyrical, dramatic, epic.

The purpose of the lesson:

The formation of an emotionally conscious perception of the musical image on the example of the ballads "Forest Tsar" F. Schubert. Detection of means of expressiveness of different types of arts (literary, musical and fine) in creating a single image. Type of lesson:

Studying a new material

Tasks lesson:

1. Educational:

a) Continue to teach students to compare and compare poetry, music and image, b) to enter the new concept of "ballad".

2. Developing:

a) the further development of the listener culture,

b) continue to develop an active, felt, conscious perception of students of music, poetry, visual arts,

c) develop cantileneous singing skills.

3.Toist:

a) Cause interest in the work of the composer of Franz Schubert, gete poetry.

Methods and techniques:

Verbal (conversation, explanation) visual (portraits, illustrations) listening music singing

Visuality:

Portraits of Franz Schubert, Johann Goethe. Illustration. Predictable result: Concepts: Ballad Methods of action: Work on cards, listening to music. Judgments: Personal Relationship to Music

Theme lesson:

"Dramatic image in music"

The course of the lesson organizational moment I. Students enter the class, welcome teachers with a musical greeting

II. Actualization of reference knowledge:

What is a musical image?

With which means of musical expressiveness, the composer may reflect the surrounding validity (melody, tempo, register, dynamics).

What task did you get on the past lesson? (draw the autumn landscape, find a poem corresponding to the musical image of the "Prelude"

Main part

Teacher: Dramatic images, like lyric, are presented in music very wide. On the one hand, they arise in music based on dramatic literary works (those operas, ballet and other scenic genres), but significantly more often the concept of "dramatic"

it is associated in music with character characteristics, musical interpretation of heroes, images. Today we will continue the conversation about musical images.

A sample of a dramatic work - the Ballad of Franz Schubert "Forest Tsar", written on the poem of the Great German Poet I. V. Goethe. (On the screen, the portrait of Franz Schubert) Quick message about the life and creativity of the composer Franz Schubert - the Great Austrian composer of the 19th century in his short life wrote so many wonderful works that they barely fit in 37 thick volumes: symphony, vocal works, piano plays and a lot Other. The main place in his work occupied the genre of the song (about 600), which he raised the high art level. Schubert's song is always a living scene, a dramatic picture in which the finest shades of human feelings are revealed. He wrote most of his works for the Viennese Music Lovers, for His friends, with whom they were called Schubertiad. (On the screen, the illustration) (on the screen, Goethe's portrait) Franz Schubert entertained the poetry Goethe. She worried, captivated fantasy, mind, soul of a young composer. Over 70 songs are written by Schubert on the words of the Great German Poet. Ballad "Forest Tsar"

Schubert wrote when he was only 16 years old. This is how one of his friends describes the birth of this song: "We found Schubert in a completely tricky condition, spent loud by the book of the" Forest King ". He went with the book several times back and forward on the room, suddenly sat down, and in the shortest time the ballad appeared on paper ... On the same evening, the "Forest King" was executed and adopted with delight. In the ballad "Forest Tsar"

the composer saw the tragedy, he felt the pain and cry of the human soul.

A special role in Schubert's songs is performed by piano. It fills the song with new colors, helps to reveal its content deeper.

Teacher: Now we will listen to the Ballad in the original language - German, and you will need to determine - how many actors in this work? Listen carefully to the intonation of the artist.

The musical language is understandable without translation. And, undoubtedly, listening to the ballad, on the sound of the music itself, you can feel that this is a leisurely narration of the author or an agitated conversation of several actors. After listening, you will need to answer questions in the card. (Sounds of the Ballad "Forest Tsar") The task in which performance did the work sounded? (Male voice accompanied by FNF) Character - an agitated, anxious pace - a quick way - a minor register - low dynamics - F, MPuchitel: How many actors in this ballad? Pupils: Four. Teacher: What intonations did you hear?

The narrator is agitated; Father - alarmed; Son - frightened, choking; Forest king - sweet-setting.

Teacher: What did you hear in accompaniment? Is it possible to see it?

Pupils: rapid, stress movement (rider rider) Teacher:

Is the music expressive or pictorial?

Pupils: and expressive and visual.

Teacher: Now listen as this ballad sounds in Russian in the translation of Vasily Andreevich Zhukovsky - the Great Russian poet, the contemporary of Pushkin, a kind, very thin, deeply lyrical poet gave such a interpretation of the "terrible" vision of Goethe. (Against the background of the illustrations to read the ballad in the translation of V. Zhukovsky) today the word "ballad" often sounds at the lesson. In the literature lessons you have already talked about this genre. And in music a special place in the song genre is occupied by the ballad. In the distant antiquity ballads called dance songs. In the Middle Ages, they became narrative songs. They found their reflection of people's traditions, stories about the mysterious events, the protected world of spirits, fantastic, mystical images.

Franz Schubert is considered the creator of vocal ballad.

Let us sum up: the purpose of our lesson was to identify the means of expressiveness of various types of arts (literary, musical and fine) in creating a single image. What means the composer, poet and the artist came to the creation of a single dramatic image?

Pupils: composer - with the help of the means of musical expressiveness by the artist - gamut of paints. The poet - the creation of a plot, various intonations Teacher: So we can conclude a conclusion: as we see and in verses, and in music, and in painting a large dramatic picture is drawn, a scene with the participation of several actors. But even if we heard some of their intonation, the whole scene merges in our consciousness into a single dramatic image combined by rapid movement; Not only the movement of a horse flying through the forest, but also by the movement of the senses of the main actors. Teacher: The dramatic image is widely represented not only in classical music, but in a song genre - an example can serve as the song "Eh, Roads". Performed song.

Teacher: On this, our lesson is completed. Thank you for work (assessments). Forgive with the teacher, come out of the class.

Lesson 12 Topic: Epic Music Images

Objectives lesson:

Learning to perceive music as an integral part of the life of every person.

Develop a careful and friendly attitude towards the environment.

Emotional responsiveness to musical phenomena, the need for musical experiences.

Develop interest in music through creative self-expression, manifested in thinking about music, own creativity.

The formation of audience culture based on the acquisition to the vertex achievements of musical art.

The meaningful perception of musical works (knowledge of musical genres and forms, means of musical expressiveness, awareness of the relationship between content and shape in music).

Music material lesson:

(hearing).

Y. Milyutin, verses of E. Dolmatovsky. Lyrical song (singing).

Struve, Poems L. Kondratenko. Mothers of the dead heroes (singing).

Additional material:

During the classes:

I. Organizational moment.

II. Message Topics lesson.

III. Work on the lesson.

Epos, [Greek. EPOS - word]

1. The narrative of the literature (as opposed to drama and lyrics).

2. A set of works of this kind, united by a common topic, a common nationality, chronology, etc.

The epic work is usually a poem telling about heroic acts.

The origins of epic poetry are rooted in prehistoric narrations about the gods and other supernatural beings.

Epos - Past, because tells about past events in the life of the people, about its history and exploits;

Lyrics - Present, because its object - feelings and moods;

Drama - the future, because In it, the main thing is that the heroes are trying to solve their fate, their future.

The first and simple scheme of the division of arts related to the word, offered Aristotle, according to which Epos has a story about the event, the drama represents it in the faces, the lyrics responds to the song of the soul.

The place and time of the actions of epic heroes resemble real history and geography (than epos differ radically from the fairy tale and myth, completely unreal). However, the EPOS is not entirely realistic, although it relies on real events. Much idealized in it, mythologized.

Such is the property of our memory: we always make it a bit of our past, especially if it concerns our great past, our history, our heroes. And sometimes on the contrary: some historical events and characters seem worse than they were actually.

Epos properties:

Heroism is the unity of the hero with his people, in the name of which he performs the feats of historicity of fabulousness (sometimes the epic hero is fighting not only with real enemies, but also with mythical creatures) animal (heroes of the epic or good, or bad, for example, heroes in the epic - and their enemies, all sorts of monster) relative objectivity (EPOS describes real historical events, and the hero can have their weaknesses) hero, in whom everything is fine, only for the novel is suitable, let it be done with you, noblen,

But still without weakness, he does not nobody:

We are hot-tempered roads, rapid ahill;

He cries from the offense - it is unlike detail, so that we believe in his plausibility.

Epic images in the music that we will talk about today, it images are not only heroes, but also events, stories, it can be images of nature depicting their homeland into a certain historical era.

This is the difference between the epic from lyrics and drama: in the first place is not a hero with his personal problems, but history.

As an example, we listen 2 works of the epic genre:

1. 2nd Symphony, "Bogatyr Symphony" A. Borodina. She is recognized as the top of the Russian and world epic simphonism

2. Aria Prince Igor from Opera A. Borodin "Prince Igor" Borodin Alexander Porfiryevich (1833-1887), one of the composers "mighty bugs."

All his work is permeated with the theme of the magnitude of the Russian people, love to the Motherland, freedom-loving.

About this - and "Bogatyr Symphony", captured the image of a mighty heroic homeland, and Opera "Prince Igor", created by the reasons of the Russian epic "Word about the regiment of Igor".

"The Word about the regiment of Igor" ("The Word about the campaign of Igor, Igor, Son Svyatoslavov, the grandson Olegov - the most famous (considered the greatest) monument of medieval Russian literature. At the base of the plot - the unsuccessful campaign of the 1185 Russian princes on Polovtsy, driven by Prince Igor Svyatoslavich.

In his Aria, Prince Igor expresses sadness about his captivity and the death of his regiment, dreams of freedom and opportunity to organize a new campaign, victorious.

N. Rimsky-Korsakov. Okian-sea blue. Entry to Opera "Sadko"

(hearing).

Sadko is a bright sample of an epic opera, which is characterized by a slow, smooth current, which resurrecting the spirit of vintage epic tales. Music portraits of the main actors are given in widely developed vocal rooms, pictures of folk life and life - in monumental choral scenes. Opera music is saturated with bright, convex contrasts.

The images of the fabulous underwater kingdom, embodied by means of flexible, whimsical melodes and unusual harmonies, are opposed to the paintings of the real folk life and the images of Russian people, in the outcome of which the main expressive means is Russian folk song.

Opera opens the Great orchestral entry of the Ocean-Sea blue. P. 46 on the textbook.

Vocal choral work.

Y. Milyutin, verses of E. Dolmatovsky. Lyrical song (singing).

Struve, Poems L. Kondratenko. Mothers of the dead heroes (singing).

IV. The outcome of the lesson.

We met with musical works of the epic plan.

Epic images require long and unhurriedly, they can long exhibit and leisurely develop, introducing a listener into the atmosphere of a kind of epic flavor.

V. Homework.

Learn the text of the songs. Prepare for their execution.

Lesson 13 Theme: What does the musical genre tells about. "Memory of the genre"

Objectives lesson:

Learning to perceive music as an integral part of the life of every person.

Emotional responsiveness to musical phenomena, the need for musical experiences.

The formation of audience culture based on the acquisition to the vertex achievements of musical art.

The meaningful perception of musical works (knowledge of musical genres and forms, means of musical expressiveness, awareness of the relationship between content and shape in music).

Music material lesson:

Additional material:

During the classes:

I. Organizational moment.

II. Message Topics lesson.

The subject of the lesson: what does the musical genre tell about. "Memory of the genre"

III. Work on the lesson.

Under the sounds of the past

And close to seems clear:

That dream sings for me, then the sacrament is beautiful.

Alexander Blok

- How do you understand the expression "Memory of the genre"?

The huge world of musical content is encrypted primarily in the genres. There is even such a concept of "Memory of the genre", indicating that a huge associative experience is accumulated in the genres, causing certain images and submission from the listeners.

What seems to us when we listen to Waltz or Polka, march or lullaby song? In our imagination, the couples (waltz), funny young, lively and laughing (polka), a solemn step, elegant uniforms (march), a gentle maternal voice, a native house (march), are immediately arising in our imagination. Such or similar submissions cause these genres from all people in the world.

About such an ability of music - the ability to call images and ideas in memory - many poets wrote.

Appeal to certain genres and the composers themselves often caused bright and lively images. So there is a legend that Frederic Chopin, writing Polonaz la-Bf Major, saw a solemn procession of cavaliers and ladies of the old days.

Thanks to such a feature of the genres, which enclose huge layers of memories, ideas and images, many of them are used by composers intentionally - to sharpen one or another life content.

F. Chopin. Polonaz la-Bf Major, op. 53 No. 6 (hearing).

Often used in musical works. Folk genres or skillfully accomplished stylization. After all, they were most closely connected with the life line of people, they sounded during work and cheerful leisure, at weddings and funerals. The life content of such genres was inextricably melted with their sound, so that by introducing them into their works, the composer reaches the effect of complete confidence, immerses the listener in the color of time and space.

The Russian folk song "In the field of Bereza was standing." Her melody seems simple and unassuming.

However, this particular song was elected P. Tchaikovsky as the main topic of the final of his fourth symphony. And the will of the great composer, she became a source of musical development of the whole part, changing its character and appearance, depending on the flow of musical thought. She managed to give the sound of music, the dance, then the song character, the mood and a dreamy, and a solemn - word, became infinitely diverse in this symphoon, which only genuine music can be.

And yet in one - the main quality of its quality - it remained in integrity: in the deep national Russian sound, as if imprinted nature and the appearance of Russia, so cute the heart of the composer himself.

In the field of Bereza stood. Russian folk song (hearing).

P. Tchaikovsky. Symphony number 4. IVC. Fragment (hearing).

Vocal choral work.

V. Muradel, verses Lisyansky. School trail (singing).

V. Berkovsky, S. Nikitin, verses A. Veliagansky. To the music of Vivaldi. (singing).

Work on sound formation, diction, breathing, character of execution.

IV. The outcome of the lesson.

V. Homework.

Learn the text of the songs.

Lesson 14 Theme: such different songs, dancing, marches

Objectives lesson:

Learning to perceive music as an integral part of the life of every person.

Develop a careful and friendly attitude towards the environment.

Emotional responsiveness to musical phenomena, the need for musical experiences.

The formation of audience culture based on the acquisition to the vertex achievements of musical art.

The meaningful perception of musical works (knowledge of musical genres and forms, means of musical expressiveness, awareness of the relationship between content and shape in music).

Music material lesson:

V. Muradel, verses Lisyansky. School trail (singing).

V. Berkovsky, S. Nikitin, verses A. Veliagansky. To the music of Vivaldi. (singing).

Additional material: portraits of composers: Tchaikovsky, Bizeta.

During the classes:

I. Organizational moment.

II. Message Topics lesson.

The subject of the lesson: such different songs, dances, marches III. Work on the lesson.

- What is the Music Genres used for music? Name such works.

Appeal to the national song or dance genre in a musical product is always a means of bright and reliable image characteristics.

Hungarian composer Bela Bark accurately said: "Rustic music serves as a certain goal, has a certain program related to certain customs, according to the uncommitable laws of the village ... Christmas should have been celebrated by legends about Starin, the wedding was carried out only with the observance of certain rites, the songs had to sing songs during the harvest Harvest. "

Music content, during the long centuries, fixed behind a certain genre was an eternal and inherent companion, so that listening to the music of a certain, long-established genre, we associate with her and concrete, only inherent in meaningfulness.

Each musical genre is associated with certain life situations or special moods.

Marsh - one of the main musical genres - may have both joking humorous, and serious. Compare the sound of two marches: the march from the ballet P. Tchaikovsky "Nutcracker" and a Toreodor march from the Opera J. Biza "Carmen".

P. Tchaikovsky. March. From the ballet "Nutcracker" (listening).

J. Bizet. Marsh Toreador. From the opera "Carmen" (hearing).

Vocal choral work.

V. Muradel, verses Lisyansky. School trail (singing).

V. Berkovsky, S. Nikitin, verses A. Veliagansky. To the music of Vivaldi. (singing).

Work on sound formation, diction, breathing, character of execution.

IV. The outcome of the lesson.

Today we reviewed examples of marches. No matter how much musical genres have, no matter what the deep meaning they are neither in themselves - in music, the content manifests itself in the means of musical expressiveness: melodies and harmony, rhythm and texture forming together the form of a musical expression. Sounds, pallows, musical phrases and suggestions, intervals and chords, strokes and shades, everything carries their own content.

V. Homework.

To learn the song to prepare them to answer.

Lesson 15 - 16 Topic: Such different songs, dancing, marches

Objectives lesson:

Learning to perceive music as an integral part of the life of every person.

Develop a careful and friendly attitude towards the environment.

Emotional responsiveness to musical phenomena, the need for musical experiences.

Develop interest in music through creative self-expression, manifested in thinking about music, own creativity.

The formation of audience culture based on the acquisition to the vertex achievements of musical art.

The meaningful perception of musical works (knowledge of musical genres and forms, means of musical expressiveness, awareness of the relationship between content and shape in music).

Music material lesson:

V. Muradel, verses Lisyansky. School trail (singing).

V. Berkovsky, S. Nikitin, verses A. Veliagansky. To the music of Vivaldi. (singing).

Additional material:

Portraits of composers PI Tchaikovsky and F. Chopin.

During the classes:

I. Organizational moment.

II. Message Topics lesson.

The subject of the lesson: such different songs, dances, marches.

III. Work on the lesson.

How diverse waltza!

Waltz from Opera P. Tchaikovsky "Evgeny Onegin" sounds bright and full. In his sounds, we almost visibly guess the dazzling light of the ballroom hall, elegant guests coming to a noisy and fun evening.

Peter Ilyich Tchaikovsky (1840-1893) - the Great Russian composer, conductor. Born on May 7, 1840 in the city of Votkinsk in a large family. The music of Tchaikovsky often sounded music. His parents were fond of the game on the piano, the authority.

At the age of five, Peter Tchaikovsky was already able to play the piano, after three years he played perfectly on notes. In 1849, Tchaikovsky's family moved to Alapaevsk, and then to St. Petersburg.

In the biography of Peter Ilyich Tchaikovsky, home education was originally received. Then Peter was engaged in two years in the boarding house, after which - in the school of the laws of St. Petersburg. Tchaikovsky's creativity during this period was manifested in elective music classes. The death of the mother in 1862 was greatly influenced by the vulnerable child. After graduating from the school, Peter began to serve in the Department of Justice.

Showing the tendency to elaborate music, Tchaikovsky enters the Conservatory of St. Petersburg. Further classes in the life of Tchaikovsky in magnificent teamwork teachers, Rubinstein largely helped the formation of a musical personality. After the end of the conservatory, the Tchaikovsky composer was invited by Nikolai Rubinstein (a teacher's brother) to the Moscow Conservatory for the position of professor.

Many Tchaikovsky concerts were written then. Opera "Undina"

In 1877, to get rid of gossip about homosexual inclinations, Tchaikovsky marries Antonine Milyukova. At the same time, closely communicates with the hope of the background of Meccas - a rich amateur music of Tchaikovsky. Without loved his wife, the composer tried to end his life. However, I could not, and forever went from my wife. This segment of the Tchaikovsky biography is filled with a sense of guilt by the author in relation to himself.

For a biennial time of living in Italy, Switzerland appear new magnificent works of Tchaikovsky - Opera "Evgeny Onegin", the fourth symphony. After the material assistance of hope, the mecc, the composer travels a lot. From 1881 to 1888, they have written many works. In particular, Valsa Tchaikovsky, Symphony, Overtures, Suites. Finally, in the biography of Peter Ilyich Tchaikovsky, a calm creative period was established, then the author himself was able to conduct concerts. Tchaikovsky died in St. Petersburg on November 6, 1893 from cholera.

P. Tchaikovsky. Waltz. From the opera "Eugene Onegin". Fragment (hearing).

Frederick Chopin (1810 - 1849) - composer, performer.

Chopin was born on February 22, 1810 nearby Warsaw. As a child, in the biography of Frederick Chopin, musical abilities were shown, including improvisation. During his studies in the school, Chopin devoted a lot of time to musical classes. He studied at the Wojcuch of the Vibrant, Elsner.

A composer began to speak with his works since 1829. Next year he left Warsaw, and in 1831 settled in Paris. It instantly became famous, found many fans.

For the first time in the biography of Chopin, the disease of the lungs was sharply manifested in 1837. Since then, he has suffered as asthmatic attacks. In 1848, the famous musician settled in London, becoming not only to speak in public, but also teach. The well-being of Chopin was all worse, and soon after returning to Paris, he died. For his biography, Chopin created many works for piano, was one of the brightest representatives of romanticism in music.

Poetically and gently sound the Walves F. Chopin, the imposition of such a thin and dreaming, which sometimes even erases the feeling of dance.

F. Chopin. Waltz Si Minor, Op. 69 No. 2 (hearing).

Despite the wealth and diversity, what are distinguished by the interpretations of various genres in musical works, in the main genre remain recognizable. You can talk about the direct borrowing of a certain song or dance, and it is possible about the song or dance, but these judgments are based on the perception of certain sustainable signs.

Singer, melodiousness, extension testify in favor of the song, threehoth in combination with the continuity of the "spinning" rhythm reminds us Waltz, etc. All this means that there are no musical genres, whatever meaning of meaning they are neither tali in themselves - In music, the content manifests itself in the means of musical expressiveness: melodies and harmony, rhythm and texture forming together the form of a musical expression. Sounds, pallows, musical phrases and suggestions, intervals and chords, strokes and shades, everything carries their own content.

And, listening to music, watching how these sounds, nais and phrases gradually fold into a slim sounding whole, we understand: music is self-sufficient, in live sound, it expresses its content with all possible fullness. And no words will tell you what can tell about the world and about all of us music.

Vocal choral work.

V. Muradel, verses Lisyansky. School trail (singing).

V. Berkovsky, S. Nikitin, verses A. Veliagansky. To the music of Vivaldi. (singing).

IV. The outcome of the lesson.

The huge world of musical content is encrypted in genres. A huge associative experience has been accumulated in them, causing certain images and submission from the listeners.

In our imagination, there are circling pairs (waltz), funny young, lively and laughing (polka), a solemn step, elegant uniforms (march), a gentle maternal voice, a native home (lullaby) arise in the noble dance. Such or similar submissions cause these genres from all people in the world.

V. Homework.

Perform songs.

Third quarter Lesson 17 Topic: What is a musical form. "Plots" and "Heroes"

musical form.

Objectives lesson:

Learning to perceive music as an integral part of the life of every person.

Develop a careful and friendly attitude towards the environment.

Emotional responsiveness to musical phenomena, the need for musical experiences.

The formation of audience culture based on the acquisition to the vertex achievements of musical art.

The meaningful perception of musical works (knowledge of musical genres and forms, means of musical expressiveness, awareness of the relationship between content and shape in music).

Music material lesson:

R. Wagner. Intermission to III action. From the Opera "Lorangery" (hearing).

E. Krylov, verses N. Dobronravova. I believe only masts and dreams (singing).

Additional material:

During the classes:

I. Organizational moment.

II. Message Topics lesson.

The subject of the lesson: what is a musical form. "Plots" and "Heroes"

musical form.

III. Work on the lesson.

Artistic form - it has become visible content.

I. Gofmyller Musical form

1. A holistic, organized system of expressive music (melody, rhythm, harmony, etc.), with the help of which its ideological-shaped content is embodied in the musical work.

2. Building, structure of the musical work, the ratio of its parts. Elements of the musical form are: motive, phrase, sentence, period. Various methods of development and comparison of elements lead to the formation of a variety of musical forms.

Major Music forms: Dual Spass, three-part, Sonataya shape, variation, bureaver shape, a group of cyclic forms, free forms, etc. The unity of the content and form of the musical work is the main condition and at the same time a sign of its artistic value.

The musical form is customary to call the composition, that is, the features of building a musical work: the ratio and methods of the development of musical and thematic material, the ratio and alternation of the tonalities. Of course, each musical work has its unique features. But still, over the course of several centuries, the development of European music has developed certain patterns, the principles for which certain types of works are being built.

With one of the musical forms, you all, no doubt, are very familiar. This is a bought form in which songs are written. It is similar to her leading origin from her an old form of Rondo. They are based on two (or - in Rondo - several) of various thematic materials.

The form in such cases is based on comparison, development, and sometimes the collision of these often contrasting, and sometimes even conflict topics.

The three-part and two-part forms are also common in musical practice. The three-part is built according to the scheme, which is customary to depict the letters as: Ava. This means that the initial episode at the end, after a contrasting middle episode, is repeated. In this form they are written by the middle parts of the symphony and sonatas, parts of the suite, various instrumental plays, for example, Many Nocturons, Preludes and Mazurki Chopin, Songs without the words of Mendelssohn, Romances of Russian and foreign composers. The two-part form is spread less, as it has a shade of incompleteness, comparison, as if "without output", without the result.

Its scheme: AB.

There are musical forms based on the topic alone.

These are, first of all, variations that can more accurate theme with variations. In addition, many forms of polyphonic music are built on one topic, such as a fugue, canon, inventory, chakon and pasacle. They introduce you to the stories "Polyphony", "Fugue", "Variations".

It is found in music and the so-called free form, that is, a composition not related to established typical musical forms. Most often, composers turn to free form when creating software works, as well as with the composition of all sorts of fantasies and a potion on borrowed topics. True, often in free forms there are features of three parties - the most common of all musical constructions.

It is not by chance both the most difficult, the highest of all musical forms of the Sonataya - is also at the base of its three-hour. Its main sections - exposure, development and reprise - form a complex three-part - symmetric and logically completed construction. You will read about this in the story dedicated to Sonata.

PROGRAM MUSIC

There are many musical works in which the composer in one form or another clarifies the listeners their content. So, the first Symphony Tchaikovsky called "Winter Dreams". It was the first part of it, he presented the headline of the "dreams of the winter road", and the second - "sullen edge, foggy edge."

Software music is called such instrumental music, which is based on the "program", that is, a completely specific plot or image.

Programs are different in their type. Sometimes the composer retells in detail the content of each episode of its work.

So, for example, Made Roman-Korsakov in his Sadko's symphonic picture or Lyadov in Kimoore. It happens that, referring to the well-known literary works, the composer considers only to indicate this literary

Unity of the musical work

1. What traditions and innovation are manifested in a musical work.
2. Means of musical expressiveness, their role in creating a musical work (on an example of an intermission to III action from the Opera "Loangrin" R. Wagner).

Music material:

1. R. Wagner. Intermission to III action. From the opera "Loengrin" (hearing);
2. P. Tchaikovsky. Introduction to the ballet "Sleeping Beauty" (hearing);
3. Ya. Dubravin, V. Suslov verses. "Everywhere lives music" (singing).

Feature activities:

1. Understand the value of the means of artistic expressiveness in creating a musical work.
2. To own individual special musical terms reflecting knowledge of musical expressiveness.

"Do not be afraid of words theory, harmony, polyphony, etc.
Treat them friendly, and they smile to you. "

R. Schuman

Imagine that you came to the theater. Soon there is a heavy curtain and the performance will begin. The heroes of the old fairy tale have not appeared on the stage, but the music is already sounding, and you are captured by it.

The orchestra plays the introduction ( introduction - the word of Latin origin means "Introduction" - a brief entry into opera or ballet spectrum) To the ballet Peter Ilyich Tchaikovsky "Sleeping Beauty".

What is this music? ... Suddenly, the powerful and hard sound of a huge orchestra fell on you. "Spikey", broken melodic lines, sharp sound of dissonant ( dissonance is a combination of two or several sounds that form a stress, sharp consonance. The word "dissonance" comes from the Latin Dissonantia, which means "non-stroke sound") Chords, terrible cleansing of wind instruments creates a musical portrait of an evil chaff chaff.

But the light breeze of the Passage of Harpha will carry us into the magical world of good and beauty: against the background of the gentle accompaniment, a beautiful melody appears. This is the topic of lilac fairy. It calmly soars, illuminated by light paints of conntonsonny ( connce - a congestive combination of two or more sounds. Translated from Latin Consonantia means "consonant sound") Chords. Music sounds fragile, defenseless. Can such a fairy resist the onslaught of evil chararax?

Let's follow how to develop the theme of the Fairy of Lilac. First, only two tools are performed by the melody: flute and English horn. Then violin lead it, and finally the new topic is born: it sounds solemn and victory from the copper brass instruments. As a result of the development, the lyrical melody turned into heroic.

What caused such transformation?

The solemn ceremony of meetings, parades, greetings were opened by festive signals of Fanfar. These brass instruments played melodies using major sober sounds. In the future, such melodies began to call fanfares. They are always connected with the expression of joy. And if they are also performed by copper brass instruments, they acquire heroic, solemn. Therefore, listening to the introduction, we believe that the Fairy of Lilac will defeat Karabos, good will overcome evil.

To tell about it, the words are not needed. The music told a fairy tale with her tongue, stronger and expressive.

But how to understand musical language? How does it differ from speech?

The musical language is rich and diverse, because in its dictionary is not just sounds, but a melody, way, rhythm, harmony, timbre, dynamics, pace, touches, phrazing ...

All these elements of the musical language in their all kinds of combinations are used by composers, creating music.

Music material, that is, melody, harmony and rhythm, of course, inexhaustible.
Millions will be held, and if the music in our sense will still exist,the same seven major tones of our gamut, in their melodic and harmonic combinations, revived by rhythm, will still serve as a source of new musical thoughts.

P. Tchaikovsky

We usually perceive the musical work, in the unity of everything, what it consists of. It is difficult, sometimes it is simply impossible to allocate something one - melody, rhythm or timbres in its sound. Each composer in his work seeks to create their unity. The point is not that it invents some new means of expressiveness, but in the fact that every time he subordinates them to his idea, its ideas about the world, about life, about people.

As people are unique, so unique and their business. Take any simple thing - two different people will make it completely differently! Moreover, it belongs to things difficult, which make not only skill, but also sincere energy - after all, in their creation, education, experience, tastes, habits, education and much more are involved in their creation. Therefore, we are not surprised that two composers living at one time and in one country are sometimes so no longer on each other, how do you dislike about two different works of even one composer or two different violins of one master.

To understand the musical work, we usually appeal to two sides - traditions (the tradition is what is inherited from the preceding generations), in which it originated, and the unique "handwriting" of his author.

Why is it necessary to appeal to tradition?

Because everything in the world arises gradually, nothing comes nowhere. Each river flows out of its source and flows into his sea; The mastery is preceded by apprenticeship, maturity - youth ... The new song is born from the song features of his time, the new rhythm is from the rhythmic, the new timbre is from the timbre. Any phenomenon taken in the separation from the roots sprinkled, looks ridiculous as the newcomer nowhere.

Why are we again and again looking for its uniqueness (unique - the only one in your own), uniqueness?

Because in every significant work, how much would be very expressed in it, it is necessary to have something that has not been and never will be, because the moment of creativity, like any moment, unique.

The unity of the old and new, forming each musical work, causes a natural question: what is it manifested? In the biography of the composer? In the names of his works? Partly yes.

And the life of the composer, and the names of its works, - all this helps us understand a lot in his work.

But to understand the music should be learn from the music itself, in which fantasy, inspiration, the understanding of the world found the most complete expression.

And although the music affects holistic, nevertheless it is very different: in some cases, the rhythm is soloing in such integrity, and in others - the melody, in some we plunge into the magic world of harmony, in others - in the multicast timbre kingdom. This is natural: after all, in each work, the overall plan dictates the choice of the necessary means of expressiveness.

It would be strange if, for example, images of the fabulous world would suddenly be embodied in angular, acute rhythms, and not in colorful harmony and orchestration. It would also be strange if the Spanish dances sounded the Slavic smoothness of the lines, and so on.

Fortunately, this never happens. Musical fairy tales are still, as always, leopard and colorful, and Spanish dances are fast and rhythmic.

Each mood, every feeling, experience and character have its own musical "representatives". Something expresses itself in the melody, something - in harmony, and something in special dynamic means.

That is why the understanding of music requires appeal to what is called, means of musical expressiveness. These funds are formed by the parties to music as rhythm, melody, harmony, polyphony, texture, timbres and dynamics. Of course, the given row can be continued. Each musician knows how important the various strokes that are included in the concept of articulation, accelerate and slow down the pace forming the area of \u200b\u200bmusical aggohikiki, as the role of the pedal is unusually expressed.

Listen to musical works and try to think not only about the fact that the music is composed of various sides of his sound, but also what exactly is expressing each side. And then from the yield and diversity, always underlying musical works, you will be able to allocate special features that appear in harmony, then in the timbres or rhythms and forming the unique "Lika", which always distinguished the great works of musical art.

Questions and tasks:

1. What forms the unity of the musical work?
2. What, besides the knowledge of tradition and innovation, helps us better know the musical work?
3. Listen to the intermission to the III action of the Opera "Lorangery" R. Wagner. Is it possible to agree that the strength of the impact of this music is associated with the unity of all of its expressive agents? To answer this question, try to characterize the features of the rhythm, Lada, melodies, timbres, speakers. (Description of the work in the lesson)

Presentation

Included:
1. Presentation, PPSX;
2. Music sounds:
Wagner. Introduction to 3 actions from the opera "Lorangery", MP3;
Tchaikovsky. Theme Karabos from the ballet "Sleeping Beauty", MP3;
Tchaikovsky. Theme of the Fairy of Lilac from the ballet "Sleeping Beauty", MP3;
3. Accompanying article, DOCX.

On the unity of content and form in the artistic work

1. The formulation of the problem involved in the study of the main theme of the year.
2. The embodiment of the depths of art is the most important criterion for genuine creativity.
3. What constitutes the "magical uniqueness" of the idea and its incarnation.

Artistic material:

Poetry:

1. F. Tyutchev. "Not that mantle you, nature ...";
2. A. Vivaldi. Sonnet, preceding a concert "Summer"

Painting:

1. I. Repin, I. Aivazovsky. "Pushkin by the sea"

Music:

1. A. Vivaldi. "Summer". III part. From the cycle "Four concerts for violin with the Orchestra" Seasons "(hearing).

Feature activities:

1. Emotionally perceive images of various types of art.
2. Perceive and identify external and internal ties between music and other types of art (taking into account the criteria presented in the textbook).
3. To argue about the brightness of images in music and other art types (taking into account the criteria submitted in the textbook).

"Almost the Spirit, touching the clay, creates a person from her ..."

A. De Saint-Exupery

Music! As beautiful and truly limitless, this area of \u200b\u200bhuman culture! Another ocean of living passions, sublime dreams and noble aspirations of humanity is concluded in the creations of a musical classics.

Treasures of music accumulated over the centuries generations of people are extremely diverse. Music surrounds us everywhere, everywhere and everywhere - in labor and in everyday life, in distant campaigns or friendly meetings, in the days of nationwide burning or festive festivities. Musical sounds accompany us throughout our life. It is difficult to find a person on earth that could live without music, to do without any, at least the simplest musical impressions.

The world of music is truly unfortunate. It covers different epochs of history, different sectors of society, various, very unlike each other national traditions. A superficial thinking listener sometimes with ease discards alien to him, born in the distant past or in other people's countries and continents. Meanwhile, the musical culture of the 20th century, due to the flourishing of modern media (radio, television, grams), as well as intensified contacts between nations, significantly expanded its chronological and geographic framework.

We know much more about the musical past, widerly focusing in the music of the peoples of Asia, Africa, Latin America. An enlightened listener is experiencing special aesthetic joy today, comprehending the charm of musical antiquity, the unatail charm of the plays of Mozart and Gaidna, Coopen and Vivaldi. He never ceases to admire the ever-living creations of the Great Bach, at all who did not lose their beauty and wisdom. The masterpieces of boach music not only are not aging, but as if even stronger, the people of the XXI century are deeply seized. The wonderful music of Glinka will not be aging for us, whenever with his eternally young emotional charm.

The deepest creations of classical art live a century without losing their freshness. They are selected by humanity from hundreds and thousands of samples and entered the Golden Fund of World Culture. Such works are not aging, time is powerless to them. Having a high artistic perfection, embodying the advanced ideas of mankind, they retain the value of a kind of reference, the sample, sometimes inaccessible.

More than two hundred and fifty years have passed after Johann Sebastian Bach completed his glorified SI-minor Mass, and people and people are eagerly listened to this music, imbued with wisdom and power of feelings. More than one and a half years ago, the ninth symphony of Beethoven was written, but today each of its execution passes with crowded halls. Viktor Hugo said once that the masterpiece of art is born forever. This is the difference of forever living classical music from music shallow, fashionable, but quickly aging.

Naturally, not any symphony or opera is necessarily better, meaningful, deeper than any song. The best creations of folk art, in particular the most beautiful songs of various nations of the world, are also immortal as recognized works of composers-classics.

Once A. I. Herzen wrote his son: "There are classic artistic creations, without which a person is not a complete person." He meant that people who pass by these great wealth are unforgivable to deplete their spiritual world, deprive themselves incomparable intellectual joy. And life, devoid of beauty, not illuminated by the light of art turns into something dull, colorless, mechanical.

Why are some works dying, barely appeared, and others live in centuries, entitled to their depths and new and new generations?

Many centuries ago, the ancient Greek philosopher Aristotle emphasized the difference between the beautiful face and the perfectly painted face. A great thinker one of the first guess that the meaning of art is not in the image of beautiful phenomena, but in the search and embodiment of the hidden essence of things.

The ability to see hidden, deep - one of the necessary conditions of genuine creativity. The wonderful Russian poet F. Tyutchev wrote about this, who told us a true understanding of nature.

Not that manty you, nature,
Not blind, not a soulless face,
There is a soul in it, there is freedom in it,
It has love, there is a language in it.

However, the finest hearing, the most acute view, the most sensitive intuition is not enough to ensure that the work of art appears. To see little and understand - you need to embody. With the embodiment, sometimes the most tense side of creativity is connected - the one forces to write down the mountains of paper, make incredible travels, experience incredible travel, worry about a deep alarm - and all for the sake of one single phrase, stroke, melodies.

True art really requires the artist of complete dedication and self-religion. It's not just that creating a artistic work absorbs a lot of time. The main thing is to find the true phrase or melody, the only thing that would answer its creator's plan.

Among the musicians, not a rare recognition in how sometimes after barren long searches, the necessary intonations or consonances suddenly came as if over, shook by their persuasiveness, truth. So, Josef Haydn, when he was painted a melody (in the oratory "Creation of the World" expressing the birth of light), exclaimed, blinded with her glitter: "It's not from me, it is over!"

Therefore, among the explanations of the mysterious nature of musical art, one of the first is the recognition of His Divine Entity. And the one who fate intended to be a creator, originally wears a certain ideal with whom he twisters everything that creates. Such an ideal is a certain "magical uniqueness" of the idea and its incarnation or, if you use the scientific definition, the unity of content and form.

The music surrounded Antonio Vivaldi all his life. He absorbed her along with the air of his hometown - salty, smelling sea, ringing from songs. It did not have to invent anything to him - the melodies were swallowed in his head, exactly the bees in the ulle. It was only necessary to cast them into a clear form, subjugate the laws of the composition. He perfectly owned all the secrets of his craft, but the main thing considered the feeling. I never understood those sometimes very skilled craftsmen, who saw only a reason for inaccessible puzzles in their writings. Music, devoid of joy, not heating the soul, - Why is she?

It was a wonderful thought: to write four concerts for violin with the orchestra, corresponding to the change of seasons. What a variety of paintings, what an inexhaustible wealth of colors! Spring, with her shining skill, a tomitious nurse of the summer afternoon, the splendor of autumn hunting and, finally, the joyful fun winter - skates. He has populated music with a twitter and crucifice the birds, the murmur of streams, loud cries of hunting horns. The fierce symphony of thunderstorm painted with ecstasy: noise of tight rain jets, winding wind, dazzling zigzags lightning. Sometimes all this saw him so clearly that words came to him with music. He entered them into the score, hoping that the poems would help better understand the writing.

"Summer"

In the fields lazily flock wandering.
From heavy, suffocating heat
Suffers, dries everything in nature,
All alive languid thirst.

Suddenly the passionate and mighty
Borea, exploding silence peace.
Around dark, evil ground midges.
And crying a shepherd, caught a thunderstorm.

From fear, poor, freezes:
Bute lightning, rinsing thunder,
And ripe spikes pulls out
Thunderstorm ruthless circle.

No, in the sounds of the time of the year, it turned out much brighter.

Ivan Konstantinovich Aivazovsky joined the two of his music and Pushkin, and dedicated a picture to the poet.
It is noteworthy that the landscape, that is, the image of the sea, was written by Aivazovsky, and the figure of the poet - Ilyoy Efimovich Repin. This is due to the fact that the possibilities for the portrait image of Aivazovsky were very limited, but he painted sea landscapes simply ingenious.
According to the researchers, the picture has a direct connection with the poem "to the sea". In it, the poet describes a farewell with proud "free elements", compares it with his friend, whose "noise" will remain in the heart forever.

Goodbye free element!
Last time in front of me
You katiha waves blue
And bleach pride of beauty.

Look at the canvase - the landscape on it is romantic, sea, but severe. Black blocks of stones are welded a shapeless bunch, as if the hands of a fabulous giant. The background itself is a gray, almost white, but the Figure of Pushkin, all in black, has a sharp contrast with all the tonality. The left hand, assigned to the side, the poet as if she says goodbye to the sea, so close to his soul, and in the right he holds a hat. The wind brewed the hair of Pushkin, threw a hood from his head, but he only enjoys salty splashes of raging elements. His face is calm and inspired, and the look asked for the horizon ...
If we talk about the sea, then it is the most mysterious and romantic creature of nature. The man came across him everywhere, saw joy and grief from him. Poets, writers and artists could not pass by marinistic motives, so such a large number of works devoted to the sea. It should be said that Pushkin, as a creative person, could not not attract the romance of the sea.
For him, it became a close friend, farewell to whom will not let you forget about the time spent together. It seems that the free atmosphere of the sea was transferred to the Pushkin himself, who felt unity with the element and attraction to her. It is not surprising that the sea on Canvas Aivazovsky seems alive, and everyone who has ever seen the picture, it seems that it communicates with the poet.

Presentation

Included:
1. Presentation, PPSX;
2. Music sounds:
Vivaldi. Summer. III part (from the "Seasons" cycle for violin with orchestra), MP3;
3. Accompanying article, DOCX.